UNIVERSAL PICTURES Presents
In Association With RELATIVITY MEDIA
A STUBER PICTURES Production
JUDE LAWFOREST WHITAKER
LIEV SCHREIBERALICE BRAGA
CARICE VAN HOUTEN
Executive ProducersMIGUEL SAPOCHNIK
JONATHAN MONEMIKE DRAKE
VALERIE DEANANDREW Z. DAVIS
Produced bySCOTT STUBER
Based on the Novel “The Repossession Mambo” byERIC GARCIA
Screenplay byERIC GARCIA & GARRETT LERNER
Directed byMIGUEL SAPOCHNIK
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CAST
Remy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JUDE LAWJake . . . . . . . . . . . . . . . . . . . . . . . . . FOREST WHITAKERBeth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALICE BRAGAFrank . . . . . . . . . . . . . . . . . . . . . . . . . . LIEV SCHREIBERCarol . . . . . . . . . . . . . . . . . . . . . . CARICE VAN HOUTENPeter . . . . . . . . . . . . . . . . . . . CHANDLER CANTERBURYRay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOE PINGUEAlva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LIZA LAPIRALittle Alva . . . . . . . . . . . . . . . . . . . . TIFFANY ESPENSENRhodesia . . . . . . . . . . . . . . . . . YVETTE NICOLE BROWNT-Bone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RZAJohn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WAYNE WARDHooker . . . . . . . . . . . . . . . . . . . . . . . . . . TANYA CLARKELarry the Lung . . . . . . . . . . . . . . . . . . . . MAX TURNBULLSalesmen . . . . . . . . . . . . . . . . . . . . . HOWARD HOOVER
ROBERT DODDSYoung Remy . . . . . . . . . . . . . . . . . . . . . . . . . . RAFF LAWYoung Jake . . . . . . . . . . . . . . . . . . . TREMAYNE CORIONObese Man . . . . . . . . . . . . . . . . . . . . . . . MARTY ADAMSChipped Tooth . . . . . . . . . . . . . . . . . . . . . . DANIEL KASHAddict . . . . . . . . . . . . . . . . . . . . . . . . CHRISTIAN LLOYDCabbie . . . . . . . . . . . . . . . . . . . . DOMENIC CUZZOCREACab Passenger . . . . . . . . . . . . . . . . . . . . . CARLOS DIAZQ Nurse . . . . . . . . . . . . . . . . . . . . . . . . . . IMALI PERERAHallway Nurse . . . . . . . . . . . . . . . . . . . TANNIS BURNETTFather . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL CRAMRemy’s Female Customer . . . . . . . HEATHER HODGSONRemy’s Male Customer . . . . . . . . . . . . . BRUCE GOOCHJump Rope Girls . . . . . . . . . . . . . . LAYTREL MCMULLEN
ELLIE ELLWANDALIE RUTTY
Gruff Repo Man . . . . . . . . . . . . . . . . KENNY ROBINSONTSA Guard . . . . . . . . . . . . . . . . . . . . . . . . . . . JIM ANNANTSA Agents . . . . . . . . . . . . . . . . . . . . . . . . . ALICE POON
SIMON NORTHWOODWAYNE DOWNER
JOHN MACDONALDPassengers . . . . . . . . . . . . . . . . . . . . . . . . NEIL WHITELY
MARIUM CARVELLCurious Man . . . . . . . . . . . . . . . . . . . DANIEL LEVESQUERepo Trainee . . . . . . . . . . . . . . . . MICHAEL GRAJEWSKITechnician . . . . . . . . . . . . . . . . . . . . . . . ZOÉ MUGFORDSick Father . . . . . . . . . . . . . . . . . . . . . . . PHILIP NESSELGuard . . . . . . . . . . . . . . . . . . . . . . ROLAND ROTHCHILDDoctor . . . . . . . . . . . . . . . . . . . . . . . . . . DENIS AKIYAMAWoman in Bathroom . . . . . . . . . . . . . . . . . KATIE BERGINNewswoman . . . . . . . . . . . . . . . . . . . . . . . . JEE YUN LEENewsman . . . . . . . . . . . . . . . . . . . . . . . . . . TINO MONTERaggedy Dude . . . . . . . . . . . . . . . . . . . . . JOHN PICARD
Artiforg Arm . . . . . . . . . . . . . . . . . . . . . KEVIN RUSHTONRepo Woman . . . . . . . . . . . . . . . . . . . . . ALICIA TURNERSubway Girl . . . . . . . . . . . . . . . . . . . . . . . . CIARA JONESYoung Debtor . . . . . . . . . . . . . . . . . . . . . . . RILEY JONESBikini Girl . . . . . . . . . . . . . . . . . . . ANGELINA ASSERETODoctor . . . . . . . . . . . . . . . . . . . . . . . . . . . . MATT BARAMStunt Coordinator/Fight Choreographer . . . . HIRO KODACanadian Stunt Coordinator . . . . . . . . . . . . . KEN QUINNStunt Consultant . . . . . . . . . . . . . . . . . . . . . JEFF IMADAStunts . . . . . . . . . . . . . . . . . . . . . . . . . . . LLOYD ADAMS
NICK ALACHIOTISROB ARCHER
GUY BEWSHUBERT BOORDER
DEREK BUJALSKIBRAD BUNN
CHAD CAMILLERIJASON CAVALIER
MIKE CHUTEDEAN COPKOV
CHRISTOPHER CORDELLNEIL DAVISON
FLINT EAGLEJOE EIGO
TOM FARRJEAN FERNETTE
TIG FONGERROL GEE
DON GOUGHBRIAN JAGERSKY
ERIN JARVISBRAYDEN JONES
DANA JONESJAMIE JONESKELLY JONES
STÉPHANE JULIENALLEN KENG
HENRY KORHONENLARRY LAM
DANNY LIMADAVE MACOMBER
JAMES MARKPATRICK MARK
WALTER MASKOCOTTON MATHER
CHRISTOPHER MCGUIREDARREN MCGUIREDUNCAN MCLEOD
MICHAEL MUKATISMOSES NYARKO
DAYO ODESANYA
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BILL OLIVERJEFF ONG
LOUIS PAQUETTEDARYL PATCHETT
EDWARD QUEFFELECCHERYL QUIACOS
ROBERT RACKIALISON REID
HERB REISCHLBRYAN RENFRO
JOHN ROSSPAUL RUTLEDGEBRYAN THOMAS
ROBERT THOMASPETER SEABORNE
DARREN SHAHLAVISTEVE SHACKLETONMARY ANN STEVENSGEORGE TCHORTOV
RON VAN HARTDAVE VAN ZEYL
LEN WAGNERRON WEBBER
PAUL WU
CREW
Directed by . . . . . . . . . . . . . . . . . . MIGUEL SAPOCHNIKScreenplay by . . . . . . . . . . . . . . . . . . . . . ERIC GARCIA &
GARRETT LERNERProduced by . . . . . . . . . . . . . . . . . . . . . SCOTT STUBERExecutive Producers . . . . . . . . . . . MIGUEL SAPOCHNIK
JONATHAN MONEMIKE DRAKE
VALERIE DEANANDREW Z. DAVIS
Director of Photography . . . . . . . . . . ENRIQUE CHEDIAKProduction Designer . . . . . . . . . . . . . DAVID SANDEFUREditor . . . . . . . . . . . . . . RICHARD FRANCIS-BRUCE ACE
Costume Designer . . . . . . . . . . . . . . CAROLINE HARRISMusic by . . . . . . . . . . . . . . . . . . . . . . MARCO BELTRAMIUnit Production Manager . . . . . . . . . STEVE WAKEFIELD First Assistant Director . . . . . . . . . . . RICHARD COWANSecond Assistant Director . . . . JOANNA KELLY MOOREVisual Effects Supervisor . . . . . . . . AARON WEINTRAUB Art Director . . . . . . . . . . . . . . . . . . . . . . . . . . . DAN YARHI1st Assistant Art Director . . . . . . . . . . . SORIN POPESCU2nd Assistant Art Directors . . . . . . . . . SHAWN THOMAS
JODY LEMENTSet Designers . . . . . . . . . . . . . . . . . . . RUSSELL MOORE
JAMES OSWALD
Architectural Concept Illustrator . . . . . . . JOHN FRASERMechanical Concept Illustrator . . . . . . . . . . . . . . RAY LAIIllustrator . . . . . . . . . . . . . . . . . . . . . BARTOL RENDULICArt Department Coordinator . . . . . . . . . . . . . . . . . . . . . . .
CORINNA SCHMITT PORSIAArt Department PAs . . . . . . . . . . . . . . . LORNE CHAITOV
MEREDITH WOODLEYSet Decorator . . . . . . . . . . . . . . . . . CLIVE THOMASSONAssistant Set Decorator . . . . . . . . . . . . . CAROLINE GEELeadman . . . . . . . . . . . . . . . . . . . . . . . . . . . . REX FIELDSSet Dressers . . . . . . . . . . . . . . . . . . . . . . DAVID LYLLOFF
MICHAEL TAWTONSet Decorator Buyer . . . . . . . . . . . . . . . JACLYN SHOUBKey Greens . . . . . . . . . . . . . . . . . . MIKE VANDERTEEMSGreens Lead . . . . . . . . . . . . . . . . . . . . HENRY GARDNEROn-Set Dresser . . . . . . . . . . . . . . . . . BRENTON BROWNProperty Master . . . . . . . . . . . . . . . . . . . . . RON HEWITTAssistant Property Master . . . . . . . MICHAEL HUSCHKAProps Buyers . . . . . . . . . . . . . . . . . CHARLES MCGLYNN
GEOFFREY SMITHTHERESA BUCKLEY
Camera Operator . . . . . . . . . . . . . . . . . . ANDY CHMURA1st Assistant “A” Camera . . G. CHRISTOPHER RAUCAMP2nd Assistant “A” Camera . . . . . . . . . . . TIM KNEESHAW“B” Camera/Steadicam Operator . . . . . . . . TIM MERKEL1st Assistant “B” Camera . . . . . . . . . . . . BRAD CROSBIE2nd Assistant “B” Camera . . . . . . . . . . . . . DEAN MORINCamera Loader . . . . . . . . . . . . . . . . . . . . BRIAN CASSARVideo Assist Supervisor . . . . . . . . . . . . . . . . . . TIM DAVISVideo Assist . . . . . . . . . . . . . . . . . . . . . PETER BOWMAN24-Frame Playback . . . . . . . . . . . MARK LEWANDOWSKIRe-recording Mixers . . . . . . . . . . . . . . . . . . JON TAYLOR
CHRISTIAN P. MINKLERSound Design & Supervision . . . . . . . YANN DELPUECH
DARREN KINGProduction Sound Mixer . . . . . . . . . . . GLEN GAUTHIERBoom Operator . . . . . . . . . . . . . . . . . . . STEVE SWITZERCable Puller/2nd Boom . . . . . . . . . . . . . MOSHE SAADONGaffer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BOB MCRAEBest Boy Electric . . . . . . . . . . . . . . . . . . . . . . DOUG REIDElectrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . DANNY PIVA
STEVE FERRIERNORM O’HALLORAN
GARY DENEAULTGenny Operator . . . . . . . . . . . . . . . . . . . . . . . JOHN PIVARigging Gaffer . . . . . . . . . . . . . . . . JOHN C. FERGUSONBest Boy Rigging Electric . . . . . . . . . . . . . . . TIM LOVELLKey Grip . . . . . . . . . . . . . . . . . . . . CHRISTOPHER DEANBest Boy Grip . . . . . . . . . . . . . . . . . . . . JAMES HOLMESDolly Grip . . . . . . . . . . . . . . . PHILIPPE BUCK LANTHIERGrips . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN ADAMSON
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FABIAN MACDONALDRON SCHROEDER
MARK DUFOURRigging Key Grip . . . . . . . . . . . . . . WALTER LIPSCOMBEBest Boy Rigging Grip . . . . . . . . . . . . . . . . HUGH BRULEVFX Accountant . . . . . . . . . . . . . . . . . . . . . . LINDA ROSESFX Coordinator . . . . . . . . . . . . . . . . WARREN APPLEBYOn-Set Special Effects . . . . . . . . TIMOTHY BARRABALL1st Assistant SFX . . . . . . . . . . . . . . . SHUBA DASGUPTAShop Supervisor . . . . . . . . . . . . . . FIONA MACPHERSONSFX Builder . . . . . . . . . . . . . . . . . . . . . . GORD HUDSONSFX Rigging Key . . . . . . . . . . . . . . . . . . . . . . . DAVE HILLSFX Labor . . . . . . . . . . . . . . . . . . STEPHANIE APPLEBYSFX Props Builders . . . . . . . . . . . . . . . . . . INESE DZENIS
MARC DIXONSAM MUJKANOVIC
Assistant Costume Designer . . . . . . . . TRYSHA BAKKERCostume Supervisors . . . . . . . . . . . . . RICHARD KROGH
KATHERINE BURCHILLSet Supervisor . . . . . . . . . . . . . . . . . . . . LOU DECAMPOCostume Buyers . . . . . . . . . . . . . . . . . . . . . LEONIE REID
MARY PARTRIDGEBackground Costume Coordinator . . . . . . DONNA BUTTBackground Set Supervisor . . . . . . . . . KAREN RENAUTKey Breakdown Artist . . . . . . . . . . . . KAREN EPPSTADTHead of Makeup Department . . . . . . . DONALD MOWATAssistant Makeup Department Head . . JO-ANN MACNEILMakeup Artist . . . . . . . . . . . . . . . . . . MARLENE AARONSSpecial Makeup FX Created & Designed by . . . . . . . . . . .
