- Notes provided by Fox Searchlight. -

THE SAVAGES is an irreverent look at family, love and mortality as seen through the lens of one of modern life's most bewildering and challenging experiences: when adult siblings find themselves plucked from their everyday, self-centered lives to care for an estranged elderly parent.
The last thing the two Savage siblings ever wanted to do was look back at their difficult family history. Having wriggled their way out from beneath their father's domineering thumb, they are now firmly cocooned in their own complicated lives. Wendy (Academy Award® nominee Laura Linney) is a struggling East Village playwright, AKA a temp who spends her days applying for grants, stealing office supplies and dating her very married neighbor. Jon (Academy Award® winner Philip Seymour Hoffman) is a neurotic college professor writing books on obscure subjects in Buffalo. Then comes the call that informs them that the father they have long feared and avoided, Lenny Savage (Tony Award® winner Philip Bosco), is slowly being consumed by dementia and they are the only ones that can help.
Now, as they put their already arrested lives on hold, Wendy and Jon are forced to live together under one roof for the first time since childhood, rediscovering the eccentricities that drove each other crazy. Faced with complete upheaval and battling over how to handle their father's final days, they are confronted with what adulthood, family and, most surprisingly, each other are really about.
Featuring nuanced performances from an extraordinary cast, THE SAVAGES marks the return of writer and director Tamara Jenkins who won acclaim for the humor and humanity of her previous film, THE SLUMS OF BEVERLY HILLS. The film stars Laura Linney, Philip Seymour Hoffman, Philip Bosco, Peter Friedman, Gbenga Akinnagbe and Cara Seymour.
A Fox Searchlight Pictures in association with Lone Star Film Group Presentation of a This is that production in association with Ad Hominem Enterprises and Cooper's Town Productions, THE SAVAGES is produced by Ted Hope (AMERICAN SPLENDOR, 21 GRAMS), Anne Carey (THE DOOR IN THE FLOOR, THUMBSUCKER) and Erica Westheimer (THE KING OF CALIFORNIA, CHAOS THEORY). Executive producers are Alexander Payne (director/ co-screenwriter ELECTION, ABOUT SCHMIDT, SIDEWAYS), Jim Taylor (co-screenwriter ELECTION, ABOUT SCHMIDT, SIDEWAYS) and Jim Burke (ELECTION) of Ad Hominem, as well as Anthony Bregman (FRIENDS WITH MONEY, THUMBSUCKER) and Fred Westheimer (THE KING OF CALIFORNIA, CHAOS THEORY). Co-producer is Lori Keith Douglas (THE NAMESAKE, THE NOTORIOUS BETTIE PAGE).
The creative team includes director of photography Mott Hupfel (THE NOTORIOUS BETTIE PAGE), production designer Jane Ann Stewart (THE FAMILY STONE, SIDEWAYS), costume designer David Robinson (THE AMITYVILLE HORROR, ZOOLANDER), editor Brian A. Kates, A.C.E. (SHORTBUS, THE WOODSMAN), composer Stephen Trask (DREAMGIRLS, THE STATION AGENT), music supervisor Randall Poster (THE DARJEELING LIMITED, THE NANNY DIARIES) and casting by Jeanne McCarthy, C.S.A. (GHOST RIDER, THE BREAK UP).

CRAFTING THE SAVAGES: ABOUT THE FILM'S ORIGINS
Like so many Americans, writer/director Tamara Jenkins woke up one day to discover she was living in a strange, new, rapidly aging world. Every day, she walked her dog by a neighborhood nursing home, observing aides wheeling their ever-multiplying charges around the block. She'd seen her grandmother go into a nursing home and then watched, as her own father developed dementia. Through it all, she began to realize that almost nobody was writing about these core experiences -- except in the most grave, mawkish or sentimental of ways. Thus it was that Jenkins decided to tackle the subject from her own raw, real, comically tinged perspective. She was fascinated by how younger adults react to seeing their own parents drop through the rabbit hole of aging, and wanted to dig under the skin of our societal anxiety about growing up, let alone getting old.
"It was something that was happening all around me and at first I was scared to write about it. It's an intimidating subject, but ultimately, I think THE SAVAGES is a story that is not just about confronting death but really also about seizing upon your life, even in the smallest of ways." . Jenkins had earlier come to the fore with her critically acclaimed screenwriting and directing debut, SLUMS OF BEVERLY HILLS, the gritty and hilarious story of a poor Jewish family trying to make it on the fringes of Beverly Hills in the freewheeling 1970s. Starring Natasha Lyonne, Alan Arkin, Marisa Tomei, Carl Reiner and Jessica Walter, the film became a cult favorite -- and established Jenkins' skill at traversing dark territory with devastating wit.
No one was quite sure where Jenkins' imagination would go next, including producer Ted Hope, who, impressed by her previous work, had signed Jenkins to a blind deal to write "whatever she wanted to write, provided it had some humor to it." Hope, who had since founded the production company This is that with Anne Carey and Anthony Bregman, remembers vividly the moment when Jenkins called him and told him she had figured out what her next movie was going to be about. She invited him to her spoken word performance at The Moth, a Gramercy Park venue devoted to urban storytelling where listeners can hear everyone from storytellers-in-training to master storytellers and bestselling authors.
