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Preliminary Production Notes
Preliminary Production Notes
THE CAST
The Spirit……………………………………………………………...GABRIEL MACHT
The Octopus……………………………………………………...SAMUEL L. JACKSON
Ellen…………………………………………………………………..SARAH PAULSON
Sand Saref…………………………………………………………………EVA MENDES
Dolan……………………………………………………………………….DAN LAURIA
Plaster of Paris…………………………………………………………………PAZ VEGA
Lorelei……………………….………………………………………………JAIME KING
Silken Floss…………………………………………………...SCARLETT JOHANSSON
Phobos………………………………………………………………..LOUIS LOMBARDI
Morgenstern……………………………………………………………….STANA KATIC
THE FILMMAKERS
Written for the screen and directed by……….........................................FRANK MILLER
Produced by……………………………………………………..DEBORAH DEL PRETE
GIGI PRITZKERMICHAEL USLAN
Executive Producer……………………………………………..BENJAMIN MELNIKER
STEVEN MAIERBILL LISCHAK
Co-Producers……………………………………………………..LINDA MCDONOUGH
F.J. DESANTODirector of Photography…………………..…………………………………...BILL
POPE
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Edited by………………………………………………………………….PETER ELLIOT
Costume Designer………………………………………………..MICHAEL DENNISON
Casting…………………………………………………………………….TRICIA WOOD
JENNIFER SMITH
SYNOPSIS
Frank Miller, the visionary creator of SIN CITY and 300, takes the comic
book movie to dazzling new heights with his solo directorial debut THE SPIRIT.
Adapted from the seminal series by the great Will Eisner, THE SPIRIT fuses
masterful storytelling with brilliant CGI graphics to sweep us into a stylized world of
adventure, danger and romance. Miller set out with a baseline goal of creating a PG-
13 film of Eisner’s masterpiece, enabling himself to explore new ways of spinning a
tale. In so doing, he reveals another side of Frank Miller, the filmmaker.
THE SPIRIT is the story of Denny Colt, a murdered cop who is mysteriously
reborn as the masked crime fighter called the Spirit. Determined to keep his beloved
Central City safe, the Spirit pursues Central City’s villains from the shadows and
seeks to remove to the worst of them all: the psychotic megalomaniac known as the
Octopus. Yet as busy as his ongoing mission keeps him, the dashing crusader always
manages to make time for beautiful women, though he never quite knows if they want
to seduce, love or kill him. But there is one lady who will never betray him, and to
whom he will always be true: Central City, the proud old metropolis where he was
born – twice.
In bringing this comic book classic to the screen, Miller has recruited a
dynamic cast of major stars and up-and-comers. As the titular hero, Gabriel Macht
turns in a star-making performance that harkens back to the golden era of Hollywood
leading men. He is joined by Samuel L. Jackson as the fiendish Octopus; Scarlett
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Johansson as the Octopus’ sidekick, the brilliant, frosty Silken Floss; Eva Mendes as
seductive jewel thief Sand Saref; Sarah Paulson as the Spirit’s stalwart sweetheart, Dr.
Ellen Dolan; Jaime King as Lorelei, a bewitching underwater phantom; Paz Vega as
the mad, knife-wielding dancer Plaster of Paris; Dan Lauria as the hard-boiled
Commissioner Dolan; Stana Katic as Morgenstern, an enthusiastic young cop; and
Louis Lombardi in multiple roles as the Octopus’ cloned brotherhood of henchmen.
The film’s behind-the-scenes artisans include acclaimed director of photography Bill
Pope (SPIDERMAN 2 and 3, the MATRIX trilogy, BOUND) and senior visual
effects supervisor Stuart Maschwitz (FANTASTIC FOUR: RISE OF THE SILVER
SURFER, SIN CITY).
****
It’s a moonlit night in Central City, and a call comes in to the Spirit (Gabriel
Macht). Some sort of shady deal is about to go down at the mudflats near the
waterfront, involving an old, sunken cargo ship and the city’s most terrifying
criminal, the Octopus (Samuel L. Jackson). The Spirit leaps into action, but the
Octopus is only too happy to battle him until both men are several steps beyond
punch-drunk. Meanwhile, the Octopus’ ice-cold accomplice, Silken Floss (Scarlett
Johansson), is headed back to their underground headquarters with one of two
mysterious treasures looted from the bottom of the sea.
As the smoke clears, one cop is dead and another is barely clinging to life.
The Spirit should be dead too: he’s been shot, knifed and kicked to kingdom come
several times over. And while his steady sweetheart, top surgeon Ellen Dolan (Sarah
Paulson) is there to stitch him back together, the Spirit knows he’ll heal up just fine,
and fast. What he doesn’t know is why.
However, there’s no time to ponder that riddle. As long as the Octopus is still
at large, no one in Central City is safe. What’s more, the Octopus wasn’t the only
person at the mudflats. There was a woman there, too, and all signs point to the same
unlikely candidate: the alluring international jewel thief Sand Saref (Eva Mendes).
Sand Saref. The name alone can make the Spirit’s heart skip a beat: a man’s
first love will do that to him. But that was long ago, back when Sand Saref and
Denny Colt were just neighborhood kids. Before a tragedy came between them, and
sent them on radically different paths in their lives. Sand had vowed never to return
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to Central City. Could the woman at the mudflats really have been her? And could
the ‘girl next door’ that Denny knew really have become a woman capable of murder?
As another dead body turns up, the Spirit intensifies his search for his lost
love. Meanwhile, the Octopus, Silken and their infinitesimal band of merry,
identical henchmen (Louis Lombardi) are also on the hunt for the jewel thief, seeking
an exchange of the treasures that brought them to the mudflats in the first place.
Once that exchange happens, the Octopus will be able to realize his master
plan to control all of Central City. Only one man, the Spirit, can possibly stop him.
But the Octopus knows more about our hero than he knows himself -- including not
only the cause of his seeming immortality, but the cure for it.
Lionsgate and Odd Lot Entertainment present THE SPIRIT. Written for the
screen and directed by Frank Miller. Adapted from the comic book “The Spirit” by
Will Eisner. Produced by Deborah Del Prete, Gigi Pritzker and Michael Uslan.
Executive produced by Benjamin Melniker, Steven Maier, William Lischak, Michael
Burns and Michael Paseornek. Co-Producers Linda McDonough and F.J. DeSanto.
Director of photography Bill Pope. Editor Gregory Nussbaum. Costume designer
Michael Dennison. Original music by David Newman. Casting by Tricia Wood and
Jennifer Smith. Starring Gabriel Macht, Eva Mendes, Sarah Paulson, Dan Lauria, Paz
Vega, Jaime King, Stana Katic and Louis Lombardi, with Scarlett Johansson and
Samuel L. Jackson as "The Octopus."
