Directed by Mark Pellington

108 Minutes / USA / 2017 / MPAA Rating: R

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info@myriadpictures.com

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SHORT SYNOPSIS

In The Last Word, Shirley MacLaine is Harriet Lauler, a once successful businesswoman in tight

control of every aspect of her life. As she reflects upon her accomplishments, she’s suddenly inspired to

engage a young local writer, Anne Sherman (Amanda Seyfried), to pen her life’s story. When the initial result

doesn’t meet Harriet’s high expectations, she sets out to reshape the way she is remembered, with Anne

dragged along as an unwilling accomplice. As the journey unfolds, the two women develop a unique bond

which alters not only Harriet’s legacy, but also Anne’s future.

LONG SYNOPSIS

To those who know her, she’s “overbearing,” “blunt” and “a total control freak” — and that doesn’t

even begin to describe Harriet Lauler (Shirley MacLaine). A former high-powered advertising executive, the

now 80-something Harriet insists on micromanaging every aspect of her life — including her own obituary.

She hires Anne Sherman (Amanda Seyfried), a writer at the local paper, to memorialize her. But the past

comes back to haunt her when Anne finds that no one — not Harriet’s estranged daughter (Anne Heche),

her ex-husband (Philip Baker Hall), her former colleagues, or even her priest — has anything good to say

about her.

Determined to get her way, Harriet decides to refurbish her image in the time she has left. With the

same iron will that took her to the top of the advertising game, she tackles a late-life “to-do” list she believes

will cement her legacy in print. Swept into the whirlwind of reinvention, Anne reluctantly records Harriet’s

journey for posterity. As she helps Harriet redefine her past, she realizes she is also beginning to take control

of her own future.

Directed by Mark Pellington (The Mothman Prophecies, Henry Poole Is Here) from a script by Stuart Ross

Fink, The Last Word stars Shirley MacLaine (Terms of Endearment, The Apartment), Amanda Seyfried (Les

Misérables, Lovelace), Anne Heche (Wag the Dog, “Hung”), Thomas Sadoski (Wild, “Life in Pieces”), Philip

Baker Hall (Argo, Boogie Nights), Tom Everett Scott (La La Land, “Scream: The TV Series”) and newcomer

Ann’Jewel Lee.

Director of photography is Eric Koretz (Frank & Lola, Dragonslayer). Production designer is Richard

Hoover (42, Dead Man Walking). Editor is Julia Wong (X-Men: The Last Stand, Hercules). Costume designer is

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Alix Hester (Term Life, Mysterious Skin). Composer is Nathan Matthew David (“Angie Tribeca,”

“Satisfaction”). Music supervisor is Liza Richardson (Why Him?, A Dog’s Purpose). Casting by Heidi Levitt (The

Artist, Natural Born Killers).

The Last Word is produced by Kirk D’Amico (Margin Call, The Disappearance of Eleanor Rigby), Anne-

Marie Mackay (Always Outnumbered, The Junky’s Christmas) and Mark Pellington. Executive producers are Aaron

Magnani (Iron Doors), Kevin Forester (“Holiday Joy,” The Queen of Spain), Shirley MacLaine, Amanda Seyfried,

Damiano Tucci (LBJ, Category Five), Phillip B. Goldfine (The Lady in Number 6: Music Saved My Life), Dan Roth

(LBJ, Category Five), Dan Steinman (Gold, Barry), Teddy Schwarzman (The Imitation Game, Gold) and Andrew

Karpen (Breathe, Denial). Line producer is Patrick Peach (21 & Over, The Architect). Co-producer is Theresa

Won (The Disappearance of Eleanor Rigby, “Holiday Joy”).

ABOUT THE PRODUCTION

When Mark Pellington, director and producer of The Last Word, was approached by longtime

friend and colleague Stuart Ross Fink with an idea for a movie, he saw it as a welcome opportunity to explore

themes he had long wanted to bring to the screen. “I was very interested in the subjects Stuart’s idea touched

upon — mortality, family, legacy, identity,” says Pellington. “Six months later he handed me a first draft of

the script. It was a great combination of drama and comedy, and I was looking to do something with that

tone. Stuart, producer Anne-Marie Mackay and I spent about a year and a half developing it before we were

ready to film.”

The Last Word is the story of Harriet Lauler, played by the legendary Academy Award® winner

Shirley MacLaine. A tightly wound control freak now in her 80s, Harriet realizes her compulsion has driven

away everyone she cares about. “It occurs to her there’s only one thing left to control,” says Fink, who makes

his screenwriting debut with The Last Word. “So she hires Anne Sherman (Amanda Seyfried) to write her

obituary. When the first draft fails to meet her lofty expectations, Harriet sets out to rewrite her life story

before it’s too late, with Anne and a young girl named Brenda reluctantly tagging along.”

Fink was initially inspired by the pre-written obituaries of prominent people that many media outlets

keep on file. He began to wonder what kind of person makes a living writing them. “But I quickly became

more interested in the kind of a person who would commission their own obituary,” he says. “The character

of Harriet Lauler was born from that.”

In fact, the screenwriter had inadvertently tapped into a real-life trend with his idea. More and more

often, people from all walks of life are taking control of their own memorials. A flurry of books, articles,

classes and online tutorials offer help in crafting a suitable self-tribute. Called the “ultimate selfie” and the

“autobituary,” the trend has doubled in the last five years, according to the website legacy.com, which

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compiles obituaries. One notable recent example is the late actor James Rebhorn, whose “His Life, According

to Jim” became an internet phenomenon. Some people do it to ensure accuracy, some to comfort loved ones

with humor, and others, like Harriet, simply want a posthumous final say.

For most of her life, Harriet has made sure she gets her own way. “That has not necessarily served

her well,” observes Fink. “It ruined her marriage. It alienated her daughter. It lost her the business she built

from the ground up. When you see this woman exert her will, it’s terrifying.”

Harriet’s quest for perfectionism has left her alone and lonely. “On the outside, her life appears to be

pristine,” says Pellington. “But it is actually pretty hollow. There’s a conflict between the exterior versus the

interior. In the film, she has to define what a meaningful life is. What is the accumulation of our life’s events

and how do we leave that behind?”

That question, believes the director, is a universal one. “You never really know what a person is like

until you see how they affect the people around them,” says Pellington. “We don’t talk about the impact of

somebody’s life until they’re gone. We don’t realize how much we admire someone like Prince until he’s not

here. We can’t talk about great novelists until we can we look back at the totality of what they’ve created.”

In Harriet’s case, she finds Anne’s final assessment of her life lacking. “The finished obituary is short

and small in scope because nobody has anything good to say about her,” says Pellington. “But during the

course of the film, Anne and the audience will get a more complete picture of what Harriet’s life was like.”

When Anne’s first draft fails to meet her employer’s expectations, Harriet sets out to rewrite her life

story. She identifies four characteristics of what she believes makes a memorable life, at least on paper. “You

have to be loved by family and friends,” says Fink. “You have to be admired by your co-workers. You have to

have touched someone else’s life in an unexpected and profound way. And you have to have a wild card: a

unique skill or experience that sets you apart. Fulfilling these requirements will add up to your legacy.

Unfortunately, Harriet has fulfilled none of them.”

Perceptive, practical and deeply insecure, Anne is stuck in a dead-end job that she cares little about.

She keeps her own writing closely guarded, afraid that failure is inevitable. As she follows along on Harriet’s

mission to remake her image, Anne begins to see the world — and her employer — in a whole new light.

“She becomes the engine leading us through the film,” says Pellington. “We share her point of view. When

she discovers what happened to Harriet’s advertising career, she changes the way she thinks about her. And

so do we. It’s the beginning of her transformation, as well as Harriet’s.”

Having actors of the caliber of MacLaine and Seyfried attached to the project attracted the right kind

of attention in Hollywood, says Pellington. “Amanda and Shirley both gravitated toward the script, which

gave it traction. The first time they were in my office we just read it straight, and the chemistry was magic. I

knew at that point that there was something very special about the piece.”

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The road ahead of Harriet and Anne is not without obstacles, mostly of the comedic variety. “People

love to see characters who are forced together by circumstances,” says Pellington. “These women are at odds

a lot of the time. They bicker until they are able to find respect and admiration for each other, almost falling

in love in a way. It’s a classic story arc because it’s about change.”

In Pellington’s opinion, people like to see characters evolve on screen because it reassures them of

their own potential to improve. “We want to believe in our better selves. Maybe if I were a little more confident.

Maybe if I were a little more open-minded. Maybe if I took a few more risks. All those very human things are implied in

the film, without ever being preachy. It all comes from the relationship between Harriet and Anne, as a

woman of one generation gives some life lessons to a woman of the next, slowly forging a beautiful

friendship.”

Through her actions and words, Harriet begins teaching Anne what a life well lived looks like, says

the director. “She’s showing Anne and Brenda — and herself — what kind of life that she wants to lead. She

is encouraging them to figure that out for themselves. Be active. Open yourself up. Don’t be afraid to fail. Don’t be

afraid to jump into the water. Don’t be afraid to say what you believe. She takes what could be sentimental, greeting-

card life lessons and makes them completely human and grounded.”

After 20 years as friends and colleagues, Pellington and Fink hope they have built a legacy of their

own with this film. “Mark is a true artist,” says Fink. “His sensibility and my sensibility are different, but when

we came together, it created something unique and original. I believe this movie has great cross-generational

appeal, because it’s a movie about how each generation can influence the next. It’s funny. It’s emotional. It is

about the lives we lead and the legacies we hope to leave behind, which people of all ages, both women and

men, can relate to. It’s small in scope, but the themes are global. I think it can touch a lot of people’s lives in a

truly meaningful way.”

AN UNFINISHED WOMAN

Screenwriter Stuart Ross Fink created the character of Harriet Lauler specifically with Shirley

MacLaine in mind. The star of some of his favorite movies, from The Apartment to Terms of Endearment and

Being There, MacLaine personified Harriet’s singular temperament. “Like so many people, I’ve always loved

her,” he says. “There’s no other actress who can portray a combination of bitchiness, vulnerability, humor

and empathy like Shirley. She is always the smartest person in the room, a woman quick with a cutting remark

or a well-timed arched eyebrow. The characters she has created are some of the most indelible in American

cinema. I always want to know where they go after the movie ends. I wrote this part to see her characters

continue.”