"At the performance, Tamara told the story of taking her dad who was suffering from dementia on an airplane cross-country," explains Hope. "She had the audience in hysterics. It was incredibly moving and heartfelt, and it had these real characters that were unique and fascinating to watch. And all of the things that came out in that performance-the dynamic characters, the raw emotions, that balance between humor, tragedy and real life-Tamara was able to put on the page, and up on the screen, in THE SAVAGES," says Hope.
Jenkins notes that her story-telling stint at The Moth was just one of several seeds that led to the multi-layered creation of THE SAVAGES. "The story came together as a mosaic made out of all these little fragments of ideas, some of them from my own experiences, some of them from things I observed around me," she explains. "Then, it really started to come together through the characters of Wendy and Jon, these two adult siblings who have such completely different ways of dealing with the world and yet are thrust into this completely primal experience in which they've got no choice but to rely on each other."
The story began to broaden out into another rich but rarely-explored cinematic theme -- the complex web woven by brother-sister relationships. As Jenkins continued to write, she began to see Wendy and Jon in terms of two rather unlikely-seeming fairy tale characters: Hansel & Gretel, the duo forged by the Brothers Grimm who, abandoned by their poor woodcutter father, find themselves lost in a haunted wood.
"I was reading Bruno Bettleheim's The Uses of Enchantment, and I remember latching onto this idea that Hansel & Gretel were very much like Wendy and Jon," Jenkins recalls. "Hansel & Gretel is really a story about children confronting mortality for the first time -- they are rejected by their parents, thrown into the woods and forced to find their own way, to grow up and become individuals, in a sense. So I started to see Wendy and Jon as a modern, middle-aged version of Hansel & Gretel -- a brother and sister forced on a journey into this surreal Old Age Land they're not really sure they'll survive."
But if Jenkins was partly driven by that simple, resonant allegory, she became even more excited by how true-to-life Wendy and Jon became -- each organically developing an opposing reaction to their father's dire situation, with Wendy obsessively hoping to make it all right and Jon trying to maintain a sense of cool, detached realism. "I really love these characters," Jenkins admits. "They're terribly human and incredibly flawed and completely screwed up and I adore them for it. They're these two mismatched, damaged people who are both in a kind of arrested development.
Even though they're in middle age, they really aren't finished people yet, and that makes them very interesting."
Jenkins was also intrigued by the idea that Wendy and Jon find themselves in a position where they feel they must care for a father who did an exceedingly poor job of caring for them when they were children. "It's a situation that I've since discovered a lot of people find themselves in and it raises a lot of provocative questions," Jenkins comments. "It makes me happy to be able to create a conversation around something that's on a lot of people's minds. Most of all, I wanted to create characters who you can identify with because they're not perfect and they're doing one of the scariest things anyone ever does. I wanted to capture the reality that nobody really knows what they're doing when it comes to these issues."
While the territory was bound to be dark, humor was equally central to Jenkins' approach. "This story is definitely not THE SEVENTH SEAL," she laughs, referring to Ingmar Bergman's classic yet gravely serious drama about death. "It's a different kind of perspective on the whole heartbreaking mess we find ourselves in."
Ted Hope and Anne Carey were delighted with the complete screenplay, which they could see right away bore Jenkins' unmistakable creative imprint. "Tamara is somebody who always finds either the funny sadness or the sad funniness in situations," they commented. "In this story, you feel like you're parting the curtains and getting an incredibly intimate look into a private world. It's a heartbreaking world, yet the movie is also incredibly funny and hopeful. It's about two people who didn't even think they really had a family coming to understand the importance of family. Even though their family was so extremely dysfunctional, Wendy and Jon still feel that mysterious love and support that exists beneath all the contentiousness. The story makes you yearn to know what the next chapter in these people's lives will be."
Also coming on board as executive producers were Tamara Jenkins' husband, the Academy Award winning screenwriter Jim Taylor, and his long-time writing partner, Alexander Payne, the Oscar®-winning director of such films as SIDEWAYS, ABOUT SCHMIDT and ELECTION. Payne, who is known for his demanding approach to writing and filmmaking, was impressed with Jenkins' point of view. He says of the screenplay: "It was funny and sad and real at the same time."
Jim Taylor found his wife's script to be both "very humorous and very touching." He summarizes: "I think we're often so reverential about these kinds of experiences that we tend towards sentimentalism and don't explore the humor in them. But being able to laugh at something so difficult helps everybody survive."