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ABOUT THE PRODUCTION
THE SPIRIT brings together two visionaries in the art of graphic storytelling:
Frank Miller, the creator of such edgy contemporary classics as “Sin City,” “300,”
and “The Dark Knight Returns”; and Will Eisner, a pioneer of the modern American
comic book. Eisner broke the comic book mold when he introduced “The Spirit” in
1940; now Miller achieves a similar feat with THE SPIRIT, a comic book movie that
looks like no other before it.
Miller cites Eisner as one of his greatest and earliest inspirations. “I first
encountered Will Eisner’s comics when I was 13 years old, and I thought he was the
hot new guy,” Miller reports. “The work was about 40 years old but it looked fresher
and newer than anything I’d seen before.”
Eisner was barely into his 20s and already at the forefront of the new comic
book movement when he created “The Spirit” as a weekly, stand-alone newspaper
insert. The series not only accelerated the comic’s artistic evolution from the three
and four-panel strips of the “funny pages,” it became the incubator for a host of
formal and narrative innovations. While invincible costumed crusaders like Batman
and Superman were making waves, Eisner created a masked hero in a suit, tie, gloves
and fedora, with no superhuman powers to his credit. He was neither millionaire nor
alien, just a onetime cop named Denny Colt widely believed to be dead. The Spirit
was very much an adult character, with a wry sense of humor, an eye for the ladies,
and an unswerving devotion to Central City, the gritty urban melting pot he called
home. And Eisner chronicled his adventures with a cinematic sense of style, in
illustrations that evoked the stark compositions and unusual spatial perspectives of
works like CITIZEN KANE.
Miller had begun working in comic books when he met Eisner for the first
time, at a party in New York City. “I was writing and drawing one of my first issues
of ‘Daredevil’ for Marvel Comics,” he recalls. “Eisner took a look at the opening
page and immediately told me what was wrong with it. We started arguing about the
use of the caption on it, and that began a debate that ran for 25 years about how to
make comics and how they work. We had a very fiery, healthy relationship and a
very dear friendship. I learned a lot from him.”
KEEPING TRUE TO “THE SPIRIT”
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Producers Deborah Del Prete and Michael Uslan are both lifelong comics
enthusiasts.
In 1992, Uslan, who helped usher in the modern era of adult-themed comic
movies when he produced Tim Burton’s BATMAN (1989), acquired the rights to
THE SPIRIT from Eisner. In making the deal with Eisner, Uslan recalls that he made
a simple, sincere promise: “I swore to Will that nobody would touch THE SPIRIT --
not a company, not a person -- unless they were willing to respect the property and do
it the right way.”
Almost a decade later, actor Dan Lauria introduced Uslan to Del Prete and her
producing partner Gigi Pritzker. Del Prete was intrigued when she learned of Uslan’s
background in comic book properties. “I said to Michael, ‘Look, I’ve always wanted
to make a comic book movie,’” Del Prete recalled. “‘We’re independent filmmakers.
We can develop things on our own. I’ve been looking for that kind of movie.’”
Uslan did not see the Odd Lot folks for a long time after. When he was still
frustrated in his “Spirit” quest, he went to meet with Del Prete in 2004, determined to
make his “Spirit” pitch. “We had a lovely conversation and then she said, ‘You
finally brought me something! What did you bring me?’,” he remembers. “I said,
‘Deb, I’m bringing you the greatest creative work to ever come out of the comic book
industry in the last 70 years.’ She looked at me and said, ‘Don’t tell me you have the
rights to ‘The Spirit?’ And I looked up into the sky and I said, ‘Mama, I’m home!’
She was the first person who knew about ‘The Spirit!’ It was a magic moment.”
Comments Del Prete, “Comic books are how I learned to tell a story in
pictures. I’ve always wanted to make a comic book movie, but not just any one. I’ve
always thought ‘The Spirit’ was a brilliant creation, and so I was very excited to
produce this movie.”
Frank Miller was on Odd Lot’s A-list as a potential writer for a ‘Spirit’ movie.
In many ways, Miller was an inheritor of Eisner’s mantle and Del Prete and Pritzker
were determined to seek him out. When Eisner died in January 2005 at the age of 87,
they asked Uslan, who would be attending the memorial in New York City along with
Miller, to approach him about writing and directing THE SPIRIT. At first, Miller
demurred – how could he touch the work of the master, his friend and mentor? Miller
walked away, but he soon called back with the words THE SPIRIT production wanted
to hear: “I can’t let anyone else touch it.”
Miller’s commitment added an even greater sense of occasion to THE SPIRIT.
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As Del Prete explains it, “You have Will Eisner, literally one of the creators of
comics. Then you have the man who is the absolute leading icon of comics today,
Frank Miller – who was Will’s protégé, peer, friend and battle-partner. That’s a
coup.”
ABOUT THE SCREENPLAY
Miller surrounded himself with panels of Eisner’s artwork as he set to work on
the script. “I originally thought in terms of a novelist, a Raymond Chandler, and I
was going to do that kind of narrative,” says the writer/director. “But I discovered
that Chandler was the completely wrong reference, that Eisner was much more of an
O. Henry. He told a series of little short stories, many of which were quite beautiful.
I decided to pick my favorite, a two-parter about Sand Saref, and expand from that.”
Sexy international jewel thief Sand Saref is one of the many lovely ladies
Eisner created in “The Spirit.” Among the other seductresses and sweethearts who
found their way into Miller’s narrative are Ellen Dolan, daughter of Central City’s
police commissioner, the exotic chanteuse Plaster of Paris, the icy genius Silken Floss
and the underwater angel of death Lorelei. “What I wanted to capture in THE SPIRIT
was implicit in Eisner’s work,” explains Miller. “The Spirit himself was a bit of a
cad. While he had Ellen Dolan as his sweetheart, he had such an eye for the ladies.
But the true love of his life is Central City, and she’s always there to be his real soul-
mate.”
The Spirit puts himself on the line for his city, and Eisner often subjected his
hero to all manner of physical injuries at the hands of his foes. The Spirit’s ability to
take a punch – and then some – became a central theme of Miller’s plot. “The Spirit
knows that he is a cop who was shot dead and mysteriously came back to life and he
has no idea how,” Miller states. “He’s not a superhero. He can’t fly, he can’t throw
cars around. But he has this one extraordinary quality: he can take ridiculous amounts
of punishment, and heal faster than anybody. So in the midst of this romantic
adventure, he’s on an existential journey to find out what he really is.”
The answer to that question, Miller decided, lay with the Octopus, one of
Eisner’s iconic villains. In the original series, the Octopus was represented solely by
a pair of white gloves. Miller decided to show the character in his entirety,
reinventing him as a resentful Central City coroner who finances his twisted genetic
experiments through a lucrative drug trade. In grand comic book style, the Octopus is
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the Spirit’s polar opposite. “As the Spirit brings order to the world, the Octopus
brings chaos. As the Spirit seeks to help people, the Octopus seeks to enslave them,”
Miller affirms, adding, “He’s also categorically nuts.”