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Pellington compares MacLaine’s character to the role that won her an Oscar®, saying: “She is like

Aurora Greenway from Terms of Endearment, but it’s 25 or 30 years later. Imagine that kind of controlling

woman considering the final years of her life.”

Pellington and Fink sent the script to MacLaine along with a letter explaining why she was the only

person they could imagine playing the role. To their delight, MacLaine was immediately attracted to Harriet’s

strength and determination. “The Last Word is written mostly from the point of view of a woman born in the

1930s, when women were not considered a force in business,” observes the award-winning actress. “If she

wanted to be successful, she had to throw her weight around. That’s what this character does, but she’s funny

at the same time. She knows that she has irritated a lot of people during her lifetime, but she wants to be

remembered well. It’s also about two women who reveal things that they never would have even dared to

look at before. And it’s because of their prodding of one another they are able to do that. Each learns how to

know herself.”

During filming, Fink realized that he had to let go of his creation and entrust her entirely to

MacLaine. “Shirley and I had a 20-minute discussion on the psychology of pajamas versus a robe,” he

remembers. “It was at that point that I realized Harriet was no longer mine. She had become Shirley’s. She is

playing Harriet Lauler with the legendary status and prestige and twinkle in her eye that we all love.”

MacLaine insists that Fink gave her a great deal to build on. “It’s very well written,” she says. “Stuart

did a really good job. We worked all the time together, changing this or that, and then I improvised as well.

He was wonderful to work with.”

The veteran actress is equally effusive about her collaboration with Pellington. “Mark is so deeply

and almost disturbingly talented,” she says. “He has ways of changing everything at the spur of the moment.

You have to be really prepared to make that adjustment. If you’re on the same wavelength, which apparently

we are, it’s not as hard as you would think. He lives in the moment. It makes working with him fun.”

Once MacLaine signed on to star, Pellington began a search for an actress who could go toe-to-toe

with her as Anne. “We pretty quickly got to Amanda Seyfried,” he says. “Within 15 seconds of meeting her, I

knew. She seemed so much like Anne, she loved the script and when she met Shirley, it was a great

chemistry.”

“I adore Amanda,” says MacLaine. “And Harriet in her way adores Anne, but her biggest problem

has always been with people who don’t live up to their potential. And Anne so far has not. It’s a tussle with

what Harriet doesn’t understand about herself and what she doesn’t understand about Anne. Each is learning

from the other, so it’s the journey the two women take together.”

Fink has been a fan of Seyfried since her days on the television series “Veronica Mars.” “Not only is

she a gifted actress, she’s also one of the sweetest people I’ve ever met. She and Shirley were very kind and

patient with me, understanding that this is my first movie. They were a real joy to be around.”

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Knowing that MacLaine was already committed to the film made the decision to come aboard The

Last Word easy, says Seyfried. “In my wildest dreams I never imagined I’d be working with her. It’s been

incredible. I’ve never had the opportunity to create a relationship that reflects my experience with an actor so

well. Shirley’s got a lot of history, she has a lot of things to say and she’s very passionate about those things. I

really respect that.”

Having a chance to explore an intriguing story centered on two strong women was another reason

Seyfried wanted to make this film. “I don’t get opportunities to do that very often, so it was really attractive,”

she says. “Stuart wrote a beautiful, poignant, poetic love story about a woman grappling with how

insignificant she feels. And Mark is really passionate and knows what he’s doing. It seemed like the perfect

package — script, director and this incredible star already on board.”

Her character, Anne, is terrified of letting anybody enter the safe world that she’s created for herself,

according to Seyfried. “She wants to write more than just obituaries, but she is afraid of failing. Harriet

challenges her to go on this journey with her. Harriet is not so nice sometimes, but she sees other people’s

potential and asks them to live up to it. She gets Anne to recognize that she’s got so much more to offer.”

Harriet, in her typical results-oriented fashion, drops in at a local community center with the goal of

touching the life of a troubled child. “She is there merely to check a box for her obituary,” says Pellington.

“She has to change a life. She thinks it’s going to be easy. She’ll just teach the kid to speak nicely and stop

swearing. It ends up being something much deeper. In a way, the real core of the movie is about family.

These women find their own new family. The joy and unity come as the three of them join forces

emotionally.”

Ann’Jewel Lee makes an unforgettable debut in the film as Brenda, the 9-year-old girl whom Harriet

decides to mentor. “This is not just Ann’Jewel’s first film, it’s the first time she’s ever acted,” says Pellington.

“She is quite a little discovery. Brenda is a foulmouthed spitfire. She almost steals the show. The character

adds a little spice to the cocktail of Harriet and Anne. In some ways, she transforms their relationship.”

Seyfried remembers reading with Lee at her audition and being astonished by the youngster’s ability

to simply listen and respond. “Ann’Jewel is awesome,” says Seyfried. “We did a lot of improv in this movie

and you could throw something out, knowing she’d give it right back. She has some zingers. Ann’Jewel is as

fearless as her character. Brenda says whatever she wants to Harriet, which completely disarms her. She’s

absolutely crucial to the relationship between Anne and Harriet.”

Lee describes her character as “a tough little kid.” “Brenda is a handful,” she says. “She can be a nice

person, depending on who she’s around and if she wants to be nice. But, hey, we all have our wants and

want-nots. Brenda helps change Harriet so she can have a good life and her legacy can live on.”

Like Brenda, Lee is surprisingly nonchalant around her more experienced colleagues. “Working with

Shirley was really funny,” she says. “She’s like a can of personality, and when you pop that thing open:

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wooph! It is hilarious. She knows what she has to do and is always on top of it. Amanda is really nice and

kind. If I ever had a bad day, she cheered me up. And Mark always shows that he cares about his actors.”

Lee believes that movie will deliver a hopeful message to audiences. “It’s a really enjoyable, inspiring

movie. Brenda may still swear like a sailor at the end, but she’s changed a lot.”

The next item on Harriet’s to-do list is what she calls the “wild card,” the one thing that will set her

apart from the crowd. With an encyclopedic knowledge of music and a vast collection on vinyl to draw on,

she sets her sights on becoming a DJ. When Harriet shows up at a local indie radio station and volunteers to

go on air, Robin Sands, the station manager, gives her chance to prove herself.

“Robin is knocked on his ass by Harriet, this amazing creature who rolled into his radio station

demanding a job,” says Thomas Sadoski, who plays Robin. “He sees a different side of her than anybody else

does. Instead of being intimidated, he is absolutely fascinated. She has an extraordinary record collection and

a depth of knowledge about music that matches, or maybe even surpasses, his own. He never expects her to

be anything she isn’t and that is the key to their relationship. As they get to know each other, she recognizes

that he would be a great partner for Anne and sets the two of them up.”

Sadoski says it was a joy to watch MacLaine play Harriet, a role that was tailor-made for her. “It

requires that sort of dominant personality and presence. When she steps onto set, you know you’re in the

presence of someone extraordinary. She could rest on her laurels but instead she’s still present and still

working with her castmates in a really special way.”

The actor has equally high praise for Seyfried, with whom he first worked in 2015, co-starring in Neil

LaBute’s Off Broadway play “The Way We Get By.” “Amanda is such a talented actress,” says Sadoski. “She

brings so much depth to her work even without the words in the script. You can sense the intense intimate

connection between Robin and Anne. They speak the same language; they’re of the same tribe. It’s a very

sweet relationship orchestrated by the person you’d least expect.”

Pellington and Fink were open to allowing the actors to personalize things as much as possible,

according to Sadoski. “This is an incredible story about friendship and courage and becoming who you really

are. It’s the preciousness of life and running the race right until the very end. Both Mark and Stuart were

fantastic in letting the film be molded moment to moment by the actors. As we worked, it grew and became

something larger than it initially was. That’s an exciting thing to be a part of.”

The film also includes a host of well-known actors in supporting roles, including Philip Baker Hall as

Edward, Shirley’s ex-husband, Anne Heche as Harriet’s daughter Elizabeth and Tom Everett Scott in the role

of Anne’s boss, Ronald Odom.

As Edward, Hall has two profound scenes. “I think anybody’s who’s been in a long-term relationship

can connect to him,” says Pellington. “The scene at the end of the film between Harriet and Edward is really

a master class in acting. As a director, I just stayed out of the way. It’s by far my favorite of Shirley’s scenes.

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When we finished, I just went over and bowed to her. She’s very humble, yet she’s also a supremely confident

actress.

“Anne Heche is an amazing powerhouse actor,” continues the director. “We needed somebody who

had the same sharp tongue as Harriet, someone acerbic and funny, yet with the emotional vulnerability that

Anne has.”

When Harriet sees her daughter for the first time in decades, she realizes how much they have in

common. “Harriet is cantankerous in her own unique way,” says Heche. “They’ve been estranged for very

good reasons. Part of the beauty of this film is watching a woman come to terms with her life. Shirley is an

extraordinary artist and woman.”

According to Tom Everett Scott, the movie is “a coming-of-age story for an octogenarian.” “I liked

the script a lot, so I was really psyched when I got a chance to be in it,” he says. “And then to work with

Shirley MacLaine, Amanda Seyfried and Mark Pellington? The fact that the script was great was just icing.”

Fink is quick to compliment his collaborators for making a film that exceeded his own expectations.

“All the credit in the world goes to Mark Pellington, the crew and, of course, the actors for making this so

wonderful,” says the screenwriter. “Watching it being filmed and seeing the reactions from all of those

around us — the tears, the laughter, genuine emotion — has been really special.”

THE WILD CARD

Director Mark Pellington offers his gratitude to the cast and crew, singling out director of

photography Eric Koretz, production designer Richard Hoover, costume designer Alix Hester and editor

Julia Wong for special praise. But he says the person who faced perhaps the most daunting challenge was

music supervisor Liza Richardson. “There’s lots of music in the film,” he notes. “Harriet is a music fanatic

who becomes a DJ. So music has a big role in this movie, but we had some strict fiscal limitations. Liza was

faced with the task with finding a lot of songs for not much money. Almost all of the music is the kind of

thing you might hear on an obscure college radio station, ranging from big band to rock to hip-hop.”