ANDREW CLEMENTEffects Assistant . . . . . . . . . . . . . . . . DAVID MONZINGOShop Effects Supervisor . . . . . . . . . . . . . LANCEL REYESLead Mold Maker . . . . . . . . . . . . . . . . . ROBERT RAMOSRapid Prototyping Engineer . . . . . . . . . . . JASON LOPESHead of Hair Department/Hair Designer . . . . . . . . . . . . . .
JUDI COOPER SEALYAssistant Hairstylists . . . . . . . . . . . . . CAROL HARTWICK
CATHY SHIBLEYScript Supervisor . . . . . . . . . . . . . . . . . . KATHRYN BUCKLocation Manager . . . . . . . . . . . . . . . . WILL HODDINOTTAssistant Location Managers . . . . . . . . . . . STAN LIDON
PHILIP SPURVEYLocation Scout . . . . . . . . . . . . . . . . . . . . . MARK MOORELocations Production Assistants . . . . . . JARED BURTON
TED ZAGRODNYProduction Accountant . . . . . . . KAREN DE MONTBRUN1st Assistant Accountant . . . . . . . . . . . . VIRGINIA ALVESPayroll Accountant . . . . . . . . . . . . . . . . . RYAN HEIMPELPost Production Accountant . . . . . . . CYNTHIA PHILLIPS2nd Assistant Accountants . . . . . . . . . . . . GINA FOWLER
DEVIN WHITE
Accounting Production Assistant . . . . . SIOBHAIN FRAYProduction Coordinator . . . . . . . . . . . . . . KAREN DOBLEAssistant Production Coordinator . . . . . . . . . . . . . . . . . . .
SANDRA LYNNE GOODERHAMProduction Secretary . . . . . . . . . . . . . . AARON HORTONClearance Coordinator . . . . . . . . . . . MARA MCSWEENYAsset Coordinator . . . . . . . . . . . . . . . . . . . JASON LORR3rd Assistant Directors . . . . . . . . . . . . PATRICK MURPHY
ADAM BOCKNEKTrainee Assistant Director . . . . . . . TRAVIS MCCONNELLCasting Associate . . . . . . . . . . . . . . . . . . . KARA LIPSONCanadian Casting . . . . . . . . . . . . . . . . DEIRDRE BOWENCanadian Casting Assistant . . CHRISTOPHER RICHARDSExtras Casting . . . . . . . . . . . . . . . . . ZAMERET KLEIMANExtras Casting Assistant . . . . . . . . . . . . LUISA CABIDDUUnit Publicist . . . . . . . . . . . . . . . . . . . . . . LISA SHAMATAStill Photographer . . . . . . . . . . . . . . . . . . . KERRY HAYESAssistants to Mr. Sapochnik . . . . . . . GORDON WHISKY
MICHAEL RIDLEYAssistants to Mr. Stuber . . . . . . . . . NICHOLAS NESBITT
KRISTEN CASCIOAssistants to Ms. Parent . . . . . . . . . . . . LEE ZACHARIAS
ROXANNE MARCINIAKAssistant to Mr. Davis . . . . . . . . . . . . . . ASHLEY BOWENAssistant to Mr. Drake . . . . . . . . . . . . . . . . JODI A. TARIOAssistant to Mr. Mone . . . . . . . . . . . . . . . . . . DAVID JOOAssistant to Mr. Lerner . . . . . . . . . . . . SIMRAN BAIDWANAssistant to Mr. Law . . . . . . . . . . . . . . . . BEN JACKSONAssistant to Mr. Whitaker . . . . . . . . . . . . . . . TANYA LEALAssistant to Mr. Schreiber . . . . . . . JENNIFER HAUFLERMs. Braga’s Dialect Coach . . . . . . . . . JEROME BUTLEREducational Supervisor . . . . . . . . . . DAHLA MACKENNAMedical/Surgical Advisor . . . . . . . . . . . . . . . DR. SEMPLEPhysical Trainer . . . . . . . . . . . . . . . . . . . . . LISA TWIGHTFuturist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BEN BOVAStoryboard Artists . . . . . . . . . . . . . . MICHAEL JACKSON
VINCE PEETSOn-Set Medic . . . . . . . . . . . . . . . . . . . . . . . STEVE HOLTOffice Production Assistants . . . . . . . . . . . . . BEN HONG
KEN STANBURYConstruction Coordinator . . . . . . . . . . . . . BILL HARMANHead Carpenter . . . . . . . . . . . . . . . . . . . BRIAN MURRAYAssistant Head Carpenter . . . . . . . . . . . . . BOB CLAUSEKey Scenic Artist . . . . . . . . . . . . . . . . . . . . . REET PUHMHead Painter . . . . . . . . . . . . . . . . . . . . . JAY SONDERERAssistant Scenic . . . . . . . . . . . . . . . . . . . . . BILLY KOONAssistant Head Scenic . . . . . . . . . . . . . . . . . JOE BOWEROn-Set Scenic Artists . . . . . . . . . . . . . . . . . MIKE CHARD
CHARLES SHARUNTransportation Coordinator . . . . . . . . . GRANT VOLKERSTransportation Captain . . . . . . . . . . . . STUART HUGHES
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Transportation Co-Captain . . . . . . . . . RUDY BACCUCHIBase Camp Supervisor . . . . . . . . . . . . . STEPHAN PYKEPicture Car Coordinator . . . . . . . NORMAN HENDERSONPicture Car Captain . . . . . . . . . . . . . . . . . . . . BRYAN LEEPicture Cars . . . . . . . . . . . . . . . . . . . . . JOHN MOURTZISCatering . . . . . . . . . . . . . . . . . . . CAPERS ON LOCATIONCraft Service . . . . . . . . . . . . . . . . . . . . MICHELE HAMEL
KATHY LOCHWINTRINA PETRIK
Animal Wrangler . . . . . . . . . . . . . . . . . . . . RICK PARKERAdditional Editor . . . . . . . . . . . . . . . . . . . ROBERT MEADFirst Assistant Editor . . . . . . . . . . . JENNIFER SPENELLI Visual FX Editors . . . . . . . . . . . . . CHISAKO YOKOYAMA
JIM SCHEREMERHORNAssistant Editors . . . . . . . . . . . . . . . . . MICHAEL STRUK
TOBY FRANCIS-BRUCEFirst Assistant Editor (Canada) . . . . . . . . DAWN STOLIARAssistant Editor (Canada) . . . . . . . CLARE BAMBROUGHSound Editors . . . . . . . . . . . . . . . . . . . . JOEL SHRYACK
BARBARA DELPUECHBARBARA NOREN JUSTIN PEARSONJEENA M. PHELPS
Sound FX Design . . . . . . . . . . . . . . . BERNARD WEISER1st Assistant Sound Editor . . . . . . . . . ANN DUCOMMUNAssistant Sound Editors . . . . . . . . . . . . . E. NILES KLEIN
RYAN LUKASIKJEFFREY DYAL
Foley Artists . . . . . . . . . . . . . . . . . . . . . . . JOHN SIEVERT STEFAN FRATICELLI
STEVE BAINE VIRGINIA STOREY
Foley Engineers . . . . . . . . . . . . . . . . . . . STEVE COPLEY RANDY WILSON
Foley Recorded at . . . . . . . . . . . . . JRS PRODUCTIONS TECHNICOLOR TORONTO
ADR Mixers . . . . . . . . . . . . . . . . . . . . . JEFF GOMILLION PAUL DENNINGDAVE BOLTON
PETER GLEAVESADR Recordist . . . . . . . . . . . . . . . . . . . . PHILIP ROGERSADR Group Coordinator . . . . . . . . . . CAITLIN MCKENNAADR Voices . . . . . . . . . . . . . . . . . . . CLAUDINE BARROS
JON BRUNOBIRA CASTRO
DAVID COWGILLROBIN ATKIN DOWNES
DON FULLILOVEELISA GABRIELLI
JESSICA GEORGEKAREN HUIE
RIF HUTTONJIM LAU
CONAN LEE LUCY LIN
CAITLIN MCKENNARICHARD ORTEGA MIRO
PAUL PAPEJACQUELINE PINOL
DENNIS SINGLETARYWINDY WAGNER
LYNNANNE ZAGERMix Technician . . . . . . . . . . . . . . . . . . . . . UNSUN SONGStage Engineers . . . . . . . . . . . . . . . . DAVE BERGSTROM
JACK SNYDERRe-recorded at . . . . . . . . UNIVERSAL STUDIOS SOUNDMusic Editors . . . . . . . . . . . . . . . . . . . . . . . . . DEL SPIVA
STEVE DURKEEVICKI HIATT
Additional Music by . . . . . . . . . . . . . . CEIRI TORJUSSEN MARCUS TRUMPP
BUCK SANDERSOrchestration by . . . . . . . . . . . . . . . . CEIRI TORJUSSEN
MARCUS TRUMPPDANA NIU
WILLIAM BOSTONTIM DAVIES
Music Preparation . . JOANN KANE MUSIC SERVICE INC.Digital Orchestral Timings . . . . . . . . . . RICHARD GRANTDigital Recordist . . . . . . . . . . . . . . . . . . . NOAH SNYDERScore Recorded & Mixed by . . . . . . JOHN KURLANDERScore Recorded at . . . . . . . . . . . . . 20TH CENTURY FOXFox Scoring Crew . . . . . . . . . . . . . DENIS SAINT-AMAND
TIM LAUBERTOM STEEL
FRANCESCO PERLANGELISTACEY ROBINSON
Score Mixed at . . . . . . . . . . THE VILLAGE RECORDERSDigital Intermediate . . . . . . . . . . . . . . . . . . . . . . . . EFILMDI Colorist . . . . . . . . . . . . . . . . . . . . . . . . . . YVAN LUCASDI Producer . . . . . . . . . . . . . . . . . . . . . . . . . LOAN PHANDigital Opticals . . . . . . . . . . . . . . . . . PATRICK CLANCEYMain/End Title Design . . . . . . . . . . . . . . . . . . . . . . . . . PICEnd Crawl . . . . . . . . . . . . . . . . . . . . . SCARLET LETTERSNegative Cutter . . . . BUENA VISTA NEGATIVE CUTTINGColor Timer . . . . . . . . . . . . . . . . . . . . . GEORGE CHAVEZ
FLORIDA UNIT
Unit Production Manager . . . . . . . . . KARYN MCCARTHY 2nd Assistant Director . . . . . . . . . . STEPHEN DEL PRETEOn-Set Dresser . . . . . . . . . . . . . . . . . . . . CECIL DURDEN
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Greensman . . . . . . . . . . . . . . . . . . . . . . . . PETER MULLEProperty Master . . . . . . . . . . . . . . . . . . . . . . MARK DANE1st Assistant B Camera . . . . . . . . . . . . . . PETER FARBER2nd Assistant B Camera . . . . . ROBERTO BALLASTEROSCamera Loader . . . . . . . . . . . . . . . . . . . . . CARLA SOSAVideo Assist . . . . . . . . . . . . . . . . . . . . . SCOTT BLYNDERBoom Operator . . . . . . . . . . . . . . . . . . . . . JACOB KEMPCable Puller . . . . . . . . . . . . . . . . . . . . . . . . DAN WHITINGBest Boy Electric . . . . . . . . . . . . . . . . . . . . . GARY RYANElectrics . . . . . . . . . . . . . . . . . . . . . . . . . JIMMY SECKEL
DAN DEMIRGIANGARRY HIRT
Best Boy Grip . . . . . . . . . . . . . . . . . . . . BEN KANEGSONDolly Grip . . . . . . . . . . . . . . . . . . . . . . . . . JAMES GREENGrips . . . . . . . . . . . . . . . . . . . . . . . . . . . . KEVIN HIGGINS
CHRIS TARANTINOJOHN SIDER, JR.