Eisner always wrote his hero to be contemporary, and Miller followed that
example in writing THE SPIRIT. However, Miller added his own twist to the notion
of “contemporary,” fashioning a story that mixes design elements from several
different eras. Thus, THE SPIRIT unfolds against a landscape where women are
dressed to the nines, men wear suits and hats, and taxicabs are elegant sedans from the
50s. It’s also a world of cell phones, flak jackets and cloning. The film’s adventures
have a level of grittiness and violence that says 21st Century, rather than 1940s.
Meanwhile, the irreverent humor that was an intrinsic part of Eisner’s universe is fully
accounted for, and seasoned with Miller’s characteristic mordancy.
Producer Del Prete was a key collaborator during the months Miller spent
shaping and refining the screenplay. “The tone of the script is what I think the tone of
the comics was. It’s an adventure, it’s a romance, but there’s a lot of humor in it as
well,” she says. “We were always very careful to respect the elements of ‘The Spirit’
that are Eisner traditions. That said, he is Frank Miller and he brings his own specific
point of view.”
Pritzker, a newcomer to the world of comic books, served as a proxy for the
general moviegoer with no prior knowledge of “The Spirit,” Will Eisner or Frank
Miller. “It was important that THE SPIRIT be accessible to people who weren’t
necessarily insiders to the comic book world,” Pritzker states. “And I think it is. It’s
got great inside jokes for those who are really familiar -- but for those of us who
aren’t, it’s a fantastic story, and very funny.”
CAST AND CHARACTERS
While many comic book movies feature a major star in the hero’s role, the
makers of THE SPIRIT felt a different approach was warranted and sought a lesser-
known actor. As Del Prete puts it, “We wanted the Spirit to be simply the Spirit to
the public.”
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Gabriel Macht’s deep, rumbling voice and wry, understated delivery
immediately caught the filmmakers’ attention when he came in to read. “Hollywood
has tons of brilliant male actors, but Gabriel brought forth a Chandler-esque humor
and a physical presence, a manliness, that’s largely absent on screen today,”
comments Miller. “He makes a great Spirit in the film noir tradition.”
As he took on the challenge of the Spirit, Macht immersed himself in Eisner’s
drawings. Explains the actor, “By studying Eisner’s comics I was able to absorb his
physicality, the way he moves his head, the way he looks at someone, the way he
wears his hat or moves his shoulders – some of the things that really defined the Spirit
to me.” He appreciated the Spirit’s human imperfections. “The Spirit can do things
that other cops can’t do and his physical strength is quite amazing. On the flip side,
he’s a clumsy guy and the way that Eisner drew him, he’s tripping over stuff all the
time. That’s part of what makes him charming.”
The prospect of working with Miller attracted an impressive roster of actors,
including Samuel L. Jackson, who portrays the Spirit’s arch-enemy the Octopus. As
soon as Miller decided to change the Octopus from a pair of gloves to a flesh-and-
blood antagonist, his thoughts turned to the celebrated star. “I had to look for the best
conceivable villain around, and there was Sam. He was my first and only choice for
the part.”
Jackson, an ardent comic book fan, needed no convincing. “I’ve been a Frank
Miller geek for a very long time, from ‘The Dark Knight’ and the ‘Sin City’ series
through ‘300,’ and everything else,” Jackson declares. “The fact that Frank wanted
me to be the Octopus is a source of pride for me.”
With Jackson on board, the Octopus took on nearly operatic dimensions as a
villain who revels in his role and enthusiastically dresses the part. He’s a character
who inspires laughs as well as chills, making him a perfect fit for THE SPIRIT
universe. As Jackson notes, “Will Eisner had a great sense of humor, and this film
had to maintain that element of comedy. So, the Octopus is a bit theatrical; he puts on
costumes and changes guises according to his whim. He is a very smart individual --
or, as he refers to himself, a criminal mastermind.”
Changing costumes in tandem with the Octopus is his cold-hearted aide-de-
camp and protégée Silken Floss, portrayed by Scarlett Johansson. Miller re-wrote the
character as a younger version of Eisner’s original, after meeting with Johansson to
discuss an entirely different role. “I walked away thinking, ‘She’s wrong for that part,
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she’s too young. But I’ve got to write something for her.’ I was so impressed by the
woman and how smart she was, how funny and acerbic,” he says. “Eisner’s character
was a sexually repressed astrophysicist who was very proper and very much in love
with the Spirit. I decided to do a counterpoint and give Silken a misspent youth.”
Johansson was delighted by her unflappable character, who she describes as
“very, very smart and easily bored. Silken’s there for the ride, helping this crazy guy
with his drug trade and wearing cool clothes. None of it is real for her. Part of that is
probably because she’s dipping into her drug supply all the time. It’s a strange phase
in her life and who knows what will happen next?”
Eva Mendes was cast as the pivotal character of Sand Saref, the only woman
capable of breaking the Spirit’s heart. Miller found in Mendes an actress “as haunting
and as gorgeous as the original brush illustrations.”
Sand has married well and often; she is breathtakingly sexy and seemingly
cold as ice. But beneath the tough demeanor is a wounded soul haunted by losing her
father at an early age. “Sand Saref is really just a broken little girl,” comments
Mendes. “She’s decided the only things she can count on are really expensive jewels.
She loves shiny things, as she calls them.”
The Spirit also has a complex relationship with Ellen Dolan, the daughter of
Central City’s police commissioner and the onetime fiancée of Denny Colt. “Ellen’s
very sharp,” says Miller. “In a bit of a digression from the comic, I made her a
surgeon – the woman who literally puts Spirit back together physically.”
Ellen is portrayed by Sarah Paulson, the gifted actress who won acclaim for
her role in Aaron Sorkin’s “Studio 60 on the Sunset Strip.” The actress found a vein
of melancholy in her driven, self-possessed character. “I think Ellen tries to distract
herself from the sadness she has over losing the fiancé she loved so much,” she
comments. “Like her father, she buries herself in her work. And she becomes
obsessed with tending to and taking care of the Spirit, making sure that he is well and
healed.”
Miller tailored the role of Lorelei for Jaime King, who portrayed Goldie in
SIN CITY. The actress was thrilled to be reunited with the writer/director, who has
become a close friend. “Frank is so highly creative, and this script was unlike
anything I've ever read before,” comments King. “It was a sexy film noir, but also all
these other things – romantic, sinister, fun and edgy. And I was very excited to play
this mystery woman, who is really an angel of death beckoning to the Spirit
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throughout the entire film.”