The resulting soundtrack is packed with unusual and lesser-known artists, including The Regrettes,

Blood, Witch, Amnesty and Lady Lamb, with a tip of the hat to Harriet’s all-time favorite band, The Kinks.

“You won’t know most of it, but it works,” says Pellington. “The mixture of the songs and Nathan David’s

score moves the film along in a really lovely way. It hits you on the level of pure music-loving joy.”

Sharing her music with the world helps Harriet reclaim a part of herself that she had shut down. “At

some point Harriet became detached from the music, from collecting it and from enjoying it,” says

Pellington. “Something that had once been an important part of her life disappeared. She hit a point of

calamity and her joy in music went away. Coincidentally, that dovetailed with the rise of digital and the death

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of analog, as record stores started disappearing and her favorite DJs were replaced by computers and

algorithms.”

Music also offers another way for Anne and Harriet to connect. “Anne also collects vinyl,”

Pellington says. “And she turns Harriet on to the radio station.”

While Pellington says he has given up trying to predict how people will respond to his movies, he has

high hopes for The Last Word. “I’ve sat in the theater with audiences and they were really emotionally

moved by this,” he says. “I hope people embrace it. I’m just grateful to have been able to make it and to have

a really good company behind it that believes in it for the right reasons.”

ABOUT THE CAST

SHIRLEY MACLAINE (Harriet Lauler) has enjoyed an illustrious career that comprises more

than 50 feature films, highlighted by an Academy Award win and six nominations, six Emmy Award®

nominations, seven Golden Globe Awards® (including a Cecil B. DeMille Golden Globe Award for Lifetime

Achievement in 1998). MacLaine was honored with the prestigious American Film Institute’s Life

Achievement Award in 2012. In 2011 she received France’s most prestigious cultural award, the Legion of

Honor, which was presented by France’s Minister of Culture and Communication, Frédéric Mitterrand, at the

French Cinémathèque. She is also an internationally best-selling author.

MacLaine can next be seen in the film Wild Oats, co-starring Jessica Lange and Demi Moore. She

recently starred in Elsa & Fred (2014), alongside Christopher Plummer, and Bernie (2011), with Jack Black and

Matthew McConaughey. She also appeared in Ben Stiller’s The Secret Life of Walter Mitty (2013).

MacLaine’s recent television appearances include season five of the Golden Globe-winning series

“Glee,” season three of the Emmy Award-winning series from Julian Fellowes, “Downton Abbey,” and the

Lifetime movie “Coco Chanel,” for which she was nominated for both a Golden Globe and a SAG Award.

MacLaine can also be seen on tour in her one-woman stage show as it hits cities across the globe.

The production combines a montage of memorable film moments with private revelations about her

extraordinary life, career and spiritual journey.

The author of 10 international bestsellers, MacLaine released her best-selling book Sage-ing While

Age-ing in 2008, followed by her latest New York Times bestseller I’m Over All That: And Other Confessions.

Her most recent book, What If…: A Lifetime of Questions, Speculations, Reasonable Guesses, and a Few

Things I Know for Sure, was released in 2013 and featured on Oprah’s “Super Soul Sunday.”

MacLaine made her professional debut dancing in a Broadway revival of “Oklahoma!” in the 1950s.

Her first film appearance came in Alfred Hitchcock’s The Trouble with Harry and earned her a Golden Globe

Award for “New Star of the Year – Actress” in 1955. In 1958 she starred in Some Came Running, which led to

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her first Academy Award nomination and an additional Golden Globe bid. She also starred alongside Audrey

Hepburn in The Children’s Hour (1961), based on a play by Lillian Hellman. MacLaine received a second Oscar

nomination for her work in the classic The Apartment (1960), co-starring Jack Lemmon and directed by Billy

Wilder. She was reunited with Lemmon and Wilder for Irma La Douce in 1963, earning yet another Academy

Award nomination.

In 1975 MacLaine received her fourth Oscar nomination, this time for Best Documentary, as the

producer and star of The Other Half of the Sky: A China Memoir. Two years later she was nominated once again,

this time for her starring role in The Turning Point. In 1983 MacLaine finally won an Oscar when her work in

Terms of Endearment was honored with the iconic statuette. She received another Golden Globe Award for her

1988 performance in Madame Sousatzka.

Additional film credits include Steel Magnolias (1989), with Julia Roberts; Postcards from the Edge (1990),

opposite Meryl Streep; In Her Shoes (2005), with Cameron Diaz and Toni Collette; and Rumor Has It… (2005),

alongside Jennifer Aniston and Kevin Costner.

MacLaine’s small-screen credits include the telefilms “These Old Broads,” “Carolina” and “Salem

Witch Trials.” She also starred in the CBS miniseries “The Battle of Mary Kay,” the life story of the cosmetics

queen Mary Kay Ash.

A longtime advocate for civil rights and liberties, women’s rights and spiritual understanding,

MacLaine is known for her faith in reincarnation, angels, the power of crystals and other New Age beliefs.

She addresses these topics at length, as well as her Hollywood career, in her books Out on a Limb (Bantam,

1983) and Dancing in the Light (Bantam, 1986). MacLaine has gone on to author numerous other books

including The Camino: A Journey of the Spirit (Atria, 2001) and Out on a Leash: Exploring the Nature of

Reality and Love (Atria, 2004), all of which are international bestsellers.

AMANDA SEYFRIED (Anne Sherman) has established herself as one of Hollywood’s most

captivating young leading actresses. In 2008 she starred in Phyllida Lloyd’s Mamma Mia!, alongside Meryl

Streep. The film grossed more than $600 million internationally. Two years later she starred alongside

Channing Tatum in Dear John, directed by Lasse Hallström. The film grossed more than $100 million

worldwide. Next she starred in Gary Winick’s Letters to Juliet, co-starring Vanessa Redgrave and Gael García

Bernal. It was also an international hit, cementing Seyfried’s status as a rising star.

More recently, the actress starred alongside Aaron Paul and Russell Crowe in Gabriele Muccino’s

Fathers and Daughters. Seyfried will soon be seen in David Lynch’s highly anticipated “Twin Peaks: Revival,”

airing on Showtime. She recently wrapped production on Andrew Niccol’s Anon, opposite Clive Owen; Dito

Montiel’s The Clapper, alongside Ed Helms; and Nash Edgerton’s untitled project, which co-stars Joel

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Edgerton and David Oyelowo. Next, Seyfried begins production on Paul Schrader’s First Reformed, opposite

Ethan Hawke.

In 2015 the actress received critical praise for her theater debut in Neil LaBute’s Off Broadway play

“The Way We Get By.” Produced by Leigh Silverman, the production was hosted by Second Stage Theatre in

New York. Also in 2015, Seyfried starred in Seth MacFarlane’s feature Ted 2, opposite Mark Wahlberg, and

Noah Baumbach’s While We’re Young, opposite Naomi Watts and Ben Stiller.

Other film credits include Love the Coopers, Pan, A Million Ways to Die in the West, Epic, Lovelace, Les

Miserables, In Time, Chloe, Jennifer’s Body, Nine Lives, Alpha Dog and American Gun.

On the TV front, Seyfried received critical praise for her starring role in HBO’s Golden Globe

nominated drama “Big Love.”

A Pennsylvania native, Seyfried started her career by modeling at the age of 11. She soon turned to

acting and landed her first contract role in 2000 as Lucy Montgomery on the daytime drama “As the World

Turns.” In 2002 “All My Children” signed her to the contract role of Joni Stafford. Her big break, though,

was in the Tina Fey-penned 2004 teen classic Mean Girls, co-starring Lindsay Lohan and Rachel McAdams.

Together, they won the Best Onscreen Team Award at the MTV Movie Awards.

Seyfried is Givenchy’s Very Irresistible Ambassador and an avid supporter of the nonprofit

organizations Best Friends Animal Society and I Am That Girl.

ANNE HECHE (Elizabeth) is one of Hollywood’s most sought-after and versatile actresses, with

equal capabilities in the arenas of film, television and the stage. In addition to much critical praise for her

performances, she has garnered several nominations for Emmy and Tony Award® honors. In 1997 Heche

won the National Board of Review Award for Best Supporting Actress for her work in Barry Levinson’s Wag

the Dog, opposite Robert De Niro and Dustin Hoffman.

Heche will soon appear in several films including Catfight, alongside Sandra Oh; Temple, with Wesley

Snipes; and My Friend Dahmer, alongside Vincent Kartheiser. On the small screen, she stars in the sci-fi thriller

“Aftermath” as Karen Copeland, a woman leading her family to survival through a period of apocalypse. She

also stars in Hallmark’s “Looks Like Christmas,” opposite Dylan Neal, which recently premiered to positive

reviews.

In 2015 Heche starred as Lynn Monahan, the head of the Jerusalem FBI office and Peter Connelly’s

(Jason Isaacs) boss in the event series “Dig,” which premiered on USA Network. Filmed in Jerusalem,

Croatia and New Mexico, the action-thriller comes from executive producers Tim Kring (“Heroes”) and

Gideon Raff (“Homeland”).

Previously, Heche appeared in Simon West’s action-thriller Wild Card, co-starring Jason Statham,

Sofia Vergara and Stanley Tucci; Nigerian director Jeta Amata’s indie thriller Black November, alongside Kim

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Basinger and Mickey Rourke; Dante Ariola’s dark comedy Arthur Newman, opposite Colin Firth and Emily

Blunt; the indie comedy That’s What She Said; Oren Moverman’s cop drama Rampart, alongside Woody

Harrelson, Steve Buscemi, Sigourney Weaver and Ben Foster; and the convention comedy Cedar Rapids,

alongside Sigourney Weaver, John C. Reilly and Ed Helms,

Other film credits include Spread, Birth, The Third Miracle, The Juror, Walking and Talking, Wild Side, A

Simple Twist of Fate, Pie in the Sky, Milk Money, I’ll Do Anything, John Q, Six Days Seven Nights, Volcano, Psycho,

Auggie Rose and Donnie Brasco.

In 2004 Heche starred in the ABC series “Men in Trees,” playing a female relationship guru who

moves to Alaska. That same year Heche earned her first Emmy Award nomination for her portrayal of a

drug-addicted mother in the Lifetime telefilm “Gracie’s Choice,” alongside Diane Ladd.