GREG COUPLANDKey Costumer . . . . . . . . . . . . . . . . . . . . . . . . . JACQUI G.2nd Assistant Makeup . . . . . . . . . . . . . . . SUSIE PFISTERKey Hair . . . . . . . . . . . . . . . . . . . . . GUNNAR SWANSON2nd Assistant Hair . . . . . . . . . . . . . . . . . . . . JOEY REGALLocation Manager . . . . . . . . . JENNIFER RADZIKOWSKIPayroll Accountant . . . . . . . . . . . . . . . . . . . . . LEE OGLEProduction Coordinator . . . . . . . . . . . . . . . LISA MARTINAssistant Production Coordinator . . JULIE ANN GRASSO2nd 2nd Assistant Director . . . . . . . . . . OSCAR AGUIRREOn-Set Medic . . . . . . . . . . . . . . . . FREDDY FIGUEREDOTransport Coordinator . . . . . . . . . . . . . . JON BERGHOLZTransport Captain . . . . . . . . . . . . . . . . . DANNY TAYLORCatering . . . . . . . . . . . . . . . . . . . . MY BUDDY CATERINGCraft Service . . . . . . . . . . . . . . . . COLLEEN MCCARTHY
MICKEY MCCARTHYDigital Visual Effects by . . . . . . . . . . . . . . . . . MR. X INC.Visual Effects Producer . . . . . . . . . . . SARAH MCMURDOCompositing Supervisor . . . . . . . . . . . . TAMARA STONECG Supervisor . . . . . . . . . . . . . . . . . . . . CRAIG CALVERTDigital Environment Lead . . . . . . . . . . . . . MAI-LING LEESenior VFX Producer . . . . . . . . . . . . . . DENNIS BERARDIVisual Effects Coordinator . . . . . . . . . . . ADNAN AHMEDOn-Set Coordinator . . . . . . . . . . . . . . . . . MATT GLOVERDigital Compositors . . . . . . . . MATHIEU ARCHAMBAULT
BARB BENOITKRISTY BLACKWELL
KRIS CARSONANDY CHAN
RICHARD CHIUTOMMASO CORONA
DANNY DUCHESNEAUBHAVIK MEHTA ANIRBAN DAS
CLAIRE MCLACHLAN
JAIDEEP MOHANPETE O’CONNELL KEVIN QUATMAN
PAUL SAINT-HILAIRE MAG SARNOWSKACAROLYN SHELBY BRIDGET TAYLOR
SEBASTIEN VEILLEUX GWEN ZHANG
Digital Matte Painters . . . . . . . . . . . . . MATT SCHOFIELD MATHEW BORRETT
Model & Texture Artists . . . . . . . . . . . JASON GOUGEON ERIC LACROIX
JACKSON LI SEAN MILLS
Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . AYO BURGESS LISA KELLY
JESSICA NOLET GUSTAVO FERNANDES
DANILA POGOLOVTechnical Supervisor . . . . . . . . . . . . . . . . . . BEN SIMONSShader Writer . . . . . . . . . . . . . . . . . . . . . JIM GOODMANAnimators . . . . . . . . . . . . . . . . . . . . . . . DAN CARNEGIE
HUBERT CHANDANIEL MIZUGUCHI
MATT RALPHCHRIS DE SOUZA
ABHISHEK SAXENAGAVIN SOARES
JIM SUProduction Management . . . . . . . . ISABELLE LANGLOIS
SARAH BARBERJESH KRISHNA MURTHY
ROOPESH GUJARSWAPNIL YESANKHEDE
Dailies Operator . . . . . . . . . . . . . . . . . . . . ROB PHILLIPSAssistant VFX Producer . . . . . . . . . . WILSON CAMERON
“SWAY (MUCHO MAMBO)”Written by Norman Gimbel, Pablo Beltran Ruiz,
Luis Demetrio Traconis MolinaPerformed by Rosemary Clooney featuring
Perez Prado and His OrchestraCourtesy of The RCA Records Label
By arrangement with Sony Music Entertainment
“RELEASE YO’ SELF (PRODIGY MIX)”Written by RZA, Method Man, Dino Fekaris, Frederick Perren
Performed by Method ManCourtesy of The Island Def Jam Music Group
Under license from Universal Music Enterprises
– 6 –
“JAH CALLING”Written by Alvin PorterPerformed by The Itals
Courtesy of Sunflower Entertainment Co., Inc.By arrangement with The Orchard
“CRY ME A RIVER”Written by Arthur Hamilton
“5446 WAS MY NUMBER”Written by Frederick HibbertPerformed by The Maytals
Courtesy of Sanctuary Records GroupUnder license from Universal Music Enterprises
“EVERYDAY WILL BE LIKE A HOLIDAY”Written by William Bell, Booker T. Jones, Jr.
Performed by William Bell Courtesy of Atlantic Recording Corp.
By arrangement with Warner Music Group Film & TV Licensing
Additional elements by RZA featuring Stone Mecca and Reverend William Burks
Courtesy of Wu Music Group
“I JUST WANT TO CELEBRATE”Written by Nick Zesses, Dino Fekaris
Performed by Seeds of LoveCourtesy of Sealove Multimedia Corp.
“BATTLING GO-GO YUBARI IN DOWNTOWN L.A.” Written by Edward Randolf Ma
Performed by EditCourtesy of Alpha Pup Records
“FEELING GOOD”Written by Leslie Bricusse, Anthony Newley
Performed by Nina Simone Courtesy of The Verve Music Group
Under license from Universal Music Enterprises
“SEXO PERFECTO (EN MASSE REMIX)”Written by Alberto Sansfi, Dora Schillizzi,
Riccardo PhillipsPerformed by SupabeatzCourtesy of Irma Records
By arrangement with pigFactory USA LLC
“NAUSEA”Written by Beck Hansen
Performed by BeckCourtesy of Interscope Records
Under license from Universal Music Enterprises
“PALEX REAP MY MAMBO”Written by Miguel Sapochnik
Produced by Jon Taylor, Del Spiva
“SAMBA DE VERAO”Written by Marcos Kostenbader Valle,
Paulo Sergio Kostenbader VallePerformed by Harry Garfield
“BURN MY SHADOW”Written by Chris Goss, James Lavelle,
Richard File, Ian AstburyPerformed by UNKLE
Courtesy of Surrender All Ltd.By arrangement with Zync Music Inc.
“SING IT BACK”Written by Roisin Murphy, Mark Brydon
Performed by MolokoCourtesy of Echo Label
“DREAM A LITTLE DREAM OF ME”Written by Gus Kahn, Wilbur Schwandt, Fabian Andre
Performed by The Mamas & The Papas featuring Cass Elliot
Courtesy of Geffen RecordsUnder license from Universal Music Enterprises
“LOVE LIVES”Written by Sam Stewart
Performed by Dave Stewart
In association with Dentsu Inc.
Shot on location in Ontario, Canada, with assistancefrom Ontario Media Development Corporation.
Vehicles supplied by Volkswagen.
Microsoft product screen shots reprinted with permissionfrom Microsoft Corporation.
Stock photos by Corbis Corporation.
Extreme Sports stock footage courtesy of iClipx.com
Car Stuck Girls footage courtesy of Swen Goebbels Videoproduktion.
Stock footage courtesy of Howard HallProductions/Footage Search.
– 7 –
Commercial segments produced by GoodnessManufacturing and Tool of North America.
Special Thanks toPietro Scalia
This motion picture used sustainability strategies to reduce its carbon emissions and environmental impact.
(logo)
DGC Logo ACTRA Logo
COPYRIGHT © 2009 UNIVERSAL STUDIOSAll Rights Reserved.
ANIMATED UNIVERSAL STUDIOS LOGO © 1997UNIVERSAL STUDIOS
UNIVERSAL STUDIOS IS THE AUTHOR OF THISMOTION PICTURE FOR PURPOSES OF THE BERNE
CONVENTION AND ALL NATIONAL LAWS GIVINGEFFECT THERETO.
THE CHARACTERS AND EVENTS DEPICTED IN THISPHOTOPLAY ARE FICTITIOUS. ANY SIMILARITY TOACTUAL PERSONS, LIVING OR DEAD, IS PURELY
COINCIDENTAL.
THIS MOTION PICTURE IS PROTECTED UNDER THE LAWS OF THE UNITED STATES AND OTHER
COUNTRIES. UNAUTHORIZED DUPLICATION,DISTRIBUTION OR EXHIBITION MAY RESULT IN CIVIL
LIABILITY AND CRIMINAL PROSECUTION.
(The Union Logo)
All Artiforgs subject to repossession in the event of nonpayment.
Credits as of March 30, 2009.
– 8 –
NO. 45198
MOTION PICTURE ASSOCIATION OF AMERICA
The Union’s top enforcers, Remy (JUDE LAW) and Jake (FOREST WHITAKER), in the futuristic action-thriller Repo Men.
In the futuristic action-thriller Repo Men,
humans have extended and improved our lives
through highly sophisticated and expensive artifi-
cial organs. The dark side of these medical break-
throughs is that if you don’t pay your bill, The
Union sends its highly skilled repo men to take
back its property…with no concern for your
comfort or survival.
JUDE LAW (Sherlock Holmes, Cold Mountain)
plays Remy, one of the best organ repo men in the
business. When he suffers a near-fatal injury on the
job, he awakens to find himself fitted with the
company’s top-of-the-line heart replacement…as well
as a hefty debt. But a side effect of the procedure is
that his heart’s no longer in the job. When he can’t
make the payments, The Union sends its toughest
– 9 –
enforcer, Remy’s former partner Jake (Academy
Award® winner FOREST WHITAKER of The Last
King of Scotland, Vantage Point), to track him down.
Now that the hunter has become the hunted,
Remy joins Beth (ALICE BRAGA of I Am Legend,
Blindness), another debtor who teaches him how to
vanish from the system. And as he and Jake embark
on a chase across a landscape populated by maniacal
friends and foes, one man will become a reluctant
champion for thousands on the run.