The role of Plaster of Paris went to award-winning Spanish actress Paz Vega,
who made her American debut in SPANGLISH and is known for her sensual turns in
films such as SEX AND LUCIA. “Plaster of Paris is one of Eisner's strangest
creations,” Miller allows. “As played by Paz Vega, she is a very sexy fever dream of
a woman. But definitely a very dangerous one.”
Vega was more than happy to cross the Atlantic to perform her relatively brief
role. “I love comics, and to work with Frank Miller was a dream come true,” she
enthuses. Vega acknowledges that the Spirit has plenty to fear from Paris,
particularly in light of their prior history. “I think they had a very torrid relationship
and that she’s still in love with him. Paris is a very strange woman, and you never
know what to expect from her.”
Miller invented the character of Morgenstern, the rookie cop who is dazzled
by the Spirit but also eager to prove herself. Stana Katic, a rising star who is featured
in QUANTUM OF SOLACE, was cast as the young police officer, whose coltish
earnestness stands in contrast to the film’s more overtly seductive females. “She’s
the only women in the piece who is not really aware of herself as a woman,” Katic
comments. “As a law enforcement person, Morgenstern admires the Spirit. Once she
meets him -- well, he’s just the cat’s meow and she develops this fantastic crush.”
Adding a bracing dose of noir-esque gruffness is Dan Lauria as Commissioner
Dolan, an old-fashioned cop who is the only person who knows that the Spirit is
Denny Colt. Lauria’s first reading was all it took to convince Miller he was right for
the role. “Dolan is the father that Denny Colt never had, and he has an ongoing,
contentious relationship with the Spirit. As Dolan, Dan exudes authority, weariness
and concern. In some ways, he’s my favorite character because he’s my
encapsulation of Will Eisner himself in a bad mood.”
A film buff with a home library of some 4,000 titles, Lauria relished the
chance to emulate the staccato delivery of the 40s movies he loves. “The actors in
those films, particularly in film noir, speak at a very rapid pace. Frank’s dialogue
really lends itself to that. So I would just fly through my dialogue, which gave it an
edge that I love.”
Finally, there is the cloned brotherhood of cheerful henchmen created by the
Octopus, who freely dispatches them whenever they fail to meet his expectations –
which, given their lack of intelligence, is often. Miller initially imagined the thugs as
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identical siblings named Logos, Pathos, and Ethos. “The idea started growing on
me,” remembers the writer/director. “I thought, ‘Why stop at triplets when you’ve got
this guy who’s a genetic master? Why don’t you just have him make a lot of them?’”
To play the multiple maniacs – collective known as Phobos -- Miller and Del
Prete sought out Louis Lombardi, best known as the cranky Edgar on “24.” As the
actor recalls, “Frank and Deborah told me they had a great role for me: ‘It’s a guy
who gets killed 50 times.’ I was, like, ‘Really?’ Frank told me all the ways I was
going to be killed and I thought, ‘Wow. This is gonna be exciting!’ And when Frank
explained to me how he was going to shoot the movie, I couldn’t wait to get to the set
and start working.”
STAGES AND SCREENS
The filmmakers’ plan for THE SPIRIT was indeed ambitious: it called for
shooting the entire production using green screen technology and state-of-the art CGI
programs to create a hybrid of motion picture and comic book. Miller had first been
exposed to advanced digital filming techniques when he co-directed SIN CITY with
Robert Rodriguez. “What’s happened with computer technology and with CGI is
timed perfectly for someone with my set of skills,” he acknowledges. “I tell stories
with pictures. What I love about CGI in film is if I can think it, it can be there. And
as much this technology speaks to the future, it also can bring back some values of the
past. Not just the comic book values of the strange-looking city and the loud lighting,
but also the values of classic noir. I wanted THE SPIRIT to have the starker, scarier
look of those old movies.”
Del Prete carefully selected the top-flight crew that would help Miller realize
his vision for THE SPIRIT. Says the producer, “We set out to find people who were
very much simpatico with the concepts of the comics Frank had written. We wanted
people who knew of Eisner and ‘The Spirit.’ So Frank was surrounded by talented
people who really were excited about working with him on this film. Every single
team member was somebody who was very special.”
That certainly describes Miller’s key technical collaborators: the renowned
director of photography Bill Pope, whose credits include SPIDERMAN 2 and 3, THE
MATRIX trilogy and BOUND; and senior visual effects supervisor Stu Maschwitz,
the founder of the innovative visual effects house the Orphanage, whose stunning
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work includes IRON MAN, NIGHT AT THE MUSEUM, SUPERMAN RETURNS
and HARRY POTTER AND THE GOBLET OF FIRE.
Pope jumped at the chance to join Miller for his first solo directorial outing.
As he explains, “Frank Miller calls you up and says, ‘You want to do a movie?’
Here’s a man who’s a master in another visual medium. You want to see what he
does. What do you do if Julian Schnabel calls you up? You say yes.”
Maschwitz also served as the film’s second unit director, and began advising
Miller on the film’s visual effects in pre-production. “Frank is abuzz with the energy
that you feel in his artwork,” he states. “He’s got a profound vision and it’s amazing
to see him work to bring these characters to life that he defines on the page with just a
simple pose or gesture.”
THE SPIRIT began production in Albuquerque, New Mexico on October 8,
2007 and was the first feature film to be shot at the newly constructed Albuquerque
Studios. Stages 7 and 8 were transformed into a huge green screen stage, a black
screen stage and a stunt stage that could change from green to black. The ambitious
48-day schedule involved over a hundred actors and stunt players.
For the actors and key technical departments, Miller created notebooks of the
original Eisner stories that THE SPIRIT would draw upon. And the writer/director
began each day by drawing storyboards that enabled actors and crew members alike
to visualize the scenes they would be shooting. Comments Del Prete, “Frank made
sure that all the people on this film really understood the original art, as well as his
style of art. And he did create a hybrid of the two. There wasn’t a day that went by
that we didn’t talk about Will.”
Together, Miller, Pope and Maschwitz mapped out an adventurous visual
strategy. “We decided to make THE SPIRIT even more stylized, more in line with
Frank’s drawings than even Rodriguez did,” Pope explains. “Stu and I were acolytes,
in the sense that we understood Frank Miller and his sensibility. Our job was to
translate what was in his brain, what was in his drawings, into a technical world.
Frank’s not a technician. What he is fantastic with, is finding that moment, that
emotional beat at the core of every scene.”
A spirit of creativity and playfulness pervaded the set, on both sides of the
camera. For Miller, that attitude was essential for a proper adaptation of Eisner’s
work. “Will was always an adventurer in his work,” he explains. “What I wanted to
do in this movie was get back in touch with that sense of experimentation that he
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brought to ‘The Spirit,’ that defined ‘The Spirit.’ The entire cast and crew – we were
all willing to try things.”