Other television credits include TNT’s “Silent Witness,” opposite Dermot Mulroney; “Fatal Desire,”

a Lifetime movie; HBO’s telefilm “If These Walls Could Talk,” directed by Cher; “One Christmas Eve,”

which became the highest-rated cable airing of any Hallmark Hall of Fame telefilm; the HBO comedy series

“Hung,” opposite Thomas Jane and Jane Adams; and the Hallmark Channel’s holiday movie “Silver Bells,”

which was seen by over 16 million viewers. She created memorable characters in guest-starring performances

on hit shows such as “Nip/Tuck,” “Everwood” and “Ally McBeal.” Heche also created and produced the

NBC series “Bad Judge,” starring Kate Walsh.

In 2002 Heche made her Broadway debut in a critically acclaimed production of the Tony Award-

winning play “Proof.” She garnered rave reviews from critics and the show was extended, making it one of

the longest-running non-musical plays in recent history. In 2004 she triumphantly returned to Broadway in

the Roundabout Theatre stage production of “Twentieth Century.” Her critically acclaimed performance

opposite Alec Baldwin earned her a Tony Award nomination for Best Lead Actress in a Play.

Also a writer and director, Heche wrote and directed a short entitled “Reaching Normal,” for

Showtime’s “First Director Series,” as well as HBO’s “If These Walls Could Talk 2.”

Heche currently resides in Los Angeles with her family.

THOMAS SADOSKI (Robin Sands) currently stars on the hit CBS comedy series “Life in Pieces,”

which tells stories driven by a family’s individual ineptitudes and shortcomings. Co-starring Dianne Wiest,

James Brolin and Colin Hanks, the series is currently airing its second season. He was last seen starring

opposite Sarah Silverman and Josh Charles in the critically acclaimed film I Smile Back. Next, he reprises his

role as Jimmy in John Wick: Chapter Two, starring Keanu Reeves.

Previously, Sadoski was seen in such films as Jean-Marc Vallée’s award-winning drama Wild, with

Reese Witherspoon and Laura Dern, and Take Care, alongside Leslie Bibb. Other film credits include The

Dramatics, 30 Beats, The New Twenty, Loser, Happy Hour and Winter Solstice.

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In addition to his role as Don Keefer on HBO’s Golden Globe Award®-nominated Aaron Sorkin

series “The Newsroom,” Sadoski’s television credits include the NBC miniseries “The Slap,” a recurring role

on “Law & Order: Special Victims Unit” and guest starring roles on “Ugly Betty,” “Law & Order: Criminal

Intent” and the flagship “Law & Order,” as well as TV movie “Circledrawers.”

A veteran of the stage, Sadoski has starred in and earned raves for his performances in a wide variety

of Broadway and Off Broadway productions. Most recently, he starred opposite Amanda Seyfried in the Off

Broadway production of Neil LaBute’s “The Way We Get By,” which follows two people as they grapple

with the life-altering fallout of spending a drunken, steamy night together. His previous collaboration with

LaBute, on “Reasons to Be Pretty,” earned Sadoski a nomination for a Tony Award in the Leading Actor

category, as well as Drama Desk, Outer Critics Circle and Drama League Award nominations.

On Broadway the actor was seen in “Other Desert Cities,” for which he won an Obie Award; “The

House of Blue Leaves,” with Ben Stiller and Edie Falco; and “Reckless,” opposite Mary-Louise Parker. Off

Broadway, Sadoski appeared in Sam Mendes’s Bridge Project productions of “As You Like It” and “The

Tempest” (BAM, the Old Vic and a seven-country international tour); “Becky Shaw,” for which he won a

Lucille Lortel Award; “This Is Our Youth,” with Mark Ruffalo; and the world premiere of Elizabeth

Merriweather’s “The Mistakes Madeline Made.” Other Off Broadway credits include “Gemini,” “Stay,”

“Where We’re Born,” “Jump/Cut,” “All This Intimacy” and “The General From America.”

Additionally, Sadoski starred in a critically acclaimed production of David Sedaris’ one-man

show “Santaland Diaries” at New Haven’s Long Wharf Theatre, which was performed in two consecutive

seasons due to popular demand. He has starred in five productions at the renowned Williamstown Theatre

Festival.

A graduate of Circle in the Square Theatre School in New York City, Sadoski has worked extensively

to help develop new theatrical works at New Dramatists, The Lark, The Eugene O’Neill Theater Center and

the Sundance Institute. In his free time, he works closely with the charity group Refugees International, of

which he is also a board member.

Sadoski currently resides in Los Angeles.

PHILIP BAKER HALL (Edward) is one of those actors whom audiences see all the time and

appreciate, but don’t necessarily recognize by name. He played the deadpan, hard-boiled Mr. Bookman, the

library cop, in an episode of “Seinfeld” that is considered an all-time television comedy classic. More recently,

Hall starred in 2015-2016 on Rand Ravich and Howard Gordon’s Fox series “Second Chance.” He also

starred on Will Gluck’s Fox comedy “The Loop” and played recurring roles on David E. Kelley’s “The

Practice” and “Boston Legal,” Fox’s “Rake,” HBO’s “The Newsroom” and “Curb Your Enthusiasm,” CBS’

“Madam Secretary,” Adult Swim’s “Childrens Hospital” and ABC’s “Modern Family.”

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Hall will next be seen starring opposite Michael Cera and Abbi Jacobson in Dustin Guy Defa’s Person

to Person.

The actor first gained significant attention for his portrayal of Richard Nixon in the Donald Freed

one-man play “Secret Honor,” which was adapted by Robert Altman into a feature film a year later. His

portrayal of Nixon was hailed as a tour de force and the film has become a cult classic. During the ’80s he

appeared in teen favorites Say Anything, Three O’Clock High and How I Got into College, then in blockbuster

action films such as The Rock, Air Force One and Enemy of the State. Hall has continued to work steadily in film,

television and the theater. He garnered a Spirit Award nomination for his electrifying performance as a

veteran gambler in Paul Thomas Anderson’s debut feature, Hard Eight, opposite Samuel L. Jackson, John C.

Reilly and Gwyneth Paltrow. Anderson cast Hall in substantial roles in his next two films, Boogie Nights and

Magnolia.

Hall shared in the Broadcast Film Critics Association Award won by the ensemble cast of Rod

Lurie’s The Contender. He earned SAG Award nominations for Boogie Nights and Magnolia and was part of the

SAG Award-winning cast of Argo in 2013. He was also honored with the prestigious John Cassavetes Award

for his body of work.

Hall was seen in Bruce Almighty and Mr. Popper’s Penguins, both times opposite Jim Carrey; All Good

Things, alongside Ryan Gosling; 50/50, with Seth Rogan and Joseph Gordon Levitt; Alex Kurtzman’s People

Like Us, opposite Chris Pine; Bad Words, directed by and starring Jason Bateman; Playing it Cool, with Chris

Evans; and the TV movie “Clear History,” written by and starring Larry David.

Other film credits include Lars Von Trier’s Dogville, the Rush Hour franchise, David Fincher’s Zodiac,

Paul Weitz’s In Good Company, Michael Mann’s The Insider, Tim Robbins’ Cradle Will Rock, Anthony

Minghella’s The Talented Mr. Ripley, Rod Lurie’s The Contender, Peter Weir’s The Truman Show and Gus Van

Sant’s remake of Psycho.

In the Los Angeles area, Hall has starred in numerous plays at the Mark Taper Forum and the South

Coast Repertory and fabled Los Angeles Theater Center, including “All My Sons” (opposite Bill Pullman),

“Death of a Salesman,” “The Crucible,” “Short Eyes” and “The Petrified Forest,” among many other

productions. He starred with William H. Macy and Mark Webber in an award-winning revival of “American

Buffalo” at the Atlantic Theater in New York and the Donmar Warehouse in London.

TOM EVERETT SCOTT (Ronald Odom) has developed a reputation as one of the industry’s

most versatile actors, showing up on the big screen, television and stage. His film credits include Mars Needs

Moms, Race to Witch Mountain, Because I Said So, Sexual Life, Attraction, Boiler Room, One True Thing, The Love Letter,

River Red, Top of the Food Chain, An American Werewolf in Paris and Dead Man On Campus.

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In addition to his impressive and diverse film slate, Scott’s television credits include “Sons of

Anarchy,” “Cashmere Mafia,” “Saved,” “ER,” “Will & Grace,” “Law & Order,” “Inherit the Wind” and

“Grace Under Fire.” Most recently, Scott starred in the final season of TNT’s critically acclaimed series

“Southland.”

On stage, Scott made his Broadway debut in the Tony Award-nominated show “Little Dog That

Laughed.” Other theater credits include a revival of “Dead End” at the Ahmanson Theatre, Roger Kumble’s

smash hit “Turnaround” and Off Broadway productions of “The Country Club” and “Touch.”

Inspired by such repertory theater companies as the Wooster Group and Steppenwolf, Scott and

friends launched aTheaterCo, a New York-based theater group focusing on original works. It was through

aTheaterCo that Scott became involved with the project “River Red,” which he initially directed for the stage

and later produced as a film.

Scott made his screenwriting and directing debut with the short comedy Glock, which won Best Short

Film at the Gen Art Film Festival.

The Massachusetts-born actor graduated from Syracuse University with a degree in drama before

traveling to New York City to learn his craft. Scott first came to Hollywood’s attention as the soulful

drummer in That Thing You Do, Tom Hanks’ feature-film directorial debut.

He currently resides in Los Angeles with his wife and two children.

ANN’JEWEL LEE (Brenda) is well on her way to making her mark in Hollywood. Someone who

was definitely born to be an entertainer, she has been performing since she was able to walk. Born in Los

Angeles, Lee is the younger of two children. She made her stage debut in “The Not Your Momma

Monologue” and has also appeared in music videos, commercials and a short film.

ABOUT THE FILMMAKERS

MARK PELLINGTON (Director) is a filmmaker, writer and artist based in Los Angeles. He is

internationally recognized as one of the world’s premier music-video directors and has also gained recognition

for his film and television work. Pellington is currently in production on the feature Nostalgia, starring

Catherine Keener, Jon Hamm and Ellen Burstyn, which will premiere in 2017. He has several pilots in

development, including “Book of Lies,” at AMC, and “Visual Intelligence,” at Fox.