FINDING THE SAVAGES:
CASTING LAURA LINNEY, PHILIP SEYMOUR HOFFMAN AND PHILIP BOSCO

"Casting a family is a lot like casting lovers because you have to have that same kind of ineffable chemistry," Jenkins notes. "I needed three actors who would each be completely different in their style and approach to the world --yet who you would believe all came from the same DNA. In the end, I truly got lucky. These are absolutely amazing actors who are at the very top of their game -- and as a director, their instincts were very exciting and creatively challenging. At first, no single actor alone seemed to quite make sense, but when I put these three together, they were beyond perfect. I could believe that they were a family."
As Wendy Savage, Laura Linney gets a chance to create another darkly funny and deeply poignant role on the heels of her Golden Globe®-nominated performance in THE SQUID AND THE WHALE. A two-time Oscar nominee, Linney's range of recent performances, which range from the indie classic YOU CAN COUNT ON ME to the biopic KINSEY to the comedy LOVE ACTUALLY, have established her as one of the most talented and respected actresses working today.
She was attracted right away to THE SAVAGES because of Tamara Jenkins' fearless take on family relations. "Family's complicated -- always has been and always will be," Linney laughs. "But this story takes on a family issue that really hasn't been dealt with. The death of a parent is one of the most significant things that can happen to anybody, but it's a frightening topic that is frequently avoided. It's one of those things in life you can't really prepare for. The only thing you can do is enjoy the relationships while you have them and not take them for granted-which can be difficult because family, especially this family, is so complicated."
Linney looked forward to the challenge not just of forging Wendy in all of her worries and neuroses but of creating a flesh-and-blood family, albeit a barely functioning family, on the screen. "You can do a certain amount of preparation on your own but when you start connecting with the other actors, that's when things start to grow," she says. "I was so thrilled to work with the two Phils. I admire them both so much."
As production began, the filmmakers watched in awe as Linney threw herself into Wendy Savage's harried world with complete abandon. "You think of Laura as such a professional and she's so often cast as someone who's very in control -- so it was just so much fun to see her really embrace this role where she's flailing and struggling to make her way in the world," says Jim Taylor.
Adds Ted Hope: "Laura delivered an awe-inspiring performance. She brought such a great energy to the role. She has great comedic chops, she's sexy and she can hit every emotional high and low. There isn't a moment where it feels like just one thing's happening with her character. So much is going on all the time that she's just fascinating to watch."
For Tamara Jenkins, some of Linney's most wonderful scenes come with Tony-nominated actor Peter Friedman in the role of Wendy's illicit lover Larry. "She's just so good and her instincts are so right," says Jenkins. "I was amazed to see the way she took what I had written and made it her own."
To pair with Linney as her entirely opposite sibling Jon, Jenkins long had in the back of her mind Philip Seymour Hoffman, one of the most consistently intriguing character actors working today. The actor received the coveted Best Actor statuette at the Oscars for his role as Truman Capote in CAPOTE just weeks before production of THE SAVAGES began.
The casting of Hoffman was a bona fide coup for the production. "I had the opportunity to work with Phil for the first time on a film I produced called HAPPINESS, and watching his career since then has been a joy," says Hope. "His performances are so rich you really believe his characters exist off the screen. Jon is a fairly subtle character, but Phil found depth in the smallest of moments and made him so heartfelt."
Like Linney, Hoffman couldn't resist the refreshingly raw humanity of the story. "This story has been told before but not like this," he observes. "It's about a family facing a death but it's unique because of who these people are and what their history is. They've been estranged from each other for a very long time and now they've been thrown together in a crisis. But how well do they really know each other? And what underlies their relationships?"
Hoffman knew that the challenge would be in making these flawed family members relatable-and even sympathetic-to the audience. "Empathy is earned in a lot of different ways," explains Hoffman of his approach to the task. "It doesn't mean that you have to portray the character in a positive light-it's more an understanding that life is tricky and difficult and creates people who are not always perfect, but they're still worthy of your empathy. Hopefully we'll succeed in that."
Rounding out the trio of Savages is the man who sets the entire story in motion, the family patriarch, Lenny Savage, whose cantankerous decline is played out by 75-year-old veteran stage and screen actor, Philip Bosco. Tamara Jenkins felt the Tony Award winner was the perfect addition to the cast -- someone who could bring this difficult man to life in all his many shades of gray. "Philip Bosco is brilliant and fearless," she says. "He's a fantastic actor, yet people who aren't familiar with the New York stage might not recognize him and I loved that about casting him."
Bosco jokes that Lenny "was a dream kind of part for an actor-he's in pretty much half the film and he has very little to say!" -- but he also knew that the role would demand a deft human touch. As with the rest of the cast, Bosco was drawn in by power of the screenplay. "The beauty of the script is that it's very straightforward and honest. It doesn't pull any punches and it lays everything out on the table, and lets you make up your mind about these characters," says Bosco, who has seven children of his own. "I also think it's a terribly important subject to talk about. Of course the reality is this man is dying, so it's a very moving piece. And the fact that Jon and Wendy are doing this for their old man, rather than consigning him to the dust bin, makes it ultimately uplifting."
Bosco was especially impressed by the insistent realism of THE SAVAGES. "In the old, Hollywood version of this story everything would be peaches-and-cream," he observes. "But the more honest we are, the better. It's only through communication, not denial and pretense, that things get better."
Although he had never worked with Linney or Hoffman before, Bosco found the experience intense and exciting. "They are both marvelous actors who are quite serious about their art," Bosco says. "It was a very collaborative process between all of us and the director and you've got to have that kind of give and take. That's where creativity starts."
The filmmakers found themselves constantly surprised by Bosco's performance. "Playing a dying man, and especially a man such as Lenny Savage, takes a huge amount of courage," notes Hope. "Philip had to find a way to bring out the human side of a person whose own children think he is a monster. As Lenny's health starts to fail and he loses touch with everyday life, he allows you to still see the humanity in him."
With little time to spare between casting and production, Tamara Jenkins invited the actors to her New York apartment for a quick series of coffee-klatch rehearsals and conversations about the Savages family life. "It was very casual but it was essential," she recalls. "I have a strong memory of the three of them sitting in my living room reading the scenes aloud for the first time and me thinking `here are these characters suddenly completely alive in the very room they were created.' It was intense for me."
Sums up Jim Taylor: "The wonderful thing about all the actors in the film is that they all dig deep; they don't just skate along the surface of the character. For each of them, it's about finding that humanity."
THE SAVAGE WORLD:
ABOUT THE FILM'S DESIGN