Joining Law and Whitaker for Repo Men are LIEV
SCHREIBER (X-Men Origins: Wolverine, Taking
Woodstock) as The Union’s manager and top closer,
Frank; CARICE VAN HOUTEN (Valkyrie, Body of
Lies) as Remy’s wife, Carol; and RZA (Funny People,
American Gangster) as T-Bone, the musician whose
encounter with Remy ends Remy’s ability to do his job.
The action-thriller is directed by MIGUEL
SAPOCHNIK (The Dreamer) and produced by
SCOTT STUBER (The Wolfman, Couples Retreat).
The film is written by ERIC GARCIA (Matchstick
Men, Anonymous Rex) & GARRETT LERNER (tele-
vision’s House M.D., LAX). It is based on the novel
“The Repossession Mambo” by Eric Garcia.
Repo Men’s accomplished behind-the-scenes team
is led by director of photography ENRIQUE CHEDIAK
(28 Weeks Later, Turistas), production designer DAVID
SANDEFUR (Journey to the
Center of the Earth, The Number
23), editor RICHARD FRANCIS-
BRUCE (Air Force One, The
Italian Job), costume designer
CAROLINE HARRIS (44 Inch
Chest, And When Did You Last
See Your Father?) and composer
MARCO BELTRAMI (The Hurt
Locker, 3:10 to Yuma).
Sapochnik, JONATHAN
MONE (The Wolfman, upcoming
Your Highness), MIKE DRAKE
(The Number 23, upcoming A Nightmare on Elm
Street), VALERIE DEAN (The Prestige) and
ANDREW Z. DAVIS (Role Models, Enemy of the State)
serve as the film’s executive producers.
ABOUT THEPRODUCTIONA Not-So-Different World:
Repo Men Begins
While driving in Miami one afternoon in 1997,
writer Eric Garcia was reflecting upon the way that
we own property in America. “It occurred to me that
there’s very little that we truly own,” he explains.
“Even when we say we’re a homeowner, few of us
actually are. The bank owns my house, and I’m nice
enough to continue to pay them or they’ll come and
take it away. My mind took me from there to the
world of health care, which is quickly falling off a
precipice, and it wasn’t a big stretch to imagine a
world where we had to pay for our organs.”
Garcia put pen to paper and crafted “The
Repossession Mambo,” a novel that told of a not-
so-distant future in which humans were desperate to
stay young, vibrant and, if nothing else, alive. After– 10 –
Jake and Remy hunt for debtors.
he shared his manuscript with fellow screenwriter
Garrett Lerner, Garcia found that Lerner liked the
story so much he thought it would make an incred-
ible film.
Relying upon Lerner’s television background and
ability to structure storylines, the writers crafted the
screenplay together. Still, they didn’t believe that
anyone would make their then comedy into a movie.
Explains Lerner: “The original story was fractured,
and it needed structural work to become a movie. But
I saw the movie as I read it. The images were so
powerful and so funny and fresh. That level of dark
comedy was along the lines of Pulp Fiction and Fight
Club, but it had its own flavor.”
Adds Garcia: “We were able to keep the story
very subversive, sick and twisted, but in a fun way.
It was never a horror film. The original was always
a comedy.”
Executive producer Valerie Dean read the script
and contacted the writers to develop the project. To do
so, Dean brought in filmmaker Miguel Sapochnik,
who had previously worked as a director of shorts
and music videos. The writers recognized in
Sapochnik a man who understood their sensibilities,
and together they developed the
script. Sapochnik immediately under-
stood Garcia and Lerner’s dark
humor and social commentary and
helped the writers craft an action-
thriller that kept the spirit of their
work. “The story stayed with me
because it was funny and had darkly
comic social commentary,” he
recalls, “but it didn’t hit you over the
head with it. Not only that, it was
inherently entertaining.”
Producer Scott Stuber came on
board to develop the project under his
shingle, Stuber Pictures, which has a
first-look deal with Universal. “I
thought his short film, The Dreamer, was terrific and
showed real imagination and a strong, specific visual
style,” says Stuber. “Miguel had been developing the
script, and when he first brought it to me, it was clear
he had a great vision for the movie.” With the
financing and filmmakers in place, it was time to
bring together a talented cast and build the imagined
world of the not-so-distant future.
Hit Men and Refugees:Casting the Action-Thriller
Oscar®-nominated performer Jude Law responded
to the screenplay for Repo Men soon after his repre-
sentative advised that he read it. Law met with
Sapochnik at the very early stages of development.
“I was given the script by an agent when it was at a
very early stage,” says the actor. “Over that year,
having met Miguel and loving the originality of the
script, I was fortunate enough to be a part of the
piece’s evolution.”
Much like Lerner felt when he first read Garcia’s
original manuscript, Law admits he was “immediately
struck by the originality of the concept. I liked the
Remy gets to work on a client.
– 11 –
dark humor mixed with a love story, a buddy movie
and satire, and the challenge that juggling all those
tones presented to me as an actor.”
Sapochnik, Stuber and the writers were thrilled with
Law’s enthusiasm to play protagonist Remy, the man
who loses his heart but gains a soul. Garcia recalls:
“Jude was always behind the script. We could have been
spinning our wheels for Lord knows how long, but when
he signed, we knew it was really happening.”
Law describes his character: “I play a guy who’s just
an upright working bloke doing his job. He’s been highly
trained and encouraged to kill, but then, like so many ex-
military men, he’s been cast off not knowing what to do
with his skills at the end of a conflict. Remy finds an
outlet through The Union, and his bizarre job gives him
an epiphany that, ultimately, sends him on the run. What
makes him interesting to me is that he’s also a little bit
of a philosopher and a writer, with an inner voice that’s
more poetic than he would let on.”
Stuber was wowed by Law’s dedication to trans-
forming into the conflicted killer. “We wanted
someone who could bring darkness to the character of
Remy, someone who believes in the nihilism involved
in the job that they’re doing,” he says. “But, ulti-
mately, through the course of the movie, Remy has to
find this emotional catharsis, and
Jude has that rare ability.”
Law became extremely dis-
ciplined when it came time to
prepare physically and mentally for
the role. As well, the shooting
schedule required numerous de-
mands on the performer. Not only
was he in almost every scene of
Repo Men, he found himself in
freezing cold weather during the
many long night shoots. Coupled
with wearing prosthetics while
performing multiple physical feats,
Law couldn’t remember a produc-
tion that was more taxing. And he didn’t miss a beat.
“Jude embraced the physical part of the movie
without hesitation,” Stuber continues. “He worked out
extensively and not only trained his body, but also
learned complicated fight moves and techniques with
a knife. He was 100 percent committed to the film.”
When the filmmakers landed Oscar® winner
Forest Whitaker to portray the role of Remy’s brutish
partner and best childhood friend, Jake, they knew that
they had scored. While shooting a film in Louisiana,
Stuber heard that Whitaker was also filming nearby,
and the producer asked to meet with the actor to
discuss the project. When Whitaker returned to Los
Angeles, he and Stuber met with Sapochnik, and
Whitaker became sold on joining the film.
Reflects Sapochnik: “I can’t imagine anyone other
than Forest as Jake; he’s turned an interesting char-
acter into a multilayered and nuanced, lovable
psychopath by bringing out a jovial quality that
brought Jake to life. He’s also given me an amazing
experience in the edit room because I could choose
the version and, ultimately, the arc of the character;
he’s provided so much to play with. That comes from
his fascinating ability to reinterpret the same moment
in each take.”– 12 –
Jake and Remy try to reason with The Union’s manager, Frank (LIEV SCHREIBER).
Repo Men’s producer agrees. “What’s great about
Forest is that he is a big, imposing guy and can intim-
idate you with either his size or his look,” Stuber
adds. “He’s got a great, steely gaze. But there’s also
this big, lovable teddy-bear sweetness to him.
Because of these qualities, he is able to make his
character much more interesting.”
Whitaker explains his interest in the project:
“There are a number of things about this film that
appealed to me as an artist. Jake is extroverted and with
an acidic wit, which is fun to play; he’s also a physical
character, and I really enjoy martial arts. But in the end,
there is an underlying message about what happens
when we don’t take care of people and they need to take
care of themselves.”
Though Remy and Jake are very different men and
certainly have individual styles of doing their jobs,
there’s a buddy dynamic between them that dates back
to their childhood and time together in the service. But
all bets are off when Remy goes on the run and Jake is
assigned to track him down for a lucrative bounty.
Whitaker elaborates on his character and Remy’s
kinship with Jake: “Jake is a pretty straight-ahead guy in
a lot of ways—a good friend and a good partner—but he
gets into trouble when he’s faced with letting go of the
status quo when Remy decides to move on with his life
and he quits being a repo man. It’s an interesting and odd
relationship of a friendship that is so steeped in the past.
“There’s lot of humor involved in Remy and Jake’s
relationship and the way they view the world,”
continues Whitaker. “Miguel found a balance between
the dark humor and the action. I don’t think the other
elements of the film could work without having
some of that juxtaposition of humor and real, ani-
malistic aggression.”
Describing the on-screen chemistry he had with
his Union partner, Law reflects: “Often, you’re
thrown together and people say, ‘That’s a good
pairing,’ or ‘Those two will look good together,’ but
you never know until you’re there whether it’s going
to work.” In this case, it worked. “On day one it was
alchemy; Forest and I recognized the chemistry was
Remy shocks the hell out himself.
– 13 –
good from the get-go, and we immediately knew what
we had to do as a pair.”
Cast to portray the smooth-talking Frank, the
manager of Jake and Remy’s Union, was actor Liev
Schreiber. Offers Sapochnik of Schreiber’s talents: “A
lot of things make Liev right to play Frank, starting
with his amazing voice. He has the perfect salesman
voice and the glint in his eye that could make anyone
sign on the dotted line. Liev’s known for playing
serious roles and as a great theater actor, but he’s also
very funny. He’s menacing but also hilarious in this
role. He was our perfect Frank.”
Of being cast in the film, Schreiber notes: “I had
a suspicion that the filmmakers saw me in Mamet’s
Glengarry Glen Ross, which is all about the
cutthroat world of Chicago real estate. The idea of a
guy who is only a couple of steps away from a used
car salesman running this company that sells people
artificial organs to keep them alive was really inter-
esting to me.”
The character of the fugitive who agrees to help
Remy navigate the world of the artificial-organ
damned was a tricky one to cast. Beth had to be a
strong woman who is Remy’s intellectual and physical
equal, as well as believable as his soul mate.
Sapochnik had seen actress
Alice Braga in the Brazilian
film Lower City and knew he
wanted to meet with her for the
part. “Alice is one of the first
people I met for the role of Beth,
and she was impressive in her
desire to understand and build a
real character and not get stuck
being a damsel in the action
man’s world,” explains the
director. “She played a young
and very tough prostitute with
stoic qualities in Lower City,
and I thought that was going to
be an important aspect of Beth’s character.”
Screen tests were done with a diverse group of
other actresses, but it was Braga who captivated
the f ilmmakers. Sapochnik notes, “As soon as
Alice came on, there was a palpable chemistry
between her and Jude that existed even when they
didn’t say anything. That became a cornerstone in
the relationship they developed on screen, where
they can just look at each other and the audience
feels the connection.”
Sapochnik knew that Braga had a series of diffi-
cult chores ahead of her. “Beth is the romantic heart
of the movie and has to grasp the audience in very
few scenes,” he says, “so she had to have a charisma
that audiences immediately get invested in. Alice
turned out to be the anchor for our film.”
Reflecting upon Beth and Remy’s relationship,
Braga notes: “It’s the kind of connection that is
instant.” The actress also commends Law’s talent in
helping develop their characters’ chemistry: “It’s
been amazing to work with Jude because he’s the
kind of actor who is both intense and very concen-
trated. I’m inspired to act with someone who has that
power of creation and such an emotional connection
with the scene.”– 14 –
Frank and Jake remedy the situation.