Pellington made his feature film debut with Going All the Way (1997), starring Jeremy Davies and Ben

Affleck, which bowed at the Sundance Film Festival and was followed by the controversial political thriller

Arlington Road. In the winter of 2002 came the cult favorite The Mothman Prophecies, starring Richard Gere,

Laura Linney, Alan Bates and Debra Messing. In 2006 Pellington traveled to South America to direct U2 3D.

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A longtime collaborator with Bono and U2, Pellington and co-director Catherine Owens broke new

cinematic ground for both cameras and technology.

The director then returned to features with Henry Poole Is Here and I Melt With You, both of which

premiered at the Sundance Film Festival.

For the small screen, Pellington directed the pilot episode of CBS’ long-running series “Cold Case”

in the spring of 2003. He remained as a consulting producer on the top-rated show for four years. The close

of 2014 saw Pellington direct “Cocaine Cowboys,” a pilot for TNT produced by Jerry Bruckheimer and

Michael Bay. In 2015 he created the successful series “Blindspot” for NBC, alongside producer Greg Berlanti.

Before making his mark in film and television, Pellington became well known for his music videos

for such rock, pop and rap performers as U2, Pearl Jam, Michael Jackson, Linkin Park, Foo Fighters, Bruce

Springsteen, Nine Inch Nails, Alice in Chains, The Dave Matthews Band, Public Enemy, INXS, The Flaming

Lips, The Fray, Cage the Elephant, Kid Rock, Band of Horses and Moby.

The director’s Pellington Films is an artist-driven enterprise producing innovative commercials and

music videos. The company is intent on collaborating with artists in all mediums to produce uniquely

personal digital content.

STUART ROSS FINK (Screenwriter) is an award-winning creative director who has worked for

iconic brands such as AT&T, Citibank, Time Warner Cable, SunTrust, IBM and Microsoft. He and his wife,

the author Tamara Draut, live in Brooklyn with their daughter, Harper.

ERIC KORETZ (Director of Photography) is a cinematographer based in Los Angeles. He

graduated from the American Film Institute (AFI) with a master’s degree in cinematography and has an

undergraduate degree in communications design from Syracuse University. His work on the documentary

Dragonslayer won several awards, including Best Documentary Feature at SXSW. Television credits include

AMC’s first comedy, “The Trivial Pursuits of Arthur Banks,” starring Adam Goldberg. His recent feature

film work includes Sam Esmail’s Comet, starring Emmy Rossum and Justin Long, and Matthew Ross’ Frank

& Lola, starring Michael Shannon and Imogen Poots. He also works commercially with such brands as Audi,

American Express, AT&T, BMW, American Airlines, Ford, Google, Microsoft, MLB, Sprint/NASCAR,

Under Armour and Vans.

RICHARD HOOVER (Production Designer) has designed sets for both theater and film in the

course of a long and accomplished career. He’s worked several times with filmmakers Tim Robbins (The

Cradle Will Rock, Dead Man Walking and Bob Roberts) and Mark Pellington (The Mothman Prophesies, Henry Poole Is

Here). Other production design credits include Brian Helgeland’s Payback and 42, Mike White’s Brad’s Status,

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Reginald Hudlin’s Marshall, Niki Caro’s McFarland, USA and North Country, James Mangold’s Girl Interrupted,

Tim Burton’s Ed Wood and Jodie Markell’s The Loss of a Teardrop Diamond.

For the small screen, he served as production designer on Aaron Sorkin’s HBO series “The

Newsroom,” Mike White’s HBO series “Enlightened” and Mick Johnson’s award-winning HBO movies

“Live from Baghdad” and “Temple Grandin.” Other television credits include “Numb3rs,” “Entourage,”

“Twin Peaks,” “Fail Safe,” Heat Wave” and “Family of Spies,” as well as music videos such as Bruce

Springsteen’s “Lonesome Day” and George Harrison’s “The Traveling Wilburys.”

For the stage, Hoover designed “Body of an American” (Hartford Stage), “Babylon Line” (Lincoln

Center), “The 39 Steps” (Guthrie Theater), “Suburbia” (Second Stage), “1984” (The Actor’s Gang), “Hamlet”

and “Death of a Salesman” (Guthrie Theater), “After the Fall” (Roundabout Theatre), “A Beautiful Child”

(Vineyard Theatre), “Embedded” (Public Theater), “The Thing About Men” (Promenade Theater), “Not

About Nightingales” (Circle in the Square: 1999 Drama Desk, Outer Critics Circle and Tony awards), “Bat

Boy” (Union Square Theatre: Drama Desk Award nomination), “The Tempest” (McCarter Theatre), “Fifth

of July” (Signature Theatre), “Twelfth Night” (Guthrie Theater), “Trojan Women” (Oregon Shakespeare

Festival) and “House Arrest” (Public Theater).

JULIA WONG (Editor) is best known for editing such films as X-Men: The Last Stand, Extract and

Hercules. Though she is among the few female editors currently working in the action genre, her body of work

also spans the worlds of comedy, drama and thrillers, both in feature films and television. In 2006 she

received a Golden Satellite Award for editing X-Men: The Last Stand. She has enjoyed long-standing

collaborations with filmmakers Brett Ratner and Catherine Hardwicke.

ALIX HESTER (Costume Designer) has built an eclectic career in film, television and theater that

includes several collaborations with Wild West Picture Show Productions. She most recently designed the

costumes for three seasons of their hit television series “Sullivan & Son” and the upcoming Vince

Vaughn/Hailee Steinfeld film Term Life. Hester designed the costumes for Gregg Araki’s groundbreaking

Mysterious Skin and his comedy cult classic Smiley Face, as well as the hit dance film Step Up. She also created

the costumes for director Tommy O’Haver’s An American Crime, which premiered at the 2007 Sundance Film

Festival.

Hester began her design career in the theater, working all over Europe with avant-garde theater

director Reza Abdoh. For six years, she was the resident costume designer for Tim Robbins’ Los Angeles-

based theater company The Actors’ Gang. She also has credits with the Geffen Playhouse, Taper New

Works, New York Stage and Film and Lincoln Center Director’s Lab. Hester has won Drama-Logue and

Ovation awards for her theater work.

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After starting her film career in the wardrobe department on Tim Robbins’ Dead Man Walking,

Hester worked her way up the ranks and became the set costumer on Wedding Crashers, The Terminal, Intolerable

Cruelty, Catch Me If You Can, One Hour Photo and American Beauty.

NATHAN MATTHEW DAVID (Composer) is the composer for “Angie Tribeca,” currently

airing on TBS. He previously scored both seasons of the USA Network show “Satisfaction.” His recent

feature credits include the SXSW indie hit Addicted to Fresno and the acclaimed thriller The House on Pine Street.

He also composed additional music for The Intern, starring Robert De Niro.

David’s eclectic background began in the classical world at a young age and quickly expanded to indie

bands and electronic music. His educational highlights include studying music and psychology at the

University of Texas and graduate work at USC’s prestigious program, Scoring for Motion Pictures and

Television.

David currently resides in Los Angeles and enjoys traveling and learning ethnic stringed instruments.

He still holds out hope of becoming the world’s greatest soccer player.

LIZA RICHARDSON (Music Supervisor) has worked on numerous films and TV shows,

including the features The Kids Are All Right, Lords of Dogtown, Y Tu Mamá También (which garnered her a

Grammy® nomination), Nacho Libre and Surf’s Up, in addition to the series “Friday Night Lights,”

“Parenthood” and “Hawaii Five-O.” In 2007 Richardson was asked to be the first DJ to perform for the

Academy Awards ceremony. She also has a weekly Saturday evening radio show on KCRW-FM, the eclectic

music and NPR news station based in Santa Monica.

HEIDI LEVITT (Casting Director) has cast such successful films as The Artist, JFK, Nixon,

Natural Born Killers, Nurse Betty, The Rock, The Joy Luck Club, Smoke, Benny & Joon and Lakeview Terrace.

Levitt recently cast and served as associate producer on two films for director Diego Luna: Cesar

Chavez and Mr. Pig. The latter film premiered at Sundance 2016 with stars Maya Rudolph and Danny Glover.

She cast and was an associate producer on Kim Nguyen’s Two Lovers and a Bear, starring Dane DeHaan and

Tatiana Maslany. Levitt filled the same dual roles for Sally Potter on The Party, starring Kristin Scott Thomas,

Timothy Spall and Cillian Murphy.

A graduate of Barnard College and the AFI Producers Program, Levitt moved into producing in

1997 and was fortunate enough to collaborate with Wayne Wang on The Joy Luck Club. Later, she cast and co-

produced Wang’s Chinese Box, a film that captured the moment in history when Hong Kong was returned to

Chinese control. After casting Oliver Stone’s Heaven and Earth, she created the series “Exiles on Main Street,”

in association with acclaimed documentarian Alex Gibney.

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In addition to casting films, Levitt is an adjunct faculty member at AFI and also casts commercials

for such brands as Hyundai, Intel, AT&T, McDonalds, Verizon and Transamerica. In the theater world she

has cast for Center Theatre Group in Los Angeles, The Public and Signature Theatres in New York, and

regional companies such as ACT in Seattle and La Jolla Rep.

KIRK D’AMICO (Producer) has produced or executive produced a wide range of mainstream or

independent feature films. Since 1998 he has been president and chief executive officer of Myriad Pictures, a

leading international sales, distribution, production and entertainment financing company. Myriad has a

reputation for consistently producing and distributing quality films from both first-time directors and well-

established professionals.

D’Amico executive produced the highly acclaimed financial thriller Margin Call, directed by J.C.

Chandor and starring Kevin Spacey, which premiered at the Sundance Film Festival and earned Chandor an

Oscar nomination for Best Original Screenplay. Myriad also handled worldwide sales on the film. He also

served as EP on Gillian Armstrong’s Death Defying Acts, starring Academy Award winner Catherine Zeta-

Jones.

Other executive producer titles include Inescapable, starring Marisa Tomei and Joshua Jackson; Citizen

Gangster and Good Neighbors, both starring Scott Speedman; Jeepers Creepers II, with Jonathan Breck; Van Wilder:

Party Liaison, starring Ryan Reynolds; Imagining Argentina, with Antonio Banderas and Emma Thompson; The

Good Girl, starring Jennifer Aniston; Kinsey, with Liam Neeson; The Disappearance of Eleanor Rigby: Him & Her,

starring Jessica Chastain and James McAvoy; and Barney Thomson, starring Emma Thompson, Ray Winstone

and Robert Carlyle. He was a producer on the crime thriller Electric Slide, starring Jim Sturgess and Breaking the

Girls, starring Agnes Bruckner and Shawn Ashmore.