Sam Jackson agrees, noting that Miller was receptive to the actors’ ideas about
everything from line readings to facial hair. Once Jackson saw the completed
costumes and the minimal or nonexistent sets, he realized he could go even farther
with the larger-than-life character he was creating. “We realized we could kick the
Octopus into another space with wigs and eye makeup and all kinds of elaborate
things on my face. We had a great time thinking about the character, and I think that
helped us create a really fun, memorable villain.”
Miller was thrilled with his cast. “I’ve got a history of sitting at a drawing
board, coming up with stories and pictures and making up my own actors. So
probably the biggest surprise is that I love actors, and love working with them.
Everyone in the cast was superb. Really, I think the actor creates the character. The
director just helps them along.”
THE SPIRIT called for vibrant and smartly delineated wardrobe design for all
the characters. It was a challenge that costume designer Michael Dennison embraced
as he devised stylized garments that would reflect personality, history and changes in
mood. For Jackson’s Octopus, he created a series of outfits to complement the fiend’s
adoration of iconic evil, from the archetypal Western bad guy to a murderous samurai
and even a Nazi. And there were gorgeous and varied garments for the film’s
splendid women: gowns, suits, dresses and more that nodded to the feminine
silhouettes of the mid-20th Century while maintaining a modern feel.
In contrast, the Spirit’s wardrobe called for simple, statement-making pieces.
Dennison made a few subtle alterations to the Spirit’s attire to bring the character into
the present day. “The original Spirit wore a suit,” Dennison notes. “We pared his
costume down to just a shirt, tie, trousers, belt, sneakers, plus an incredible trench
coat and a fedora. The trench coat was lovingly referred to as the cape, because it
floated, it flew, it concealed, it wrapped. The scarlet tie was part of Frank’s vision.
It’s a graphic image that becomes the character’s signature.”
Some of the boldest innovations in THE SPIRIT involved the film’s extended
underwater sequences, including scenes of Mendes’ and Jackson’s characters
pursuing their loot beneath the mudflats of Central City. The filmmakers wanted to
achieve an effect possible only in comics, with Mendes’ Sand Saref looking as
breathtaking underwater as she does on land. To achieve this, Pope filmed the scenes
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using specially designed lighting and a Phantom camera, a high-speed digital model
generally reserved for scientific applications. Mendes was suspended in a harness,
and not a drop of water was required. Says Del Prete, “We got what we asked for:
totally believably underwater. And Eva looks like a goddess -- her makeup and hair
absolutely perfect -- because she’s not actually underwater. Just like in the comics!”
THE SPIRIT was conceived as a contemporary noir, with color playing a
highly targeted, powerful role. The color palette was established in production, via
lighting, costume design, art direction and other cues, and carried through in post-
production. “We never felt that the film should be pure black and white; we wanted
to see skin tone and flesh,” says Pope. “So we worked our way to just an
understanding of what the thematic colors were. For example, when Frank wrote the
scene of Young Spirit and Young Sand on the porch, I knew that they were opening a
locket. The locket could be gold, the memory could be a golden memory. And Sand
is materialistic. So gold became her color.”
Once production wrapped, the center of activity moved to the Orphanage’s
Northern California headquarters, where Maschwitz supervised a visual effects team
of some 200 people at 10 facilities around the world, including Australia, Los Angeles
and Canada. For Maschwitz and his colleagues, the task at hand was nearly the
reverse of standard visual effects work. “Most often, our job is to take a shot that is
complete except for one small element, and insert that element into the shot,”
Maschwitz explains. “With THE SPIRIT, we have one small very important element,
which is the performance, and we’re filling in the entire background.”
Meanwhile, in Los Angeles, editor Greg Nussbaum joined the post production
team. Nussbaum came to the film after being recommended by Stu Maschwitz, with
whom he’d worked on commercials and music videos. “The difficulty with this type
of film is that your editor only has actors on green screen to cut. They really have to
have a lot of imagination to understand what they are doing. Deborah wanted
someone who would really understand Frank’s style like the rest of the team. Greg
had been an editor for the pre-viz period of THE SPIRIT and I knew he was very
talented and would be a good match,” recalls Stu Maschwitz. Del Prete gave the first
few weeks’ footage to Nussbaum as a test to see what he would make of it. She and
Miller loved the results and brought him aboard.
Post is one of the most important parts of the process – especially in a film like
THE SPIRIT and while they had Maschwitz and The Orphanage making sure every
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visual was perfect, Miller and Del Prete also had to make sure the sound and music
was up to the standards of the picture. They spent a lot of time listening to scores and
meeting with composers. Producer Del Prete recalls, “We were very fortunate to have
a wealth of choices. After seeing samples of the footage literally everyone we wanted
to meet with was very excited about taking on the film. The hardest part was having
to say no to so many really great music makers. After consideration, the highly
accomplished multiple Academy Award® nominee David Newman (ANASTASIA,
ICE AGE, THE PHANTOM) joined the team. Frank wanted elements of the ‘40s
jazz sound married with iconic heroic music and even a touch of the spaghetti
western. David was able to bring it all home for us.”
It was in post-production that Maschwitz worked with Miller to bring to life a
critical character in THE SPIRIT: Central City, the Spirit’s greatest love. Eisner
based the city on his native Manhattan, which is also Miller’s longtime home. Says
Miller, “Stu and his company created the Central City of my dreams, which is
Manhattan from around Jane Street up to Houston. That’s because the Spirit is more a
neighborhood character than a protector of an entire city. Stu and his team created an
evocation of different eras of New York. It is kind like Pompeii on top of Pompeii,
on top of Pompeii. It goes as modern as you want and as far back as you want.”
Adds Maschwitz, “Central City is the New York that Frank sees when he
walks around Manhattan. You pick and choose bits and pieces of a real city so that it
has that kind of tangible reality and messiness that a real urban environment does, but
then you selectively dis-include the parts of it that don’t fit in with Frank’s and
Eisner’s world. What you wind up with is Central City. And the movie really is a
love letter to this environment.”
It’s also a fond, respectful tip of the hat to Will Eisner, the man who helped
create the comics. “I threw myself into this,” says Miller about the huge undertaking
to bring THE SPIRIT to the screen. “If it was going to be THE SPIRIT it was going to
be as good as I could possibly make it. I hope Will doesn’t rise from the grave and
strangle me when he sees it.”
Actress Jaime King feels Miller has little cause for worry. “What Will Eisner
did with ‘The Spirit’ was very revolutionary; there was really nothing like it at the
time. That’s how I feel about what Frank has done with this film.”
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ABOUT THE CAST
In 2004, GABRIEL MACHT (The Spirit) received critical acclaim and a breakthrough award for his performance starring opposite John Travolta and Scarlett Johannson in A Love Song for Bobby Long. He recently wrapped production on the Warner Bros. thriller Whiteout, in which he will star alongside Kate Beckinsale. This past year, Macht was seen in Robert De Niro’s The Good Shepherd and Universal’s Because I Said So, opposite Mandy Moore and Diane Keaton.