Production on THE SAVAGES traversed from the heart of urban New York City to Buffalo and on to the manicured retirement villages of Sun City, Arizona -- reflecting the clashing worlds of the all three Savage family members. The film was shot in a dizzying 30 days, which as Tamara Jenkins succinctly states, "isn't a hell of a lot of time to go through so much emotionally."
From the beginning, Jenkins was aware the filming would be hard on her cast and crew. Shooting in hospitals and nursing homes while working incredibly long hours on such tough material was simply brutal," she admits. "But it was very important that the physical world of the movie felt real."
Part of that realism emerged from the locations Jenkins and her creative team chose. "We literally toured the nursing homes, senior centers, retirement villages and hospitals of New York and Arizona," she recalls. "One of the most fascinating places for me was Sun City, which I'd never been to before, but ended up researching while I was writing the screenplay. It is one of America's premiere retirement communities and it's just this very odd kind of geriatric fantasyland. I really wanted the film to contrast this world where Lenny Savage starts with the stark reality of his move to Buffalo."
Jenkins collaborated closely with her cinematographer Mott Hupfel --a rising talent who recently won acclaim for his black & white work on THE NOTORIOUS BETTIE PAGE --in developing a naturalistic look that keeps THE SAVAGES feeling unadorned and utterly true to life. "BETTIE PAGE was so wonderfully stylized but I wanted a more organic feeling for this film and Mott was completely brilliant with that," says Jenkins. "It certainly wasn't a glamorous shoot -- the two of us spent days wandering around abandoned hospitals bundled up in coats and hats -- but thank God, Mott has this great, sarcastic sense of humor."
Ultimately, Hupfel would emphasize a loose, visual style for the film that Jenkins says hit just the right notes. "It's a look that is purposefully imperfect, not cleaned up and completely real," she says.
Also working closely with Jenkins and Hupfel was production designer Jane Ann Stewart who has worked on all four of Alexander Payne's movies, most recently creating a nuanced view of the wine country in SIDEWAYS. For THE SAVAGES, Stewart had the opportunity to recreate realms most people only encounter when their own lives are in crisis -- the kinds of place you might be inside but never really see.
"Jane was great for this story because she's the kind of production designer whose work is so brutally honest that you never even realize her films are designed in any way. She has a powerful radar for anything that's false. She also has a wicked sense of humor which definitely helped while visiting all the nursing homes we researched."
Among the numerous nursing homes and hospitals the production used were the Hudson Senior Residence in Hastings-on-Hudson, New York; The Westchester Center for Rehabilitation & Nursing in Mount Vernon (which served as the location for the poignant scene in which Lenny has a public outburst while watching THE JAZZ SINGER with his children on Movie Night); the Concord Division of Staten Island University hospital, a former doctor's hospital that hasn't been used for three years; and the St. Agnes Hospital in White Plains.
None could be described as the most rousing of settings. "Nobody likes to film in hospitals and it does start to wear on you after a time," confesses Laura Linney. "Everybody was quite happy when we got out of the hospitals and the nursing homes."
Other key locations included Wendy and Jon's antithetical homes: Wendy's thimble-sized East Village apartment in the middle of everything and Jon's ramshackle house outside of it all. For Wendy's place, the filmmakers used a tiny, one-bedroom dwelling on East Broadway between Montgomery and Clinton Streets. Explains Jim Taylor: "Tamara and I have lived in the East Village for years, so it was very important to her to feature the neighborhood in the film. She wanted that texture."
The texture included the occasional bout of claustrophobia. "Wendy's apartment was so tiny that when we all crammed in there it was incredibly hot and uncomfortable," admits Laura Linney. "But it was good, because I think some of that feeling bleeds through on the screen."
Another notable location was the Theater for the New City, which stood in for the East Village Theater where Wendy's play is first performed. A Pulitzer Prize-winning community cultural center that produces up to 40 premieres of new American plays per year, at least 10 of which are by emerging and young playwrights, the Theater for the New City is one of New York's most prolific. Keeping things in the family, Young Jon in Wendy's play was played by Tamara Jenkins' real life nephew, Max Goetz-Jenkins.
Despite the rigors of the shooting schedule and, even more so, the depths plumbed by the screenplay, THE SAVAGES was an unforgettable experience for both cast and crew. "On a movie like this, you have this company of people that must come together and work very intimately with each other for a short period of time," says Philip Seymour Hoffman. "The dynamic of the film oozes into the people working on the film and the lives of those people in turn influence the film."
The filmmakers hope that the realism of the characters, settings and situations will also have an effect on audiences. "Sometimes being heroic doesn't mean that you stop a nuclear bomb from exploding two seconds before the detonator's about to go off," comments Jim Taylor. "It can also mean just making it through the day, making it through experiences that challenge you, and finding extra reserves that you didn't know you had. That's what these characters are about. You look back and you think, `How did I ever survive that? How did I make it through?' And somehow, we do."
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ABOUT THE CAST
LAURA LINNEY (Wendy Savage)
Laura Linney was last seen in Barry Levinson's MAN OF THE YEAR opposite Robin Williams and Christopher Walken, and in DRIVING LESSONS which was directed by Jeremy Brock. Laura can soon be seen in Billy Ray's BREACH opposite Chris Cooper and Ryan Phillipe being released on February 16th, 2007. Next, Laura will appear in the film adaptation of the best selling book THE NANNY DIARIES which is being released on April 20th, 2007. This spring Laura will also be seen in JINDABYNE which was shot entirely on location in the outback of Australia. She has also completed filming on THE SAVAGES with Phillip Seymour Hoffman; THE HOTTEST STATE directed by Ethan Hawke who also stars in the film and opposite Sir Anthony Hopkins in director James Ivory's THE CITY OF YOUR FINAL DESTINATION which is an adaptation of Peter Cameron's novel by Oscar-winning writer Ruth Prawer Jhabvala.
Laura's additional credits include, Kenneth Lonergan's YOU CAN COUNT ON ME for which she was nominated for an Oscar, a Screen Actors Guild Award®, a Golden Globe Award and an Independent Spirit Award. She received the award for Best Actress from the New York Film Critics Circle and the National Society of Film Critics for her work in that film. In 2005, she received Golden Globe and Independent Spirit Award nominations for her work in THE SQUID AND THE WHALE. In 2004, she starred in KINSEY opposite Liam Neeson and directed by Bill Condon, for which she was nominated for an Oscar, a Golden Globe and a Screen Actors Guild Award. In addition, she won the award for "Best Supporting Actress" by the National Board of Review for her work in KINSEY. In 2003, Laura appeared in the ensemble romantic comedy LOVE ACTUALLY written and directed by Richard Curtis. She was also seen that year in MYSTIC RIVER directed by Clint Eastwood. Laura was nominated for "Best Supporting Actress in a Drama" by The British Academy of Film and Television Arts for "MYSTIC RIVER. Her other credits include CONGO, ABSOLUTE POWER, directed by Clint Eastwood, PRIMAL FEAR opposite Richard Gere and directed by Gregory Hoblit, THE TRUMAN SHOW opposite Jim Carrey, THE HOUSE OF MIRTH, LORENZO'S OIL, DAVE, SEARCHING FOR BOBBY FISHER, A SIMPLE TWIST OF FATE, THE MOTHMAN PROPHECIES, THE LIFE OF DAVID GALE, PS and THE EXORCISM OF EMILY ROSE.
Laura returned to television in 2004 on the NBC comedy "Frasier." She appeared in four episodes as Dr. Frasier Crane's love interest, Charlotte. For this role, Laura won a 2004 Emmy® Award for "Best Outstanding Guest Actress In A Comedy Series." She previously won an Emmy for "Outstanding Lead Actress" for Showtime's "Wild Iris" opposite Gena Rowlands. Additional television appearances include the lead role of Mary Ann Singleton in PBS's "Tales of the City" based on the novels by Armistead Maupin, a role which she reprised in "More Tales of the City" for Showtime. Laura was also seen opposite Joanne Woodward in the Hallmark Hall of Fame presentation of "Blind Spot" and opposite Steven Weber in "Love Letters" directed by Stanley Donen.
Linney is a graduate of Juilliard. She was nominated for a Tony for her performance in Richard Eyre's "The Crucible," opposite Liam Neeson. Last spring, Laura starred in Donald Margulies' Broadway staging of "Sight Unseen," the same play she did 12 years ago. For her role as Patricia she received a Tony nomination as well as nominations from the Drama League, the Drama Desk Club and the Outer Critic Circle for "Outstanding Actress" in a play. Her additional theatre credits include roles in the Broadway presentations of "Six Degrees of Separation;" "The Seagull;" "Hedda Gabler," for which she won a 1994 Calloway Award; Phillip Barry's "Holiday," a comedy of manners, opposite Tony Goldwyn; "Honour," "Sight Unseen," for which she earned a Theatre World Award and a Drama Desk nomination; and John Guare's "Landscape of the Body" at the Yale Repertory Theatre.