Upcoming films that D’Amico is executive producing include Fernando Trueba’s The Queen of Spain,

starring Academy Award winner Penelope Cruz; political thriller Drone, starring Sean Bean; the dance movie

Heartbeats, written and directed by Duane Adler (creator of the Step Up franchise); and The Keys to the Street,

starring Gemma Arterton and Tim Roth.

D’Amico recently directed his first feature film, the family comedy Holiday Joy, starring Bailee

Madison and French Stewart.

Expanding on its established business in international distribution, Myriad is releasing films

theatrically in the U.S. under the Myriad Pictures Releasing banner. MPR theatrically released Italian horror

maestro Dario Argento’s Mother of Tears and Simon Wincer’s The Cup, starring Brendan Gleeson. D’Amico

executive produced and released through MPR the thriller Cry of the Owl, based on the book by Patricia

Highsmith and starring Julia Stiles.

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Myriad Pictures is affiliated with Vancouver-based distributor Pacific Northwest Pictures (PNP).

Myriad frequently handles worldwide sales for films that PNP distributes across Canada. Recent PNP releases

include All the Wrong Reasons, starring Cory Monteith, The English Teacher, starring Julianne Moore, the

mystery-thriller Night Train to Lisbon, starring Jeremy Irons, the festival breakout Cheap Thrills and Jason

Priestley’s directorial debut Cas & Dylan, starring Richard Dreyfuss.

Previously, D’Amico was executive vice president of international sales for Village Roadshow

Pictures, where he handled international distribution for such films as A Walk on the Moon and Tarzan and the

Lost City. At the Samuel Goldwyn Company he handled international sales for such films as The Madness of

King George and television series “American Gladiators” and “The New Adventures of Flipper.”

ANNE-MARIE MACKAY (Producer) is distinguished in her ability to discover and promote new

talent in the industry. An Emmy and Grammy Award nominee, she is best known as a founding member of

several visionary production companies including Propaganda Films, Palomar Pictures and, most recently,

Wondros. From these platforms she launched notable directors David Fincher, Michael Bay, Antoine Fuqua,

Gore Verbinski, Alex Proyas, Michel Gondry, Sofia Coppola, Mark Romanek and many others. She is also

credited with providing both long- and short-form opportunities to various established filmmakers,

diversifying the careers of David Lynch, Francis Ford Coppola, John Schlesinger, Ben Stiller, Forest

Whitaker, David O. Russell, Michael Apted and Lee Daniels.

Mackay’s work on television includes Walter Mosley’s “Always Outnumbered,” William S.

Burroughs’ “The Junky’s Christmas” and the Brian Wilson documentary “I Just Wasn’t Made for These

Times.”

AARON MAGNANI (Executive Producer) is currently shepherding a diverse array of projects at

Aaron Magnani Productions, which produces quality filmed entertainment for worldwide audiences at

different levels of development, production and release.

Magnani was born and raised in Chicago. After moving to Los Angeles, he went on to work with

countless industry professionals and establish the film and television production companies Water Bear

Productions and Aaron Magnani Productions, which he now heads.

KEVIN FORESTER (Executive Producer) is Myriad Pictures’ chief financial officer and has

been with the company since 2006. He manages all project and corporate finance, strategic planning and

general company operations. Forester also oversees all financial functions for the company, contract

negotiations and day-to-day operating and accounting practices. His credits as executive producer include

“Holiday Joy” and The Queen of Spain.

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DAMIANO TUCCI (Executive Producer) formed Parkside Pictures with producer Dan Roth in

2012. They have financed and produced films with talents including Anna Paquin, Denise Richards, James

Belushi, Adrian Grenier, John Krasinski, Ray Liotta, John Ratzenberger and Hilary Duff. After transitioning

from child actor to producer as a young teenager, Tucci has produced more than 35 films in a decade.

Most recently, Tucci executive-produced Rob Reiner’s 2016 film LBJ, starring Woody Harrelson. He

is currently an executive producer on Rob Cohen’s Category Five, starring Maggie Grace, Toby Kebbel and

Ryan Kwanten.

PHILLIP B. GOLDFINE (Executive Producer) has produced more than 100 motion pictures

and television programs since graduating from the prestigious Peter Stark Motion Picture Producing Program

at USC. As a development executive, he orchestrated such motion pictures as The Mask, starring Jim Carrey,

and the actor’s first dramatic role, Doing Time on Maple Drive. As a producer Goldfine has produced films for

MGM, Universal, Paramount, Sony, Disney and Warner Bros., working with stars such as Wesley Snipes, Jack

Black, Hilary Swank, Mark Ruffalo, Shirley MacLaine and action star Steven Seagal. He may be best known as

executive producer of the Oscar-winning documentary (short subject) The Lady In Number 6: Music Saved My

Life and the TV variety series “El Vacilon.”

Having begun his career as a development and production executive at companies such as FBC (Fox

Broadcasting Corp.), New Line Cinema and Trimark Pictures, Goldfine quickly climbed the ranks of the

executive ladder. He then set up shop as a producer and became responsible for an eclectic library of motion

pictures and television programs. Goldfine produced A&E’s “Lawman,” the Reelz Channel’s “True Justice”

and National Geographic’s “Seal Team Six: The Raid on Osama Bin Laden.”

DAN ROTH (Executive Producer) has amassed more than 40 credits as a casting director over

the course of the last three decades, while also becoming an accomplished producer. He has found an ideal

working relationship with another ambitious producer, Damiano Tucci, with whom he formed Parkside

Pictures in 2012. Since then they have financed and produced films with the likes of Anna Paquin, Denise

Richards, James Belushi, Adrian Grenier, John Krasinski, Ray Liotta, John Ratzenberger and Hilary Duff.

Most recently, Roth executive-produced Rob Reiner’s 2016 film LBJ, starring Woody Harrelson. He

is currently an executive producer on Rob Cohen’s Category Five, starring Maggie Grace, Toby Kebbel and

Ryan Kwanten.

DAN STEINMAN (Executive Producer) serves as co-president and COO of Black Bear

Pictures, whose recent releases include Barry, The Imitation Game and All Is Lost.

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Before joining Black Bear in January 2015, Steinman was a longtime film finance and sales agent at

CAA, the entertainment and sports agency, where he specialized in packaging and arranging financing for

motion-picture projects, while also handling the sales of domestic distribution rights. Some of the more

recent projects on which he provided packaging, financing and sales services include The Imitation Game,

Birdman (or The Unexpected Virtue of Ignorance), Zero Dark Thirty, 12 Years a Slave and Black Swan. Upcoming for

Black Bear Pictures is Gold, which stars Matthew McConaughey, is directed by Stephen Gaghan and will be

released by The Weinstein Company. Also in the works is the Matt Damon starrer Suburbicon, directed by

George Clooney and set to be released by Paramount.

Prior to joining CAA in 2007, Steinman was a partner in Sloss Law Office, a boutique entertainment

law firm where he represented producers, financiers, writers and directors, while also negotiating the sales of

finished films. Prior to Sloss Law, he represented banks, private equity firms, entertainment conglomerates

and others as a corporate lawyer at Simpson Thacher & Bartlett. Before law school Steinman held editorial

positions at Esquire magazine, The Paris Review and Let’s Go Travel.

Steinman holds B.A. (English and American literature) and J.D. degrees from Harvard University. He

currently resides in New York City with his wife and three children.

TEDDY SCHWARZMAN (Executive Producer) is the president and chief executive officer of

Black Bear Pictures and the producer of numerous films including The Imitation Game, which was nominated

for eight Academy Awards including Best Picture and won the Oscar® for Best Adapted Screenplay.

Black Bear, which Schwarzman founded in 2011, is the producer of the Barack Obama biopic Barry,

starring Devon Terrell, Anya Taylor-Joy, Jason Mitchell, Ellar Coltrane and Ashley Judd. The company’s

previous production, The Imitation Game starring Benedict Cumberbatch and Keira Knightley, received

numerous other accolades including a BAFTA Award nomination for Best British Film and a Producers

Guild of America Award nomination for Schwarzman and fellow producers Nora Grossman and Ido

Ostrowsky.

The company’s previous credits include At Any Price, starring Dennis Quaid and Zac Efron; Broken

City, starring Mark Wahlberg, Russell Crowe and Catherine Zeta-Jones; and A.C.O.D., starring Adam Scott,

Richard Jenkins and Catherine O’Hara. Schwarzman is also the executive producer of the 2015 horror film

Knock Knock, directed by Eli Roth and starring Keanu Reeves and Lorenza Izzo.

To date, Black Bear’s productions have grossed over $250 million worldwide and won numerous

prestigious awards. The company also owns Toronto-based Elevation Pictures, a leading Canadian

independent film and television distributor, whose current theatrical releases include Moonlight and 20th Century

Women.

24

Black Bear’s upcoming feature films include Gold, starring Matthew McConaughey and Bryce Dallas

Howard; Suburbicon, directed by George Clooney and starring Matt Damon and Oscar Isaac; Mudbound,

starring Carey Mulligan and Garrett Hedlund; and Villain, starring and written by Casey Affleck.

Schwarzman earned a bachelor’s degree in English from the University of Pennsylvania and a law

degree from Duke University. He began his professional career as a corporate attorney before joining New

York-based advisory Cinetic Media, where he was involved in raising financing for films including Bernie and

The Loneliest Planet.

ANDREW KARPEN (Executive Producer) is the CEO of Bleecker Street, an independently

financed distribution company based in New York City. Karpen’s company has released the Golden Globe-

nominated Captain Fantastic, starring Viggo Mortensen, the hit thriller, Eye in the Sky, Danny Collins, with Al

Pacino, I’ll See You in My Dreams, starring Blythe Danner and Sam Elliott, and the Academy Award

nominated, Trumbo. Recent releases include Denial, starring Rachel Weisz and Anthropoid, with Cillian Murphy

and Jamie Dornan. Karpen’s upcoming films include The Last Word; The Lost City of Z, Megan Leavey; Breathe;

and The Man Who Invented Christmas.