Macht starred in the BBC production Archangel co-starring Daniel Craig. He also appeared in a series of action films including The Recruit with Colin Farrell and Al Pacino, Bad Company with Anthony Hopkins and Chris Rock, and Behind Enemy Lines with Owen Wilson and Gene Hackman. Other film credits include the western American Outlaws, The Object of My Affection and the highly praised independent film The Adventures of Sebastian Cole. Television credits include Steven Spielberg’s The Others, Sex and the City, and Spin City.
Onstage Macht portrayed Elvis Presley (a.k.a. ‘the visitor’) in Steve Martin’s off Broadway smash hit Picasso at the Lapin Agile. He starred in the Joanne Woodward directed La Ronde at the Williamstown Theatre Festival and most recently in Turnaround written and directed by Roger Kumble at the Coast Playhouse.
Macht graduated with a Bachelor of Fine Arts from Carnegie Mellon School of Drama.
Respectfully labeled as one of the hardest working actors in Hollywood, SAMUEL L. JACKSON (THE OCTOPUS) is an undisputed star as demonstrated in the fact that his films have grossed the most money in box office sales of any other actor in the history of filmmaking.
Jackson made an indelible mark on American cinema with his portrayal of ‘Jules’, the philosophizing hitman, in Quentin Tarantino’s “Pulp Fiction.” In addition to unanimous critical acclaim for his performance, he received Academy Award and Golden Globe nominations as Best Supporting Actor as well as a Best Supporting Actor award from the British Academy of Film and Television Arts.
Among his many award-winning performances, Jackson made movie history with his portrayal of a crack addict in Spike Lee’s “Jungle Fever” when he was awarded the first and only Best Supporting Performance Award ever given by the judges at the Cannes Film Festival.
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Jackson can currently be seen in the Rod Lurie directed film, “Resurrecting the Champ” and in a supporting role in the Weinstein Co. film “1408” based on the Stephen King novel. Jackson also recently starred in the Craig Brewer film “Black Snake Moan,” New Line’s thriller “Snakes on a Plane,” directed by David R. Ellis and Irwin Winkler’s MGM war drama Home of the Brave”. In 2008, Jackson’s films will include the Doug Liman sci-fi, action film “Jumper” and the quirky crime drama “ Cleaner” directed by Renny Harlin.
Other film credits include “Coach Carter,” “Star Wars” trilogy, “In My Country,” “The Man,” “The Incredibles,” “S.W.A.T.,” “Formula 51,” “Changing Lanes,” “Caveman’s Valentine,” “Red Violin,” “Shaft,” “Unbreakable,” “187,” “Eve’s Bayou,” “Jackie Brown,” “The Negotiator,” “A Time To Kill,” “Die Hard” and “Die Hard with a Vengeance”, “The Long Kiss Goodnight” and “Deep Blue Sea.”
On the small screen, Jackson serves as Executive Producer for the animated series for Spike TV, “Afro Samurai” which premiered in 2007 and will be returning for a second season. In addition, Jackson partnered with New Line Studios to produce and develop projects which he has the option of starring in.
SARAH PAULSON (Ellen)Bio forthcoming
EVA MENDES (SAND SAREF) captured the attention of moviegoers in a small, but pivotal role in the critically acclaimed film, “Training Day.” Since then, Mendes has proved she is adept in both comedic and dramatic roles. In a very short time, she has had the fortunate and unique opportunity to work with such esteemed directors as Carl Franklin, Robert Rodriguez, Antoine Fuqua, the Farrelly Bros. and John Singleton, therefore earning the reputation as a serious actress who is committed to her craft.
Eva starred opposite Will Smith and Kevin James in the Columbia Pictures hit, “Hitch.” Directed by Andy Tennant (“Sweet Home Alabama”), the romantic comedy tells the story of a professional matchmaker who is threatened by a female journalist who plans on exposing his dishonest methods.
Mendes co-starred in the recent Fox Searchlight release, “Trust the Man,” opposite Julianne Moore, Maggie Gyllenhaal and Billy Crudup, directed by Bart Freundlich and opposite Nicolas Cage in Sony Pictures’ highly-anticipated supernatural action-adventure, “Ghost Rider,” based on the Marvel Comic and which broke box office records around the world in it’s opening weekend. She stars in “We Own the Night,” opposite Joaquin Phoenix, Mark Walberg and Robert Duvall. She has also completed the independent feature, “LIVE!,” in which she stars and which marks her debut as an executive producer, as well as “Cleaner” for director Renny Harlin opposite Ed Harris and Samuel L. Jackson. Most recently she starred in the all-star remake of the classic, “The Women.”
Mendes’ first serious role came when she was cast as Denzel Washington’s girlfriend in the box office success, “Training Day,” for director Antoine Fuqua. Her portrayal led to the celebrated director, Carl Franklin, hiring Mendes for the MGM feature “Out of Time,” once more starring opposite Denzel Washington. In the same year, Mendes appeared in Robert Rodriguez’s film, “Once Upon A Time in Mexico” opposite Johnny Depp.
Mendes has also starred in the action blockbuster “2 Fast 2 Furious”, the comedy feature film, “All About the Benjamins” opposite Ice Cube, and the Farrelly Bros. comedy, “Stuck on You” opposite Matt Damon and Greg Kinnear.
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Mendes is also an international spokesperson for Revlon Cosmetics. Mendes currently appears in the company of other world-class beauties including Halle Berry, Jessica Alba and Sheryl Crow in Revlon’s print and television advertising campaigns. She is also an active participant and ardent supporter in Revlon’s commitment in the fight against breast cancer.
Mendes, who is Cuban-American, was born in Miami and raised in Los Angeles. She began acting in college and went on to study with the respected acting coach Ivana Chubbuck and soon thereafter, made her dreams of becoming a working actress a reality.
DAN LAURIA (DOLAN) has appeared as a guest star in over seventy television episodic programs. He has a score of film credits which include STAKEOUT, ANOTHER STAKEOUT, both with Richard Dreyfuss and Emilio Estevez and the commercial blockbuster, INDEPENDENCE DAY and most recently BIG MOMMA TWO with Martin Lawrence. However, Dan is most recognized as the Dad on the highly acclaimed, Emmy-Award winning, ABC-TV, THE WONDER YEARS.
Dan is a very similar face to the off-off-off and regional theatre scene, having performed, written or directed over fifty professional productions. Just recently, Dan starred in the Long Wharf theatre production of Willy Holtzman’s controversial play, HEARTS. Prior to that Dan was in the Coconut Grove production of Arthur Miller’s, THE PRICE, with the great Jack Klugman. He performed with the one and only Charles Durning in the Westwood Country Playhouse production of Jason Milligan’s, MEN IN SUITS and not too long ago Dan toured with his former television co-star, Fred Savage, in the play WENDELL AND BEN, marking Fred’s professional stage debut.