PHILIP SEYMOUR HOFFMAN (Jon Savage)
Philip Seymour Hoffman recently completed filming is the Mike Nichols film CHARLIE WILSON'S WAR alongside Tom Hanks and Julia Roberts; Sidney Lumet's BEFORE THE DEVIL KNOWS YOU'RE DEAD as well as the independent feature THE SAVAGESwith Laura Linney. He last appeared opposite Tom Cruise in the summer's first big action thriller MISSION: IMPOSSIBLE 3. Prior to that, Hoffman starred in the feature film CAPOTE, which he executive produced through his company, Cooper's Town Productions, earning him a Golden Globe and SAG Award for his performance. Additionally, he earned an Emmy nomination for his work in the HBO film "Empire Falls," starring alongside Paul Newman, Joanne Woodward and Robin Wright Penn, among others.
Previous film credits include COLD MOUNTAIN, ALONG CAME POLLY, THE PARTY'S OVER, OWNING MAHOWNY (which had its world premiere at the 2003 Sundance Film Festival), RED DRAGON, PUNCH-DRUNK LOVE, 25TH HOUR, LOVE LIZA, (which was written by his brother, Gordy Hoffman, who won the Waldo Salt Screenwriting Award at Sundance, where the film premiered), ALMOST FAMOUS, STATE AND MAIN, FLAWLESS, MAGNOLIA, THE TALENTED MR. RIPLEY, BOOGIE NIGHTS, HAPPINESS, PATCH ADAMS, THE BIG LEBOWSKI, TWISTER, SCENT OF A WOMAN, and NOBODY'S FOOL.
Hoffman is a member and Co-Artistic Director of LAByrinth Theater Company. His stage credits include: "Long Day's Journey Into Night," "The Seagull" (The New York Shakespeare Festival, Delacorte Theatre), "True West," "Defying Gravity" (American Place Theater), "The Merchant of Venice" (Directed by Peter Sellars), "Shopping and Fucking" (New York Theater Workshop), and "The Author's Voice."
His theatrical directorial credits include "The Last Days of Judas Iscariot," "In Arabia We'd All Be Kings," and "Jesus Hopped The `A' Train," all written by Stephen Adly Guirgis for LAB. His production of "`A' Train" was produced to great acclaim Off-Broadway, at the Edinburgh Festival, at London's Donmar Warehouse, and then at the Arts Theatre in London's West End. In addition, he directed LAB's Off-Broadway commercial production of Guirgis' "Our Lady of 121st Street" at the Union Square Theater and Rebecca Gilman's "The Glory of Living" at MCC Theater.

PHILIP BOSCO (Lenny Savage)
One of America's most distinguished actors, Philip Bosco has been nominated six times for the Tony Award and won once. His many Broadway performances include the revival of "Heartbreak House," "Chitty Chitty Bang Bang," "Twelve Angry Men" (Tony nomination), "Copenhagen," "Moon Over Buffalo" (Tony nomination), "Twelfth Night," "An Inspector Calls," "Lend Me A Tenor" (Tony Award for Best Actor), "Heartbreak House" (Tony nomination), "You Never Can Tell" (Tony Nomination), and "The Rape of the Belt" (Tony nomination); and off-Broadway in "Breaking Legs" and "Ancestral Voices." He has had long associations and appeared in numerous plays over the last three decades with Circle in the Square, Lincoln Center Theater, the Roundabout Theater, the New York Shakespeare Festival and the American Shakespeare Festival. In 2003 he narrated "Oedipus Rex" at the Metropolitan Opera under Valery Gergiev and has also appeared with the New York Philharmonic in "Beatrice et Benedit" (conducted by Colin Davis). He played the Starkeeper in "Carousel" in a symphonic concert version at Carnegie Hall opposite Hugh Jackman and Audra MacDonald, conducted by Leonard Slatkin.
Bosco has also appeared extensively in television and dozens of films, including FREEDOMLAND, WORKING GIRL, CHILDREN OF A LESSER GOD, BLUE STEEL, KATE AND LEOPOLD, FX, HEAVEN HELP US, THREE MEN AND A BABY and TRADING PLACES. Among his many other awards and honors are the Obie for Lifetime Achievement in the Theater, the Emmy Award, and induction into the Theater Hall of Fame at the Gershwin Theater in New York.

PETER FRIEDMAN (Larry)
Peter Friedman originated the role of Tateh in the musical "Ragtime" in Toronto, as well as on Broadway, receiving an Outer Critics Circle Award and Tony and Drama Desk Award nominations. He recently starred in "The Shaggs: Philosophy of the World," the critically acclaimed revival of "Twelve Angry Men" and Israel Horovitz's "My Old Lady." His other Broadway and off-Broadway credits are extensive: he starred in "The Heidi Chronicles" by Wendy Wasserstein and Simon Gray's "The Common Pursuit" (earning Drama Desk nominations for both), "A Soldier's Play" by Charles Fuller, C.P.Taylor's "...and a Nightingale Sang," "Execution of Justice" by Emily Mann, "The Tenth Man" by Paddy Chayefsky, "The Loman Family Picnic" by Donald Margulies and "On a Clear Day You Can See Forever" for Encores! at City Center.
He recently completed filming SPINNING INTO BUTTER directed by Mark Brokaw and UNCONSCIOUS directed by Bradley Wigor. His other films include FREEDOMLAND, PAYCHECK, SOMEONE LIKE YOU and SAFE. He starred in the acclaimed series "Brooklyn Bridge," the miniseries "Perfect Murder, Perfect Town" for CBS, "NYPD Blue," "Without A Trace" and "Law & Order."

GBENGA AKINNAGBE (Jimmy)
Gbenga Akkinagbe currently stars as Chris Partlow on HBO's acclaimed "The Wire." He is a first generation American, born in Washington, D.C. to Nigerian parents. Akinnagbe graduated from Bucknell University and started working in the Congressional Affairs Department at the Corporation for National Service, the federal agency that administers the nation's Americorp and other volunteer programs. He left his position with the government after earning a role at The Shakespeare Theatre in Washington, D.C. Having discovered acting, he went on to theatre projects in the Baltimore and Washington D.C. area, including at such prestigious theatres as the Kennedy Center and Studio Theatre, where he had the opportunity to work with such renowned directors as Michael Kahn and Reggie Life.
While taking acting classes in New Jersey, Akinnagbe was invited to audition for a recurring role in the HBO series "The Wire." After winning the role, he moved to New York City, was signed by a manager and began his career in earnest. He has since worked at New York's famous Public Theatre, done Shakespeare in the Park and was a series regular on Showtime's "Barbershop."
ABOUT THE FILMMAKERS

TAMARA JENKINS (Director, Screenwriter)
Writer/director Tamara Jenkins began her film career writing and directing several award-winning short films including FAMILY REMAINS which received a Special Jury Prize for Excellence in Short Filmmaking at the 1994 Sundance Film Festival. Jenkins' first feature film outing was 1998's SLUMS OF BEVERLY HILLS, which premiered as part of the Directors' Fortnight section of the Cannes Film Festival that year. Starring Alan Arkin, Natasha Lyonne and Marisa Tomei, the film was nominated for two Independent Spirit Awards (Best First Feature and Best First Screenplay) and has since become a cult hit.
In addition to her feature film work, Jenkins' writing has been published in Zoetrope: All-Story, Tin House Magazine, and most recently her essay, "Holy Innocents," appeared in the book Lisa Yuskavage: Small Paintings 1993-2004 published by Abrams. She has also directed theater at The New Group, worked with teens creating a sex education film for the non-profit organization Scenarios and directed a series of public service announcements for Amnesty International.
THE SAVAGES, Jenkins second directorial feature film which she also wrote, had its world premiere at the 2007 Sundance Film Festival. It stars Philip Seymour Hoffman, Laura Linney and Philip Bosco and will be released by Fox Searchlight in December 2007.