Karpen has over 20 years of experience in film and television. He was previously Co-CEO with James

Schamus of Focus Features, which he joined in 2002 as COO and was responsible for the company’s finance,

operations and strategic planning. Focus Features’ Academy Award-winning films include Dallas Buyers

Club, Brokeback Mountain, Lost in Translation, Atonement and Milk.

PATRICK PEACH (Line Producer) has earned a reputation as a versatile producer whose over 30

years of experience allows him to deliver high-quality films at any budget level. Experienced in all film and

digital mediums including 3-D, visual effects and theme-park attractions, Peach has worked on productions in

Canada, the U.K., Europe, Russia, China and the Philippines. He directed the second unit on several projects

and has written and/or directed corporate videos as well as a comedy television pilot. Acting as a producer’s

representative, Peach has also negotiated distribution for several independent films. He is currently in pre-

production on .38 for Foxtail Entertainment, producers of Martin Scorsese’s Silence.

Peach started his career as an independent literary agent before working his way through the

production ranks on over 100 feature, television and commercial productions, in every crew position and

production department. After producing his first film, Naked Campus, for $60,000 at the age of 23, in 1984

he formed RPM Productions. The company produced corporate videos for City National Bank, a music

video for MCA Records and promotional trailers for Republic Pictures and Saban Entertainment.

Through his own production company, Osmosis Productions, Peach produced When the Bough Breaks in

1993, which was a huge non-theatrical success that spawned sequels and a television series. From 1994 to

25

1995 Peach was supervising producer for Film Finances, Inc. on the completion of eight visual-effects-

intensive Full Moon Entertainment films: Josh Kirby: Time Warrior (parts I through V), Prehysteria! 2 and

The Week Folk (parts I and II).

Peach co-produced the critically acclaimed indie cult hit Suicide Kings, starring Christopher Walken,

Denis Leary and Johnny Galecki, which was released theatrically in April 1998. In 1998 he worked as a

production executive on the Miramax release Halloween: H20, starring Jamie Lee Curtis, and was co-

producer on Race to Space, a Lionsgate release. He continued his relationship with Miramax/Dimension

Films as a production consultant and production executive on their 1999-2000 slate of films, including

Reindeer Games, Scream 3, Teaching Mrs. Tingle and Texas Rangers. He then produced Highlander:

Endgame, the fourth installment of the successful franchise, as it shot in Romania, the U.K. and

Luxembourg. In 2000 the film enjoyed the most successful theatrical release of all the Highlander films.

In 2001 Miramax placed Peach on its new TV series, “Project Greenlight,” to produce for Ben

Affleck and Matt Damon’s company. The 13-episode reality series aired that fall on HBO and was nominated

for an Emmy. In 2002, when Peach was hired to produce the new “Star Trek Voyager: Borg Encounter”

theme-park attraction, 3-D was strictly a 35mm film medium. The equipment was too bulky for Steadicam

technology and Peach convinced the studio to hire Vince Pace (James Cameron’s 3-D cinematographer and

partner) as DP to develop and manufacture the very first 90-degree 3-D system for digital cameras,

specifically for the project. Opening at the Hilton Las Vegas, in 2003, the system immediately became the key

camera component in shooting Avatar.

Peach and Pete Jones (director of the Project Greenlight feature Stolen Summer) developed, financed

and produced Outing Riley in 2004, which won the NewFest Award for Best Film. Other film credits include

Canes, Cookers (which won the top five awards at the 2005 Screamfest L.A. Film Festival, including Best

Film), The Guardian, Nanking, The Mighty Macs, Say It in Russian, The Perfect Age of Rock ’n’ Roll,

Limitless, 21 & Over, Mirror Mirror, Paranoia, Earth to Echo, Three Days to Kill, The Best of Me, The

Architect, Lake Mead, The Disappointments Room, Summer Forever and Masterminds.

In between productions, Peach keeps busy by consulting, budgeting, scheduling and bidding for various

studios and international entertainment companies. Additionally, Peach is a regular guest speaker at the New

York Film Academy and Arizona State University film school. He is a member of both the Directors Guild of

America and the Producers Guild of America.

THERESA WON (Co-Producer) is director of production and acquisitions at Myriad Pictures, a

leading independent feature production, financing and distribution company. In her current role at the

company, Won oversees a wide slate of projects in various stages of development and production and has

been instrumental in packaging, acquiring and producing films. She most recently served as executive

26

producer on “Holiday Joy,” helmed by Myriad CEO Kirk D’Amico and starring Bailee Madison, which

premiered on Freeform as part of its 2016 “25 Days of Christmas” lineup.

Other film credits include The Disappearance of Eleanor Rigby, starring Jessica Chastain and James

McAvoy, an official selection at the Cannes Film Festival (Un Certain Regard); Bare, starring Dianna Agron;

The Girl in the Book, directed by Marya Cohn; Frontera, starring Ed Harris and Michael Peña; Barney Thomson,

starring Emma Thompson; Richard Loncraine’s Five Flights Up, starring Morgan Freeman and Diane Keaton;

and You’re Not You, starring Hilary Swank and Emmy Rossum.

Previously, Won was at Intellectual Property Group, a prestigious literary management company

representing top writers and directors such as James Ellroy, Paul Haggis and Dennis Lehane. Prior to her

work in the entertainment industry, she worked in fashion and art in New York City, where her endeavors

included working as a publicist for fashion designer Malcolm Harris. In that role, Won was at the helm of

Harris’ “One Dress Project,” a social-media-driven philanthropic initiative designed to unite and empower

women from all around the world.

Won is actively involved with organizations such as Women in Entertainment and Women in Film.

She has spoken on numerous production and distribution panels including the 2nd annual WIE Fall Summit.

Won is a Los Angeles native who attended Fordham University.

27

PRODUCTION CREDITS

THE LAST WORD

Casting by Heidi Levitt

Music Supervisor Liza Richardson

Composer Nathan Matthew David

Costume Designer Alix Hester

Editor Julia Wong, A.C.E. Production Designer Richard Hoover

Director of Photography Eric Koretz

Co-Producer Theresa Won

Line Producer Patrick Peach

Executive Producer Andrew Karpen Executive Producers Dan Steinman

Teddy Schwarzman

Executive Producers Damiano Tucci

Phillip B. Goldfine

Dan Roth Executive Producers Shirley MacLaine

Amanda Seyfried

Executive Producers Aaron Magnani

Kevin Forester

Produced by Anne-Marie Mackay

Mark Pellington Produced by Kirk D’Amico

Written by Stuart Ross Fink

Directed by Mark Pellington

Unit Production Manager Patrick Peach

First Assistant Director Ed Licht

Second Assistant Director Pete Waterman

Co-Executive Producers Benjamin Rappaport

Bleecker Street Presents

In Association with Franklin Street Capital

A Myriad Pictures Production

In Association with

Wondros, Iron Hoss Films and Parkside Pictures

Film by

MARK PELLINGTON

28

Ross Mrazek

Additional Editor Carmen Morrow

CAST

Harriet Shirley MacLaine Anne Amanda Seyfried

Brenda Ann’Jewel Lee

Robin Sands Thomas Sadoski Edward Philip Baker Hall

Gardener Gedde Watanabe Ronald Odom Tom Everett Scott

Joe Mueller Joel Murray

Housekeeper Yvette Freeman

Wanda Byers Valerie Ross

Elizabeth Anne Heche

Sam Sherman Steven Culp

Bree Wilson Adina Porter

Dr. Morgan Todd Louiso Agency Receptionist Chloe Wepper

Hair Dresser Sarah Baker

Dawn DJ Nikki McCauley

Mr. Daniels Marshall Bell

Moderator Jesse Burch Focus Group Woman 1 Marcy Jarreau

Focus Group Woman 2 Brooke Trantor

Focus Group Man 1 Josh Harto

Nervous Older Man Basil Hoffman Middle Aged Woman Natalija Nogulich

Gynecologist Alanna Ubach

Father Piper Bill Glass

Margaret Dumont Millicent Martin

Father Reilly John Billingsley

Stunt Coordinator Jennie Parrish

Stunts Heidi Pascoe

Spice Williams Crosby

Marissa Labog

Rex Reddick Mark Rayner

Ray Seigle

CREW

Production Supervisor David Malley

2nd 2nd Assistant Director Carey Field

"A" Camera Operator Michael Merriman

29

1st Assistant "A" Camera Ryan Rayner 2nd Assistant "A" Camera Josh Benavidez

1st Assistant "B" Camera Simon England

2nd Assistant "B" Camera Joseph Soria

Digital Imaging Technicians Mike Kellogg

Mike Evans

Additional 1st Assistant Camera Steven Wolfe Additional 2nd Assistant Camera Arthur Zajac