Dan has most recently performed THE GUYS by Ann Nelson, a tribute he was honored to be part of, to the brave firemen who lost their lives at the WTC on 9/11 both in NYC and on the road. This was followed by Mark St. Germaine’s new play, EARS ON A BEATLE, Ken Ludwig’s, LEADING LADIES, Lee Blessing’s, THE WINNING STREAK and Daniel Sullivan’s Christmas classic comedy, INSPECTING CAROL.
For ten years Dan served as the Artistic Director of The Playwright’s Kitchen Ensemble (PKE) of Los Angeles. With partner, Joe Cacaci, PKE produced over 450 public readings of new plays with the finest actors in the business, in order to promote the development of the new American playwright and to seek literary representation for new writers.
Born the 2nd of January 1976 in Spain, PAZ VEGA (PLASTER OF PARIS) began her career in the theater and decided to become an actress. She began her drama classes before trying her luck in Madrid. After only a few months in the capitol she made her debut in television. Her most popular role is that of Laura, a young ingénue in the series "7 Vidas" that she was in from 1997-2000.
She also played Olga in the renowned TV series "Mas Que Amigos" directed by Manuel Rios San Martin. With him she began her first steps in the movies with the comedy "Perdon, Perdon" in 1998. She then continued in “Companeros" another TV series directed by Pablo Barrera from 1998-2002. Her first role in 1997 however was in Pedro Olea's "Mas Allas del Jardin".
In 1999 she was seen in three films "Zapping" by Juan Manuel Chumilla, "Raison de Vivre (Sobreviviré)" by Alfonso Albacette and "Jeu de Role" (Nadie Conoce a Nadie) by Mateo Gil which was a huge success starring Edurardo Noreiga, Nathalie Verbeke, Jordi Molla and Pedro Alvarez Osorio.
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In 2000 she acted in “El Chico en la Purta" and in 2001 "Lucia y el Sexo" by Julio Medem-marking a decisive turn in her career. Paz won the coveted Goya award for the best new actress. She then shot "Solo Mia" directed by Javier Balaguer and that same year Pedro Almodovar chooses her for her role in "Habla Con Elle".
In 2002 she then did the film "El Altro Lado de la Cama" by Emilio Martinez Lazaro and then "Carmen" by Vicente Aranda.
In 2003 she played Isabelle in "Novo" by Jean-Pierre Limosin playing with Anna Mouglalis, Eduardo Nogiera and Julie Gayet. In 2004 she rejoined Ornella Muti and Santiago Millan in the film of Juan Calvo "Di Que Si".
Her first American film "Spanglish" by James Brooks is a romantic comedy. Playing alongside Adam Sandler and Téa Leoni confirmed her talent as an actress she incarnated the role of a Latin American who moves to Los Angeles with her 12 year old daughter. She begins in the film as a cleaning lady for an American family and finds herself entangled in a romantic situation.
The film debuted in 2004 and came out in France in February 2005 and Paz did a whirlwind international publicity tour which saw her on the covers of the most prestigious magazines-Vogue, Elle, Glamour, Cosmopolitan etc.
In 2005, She is acting in "Un Angel en La Oscuridad" the thriller by Raul Garcia.
In 2006, she was in “10 items or less” of Brad Silberling (Casper, La cité des Anges, Moolight Mile…) with Morgan freeman. She was also in "Fade to Black" with Christopher Walken, Diego Luna, Ana Galiena and Dani Houston and in “Los borgias” directed by Antonio Hernandez.
In 2007, she will be in "Theresa" by Ray Loriga-a drama based on the mythical life of the Spanish feminist Saint Theresa. She will play alongside Victoria Abril and Viggo Mortensen.She will be in “The lake farm” of the Taviani Brothers with Alessandro Preziosi, Tcheky Karyo, Angela Molina.
With an impressive body of work that encompasses film, television and theatre, STANA KATIC (MORGENSTERN) is quickly becoming one of Hollywood’s most sought after talents as her career continues to evolve with exciting and challenging projects.
Segueing effortlessly between the big and small screen, Stana recently finished working with award winning director Robert Benton on his new film “Feast of Love.” This romantic comedy, which also stars Morgan Freeman and Greg Kinnear, is about a community of friends in Oregon who explore the magical, mysterious and painful incarnations of love. The film is slated for release in September 2007. Stana also wrapped a role in the Indie film “Stiletto.” Surrounded by an ensemble of Hollywood’s most notorious, (Tom Sizemore, Michael Beihn, William Forsythe & Diane Venona), Stana plays a female assassin on an avenging angel mission.
Stana Katic has been cast in Fox's drama "Company Man"( From the creators of "24"). The project centers on a family man who winds up recruited by the NSA as a spy. Katic plays the sexy and tough National Security Agency agent who recruits him.
Stana recently joined the highest rated new show of the 2006 - 2007 television season, NBC’s drama “Heroes,” as one of the able-bodied super humans. She portrays Hana Gitelman, a fierce young woman with “wireless” mental abilities. “Heroes” received a Golden Globe
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nomination for Best Television Series - Drama and also won the People’s Choice Award for Favorite New Television Drama. Adding to her success, Stana is European information broker Collette Stenger on primetime’s other powerhouse, Fox’s “24.” Stana also stars in CTV’s epic two part mini-series “Would Be Kings”, and has had memorable recurring roles on some of primetime’s highest rated dramas including “The Closer,” “E.R.” and “The Shield.”
She also starred in the world premiere of “Private Fittings’ by renowned Broadway director Des McAnuff. The show was written by former SNL writer Mark O’Donnell. Stana is a citizen of both the United States and Canada, speaks 5 languages and has extensive combat training for film. When she can grab some free time she enjoys horseback riding, astrophysics, flamenco dancing, photography, archeology and designing clothes.
With more than a decade of work under her belt, four-time Golden Globe nominee and BAFTA winner, Scarlett Johansson (SILKEN FLOSS) has proven to be one of Hollywood’s most talented young actresses. Johansson received rave reviews and a “Best Actress” Award at the Venice Film Festival for her starring role opposite Bill Murray in “Lost in Translation,” the critically-acclaimed second film by director Sofia Coppola.
Johansson portrayed the title character in “Girl with a Pearl Earring,” a film adapted from the novel of the same name about the painter Johannes Vermeer (Colin Firth).
In February 2008 she stars in “The Other Boleyn Girl,” opposite Natalie Portman and Eric Bana for Sony. She will begin production on three films; “He’s Just Not Into You” and “Mary, Queen of Scots.”