TED HOPE (Producer)
Ted Hope, together with partner Anne Carey, is the founder of New York production company This is that. Ted previously founded and ran the production and sales company Good Machine, which he and his partners sold to Universal in 2002. This is that specializes in unique content and innovative storytelling. This is that's first release, 21 GRAMS, received two Academy Award nominations and five BAFTA® nominations. The company's next release, ETERNAL SUNSHINE OF THE SPOTLESS MIND won an Oscar for best screenplay. 2006 is This is that's busiest year to date, having completed seven films. In its four years of existence, This is that has produced 15 films.
Ted recently wrapped production on Oscar-winning Alan Ball's feature film directorial debut, NOTHING IS PRIVATE starring Aaron Eckhart, Toni Collette, and Maria Bello. This film will be Hope's 16th production of a first time feature film director. In addition to Ball, Hope has produced the first films of Ang Lee, Hal Hartley, Nicole Holofcener, Todd Field, Michel Gondry, Moises Kaufman, and Bob Pulcini and Shari Berman among others.
Hope will soon release THE SAVAGES starring Laura Linney and Philip Seymour Hoffman and directed by Tamara Jenkins. Fox Searchlight premiered the film during Sundance 2007. THE SAVAGES was Hope's 22nd Sundance entry. Recently released was THE EX starring Zach Braff, Amanda Peet, Jason Bateman, Charles Grodin and Mia Farrow and is directed by Jesse Peretz.
Hope's third collaboration with Nicole Holofcener, FRIENDS WITH MONEY, was the opening night selection at the 2006 Sundance Film Festival and was released by Sony Picture Classics in April 2006. It recently received two Spirit Award nominations. Prior collaborations with Holofcener include WALKING AND TALKING and LOVELY & AMAZING, which received six Spirit Award nominations in 2003. Sony Pictures Classics released FRIENDS WITH MONEY in theaters April 2006.
Ted also executive produced two other recent notable Sundance selections. Julian Goldberger's adaptation of Harry Crews' novel THE HAWK IS DYING, starring Paul Giamatti, Michael Pitt and Michelle Williams, was the only 2006 Sundance entry to go to Cannes and screened in Directors Fortnight. Hope also executive produced Jeff Feuerzeig's THE DEVIL & DANIEL JOHNSTON, which won Sundance's Best Director in 2005.
Ted has three Sundance Grand Jury Prize winners to his credit; AMERICAN SPLENDOR (2003), THE BROTHERS MCMULLEN (1995) and WHAT HAPPENED WAS... (1994). AMERICAN SPLENDOR also won the FIPRESCI Award at the 2003 Cannes Film Festival, the Critics prize at the 2003 Deauville Film Festival and was nominated for 5 Independent Spirit Awards and one Academy Award.
Hope executive produced IN THE BEDROOM, which earned five Academy Award nominations for Best Picture, Actress, Actor, Supporting Actress, and Adapted Screenplay. In addition, he received five Emmy nominations for The Laramie Project and also produced the Cannes Critics' Prize-winning HAPPINESS, which Hope and his partners at Good Machine released themselves when its distributor dropped the film.
Hope has produced, with James Schamus, Ang Lee's early films including RIDE WITH THE DEVIL, THE ICE STORM, PUSHING HANDS, the Academy Award nominated THE WEDDING BANQUET and EAT DRINK MAN WOMAN.
Hope got his start as a producer from his collaborations with Hal Hartley; together they made eight films in all, including AMATEUR, SIMPLE MEN and TRUST. They recently collaborated again on FAY GRIM, which premiered at the Toronto International Film Festival to enthusiastic audience and critical response.

ANNE CAREY (Producer)
Anne Carey, together with partner Ted Hope, founded New York production company This is that. Carey previously produced films and was head of development for Good Machine for nearly a decade.
Carey's latest work includes THE SAVAGES starring Laura Linney and Philip Seymour Hoffman and was written and directed by Tamara Jenkins. Fox Searchlight premiered the film during Sundance 2007. In addition, Carey is an executive producer on Alan Ball's feature film directorial debut NOTHING IS PRIVATE, which stars Aaron Eckhart, Toni Collette and Maria Bello, and is currently in post-production.
Carey recently completed TRAINWRECK: MY LIFE AS AN IDOIT, written and directed by Tod Harrison Williams, starring Seann William Scott, Gretchen Mol and Jeff Garlin.
Carey's most recent film THE EX starred Zach Braff, Amanda Peet, Jason Bateman, Charles Grodin and Mia Farrow. THE EX was directed by Jesse Peretz, written by David Guion and Michael Handelman, financed by 2929 Productions and was distributed by The Weinstein Company.
Carey executive produced Nicole Holofcener's feature, FRIENDS WITH MONEY, starring Jennifer Aniston, Catherine Keener, Frances McDormand and Joan Cusack. Sony Pictures Classics released the film in April 2006.
Carey also executive produced Mike Mills' THUMBSUCKER, starring Tilda Swinton, Vince Vaughn, Keanu Reeves, Vincent D'Onofrio, Benjamin Bratt and Lou Taylor Pucci, at the 2005 Sundance film festival and the 2005 Berlin International Film Festival. Lou Taylor Pucci was awarded both the Sundance and the Berlin Special Jury Prize for his performance. Sony Pictures Classics distributed the film in September 2005. Carey executive produced this film, developing it from Walter Kirn's best-selling novel of the same title.
Carey developed and produced Tod Williams' feature film THE DOOR IN THE FLOOR, based on John Irving's novel "A Widow for One Year". The film stars Jeff Bridges, Kim Basinger and Jon Foster, and was distributed by Focus Features with whom This is that has a first look deal. THE DOOR IN THE FLOOR was nominated for Best Screenplay and Best Actor (Jeff Bridges) at the Independent Spirit Awards. Jeff Bridges has also received a Lifetime Achievement Award from the National Board of Review after his work on the film.
Prior to her work on THE DOOR IN THE FLOOR, Carey served as executive producer on HBO's THE LARAMIE PROJECT, developing the film from the award-winning play with the film's director, Moises Kaufman. The hate-crime drama premiered at the Opening Night of the 2002 Sundance Film Festival and screened at the 2002 Berlin Film Festival. THE LARAMIE PROJECT was awarded the 2002 Humanitas Award and received four Emmy nominations, including Best Dramatic Film Made for Television.
Carey also served as associate producer on Ang Lee's film RIDE WITH THE DEVIL and John O'Hagan's documentary WONDERLAND.
Carey was honored as one of Variety's Top Ten Producers to Watch for 2004.
Carey began her career working at William Morris Agency as the head of development for the agency, serving their top film and television clients.