Law echoes his co-star’s sentiments: “The role
of Beth was a hard part to get right, and Alice
arrived like a fireball. She just lights up a set
every time she walks on it. She’s got incredible
passion, enthusiasm and energy, and a rare combi-
nation of maturity with a natural, wonderful
naïveté and youth.”
Cast as legendary musician and record
producer T-Bone was rapper-turned-actor RZA.
Remy encounters T-Bone in his home music studio
when he is assigned to repossess T-Bone’s artificial
heart. As he happens to be a big fan of the artist,
Remy is reluctant to reclaim the organ. The film-
makers were also impressed by RZA, as they had
been admirers of his since his days in the hip-hop
group the Wu-Tang Clan.
With his core cast in place, the director was
ready to build and populate his near future. Always
self-deprecating, Sapochnik was keenly aware that
he was working with some serious talent and expe-
rience, especially with his two repo men, Remy and
Jake. “I told myself I better be good and not ask
stupid questions,” he laughs.
He needn’t have worried, as his first dinner
meeting with Law and Whitaker turned into some-
thing of a guys’ night out. “There we were, three
grown men standing in a hotel suite, demon-
strating fight moves with butter knives. But out of
that fun evolved a really interesting moment
where I began to see little sparkles of things that
they related to, that they understand about each
other, and show a childlike excitement that was
perfect…because both Remy and Jake have a very
childish quality to them.”
Law had confidence that Sapochnik would
breeze through creating the technical aspects of the
film. Still, he admits, “What’s amazed me is his
natural ability to work with actors and his calm
approach on set, even when we were filming like
crazy on a schedule that was insane.”
Artiforgs and Synthetic Bodies:
Crafting Repossession
Describing the origin of the artificial organs
(artiforgs) that are central to the story, Sapochnik
says: “In real life, they were initially developed in
response to the growing number of people who were
wounded on the battlefield. What we’ve done is
created a world where the technology is taken the
next step further, and we’ve added GPS devices to
artiforgs sold by a privatized company. The artiforgs
also have cosmetic value.”
As his team imagined The Union’s merchandise,
production designer David Sandefur considered the
mechanics of a car as if it were a human body. He
began with a pump for the heart and a filter for the
– 15 –
For the low price of $975,000, The Union offers this state-of-the-art artifical heart.
liver. “We started with the real shape of a heart, with
the correct number of valves and chambers, which was
very mechanical and had an anatomical enclosure,” he
explains. “Then we added some bulbs for fun.”
The artiforgs were built by special makeup effects
designer ANDREW CLEMENT, who used high-impact
aluminum-filled epoxy resin that was metallized with a
separate layer of chrome surfacing that gave it structure
and rigidity. Though ultimately quite happy with his
work, Clement admits that the heart was the toughest
organ to build: “It was like building a ship in a bottle
because of the tiny motor, valves and chambers that
actually open and close and pump blood through, all of
which had to fit perfectly together.”
Clement’s team also had the task of creating the
highly detailed, bloody prosthetic limbs and bodies,
from which the artiforgs are removed. This was an
area with which Clement was quite familiar, as he’d
spent years working in an emergency room. The pros-
thetic bodies, or “cart bodies” as Clement calls them,
were silicon life casts of the actors.
Through a variety of mold-making steps, the team
created the entire body and used several washes of five
to six different colors to give the skin a translucent look.
Depending upon how much
of the skin surface Sapochnik
and DP Enrique Chediak
wanted to show in a scene,
creating the body took any-
where from a couple of weeks
to a month. The final step was
to punch by hand the hairs on
the proxy’s head, one by one.
The bodies also had to
have reinforced cavities that
were large enough for the
repo men to remove the heavy
metal artiforgs. Making the
bodies look as realistic as
possible was priority number
one. Explains Clement: “When we made a surgery
torso, we usually made the organs out of silicon so
they reflected light well. We also made plastic bits for
the rib cage for an understructure so the skin didn’t
deform. We had all kinds of tubes coming in from
different angles, and we had blood coming in…as well
as any kind of bodily liquids that we needed in there.
“We put bladders underneath a lot of the organs so
that we had movement inside,” continues the designer.
“When you look at any surgeries that have been
filmed, there’s a lot of movement inside the body: the
heart is moving, the lungs are breathing and things are
shifting around.”
Clement’s team used layers of latex to create the
bladders (similar to balloons) that were custom
formed to fit underneath the organs inside the abdom-
inal coelom and other cavities. To give them a real-
istic “squishy” feel, guts were created out of soft
silicon. As well, the team tested out various densities
of material to ensure some organs were firmer than
others. The crew used olive oil to give the organs a
wet shine, and they even spent a full day testing various
consistencies of fake blood to guarantee that it would
read realistically on screen.– 16 –
Beth (ALICE BRAGA) and Remy try to escape agents.
As gory as the process sounds, Law understood
that the attention to detail would only help make the
repo men appear more realistic as they carried out
their jobs. Says the actor: “On various occasions, we
had whole bodies that I was allowed to cut into, with
working inner organs that I fished around for, wounds
that I sealed and weird joints that were able to come
out and go back into small knees, hips, hearts, livers,
kidneys…all sorts. The execution of these designs is
beautiful. These guys are anatomical artists.”
To maximize production time, Clement’s team
redressed some of the same body cavities and reused
them in several scenes in which the repo men extract
organs. Says the designer: “We were able to use the
same body cavity as a backdrop and dress it however
we needed. We took out organs we didn’t need and
replaced them with the organ that they were trying to
repo. It allowed us to get a close-up shot of some-
body’s hand working up inside of it and reaching
toward the organ that would be repossessed.”
Prosthetic versions weren’t the only bodies upon
which operations occurred. Incorporating the live
actors was also a big task with which Clement’s team
was involved. For example, during Remy’s surgery
scene, the crew hid the performer’s body by using
slant tables, which allowed Law to dis-
appear quickly under the set, while
they placed an artificial torso and pros-
thetic legs on top of the operating table.
Clement and his assistant were also
under the dressing, using tubes and
pneumatic cylinders to pump the heart,
bladders, lungs and blood to make it
look as if Remy was actually under-
going surgery. “We had medical techs
who were experienced surgeons come
in and put in the exact tools that they
would need to operate,” states Clement.
Braga’s character also goes through
surgery. In one of the film’s most hu-
morous scenes, Beth has her artificial knee replaced
by a young but very experienced child. Explains
Clement: “Alice came in, and we did a whole day of
intensive body casting, from head to toe. It’s a
complete duplicate of her. What we created allowed
us to pull the entire knee apart and expose the arti-
forg inside. We had blood tubes that spurted and
leaked blood, and we dressed the knee with tendons
that could be cut through.”
Though the body casting took eight hours, Braga
found the entire process fascinating. “I’ve never done
that before,” says the actress. “It was magical, in a
way. It was like Disneyland for an actress, discovering
how everything was made.”
Clement’s crew also developed a new technology
to create The Union-symbol tattoos seen on the repo
men. Combining dimensional appliances with the
technology that makeup artists use to design fake
tattoos, the team developed the brand used on the
actors’ necks. The application of the tattoos that
were meant to look like raised, scarred skin took
only minutes. They lasted all day and were easily
touched up.
Several designs were created with different bar
codes that symbolized a repo man’s status, and the
Remy is a one-man killing machine.
– 17 –
type of repossession that was performed (either legal
or black market). For example, a Level 5 repo man
such as Remy has reclaimed a large number of arti-
forgs. His company-sponsored tattoo showcases five
hash marks to indicate that he is at Level 5. A much
greener (Level 1) repo man would only have one hash
mark on his neck.
Perfecting Martial Arts:Training Killers
As he believed it would inform their perform-
ances mentally, Sapochnik felt that it was crucial that
his cast was very prepared physically. He reflects:
“The physical training made them feel their strength
inherently, without their needing to flaunt it.”
Because Law was tackling a very physical role, he
moved to Toronto several weeks before production
began and took part in an intensive training course that
included hours of training at Gym Jones. The trainers
behind the bodies in the film 300 put the actor through
a punishing four hours of fight training a day, followed
by four hours of rehearsal with the director.
Sapochnik marvels at Law’s commitment: “I
watched Jude physically transform to a point where it
changed the look in his eye, and that can’t be manu-
factured. He discovered something about himself
through training that he didn’t know before, and he
channeled that into his character.”
“My trainer and I worked for about a month prac-
ticing basic hand-to-hand combat before we started
filming,” recalls Law. “We also worked with sticks,
boxing and basic movement so that I could become
very natural using any weapon from a knife or a stick
to my fists.”
The arduous physical aspects of Repo Men were
also what helped attract Forest Whitaker to the role of
Jake. An avid student of martial arts, Whitaker
provides, “I initially worked with a fight trainer, and
then continued the weight training myself for the rest
of the film shoot.”
Sapochnik was very involved in the choreography
of the fight sequences and combat training. This skill-
set development began with learning a Filipino style
of martial arts, supervised by fight coordinator HIRO
KODA, and it evolved into the performers’ learning a
hybrid of knife fighting, karate and kickboxing. Each
character developed his or her own style of fighting,
with all participants showcasing raw, acrobatic styles.
To prepare for her role, Braga spoke extensively
with Sapochnik about how to showcase her char-
acter’s fighting style, which stems from surviving on
the streets by any means necessary. Says the actress:
“Miguel and I chatted about how we would have Beth
defend herself. It was important for my entire body to
feel as if I could survive by myself without anyone
protecting me because Beth doesn’t have anyone.
That’s what makes her strong.– 18 –
Jake prepares to take out a target.
“The trainers were amazing,” Braga continues, “Not
only did they make us lift weights, but they focused on
training my entire body as a unit. The survivor-style
training helped me fully develop my character.”
Finally, what good would a repo man be without
his trusty taser? Whitaker and Law were both trained
to use a pistol that fired darts that “electrocuted” the
person they hit before they extracted an organ.
Sandefur’s team built to precise specifications the
guns necessary to detect and track artiforgs that were
in default.
Look of a Near Future:Design and Visual Effects
Repo Men takes place approximately 20 years from
the present in an unidentified North American city. The
filmmakers crisscrossed the city of Toronto and used
key buildings and soundstages to create the futuristic
world. Sapochnik stresses that this is a world that is
deeply immoral and flawed…yet is not that different
from how we live today: stressed by war and debt.
The director envisioned the country to be domi-
nated by Asian influence. “Part of the idea was that in
the future, China is going to become the dominant
power,” he offers. “But rather than
physically invade us, they will do it
economically. So, they likely own and
work at The Union.”
Production designer Sandefur
envisioned Remy and Jake’s world as
being constantly under construction
and influenced by the Asian culture
that has economically permeated
America. “I thought about Dubai and
how the city has something like
30,000 sky cranes functioning at
once, and how that seems to be a
natural evolution of where we are
now,” he offers.
While designing the run-down section of the
city called the metal graveyard, Sandefur was
inspired by Kowloon Walled City, a now-defunct
urban area in Hong Kong that had high rates of
prostitution, drug use and gambling in the period
from the 1950s to the ’70s.
The Union’s factory floor, which also brings the
influence of Chinese culture into the film, was shot in
a warehouse in Toronto. A green screen was used for set
extension to make the space appear massive enough
to house countless artiforgs. Explains Sandefur: “I
found a warehouse that was approximately 300,000
square feet. We set up a green screen around the
central part of it, and we utilized it for its structure
above, as well as the columns and the floor.”
Adds Sapochnik: “The deeper they go into The
Union, the more and more Chinese it becomes. The
scene in the factory floor with the millions of workers
is taken directly from Chinese factories and the idea
of row after row of people working.”
The biggest challenge of creating this world was
to keep it authentic and have it emerge naturally. The
decision to shoot in Toronto was based on the city’s
filmmaking infrastructure, as well as a plethora of
unique locations that worked to support the story.