Camera PA Maximillian Ziman

Visual Consultant Matt Roe

Set Photographer Beth Corey

Katrina Marcinowski Jack L. Zeman

Isabella Vosmikova

Script Supervisor Heather Pollock

Gaffer John Buckley

Best Boy Electric Vince Young

Set Lighting Technicians Evan Ovstrovski

Matt Young

Larry Brecht

Victor Major Additional Lighting Technicians Amy Jackson

Matthew Hawkins

Charles Smock

Charles Sparks

Le Richardson Chris Kallemeyn

Chris Weigand

Key Grip Don Reynolds

Best Boy Grip Marvin Mejia Dolly Grip Shannon Summers

Christopher Stalsworth

Company Grips John Reynolds

Christos Georgakopoulos

Additional Company Grips Jon Archibald

Rudy Arrieta Jr. Scott Baty

Cole Chetney

Ian Edwards

Matt Markus

Jose Mendez Christopher Rauch

Chris B. Rountree

Sound Mixer Mary Jo Devenney

Tony Smiley

30

Boom Operator Emil Ace Williams John Paul Hays

Russell McAbee

Sound Utility Keith Sasser

Saif Parkar

Ken Pries

Production Office Coordinator David Malley

Assistant Production Coordinator Zach Laliberte

Production Secretary Ross Warman

Production Office Assistants Jason Mandel

Kaeli Peach Ryan Thompson

Key Set Production Assistant Nathan O'Mahoney

Set Production Assistants Mauli Delaney

Nick Fiore Alyssa Carnazza

Heidi Koleto

Matthew Montgomery

Brittany Trumpletter

Art Director Doug Cumming Art Department Coordinator Kathleen Walker

Art Department PA Jade Phaedra Walker

Set Decorator Sandy Struth

Leadman Hunter Cain On Set Dresser Bruce Bellamy

Shopper/Swing Ethan Goodwin

Swing Allan Lane

William Proctor

James Jackson Nathaniel Magnuson

Monica Sandoval

Carl Turner

Andy Van Scholack

Design Consultant Victor Anderson

Greensmen Jason Dery

Arron Aranda

Joshua Zepeda

Prop Master Christopher "Skeeter" Stanback Assistant Prop Master Jill Parry

Propmakers Larry Bovard

Steve Doss

Zaundra Edwards

Harvey Harris

31

Michael Johnson Antonio Paye

Set Painter Brenon Diaz Barriga

Construction Labor Andre Flores

Juan Paul Gonzales

Ruben A. Lahn Jr. Jake Slattery

Tyeler Slattery

Draper Kevin Knoeferl

Costume Supervisor Emily Egge Costumer Coco Dunaway

Set Costumer Carolina Sapina

Additional Costumers Elizabeth A. Hanley

Radford Polinsky

Cleo Trifonidis

Department Head Hair Steven Soussana

Key Hairstylist Laural VanDyke

Department Head Make-Up Rebecca DeHerrera

Key Make-Up Artists Barbara Augustus Johnson Marie Del Prette

Additional Make-Up Artists Molly Craytor

Emily Zoe Franklin

Elaine Thomas

Location Manager Bob Craft

Key Assistant Location Manager Rosemary Marks

Assistant Location Manager George Carrera

Production Accountant Amy Ostrower Assistant Accountant Jim Gowdy

Payroll Accountant Allen Wong

Set Medic Steve Martin

Kevin Meraz

Chad Smith

Assistant to Mr. D'Amico Kalani Dreimanis

Assistant to Mr. Pellington Joey Breese

Intern to Mr. Pellington Harry Porter

Assistant to Mr. Peach Karina Esperano Assistant to Ms. MacLaine Bernice Miller

Assistant to Ms. Seyfried Eli Powers

Casting Associates Lauren Fernandes

Marin Panunzio

32

Extra Casting Jeff Olan Extra Casting Associate Morgan Womack

Stand In for Ms. Seyfried Shelli Bergh

Stand In for Ms. MacLaine Shelli Bergh

Studio Teacher Elizabeth Fors

Talent Coach Deb Dion

Unit Publicist Audrey Delaney

Production Business Affairs Florence Larsonneur

Emily White

Catering Limelight Catering

Steve Michelson

Chef Carlos Guel

Jose Garcia Chef Assistants Francisco Alfaro

Rafael Bueno

Sesar Grasiano

David Johnson

Craft Services Chris Liner

Erika Perez

Special Effects Coordinator Zachary Knight

Special Effects Assistant Sean Gordon

Transportation Coordinator Mike Locke Transportation Co-Captain Corey Askins

Drivers Guy Michaels

George Schmid

Joseph Tavares

Larry Smith Gary Jackson

Gene Alford

John Cherry

Joe Garcia

Rangel Gonzalez

Chris Chisholm Michael Hindman

Sean Cyphers

Robert Meisner

Michael Starns

Harry Taylor

Camera Car/MTV Driver Frank Politelli

33

POST PRODUCTION

Post Production Supervisor Val Sivkov

Music Editor Carmen Morrow

Additional Music Editor Barbara McDermott

Supervising Sound Editor Stanley Kastner

Mix Technicians George Hart

Steve Neal

Geraldo Gutierrez Pre-dubs Mixed at Wasabi Sound West

Audio Post Services Deluxe Sound Hollywood

Music Mixer Chris Fogel

Music Mix Assistant John Chapman Music Preparation Jeff Tinsley

ADR Mixers Ben Whitver

Tony McVann

ADR Recorded at Monkeyland Audio

Post Haste Audio

Dialogue Assembly Ian Shedd

Foley Artist Bastien Benkhelil

Foley Mixer Nicholas Fedora

Foley Editor Samantha Iorio Foley Recorded at Anomaly Studio

Visual Effects Wesley Cronk

Main Title Design Scatterlight Studios

Digital Intermediate by eFilm

Digital Colorist Jill Bogdanowicz

DI Service Coordinator Andy Chung DI Editor Patrick Clancey

DI Color Assistant Jake King

Imaging Science Rosalie Staley

MYRIAD PICTURES

International Sales Lisa Gutberlet

Stacy Glassgold

Mark Padilla

Marketing Nuria Botella

34

Accounting Katie Spendal Angelica Angarita

Milena Jankovic

Completion Guarantor UniFi Completion Guarantors

Steve Mangle, Steve Lieb, Michael Levin, Beth DePatie

Production Insurance DeWitt Stern

Peter Marshall, Jennifer Bond, Christina Born

Payroll Services Cast & Crew

Camera and Lenses Radiant Images

Syrous Nabatian, Michael Mansouri, Art Criste

Grip and Lighting Equipment Quixote Cinema Rentals

Tom Allison

Editing Equipment Pivotal Post

Production Finance Pacific Mercantile Bank

Adrian Ward, Kristen Brainard

Media Capital Group Ltd

Princess Gates Entertainment Inc.

Angelo Paletta, Paul Paletta, Michael Paletta

Bank Legal Babok & Robinson Barry S. Babok, Erica Fishkin, Caroline Raufi, Rose Pebenito

Shiner

CA Film Tax Credit Compliance Brauer & Co

David Brauer, Haley Alford

SONGS

“Any Time At All”

Written by Al Lerner

Performed by Al Lerner and Dick Haymes

Courtesy of Tru-Gems Records, LLC

By arrangement with Wolf House Songs LLC

"Hey Now" Written by Lydia Night and Marhly Murphy

Performed by The Regrettes

Courtesy of Warner Bros. Records

"Back To You"

Written by Marihuzka Cornelius, Dirk Jonker and

Victoria Zamora

Performed by Bloods Band Administered by Sub

Pop Publishing

Courtesy of Minty Fresh

"Un Cocotaso" Written by Napoleon Angel Tejera Valasquez and Marcus Lee Bell

Performed by Napoleon Produced by Bellringer

Courtesy of Indigi Music

“Everyday” "No Time"

35

Written by Shaun Fleming

Performed by Diane Coffee

Courtesy of Western Vinyl

By arrangement with Bank Robber Music

Written by Emmanuel Chanda

Performed by Witch

Courtesy of Witch and Now-Again Records, LLC

"Feel So Good"

Written and Performed by Jody Reynolds

Courtesy of Tru-Gems Records, LLC

By arrangement with Wolf House Songs LLC

"Mister President"

Written by James Massie

Performed by Amnesty

Courtesy of Amnesty and Now-Again Records, LLC

“The Way I Feel”

Written by Emmanuel Chanda

Performed by Witch

Courtesy of Witch and Now-Again Records, LLC

"Huny Bun"

Written and Performed by Larry Donn

Courtesy of Cleopatra Records

By arrangement with Wolf House Songs LLC

"Why Don't He Understand"

Written by Billy Collins

Performed by Delores White

Courtesy of The Numero Group

By arrangement with Bank Robber Music

"A Woman's Love Is Never Done"

Written by Al Lerner and Victor Corpora

Performed by Al Lerner and Connie Russell

Courtesy of Tru-Gems Records, LLC

By arrangement with Wolf House Songs LLC

“Carnival Ghost”

Written by John Fredericks and Andrew Breihan

Performed by Sacco

Courtesy of Sensibility Music

By arrangement with Secret Road Music Services, Inc

"Walking To A City"

Written by Thad Cockrell

Performed by Leagues

Courtesy of Dualtone Records

By arrangement with Secret Road Music Services, Inc.

"Tornado"

Written by Lee Balsbaugh

Performed by The Jiants

Courtesy of The Numero Group

By arrangement with Bank Robber Music

"Let's Shake" Written by Arum Rae Valkonen, Richard Brown, and Grant Can Amburgh Performed by Arum Rae

By arrangement with Secret Road Music Services, Inc.

"A New Day"

Written by Stephen Addabbo

Performed by Arbuckle

Courtesy of Gusto Records

By arrangement with Wolf House Songs LLC

"Miel Por Mal" Written by David Pacheco and Rene Pacheco

Performed by Thee Commons

Courtesy of Burger Records

By arrangement with Natural Energy Lab

"Woman" "Vena Cava" Written and Performed by Rosie Lowe

Published by Domino Publishing Company of America Inc. Courtesy of Polydor Records Ltd. (UK)

Under license from Universal Music Enterprises

Written and Performed by Lady Lamb Courtesy of Mom + Pop Records

By arrangement with Downtown Records LLC

36

"Riot" Written by Carlos Alberto Hernandez-Gonzalez

Performed by El Gran Silencio Courtesy of Regalia Records By arrangement with Sugaroo!

"Say I Won't (Vocal Remix Feat. Adeem)" Written by Marco Jacobo and Goddy Oky Performed by Maker

Courtesy of Maker and Now-Again Records, LLC

"Mama" Written by Norman Muntemba

Performed by Salty Dog

Courtesy of Salty Dog and Now-Again Records, LLC

"Waterloo Sunset" Written by Raymond Douglas Davies Performed by The Kinks All rights on behalf of Davray Music Ltd. administered by Unichappell Music Inc. and ABKCO Music, Inc. Courtesy of Sanctuary Records Group, Ltd.

By arrangement with BMG Rights Management (US) LLC

Special Thanks

Isabella Pellington, Zanne Devine, David Grace, David Azotto, Regus, Mason Manning, Kevin Hyman, John Suh, Cast Locations, Kenzaeli, American Softub, Jesse Dylan, Sue Murphree, Tom Lassally, Tamara Draut, Harper Drait-Fink, Steve Michaelson, The Slider Inc., Theodore Shapiro, Andrew Zach, Hailey Wierengo, Abby Bluestone, Jack Gilardi,

Blair Kohan.

Produced with Assistance from the State of California and the California Film Commission

Filmed on location in LOS ANGELES

The Last Word

Soundtrack available from Lakeshore Records

© 2016 LLC All Rights Reserved

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