ERICA WESTHEIMER (Producer)
Erica Westheimer began her career in New York working in talent publicity, celebrity styling and trained with William Ivey Long in costume design for the theater. This led her to independent film in New York where she worked on such films as Woody Allen's HOLLYWOOD ENDING and YOU CAN COUNT ON ME.
After ten years in independent film production, she joined Lone Star Film Group as Executive in Charge of Production where she spearheads in-house production and manages coproductions for the newly formed film financing company based in Beverly Hills.
This past year she has produced and co-financed two feature films: CHAOS THEORY with Warner Independent Pictures, starring Ryan Reynolds and Emily Mortimer and THE SAVAGES with Fox Searchlight Pictures, starring Laura Linney and Philip Seymour Hoffman. Both films will have worldwide theatrical release in 2007. The company, Lone Star Film Group, is currently in production and preproduction on several films.

ALEXANDER PAYNE (Executive Producer)
Alexander Payne made his feature film debut with the critically acclaimed CITIZEN RUTH, a provocative satire about the abortion rights war. He followed that up in 1999 with the much lauded ELECTION, which led the year's critic's Top Ten lists, earned Best Director and Best Film Independent Spirit Awards and, for Payne and co-writer Jim Taylor, won a number of Best Screenplay awards including the Writers Guild of America, the New York Film Critics Circle and the Independent Spirit Award, as well as an Oscar for Best Adapted Screenplay.
Payne followed with ABOUT SCHMIDT, starring Jack Nicholson and Kathy Bates. The film earned two Golden Globes (Best Adapted Screenplay and Best Director) and was voted Best Film of 2002 by the Los Angeles and London Film Critics Circles. In 2005, came SIDEWAYS, another collaboration with Taylor, which won numerous acting, screenwriting and directing awards, including the Academy Award for Best Adapted Screenplay. Payne recently directed a segment for PARIS, JE T'AIME, a collaboration of 20 well known directors that explore Paris, the City of Love, which premiered at the Cannes Film Festival in 2006.
He has executive produced the films THE ASSASSINATION OF RICHARD NIXON, GRAY MATTERS and the forthcoming KING OF CALIFORNIA. Originally from Omaha, Nebraska, Payne earned B.A. degrees in History and Spanish Literature from Stanford University before earning an M.F.A. in filmmaking from UCLA. His thesis film, THE PASSION OF MARTIN, which he wrote, directed and produced, screened at the 1991 Sundance Film Festival.

JIM TAYLOR (Executive Producer)
Jim Taylor is the longtime collaborator of writer-director Alexander Payne. The two have coauthored four screenplays: CITIZEN RUTH, ELECTION, ABOUT SCHMIDT, and SIDEWAYS. For their work on these scripts they have received two Golden Globes, two Writers Guild Awards and one Academy Award. Born and raised in Seattle, Jim attended Pomona College and received his M.F.A from NYU in 1995.

JIM BURKE (Executive Producer)
Jim Burke is a partner in Ad Hominem Enterprises with Academy Award-winning filmmakers Alexander Payne and Jim Taylor. In August 2005, the company entered into a three-year, first-look production deal with Fox Searchlight.
Burke produced the feature film WALKING TALL for MGM, which starred The Rock and Johnny Knoxville and was released in April 2004. He has also co-produced several motion pictures, including the Academy Award-nominated ELECTION, starring Matthew Broderick and Reese Witherspoon, directed by Alexander Payne and released by Paramount Pictures.
In 1997, Burke created and acted as Partner in the production company Burke-Samples when Rysher Entertainment executives Burke and Keith Samples left their posts at the "mini-major" they helped build to hang their own independent production and consulting banner.
Prior to forming Burke-Samples, as Rysher Entertainment's Executive Vice President Burke spearheaded the company's foray into the motion picture business by overseeing the production and marketing of 25 films. Rysher's diverse slate included films such as KINGPIN, PRIVATE PARTS, KISS THE GIRLS, PRIMAL FEAR, THE SAINT, BIG NIGHT, 2 DAYS IN THE VALLEY and IT TAKES TWO. Burke supervised the production, marketing and release of each picture.
Prior to his post at Rysher, Burke was Vice-President, Western Division, Warner Bros. Domestic Television Distribution.

ANTHONY BREGMAN (Executive Producer)
Anthony Bregman founded Likely Story in the fall of 2006, after 4 years at This is that, and 10 years as head of production at Good Machine.
The company has begun its first year making SYNECDOCHE, NEW YORK, written and directed by Charlie Kaufman.
Bregman is also in postproduction on the post-apocalyptic thriller CARRIERS, which Paramount Vantage will release in 2008 and Spanish-language sci-fi love story, THE SLEEP DEALER, based on an NHK award-winning script written by directed by Alex Rivera.
Bregman produced the recently released THE EX with This is that partners Anne Carey and Ted Hope.
In April 2006, Bregman produced FRIENDS WITH MONEY, his third collaboration with writer/director Nicole Holofcener, starring Jennifer Aniston, Catherine Keener, Frances McDormand and Joan Cusack.
Bregman also produced the Academy Award-winning ETERNAL SUNSHINE OF THE SPOTLESS MIND, starring Jim Carrey, Kate Winslet and Kirsten Dunst, written by Charlie Kaufman and directed by Michel Gondry. Among its many awards, the film won the 2005 Oscar for best original screenplay.
Bregman also produced THUMBSUCKER, LOVELY & AMAZING, HUMAN NATURE, THE TAO OF STEVE, LUMINOUS MOTION, TRICK and LOVE GOD.
Bregman was associate producer on Ang Lee's THE ICE STORM, THE BROTHERS MCMULLEN, THE MYTH OF FINGERPRINTS and ROY COHN/JACK SMITH.
From 1993 to 2002, Bregman supervised the production and post production of over thirty feature films, including SENSE & SENSIBILITY, EAT DRINK MAN WOMAN, WALKING & TALKING, WHAT HAPPENED WAS..., THE WEDDING BANQUET, and SAFE.
Bregman teaches producing at Columbia University's Graduate Film School. He lives in New York, with his wife Malaika Amon, sons Akira and Atticus and daughter Eloise.