Remy is a Level 5 repo man.
– 19 –
Many of the places used have never been seen on film
before, such as a new terminal at Pearson Airport.
On the opposite end of the spectrum, the crew
found a suburban neighborhood that reminded it of
the cookie-cutter homes in Edward Scissorhands.
They used that area for Remy and Carol’s home, the
place where Remy can no longer simply abide by the
rules of picket-fence life.
To draw the fine line between now and the near
future, many of the locations needed to be augmented
in postproduction with computer-generated effects.
For example, the scene in which Jake and Remy
cruise downtown was filmed overnight at Dundas
Square, Toronto’s version of Times Square. Though
it’s a busy spot, the fairly low skyline was digitally
enhanced with additional structures and a monorail.
Creating the visual effects was a lengthy and
involved process for AARON WEINTRAUB and his
team from digital studio Mr. X. The scope of their work
needed to create the futuristic world exceeded 350 visual
effects shots. To accomplish this, a variety of techniques
such as environment enhancement was used. It became
necessary to design and augment existing locations, such
as creating cityscapes and malls
with CG buildings, digital matte
paintings, jumbotrons and adver-
tising blimps.
A digital set design was used
for the factory floor sequence; it
required CG set extensions, crowd
replication and character anima-
tion. As well, an actor’s arm was
replaced with a CG robotic arm for
the sequence in the abandoned
freighter. Additionally, the concept
design and implementation of the
LCD wallpaper in Peter’s (Remy’s
young son) room featured a digital
wall treatment that displayed
footage of sharks swimming.
“Blood and gore enhancements” were used
primarily in the long corridor sequence in which
Remy and Beth (toting an arsenal of weapons) fight
their way through multiple adversaries. The reclama-
tion room sequence in which Beth inserts her arm into
Remy’s chest was achieved by a multilayer com-
positing of live-action motion-control plates and
prosthetic elements.
For the tropical island sequence, the filmmakers
wanted an area that reminded them of some of the
uninhabited beaches in Fiji. They found what they
were looking for on a tiny island in the Florida Keys.
“We wanted it to look like it was a completely aban-
doned or deserted island,” explains Sandefur. “There
were structures in the background that we were able
to remove digitally. It’s one of the few places in the
Keys that actually looks like it’s desolate.”
Dressing the Cast:Film Costumes
Costume designer Caroline Harris had the diffi-
cult task of creating designs for Repo Men’s world of– 20 –
JUDE LAW as Remy, ALICE BRAGA as Beth and director MIGUEL SAPOCHNIK on the set of Repo Men.
the future. Tricky, because 20 years in the future
isn’t that far away, and though there are multiple
elements of science fiction, it would have been easy
to go overboard.
“Miguel is incredibly instinctive and had a clear
visual idea of the look he was after,” says Harris. “It’s
a future world, but one that continues to function as
we do now, but with a stronger Chinese influence. It’s
a world of mass production manufacturing, and it has
China’s interpretation of what would interest America
and Europe.”
Harris and Sapochnik imagined the idea that
people in the future would wear synthetic fabrics such
as nylon. And despite the future being somewhat
somber, Harris imagined that color would still
remain. “We wanted to keep the world bright in order
to avoid it being postapocalyptic, even though there
are elements in which it might feel like that. I looked
for images in which colors remained, no matter what.
I remembered refugees from Kosovo and Serbia,
where I worked in the ’90s, wearing colors despite the
horrors of what had happened there.”
Harris wanted much of the clothing in the film to
look worn and old. Believing that it’s very difficult to
make the color gray
look dirty, the designer
instead broke down
clothing by dying color
into pieces and putting
the actors in layers.
Many of the characters
that sought refuge in
the metal graveyard
were to appear as if
they’d been stuck in
the same clothing they
escaped in, and have
been wearing these
outfits every day for at
least a year.
Ultimately, the costumes created for the repo men
vaguely resembled protective gear, and Remy’s clothes
mirrored his journey. “He starts off as an uptight thug
and becomes a badass dude,” sums Harris.
****
Universal Pictures presents—in association with
Relativity Media—A Stuber Pictures production:
Jude Law, Forest Whitaker in Repo Men, starring Liev
Schreiber, Alice Braga, Carice van Houten. The
music is by Marco Beltrami; the costume designer
is Caroline Harris. The futuristic action-thriller’s
editor is Richard Francis-Bruce, ACE; the production
designer is David Sandefur; and its director of
photography is Enrique Chediak. The film’s executive
producers are Miguel Sapochnik, Jonathan Mone,
Mike Drake, Valerie Dean, Andrew Z. Davis. Repo
Men is produced by Scott Stuber, and its screenplay is
by Eric Garcia & Garrett Lerner. The film is directed
by Miguel Sapochnik. © 2009 Universal Studios.
www.repomenarecoming.com
JUDE LAW as Remy, director MIGUEL SAPOCHNIK and FOREST WHITAKER as Jake on set.
– 21 –
ABOUT THECAST
JUDE LAW (Remy) is one of the most sought-
after talents in the acting world.
He was recently seen starring
opposite Robert Downey Jr.
in the smash hit Sherlock
Holmes, and in Terry Gilliam’s
The Imaginarium of Doctor
Parnassus. The two-time Oscar®
nominee worked with his
friend Anthony Minghella on
the director’s f inal f ilm,
Breaking and Entering, opposite Juliette Binoche and
Robin Wright Penn. Law also starred in Sleuth, oppo-
site Michael Caine, and in Wong Kar Wai’s My
Blueberry Nights, opposite Natalie Portman and
Rachel Weisz.
In 2006, Law was seen in All the King’s Men,
opposite Sean Penn, and starred in The Holiday,
opposite Cameron Diaz and Kate Winslet.
In 2003, Law received Oscar® and Golden
Globe nominations for Best Actor in Cold Mountain.
He was also nominated for Academy® and Golden
Globe awards and won a BAFTA for his per-
formance as Dickie Greenleaf in The Talented
Mr. Ripley.
In 2004, Law starred in Sky Captain and the World
of Tomorrow, opposite Gwyneth Paltrow, and I Heart
Huckabees, directed by David O. Russell. He starred
as the title role in Alfie, for director Charles Shyer,
and lent his voice to Lemony Snicket’s A Series of
Unfortunate Events. He also co-starred in Mike
Nichols’ Closer, alongside Julia Roberts, Natalie
Portman and Clive Owen.
In 2002, Law starred in Sam Mendes’ Road to
Perdition, opposite Tom Hanks and Paul Newman. He
also starred in David Cronenberg’s eXistenZ, opposite
Jennifer Jason Leigh and Willem Dafoe. Law won
several awards for his starring role in Wilde, opposite
Stephen Fry and Vanessa Redgrave, including a
London Critics’ Circle Film Award and an Evening
Standard British Film Award.
His American film debut was in the futuristic
film Gattaca, opposite Uma Thurman and Ethan
Hawke. Other film credits include Clint Eastwood’s
Midnight in the Garden of Good and Evil, in which
he starred opposite Kevin Spacey and John Cusack,
and Jean-Jacques Annaud’s World War II epic Enemy
at the Gates.
Law starred opposite Kathleen Turner and Eileen
Atkins in the hit Broadway play Indiscretions, for
which he won a Theatre World Award and received a
Tony Award nomination for Best Performance by a
Featured Actor in a Play. He originated the role of
Michael in the same play in London, for which he
received an Ian Charleson Award.
FOREST WHITAKER (Jake) is one of Holly-
wood’s most accomplished
actors, directors and producers
who has showcased his talents
in a multitude of demanding
and diverse roles.
After winning almost every
critics’ award in 2007, he
received an Academy Award®
for Best Actor, a Golden
Globe for Best Performance
by an Actor in a Motion Picture—Drama, a Screen
Actors Guild Award for Best Actor and a BAFTA for
his performance as Ugandan dictator Idi Amin in The
Last King of Scotland. That same year, his inde-
pendent film American Gun, in which he starred and
produced, was nominated for a Film Independent
Spirit Award.
Whitaker garnered more critical attention for his
performance on FX’s The Shield, opposite Michael– 22 –
Chiklis, and for his performance on ER, for which he
garnered an Emmy nomination in the category of
Outstanding Guest Actor in a Drama Series. He was
recently seen in the suspense thriller Vantage Point,
opposite Dennis Quaid and Matthew Fox; lent his
voice to Where the Wild Things Are, for director
Spike Jonze; and was seen in The Air I Breathe, with
Kevin Bacon and Andy Garcia. Whitaker was also
seen in Winged Creatures, which tells the story of a
diverse group of strangers who form a unique rela-
tionship with each other after surviving a shooting at
a Los Angeles diner. The film also starred Dakota
Fanning, Jackie Earle Haley, Jennifer Hudson and
Kate Beckinsale.
At the 2005 Toronto International Film Festival,
Whitaker wowed audiences with three outstanding
films. He starred in a compelling, dark thriller titled A
Little Trip to Heaven, opposite Julia Stiles. Whitaker
delivered a shuddering performance and proved that
he is one of the best actors of his generation in the
fundamentally subversive and religiously complex
film Mary, opposite Matthew Modine. Finally, he
executive produced and starred opposite Donald
Sutherland in the film American Gun.
With three college scholarships already under his
belt, Whitaker received a fourth scholarship, set up by
Sir John Gielgud, upon his entrance to the drama
program at the University of California, Berkeley. A
seasoned stage veteran at 21, baby-faced Whitaker
made his film debut in the 1982 film Fast Times at
Ridgemont High. From that point on, Whitaker has
been making history. In 1988, Whitaker was named
Best Actor at the Cannes Film Festival for his brilliant
portrayal of jazz legend Charlie Parker in Clint
Eastwood’s Bird, and earned widespread recognition
for his performance as Jody, the hostage British
soldier in Neil Jordan’s Academy Award®-winning
film The Crying Game.
He garnered a CableACE Award nomination for
his performance in the Showtime original film Last
Light, directed by Kiefer Sutherland. He also starred
in the HBO film Criminal Justice, for which he
earned a CableACE Award nomination, and The
Enemy Within, for which Whitaker received a Screen
Actors Guild Award nomination.
In 1999, Whitaker played the title role of a spiri-
tual gangster in Ghost Dog: The Way of the Samurai,
directed by Jim Jarmusch. The film premiered at the
1999 Cannes Film Festival and screened at the 1999
Toronto International Film Festival to critical
acclaim. Ghost Dog was nominated for a Film
Independent Spirit Award for Best Feature. The film’s
soundtrack was a co-venture with Whitaker’s own
company, Spirit Dance.
In 2001, Whitaker appeared in The Fourth Angel,
an action-thriller set in London, opposite Jeremy
Irons. Whitaker starred in and executive produced the
television miniseries Feast of All Saints, which won
an Emmy and was nominated in two other categories.
Prior to that, he starred in and executive produced
Green Dragon, the first feature film production of
this entity, which won the Humanitas Prize in addition
to the Audience Award at the South by Southwest
Film Festival. He also produced Door to Door,
starring William H. Macy, for TNT under the Spirit
Dance banner. This telefilm was nominated for two
Golden Globes, one Emmy and was also honored by
the American Film Institute.
In 2002, Whitaker starred in the ASCAP award-
winning film Panic Room and was nominated for a
Black Reel Award for Best Supporting Actor.
Whitaker starred in Joel Schumacher’s Phone Booth,
opposite Colin Farrell, for which he received Black
Reel and Image Award nominations for Best
Supporting Actor and Outstanding Supporting Actor
in a Motion Picture.
In 2003, Whitaker appeared to critical acclaim,
opposite Ossie Davis, in the Showtime movie Deacons
for Defense, for which he received a SAG nomination
for Outstanding Performance by a Male Actor in a– 23 –
Television Movie or Miniseries. Whitaker produced
Chasing Papi and directed First Daughter, starring
Katie Holmes.
Whitaker made his feature film directing debut with
the critically acclaimed, box-office hit Waiting to
Exhale. He first gained recognition as a director for his
debut film, the 1993 HBO original film Strapped, and
went on to direct Hope Floats, starring Sandra Bullock.
He also executive produced each of these films’ multi-
platinum soundtracks, which earned a combined total of
14 Grammy nominations. His short film, John Henry,
was released in February 2002 for Black History Month.
Whitaker’s other credits include Witness Protection,
for HBO, and the feature films Light It Up;
Phenomenon; Species; Smoke; Prêt-à-Porter; Jason’s
Lyric; Platoon; Good Morning Vietnam; Consenting
Adults; Stakeout; The Color of Money; Johnny Hand-
some; Downtown; Diary of a Hitman; Body Snatchers;
and Vision Quest.
LIEV SCHREIBER (Frank) is widely considered
one of the finest actors of his
generation, with a repertoire
of resonant, humanistic and
oftentimes gritty portrayals
that have garnered the actor
the strongest praise in film,
theater and television. His
most recent choices continue
this path. In 2008, Schreiber
starred opposite Daniel Craig
and Jamie Bell in Defiance, a World War II-era drama
directed by Edward Zwick. The three actors starred as
Jewish brothers who escape from Nazi-occupied
Poland to the forests of Belarus to join the resistance,
and endeavor to build a village in order to protect
themselves and others in danger.
In 2009, Schreiber starred in Gavin Hood’s X-Men
Origins: Wolverine as Victor Creed, the beastly nemesis
of Wolverine, a role revisited by Hugh Jackman. In this
prequel to the hit X-Men trilogy, Jackman’s Wolverine
is keen on seeking revenge against Creed (who is
secretly the mutant Sabretooth) for killing his love. He
also starred in Ang Lee’s Taking Woodstock.
Showing his versatility, Schreiber recently
appeared in two period adaptations: Mike Newell’s
Love in the Time of Cholera, alongside Benjamin
Bratt and Javier Bardem in 2007, and The Painted
Veil, starring Edward Norton and Naomi Watts in
December 2006. Schreiber has also starred alongside
Meryl Streep and Denzel Washington in The
Manchurian Candidate; alongside Julia Stiles in The
Omen; alongside Ben Affleck in The Sum of All
Fears; and alongside Hugh Jackman in Kate &
Leopold. Utilizing his theater and Shakespearean
background, Schreiber starred as Laertes in Hamlet,
with Ethan Hawke. Schreiber also starred in The
Hurricane, the acclaimed biopic starring Denzel
Washington, and opposite Diane Lane and Viggo
Mortensen in A Walk on the Moon.
An accomplished stage actor, Scheiber’s portrayal
of Ricky Roma in the 2005 Broadway revival of
David Mamet’s Glengarry Glen Ross earned him a
Tony Award. In the summer of 2006, Schreiber
returned to the stage in Shakespeare in the Park’s
production of Macbeth and, in early 2007, he returned
to Broadway to star in Eric Bogosian’s Talk Radio.
This first Broadway staging of Talk Radio opened at
the Longacre Theatre in March of that year. Ben
Brantley of The New York Times declared, “With Talk
Radio, Mr. Schreiber...confirms his status as the
finest American theater actor of his generation.”
Schreiber was nominated for his second Tony for his
portrayal of radio host Barry Champlain.
Schreiber has also made use of his deft technique
working in television. Truly making a name for
himself with his portrayal of Orson Welles in HBO’s
RKO 281, Schreiber again worked with the network
for the emotional Lackawanna Blues. Schreiber’s
expressive voice is also showcased in his voiceover– 24 –
and narration work, taking center stage for prominent
pieces on HBO and PBS. One of America’s foremost
narrators, Schreiber has lent his voice to sports docu-
mentaries such as Mantle, :03 From Gold and A City
on Fire: The Story of the ’68 Detroit Tigers, as well as
the PBS documentary series Nova and Nature.
In 2005, Schreiber made his directorial debut with
Everything Is Illuminated, adapted from Jonathan
Safran Foer’s best-selling novel of the same name.
Prior to the publication of the novel, Schreiber read an
excerpt in The New Yorker, secured the rights, wrote
the screenplay and subsequently brought the project
to Warner Bros. The film, starring Elijah Wood, was
recognized by the 2006 National Film Board as one of
the top-10 films of the year.
Brazilian-born actress ALICE BRAGA (Beth)
has received critical acclaim
and international recognition
ever since her stirring per-
formance in City of God
helped catapult the film to
multiple Golden Globe and
Oscar® nominations. Appear-
ing in nearly a dozen films in
just five years, Braga, already
a fixture of Brazilian cinema,
has captured Hollywood’s attention with a host of
promising projects on the horizon. Braga was recently
seen in David Mamet’s Redbelt, which chronicled the
life of a jiujitsu master, played by Chiwetel Ejiofor,
who must enter the ring to redeem his honor after
being conned by movie stars and promoters.
Braga recently starred opposite Will Smith in the
blockbuster I Am Legend, and opposite Harrison Ford
and Ray Liotta in Crossing Over, a film about the
lives of immigrants living in Los Angeles and their
efforts to achieve U.S. citizenship. She appeared in
Blindness, based on the novel by Nobel Prize winner
José Saramago. Directed by Fernando Meirelles, the
film also starred Julianne Moore, Mark Ruffalo,
Danny Glover and Gael García Bernal.
Braga’s past credits include her portrayal of a
carefree art student, opposite Diego Luna, in Sólo
Dios Sabe (Only God Knows), which premiered at the
Sundance Film Festival; Journey to the End of the
Night, an independent film set against the backdrop
of the Brazilian sex-trade industry, with Mos Def and
Brendan Fraser; Cidade Baixa (Lower City), a
riveting drama about the dangers of a love triangle;
and the offbeat comedy O Cheiro do Ralo (Drained).
Alice most recently wrapped 20th Century Fox’s
Predators, starring opposite Adrien Brody. This
modern remake of the cult classic is due in theaters
this summer.
CARICE VAN HOUTEN (Carol) has become one
of the most beloved actresses
in her native country the
Netherlands. She has won
several awards including three
Golden Calf Awards for Best
Actress and was voted Best
Dutch Actress of All Time by
the Dutch audience in 2008.
Her stunning performance in
Paul Verhoeven’s war epic
Black Book marked the beginning of van Houten’s
international breakthrough. In the Tom Cruise/Bryan
Singer film Valkyrie, she starred as the female lead
Nina von Stauffenberg.
Van Houten was born in Leiderdorp (near Leiden)
on September 5, 1976. In 1995, she was accepted by
both the Maastricht and Amsterdam drama acade-
mies, and she started her television career as a student
at the Academy of Fine Arts in Amsterdam. While
there, she was awarded the 1999 Pisuisse Prize for
most promising graduating student and the 2000 Top
Naeff Prize for her theater work. A day before
receiving the Top Naeff Prize, she was awarded the– 25 –
Golden Calf for Best Actress in a TV-Drama for
Martin Koolhoven’s Suzy Q.
In 2006, van Houten shined as Jewish singer Rachel
Stein in Paul Verhoeven’s critically acclaimed Black
Book. One year later, van Houten displayed great
comic talent in the romantic comedy Love Is All. The
film was a major box-office hit and became one of
the most successful Dutch films of all time.
Bryan Singer’s Valkyrie was the first major Holly-
wood production in which van Houten appeared. That
same year, New York magazine proclaimed her
Woman of the Year and Vanity Fair featured her in a
“Vanities” article.
Of her role in the 2009 Dutch box-office hit A
Woman Goes to the Doctor, Variety wrote, “Carice
van Houten in another attention-grabbing perf as the
two-timed, terminally ill woman…often steals the
show, delivering some of the pic’s best lines with an
increasingly biting cynicism.”
Van Houten’s upcoming films include From Time
to Time, directed by Julian Fellowes; Black Death,
directed by Christopher Smith; and the Dutch film De
gelukkige huisvrouw, directed by Antoinette Beumer.
ABOUT THEFILMMAKERS
MIGUEL SAPOCHNIK (Di rec ted by /
Executive Producer) has
been making movies since he
was old enough to pick up a
camera. After a foundation
course in art and a stint as a
muralist, he worked as a
storyboard and scenic artist
on such features as Train-
spotting, A Life Less Ordi-
nary and Small Faces. His
storyboards have been published in Dazed and
Confused magazine. It is this artistic vision that
Sapochnik brings to his own work.
In 1996, after completing his postgraduate course
at the Arts University College at Bournemouth with
distinction (as the youngest student the school ever
had), Sapochnik kicked off his professional life
working on promos and directing spots for bands like
The Charlatans and The Brand New Heavies.
His ambitious 15-minute short film, The Dreamer,
was conceived as a project to put Sapochnik on
Hollywood’s radar. With awards at the Palm Springs
International Film Festival and ending up on short
lists for both BAFTA and Academy Award® nomina-
tions, The Dreamer achieved its purpose, earning
Sapochnik development deals with several major
studios including Miramax, Focus Features and
Working Title as a writer and a director. In 2006, his
short film earned him a place on the prestigious
Saatchi & Saatchi New Directors’ Showcase as one of
the top-25 new directors in the world.
More recently, Sapochnik completed a short
film/music video for acclaimed U.K. band UNKLE
and is currently working on an original graphic novel
titled “The Source.” – 26 –
ERIC GARCIA (Screenplay by/Based on the novel
“The Repossession Mambo” by) is the internationally
best-selling author of “Anonymous Rex,” “Casual Rex,”
“Hot and Sweaty Rex,” “Matchstick Men: A Novel
About Grifters With Issues,” “Cassandra French’s
Finishing School for Boys” and “The Repossession
Mambo.” His novels have been published in 22 coun-
tries and translated into 14 languages.
His 2003 book, “Matchstick Men,” was made into a
film starring Nicolas Cage and Sam Rockwell and
directed by Ridley Scott. In 2004, his acclaimed sci-fi noir
“Rex” series was turned into a two-hour television movie.
GARRETT LERNER (Screenplay by) is an
American writer and television producer. He is best
known for his work as an executive producer and
writer of House M.D. For the series, he has been nom-
inated for four Emmy Awards and recently received
the Writers Guild Award for Best Episodic Drama for
his work on the episode “Broken.” He has previously
written for several other shows, most notably Boston
Public, Smallville and Roswell.
In March 2008, producer SCOTT STUBER
(Produced by) transitioned the company he founded
with Mary Parent into Stuber Pictures. This
producing agreement with Universal Pictures began
in 2006, after he left his post as the studio’s vice
chairman of worldwide production. Prior to that,
Stuber had served as president of production since
February 2001, having joined Universal Pictures as
senior vice president of production in August 1997.
Now, Stuber solely runs Stuber Pictures.
As a producer, Stuber has put together a prolific
and varied slate of films that includes tent-pole come-
dies; star-driven dramas and thrillers; and high-
profile books and original scripts by established and
visionary writers. Stuber Pictures has development
and production deals with the industry’s foremost
directors, writers and actors.
Universal recently released the Stuber-produced
action-horror The Wolfman, starring Oscar® winners
Benicio Del Toro and Anthony Hopkins, along with
Emily Blunt and Hugo Weaving; the comedy Couples
Retreat, starring Vince Vaughn, Jon Favreau and Jason
Bateman; and the romantic drama Love Happens, star-
ring Aaron Eckhart and Jennifer Aniston.
Also slated for a 2010 release is Your Highness,
from the comedic team of Danny McBride and Ben
Best, directed by David Gordon Green and starring
McBride, James Franco, Zooey Deschanel and Natalie
Portman; and Love and Other Drugs, based on Jamie
Reidy’s book “Hard Sell: The Evolution of a Viagra
Salesman,” about the behind-the-scenes look at Pfizer
and the launching of its most popular drug. The film is
directed by Edward Zwick (Blood Diamond) and stars
Anne Hathaway and Jake Gyllenhaal.