FRED WESTHEIMER (Executive Producer)
Born in El Paso, Texas and raised in Houston, Fred Westheimer attended the University of Texas, majoring in English and business. While a member of the Air Force Reserve and during the 1963 summer break, he began working at 20th Century Fox Studios in the mail department. He then moved into the casting and creative development areas for television and motion pictures.
In 1970, Bill Haber, Rowland Perkins and Phil Weltman recruited him to join the William Morris Agency as a television agent. He became the Head of Television Talent in 1972, a position he held until 1980 when he moved into the film department at the encouragement of Stan Kamen, and became the Head of the Motion Picture Talent Department for the next six years. Among his clients were John Travolta, Elaine May and Candice Bergen.
In 2005, he left William Morris to run a new venture, a private equity-financed firm dedicated to financing independent feature films. The company, Lone Star Film Group, is currently in production and pre-production on several films.

MOTT HUPFEL (Director of Photography)
Mott Hupfel's most recent film, THE NOTORIOUS BETTIE PAGE, was widely praised for its evocative and lush black and white photography.
Hupful grew up in Wilmington, Delaware and attended Choate Rosemary Hall. He studied film at NYU's Tisch School of the Arts. Hupfel immediately began working professionally as a camera assistant while gaining shooting experience on low budget features and music videos. During this time he shot over 75 music videos and dozens of films, including several documentaries. Among these films were Todd Phillips' FRAT HOUSE and Aiyana Elliot's THE BALLAD OF RAMBLIN' JACK, both of which won awards at the Sundance Film Festival. Beginning in 1998, Hupfel shot two seasons of "The Upright Citizens Brigade" for Comedy Central. During this time he began shooting commercials and continues to shoot them today.
Hupfel's other feature credits include SHADY GROVE and THE AMERICAN ASTRONAUT, which earned him a nomination for an Independent Spirit Award in 2002.

JANE ANN STEWART (Production Designer)
Jane Ann Stewart has collaborated with Alexander Payne on all four of his feature films: SIDEWAYS, ABOUT SCHMIDT, ELECTION and CITIZEN RUTH. Her other film credits as production designer include THE FAMILY STONE, GAS FOOD LODGING, BREASTMEN, CANDYMAN, and MI VIDA LOCA. A native of Texas, Stewart attended the Sorbonne, U.S.I.U in San Diego and London, and the Oakland Art Institute. She graduated from Berkeley with a B.A in Arts.

DAVID ROBINSON (Costume Designer)
David Robinson has amassed an impressive roster of credits in his nearly 20 years in the film business. He has served as costume designer on such films as THE AMITYVILLE HORROR, CONFESSIONS OF A TEENAGE DRAMA QUEEN, THE LIZZIE MCGUIRE MOVIE, ZOOLANDER, POLLOCK, IT HAD TO BE YOU, MEET JOE BLACK, DONNIE BRASCO, I SHOT ANDY WARHOL THE BASKETBALL DIARIES and THE HOAX.

BRIAN A. KATES, A.C.E. (Editor)
An award-winning feature film editor, Brian Kates' work includes the Emmy-winning LACKAWANNA BLUES (directed by George C. Wolfe), for which he also won an A.C.E. Eddie Award, SHADOWBOXER (Lee Daniels), THE WOODSMAN (Nicole Kassell), the Emmy Award-nominated THE LARAMIE PROJECT (Moisés Kaufman), JAILS, HOSPITALS & HIP-HOP (Danny Hoch & Mark Benjamin), and TRICK (Jim Fall). He was Jonathan Caouette's co-editor on the groundbreaking documentary TARNATION. Kates's most recent work, SHORTBUS (John Cameron Mitchell), premiered as an official selection of the 2006 Cannes Film Festival.
Kates grew up in Teaneck, New Jersey, and studied film production and Judaic Studies at New York University.

STEPHEN TRASK (Composer)
Stephen Trask is the co-creator, composer/lyricist of the Off-Broadway Musical, multi award winning, Hedwig and the Angry Inch, which developed into the feature film release by Fine Line Features. His instrumental score for the movie was his feature film debut, and the film's soundtrack was Stephen's first commercial release as a record producer.
Immediately thereafter Stephen was tapped by director Alex Steyermark to score and produce songs for PREY FOR ROCK AND ROLL, starring Gina Gershon. For PREY Stephen assembled an all-star all-girl rock band featuring Sara Lee (Gang of Four, Indigo Girls & B-52's), Sam Maloney (Hole, Motley Crue), Cheri Lovedog, who wrote the screenplay and the songs, and rock legend Joan Jett. This was followed by Tom McCarthy calling Stephen to score the award winning THE STATION AGENT for Miramax, followed by Paul Weitz' IN GOOD COMPANY at Universal starring Scarlett Johannson and Topher Grace,
Currently, Stephen is in development at National Artists with Barry Weisler with the stage adaptation of The Blue Angel as composer/lyricist.
For Hedwig, Stephen received an Obie Award, the Outer Critics Circle Award for Outstanding off-Broadway Musical, a 1998 New York Magazine Award, Drama Desk nominations for Outstanding Music, Lyrics and New Musical, A Grammy® nomination for Best Cast Album, two GLAMA Awards, and Entertainment Weekly Best Soundtrack Award for 2001.
RANDALL POSTER (Music Supervisor)
Poster was very excited to work with Tamra Jenkins on her film THE SAVAGES, having been a great fan of Jenkins' debut THE SLUMS OF BEVERLY HILLS.
2007 has proven to be a very busy year for Poster, who supervised the music in several upcoming releases including Wes Anderson's THE DARJEELING LIMITED; Todd Haynes' I'M NOT THERE; Kimberley Peirce's STOP LOSS; and Alan Ball's NOTHING IS PRIVATE.
Poster's other recent credits include music for Sam Mendes' JARHEAD; David Fincher's ZODIAC; Martin Scorsese's THE AVIATOR and Wes Anderson's THE LIFE AQUATIC with STEVE ZISSOU.