Upcoming projects in various stages of produc-
tion include the motion picture adaptation of
Battleship, based on Hasbro’s classic naval combat
game and directed by Peter Berg (Hancock, The
Kingdom); the epic period film 47 Ronin, written by
Chris Morgan (Wanted) and starring Keanu Reeves;
the film adaptation of the hugely popular EA video
game Army of Two, to be written by Scott Z. Burns
(The Bourne Ultimatum, The Informant!); and Moby
Dick, a reimagining of the Herman Melville whale
tale that Timur Bekmambetov (Wanted) will direct.
Stuber’s first production under the Stuber/Parent
banner was summer 2006’s breakout comedy hit You,
Me and Dupree, starring Owen Wilson, Kate Hudson
and Matt Dillon. Summer ’06 also brought audiences
the blockbuster hit The Break-Up, starring Vince
Vaughn and Jennifer Aniston. These two comedies
were followed by Peter Berg’s critically acclaimed
film The Kingdom; the Martin Lawrence comedy
Welcome Home Roscoe Jenkins; and the David Wain
sleeper hit Role Models, starring Paul Rudd and
Seann William Scott, which grossed more than $100
million worldwide.– 27 –
During Stuber’s eight years at Universal—five of
which he spent co-running production—he was respon-
sible for many of the studio’s critically acclaimed and
commercially successful films, including King Kong,
Jarhead, A Beautiful Mind, Seabiscuit, Cinderella Man,
Munich, Meet the Parents, Meet the Fockers, The
Bourne Identity, The Bourne Supremacy, About a Boy,
The 40-Year-Old Virgin, 8 Mile, Spy Game, The Family
Man, The Nutty Professor, Nutty Professor II: The
Klumps, The Mummy franchise, the American Pie fran-
chise, The Fast and the Furious franchise, Friday Night
Lights, Bring It On and many others. Of the dozens of
films Stuber supervised, more than 20 of them have
grossed more than $100 million domestically.
In addition to his work on Repo Men, JONATHAN
MONE (Executive Producer) recently served as an exec-
utive producer on Stuber Pictures’ action-horror film The
Wolfman, starring Oscar® winner Benicio Del Toro,
Oscar® winner Anthony Hopkins and Golden Globe
winner Emily Blunt. He also serves as an executive
producer on Stuber Pictures’ upcoming epic comedy-
adventure Your Highness, starring Danny McBride,
James Franco, Natalie Portman and Zooey Deschanel.
Currently a senior vice president at Stuber Pictures,
Mone previously worked as an associate producer on
two successful sports dramas for Disney, 2004’s
Miracle, starring Kurt Russell, and 2006’s Invincible,
starring Mark Wahlberg.
A graduate of Middlebury College, Mone currently
lives in Los Angeles.
MIKE DRAKE (Executive Producer) began his
career at film school at California State University,
Northridge. Upon graduating, Drake quickly began
producing independent f ilms with budgets big
and small, with veteran filmmakers and first-time
directors alike.
In the past 10 years, Drake has produced 17 films
including the hit comedy The Whole Nine Yards, star-
ring Bruce Willis and Matthew Perry, the boxing
drama Against the Ropes, starring Meg Ryan, and the
open-wheel racing action film Driven, starring
Sylvester Stallone, to name a few.
In 2004, Drake produced the film Something the
Lord Made and won the Academy of Television Arts
& Sciences Primetime Emmy Award. The critically
acclaimed HBO film was also nominated for a
Golden Globe and won numerous accolades
including the Peabody Award for Excellence in
Broadcasting, an NAACP Image Award and an
American Film Institute Award. Drake was also
nominated for the prestigious David L. Wolper
Producer of the Year Award given by the Producers
Guild of America.
Drake had two films released in 2007: the drama
Martian Child, starring John Cusack, and the psycho-
logical thriller The Number 23, starring Jim Carrey.
VALERIE DEAN (Executive Producer) is cur-
rently working as an independent producer on several
projects. Her credits include serving as an executive
producer on Christopher Nolan’s The Prestige, star-
ring Christian Bale and Hugh Jackman, and serving
as associate producer on Bill Condon’s Kinsey, star-
ring Liam Neeson in the title role.
Dean was formerly senior vice president of produc-
tion at Pretty Pictures, overseeing feature film, televi-
sion and theater development for writer and director
Neil LaBute and producer Gail Mutrux. She began
working with Mutrux in 1996 on projects ranging from
Mike Newell’s Donnie Brasco to LaBute’s Nurse Betty,
after serving as a story editor for Barry Levinson’s
Baltimore Pictures.
ANDREW Z. DAVIS (Executive Producer) and
Stuber Pictures are currently involved with postpro-
duction on Your Highness, starring Danny McBride,
James Franco, Natalie Portman and Zooey Deschanel.
They recently produced Role Models.– 28 –
Davis was the producer on the blockbuster
comedy Rush Hour 3 and executive producer of Rush
Hour 2, both directed by Brett Ratner and starring
Jackie Chan and Chris Tucker. Prior to that, he execu-
tive produced Universal’s Red Dragon, starring
Anthony Hopkins, Edward Norton and Ralph
Fiennes, and The Family Man, starring Nicolas Cage
and Téa Leoni, both directed by Ratner; the critically
acclaimed coming-of-age drama, Love & Basketball,
directed by Gina Prince-Bythewood, starring Omar
Epps, Sanaa Lathan and Alfre Woodard; the mega hit
Enemy of the State, starring Will Smith and Gene
Hackman; and Love Affair, starring Warren Beatty
and Annette Bening. Davis also produced the action
film Volcano, starring Tommy Lee Jones and Anne
Heche. His other producer credits include Lost
Angels, Sid and Nancy and Tapeheads.
Davis served as head of production for Stuber
Pictures and as executive vice president of production
for MGM. Earlier in his career, was an executive at
The Walt Disney Company before signing an inde-
pendent production deal with the studio under his
own banner, Andrew Davis Productions.
Davis is a graduate of the University of Southern
California School of Cinema-Television.
In 1999, Daily Variety named ENRIQUE CHEDIAK
(Director of Photography) one of “10 Cinematographers
to Watch,” and he hasn’t disappointed. His film credits
include 28 Weeks Later; The Flock, starring Richard
Gere and Claire Danes; Down in the Valley, starring
Edward Norton; Turistas; Lies & Alibis; Crónicas; A
Home at the End of the World; and Undefeated for HBO,
which Enrique co-directed with John Leguizamo. Prior
to this, he shot Brown Sugar, The Good Girl, which
premiered at the 2002 Sundance Film Festival, The
Safety of Objects, Songcatcher, Boiler Room and The
Faculty, directed by Robert Rodriquez.
Chediak won the 1997 Sundance Film Festival’s
Best Cinematography Award for Hurricane Streets.
His feature film debut was American Southern,
directed by John Joshua Clayton.
Born in Quito, Ecuador, Chediak studied still
photography in Madrid and communications in
Santiago, Chile, before entering New York
University’s film school graduate program in 1992,
where he won the Best Cinematography award at
NYU’s First Run Film Festival.
DAVID SANDEFUR (Production Designer) is an
accomplished art director, who marks his second
credit as production designer with Repo Men. Last
year’s Journey to the Center of the Earth 3D was his
first. Sandefur is currently shooting Warner Bros.’
Yogi Bear, directed by Eric Brevig.
Sandefur’s credits include The Number 23,
directed by Joel Schumacher and starring Jim
Carrey; The Break-Up, with Vince Vaughn and
Jennifer Aniston; Richard Donner’s sci-fi adventure
Timeline; F. Gary Gray’s hit crime-thriller The Italian
Job, starring Mark Wahlberg and Charlize Theron;
and the Robert De Niro/Eddie Murphy action-
comedy Showtime.
Sandefur’s credits as a supervising art director
include Doug Liman’s Mr. & Mrs. Smith and Michael
Bay’s The Island. As an assistant art director, he con-
tributed to such varied films as the 1960s-set romantic
comedy Down With Love, Steven Spielberg’s ultra-
futuristic Minority Report, the crime-thriller Swordfish
and Renny Harlin’s nautical thriller Deep Blue Sea.
For his work on Wolfgang Petersen’s The Perfect
Storm, the Art Directors Guild nominated Sandefur
for an Excellence in Production Design Award, an
honor he shared with the art direction team.
RICHARD FRANCIS-BRUCE, ACE (Editor) has
been nominated for three Academy Awards® for his
work on The Shawshank Redemption, Se7en and Air
Force One. He has also been nominated four times by
his peers for the American Cinema Editors Eddie Award– 29 –
for The Shawshank Redemption, Air Force One, The
Rock and Harry Potter and the Sorcerer’s Stone.
Already a leading editor in his native Australia
when he was invited by George Miller to edit The
Witches of Eastwick, Francis-Bruce received an award
from the Australian Film Institute for Best Achieve-
ment in Editing for his work on Phillip Noyce’s Dead
Calm, after being nominated three times for Careful,
He Might Hear You, Short Changed and Bullseye.
Francis-Bruce’s many other credits include David
& Fatima, Lorenzo’s Oil, The Italian Job, Path to War,
The Green Mile and The Perfect Storm.
CAROLINE HARRIS (Costume Designer) was
nominated for a BAFTA for her design on the period
costume drama An Ideal Husband, starring Cate
Blanchett, Rupert Everett and Julianne Moore. She
was nominated for an Emmy for her work on the
HBO television movie Iron Jawed Angels, starring
Hilary Swank and Anjelica Huston.
Her recent credits include Mr. Nice, starring Rhys
Ifans and Chloë Sevigny, to be released later this year;
44 Inch Chest, starring Ray Winstone and John Hurt;
and And When Did You Last See Your Father?, starring
Jim Broadbent and Colin Firth. Other credits include A
Knight’s Tale, starring Heath Ledger; Croupier, starring
Clive Owen; Still Crazy, starring Stephen Rea and Billy
Connolly; Ripley Under Ground, directed by Roger
Spottiswoode; The Governess; Swept From the Sea,
starring Rachel Weisz; Othello; In the Bleak Midwinter;
Before the Rain; and Very Annie Mary.
Two-time Academy Award® nominee MARCO
BELTRAMI (Music by) was a protégé of acclaimed
composer Jerry Goldsmith. Shortly thereafter, Beltrami
got his big break by scoring Wes Craven’s Scream. In
his approach to scoring the film, Beltrami threw away
conventional horror music clichés. Instead, he likened
the film to a Western and, calling upon the influences
of his idol Ennio Morricone, went on to write one of
the most unexpected and imaginative scores in recent
memory. The score gathered much attention for the
young composer and the sound became Scream’s
signature. Wes Craven remarked in the liner notes of
the film’s soundtrack, “Without Marco’s genius,
Scream would have been little more than a whisper.”
Beltrami has scored blockbuster films including
Terminator 3: Rise of the Machines, Live Free or Die
Hard, Hellboy and I, Robot, before finding his way
back to Western compositions when Tommy Lee
Jones hired him to score The Three Burials of
Melquiades Estrada. The film won the Best Actor
and Best Screenplay awards at the Cannes Film
Festival, and it featured a suspenseful and beautiful
Western score. Walk the Line director James Mangold
was a fan of the score and hired Beltrami to write the
music for 3:10 to Yuma. Michael Rechtshaffen of The
Hollywood Reporter wrote, “The impressive work
extends behind the scenes to...Marco Beltrami’s
percolating score, which subtly yet effectively signals
Yuma’s status as a thinking person’s Western.”
His work on 3:10 to Yuma and The Hurt Locker
garnered him Academy Award® nominations for Best
Original Score.
—repo men—
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