At the age of 12, Johansson attained worldwide recognition for her performance as Grace Maclean, the teen traumatized by a riding accident in Robert Redford’s “The Horse Whisperer.” She went on to star in Terry Zwigoff’s “Ghost World,” garnering a “Best Supporting Actress” award from the Toronto Film Critics Circle. Johansson was also featured in the Coen Brothers’ dark drama “The Man Who Wasn’t There,” opposite Billy Bob Thornton and Frances McDormand.
Her other film credits include the critically acclaimed Weitz brothers’ film “In Good Company,” as well as opposite John Travolta in “A Love Song for Bobby Long,” which garnered her a Golden Globe nomination (her third in two years.) and Woody Allen's “Match Point,” which garnered her 4th consecutive Golden Globe nominee in three years. Other film credits include “The Island” opposite Ewan McGregor, Brian DePalma’s “The Black Dahlia, Christopher Nolan’s “The Prestige” and “The Nanny Diaries.”
Her additional credits include Rob Reiner’s comedy “North;” the thriller “Just Cause,” with Sean Connery and Laurence Fishburne; and a breakthrough role at the age of 10 in the critically-praised “Manny & Lo,” which earned her an Independent Spirit Award nomination for “Best Female Lead.”
A New York native, Johansson made her professional acting debut at the age of eight in the off-Broadway production of “Sophistry,” with Ethan Hawke, at New York’s Playwright’s Horizons.
Johansson currently divides her time between New York and Los Angeles.
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ABOUT THE FILMMAKERS
FRANK MILLER’s (Screenplay/Director) creative career began in the US comic-book industry in the late 1970s, where he came to prominence drawing and/or writing Marvel Comics properties such as Spider-Man, Wolverine, Daredevil, and Elektra Assassin. Miller created the ninja assassin Elektra in the pages of Daredevil during his critically acclaimed run on that title. Miller's Daredevil was the basis for the 2003 feature film.
Miller then created Ronin, a science-fiction samurai drama, for DC Comics. Apart from its artistic and critical success, Ronin was historically important as DC Comics' first creator-owned project. Ronin is currently in development at Warner Bros. as a feature film.
After Ronin, Miller wrote and illustrated the groundbreaking Batman: The Dark Knight Returns (an inspiration for the 1992 feature film Batman), which not only redefined the classic character, but also revitalized the comics industry. Miller also wrote Batman: Year One (illustrated by David Mazzuchelli), which was a basis for 2005's Batman Begins. Miller returned to Batman with the best-selling Batman: The Dark Knight Strikes Again, and is writing All-Star Batman and Robin the Boy Wonder (with Jim Lee illustrating).
Miller introduced his noir masterpiece Sin City in 1991, and it became an instant sales and critical success. To date, Miller has written and illustrated seven Sin City graphic novels. In 2005, Miller co-directed with Robert Rodriguez the feature film Frank Miller's Sin City.
300, Miller's award-winning graphic novel of the Spartans at Thermopylae, was initially serialized in 1998 (with Lynn Varley). The Warner Bros. feature-film adaptation of 300 smashed box-office records earlier this year.
Miller also collaborated with illustrator Geof Darrow to create Big Guy and Rusty the Boy Robot (which was adapted as an animated television series) and Hard Boiled (currently in development as a feature film). The final chapter of the Martha Washington science-fiction series by Miller and Dave Gibbons that started with Give Me Liberty was released in Summer 2007.
A veteran producer as well as director, DEBORAH DEL PRETE (Producer) is co-founder and co-chief executive officer of Odd Lot Entertainment. Since 2001 Del Prete and longtime partner Gigi Pritzker have shepherded the growth of the L.A.-based development, finance and production company.
Del Prete executive produced MEAN CREEK, starring Rory Culkin and Scott Mechlowicz, and produced the hit Columbia Pictures comedy THE WEDDING PLANNER starring Jennifer Lopez and Matthew McConaughey; GREEN STREET HOOLIGANS, starring Elijah Wood; BURIED ALIVE, starring Tobin Bell; the zombie comedy UNDEAD OR ALIVE; and the romantic comedy SUBURBAN GIRL, starring Sarah Michelle Gellar and Alec Baldwin. She is currently producing the action-adventure-romance THE SPIRIT, starring Gabriel Macht, Samuel L. Jackson, Scarlett Johannson, and Eva Mendes. Del Prete also produced the forthcoming Odd Lot creature feature LIVING HELL. Del Prete is also currently serving as executive producer on writer/director Michael Meredith’s THE OPEN ROAD, starring Oscar-nominated Jeff Bridges, Justin Timberlake, Kate Mara and Mary Steenburgen.
In addition to feature films, Del Prete and Pritzker develop and produce live stage productions though their company Dee Gee Theatricals. Their first production was KISS AT CITY
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HALL by Joe DiPietro, which had a successful run at the Pasadena Playhouse in February of 2000. Their original drama SYMMETRY, written by Dave Fields, premiered at the Victory Gardens Theatre in Chicago in Summer 2005. Recently they launched the new musical SNAPSHOTS, based on the book by David Stern with music and lyrics by Stephen Schwartz (WICKED), in Seattle, Washington, Florida, and Ohio; F. Scott Fitzgerald’s THE GREAT GATSBY, which enjoyed two highly successful productions in the U.S. with a third anticipated in London’s West End; and MILLION DOLLAR QUARTET by Colin Escott and Floyd Mutrux, a rock-and-roll story that broke box office records during its recent, critically acclaimed run in Florida.
Under her previous shingle, Dee Gee Entertainment, co-founded with Pritzker in 1986, Del Prete produced and/or directed a myriad of TV programs, music videos, commercials, industrials and documentaries. Her first feature film as a director was SIMPLE JUSTICE, starring Doris Roberts and John Spencer. She then produced and directed Kate Hudson’s film debut RICOCHET RIVER. Among her other produced projects are The People Versus, a five-part dramatic series starring Meg Ryan for Viacom; the musicals Something’s Afoot, starring Jean Stapleton for Showtime, Barry Manilow’s The Drunkard, starring Tom Bosley for A&E; Journey To Adventure, a long-running syndicated travel series; and Maintenance Men’s Lounge, a comedy pilot for ABC.
Del Prete is a longtime past treasurer of the board of directors for the New York chapter of Women In Film. She was an artistic advocate for the foundation of the Los Angeles County High School for the Arts and serves as an executive mentor for both the Producers Guild of America and Step Up Women’s Network.
GIGI PRITZKER (Producer) started in the film industry as a producer of documentary films. Her first production was BHUTAN, KINGDOM OF THE THUNDER DRAGON for the BBC’s In the Footsteps of Man. In 1986 she founded Dee Gee Productions, her first company with partner Deborah Del Prete, which produced numerous television programs, commercials, industrials and documentaries.
Pritzker executive produced MEAN CREEK, starring Rory Culkin and Scott Mechlowicz, and produced the hit Columbia Pictures comedy THE WEDDING PLANNER starring Jennifer Lopez and Matthew McConaughey; GREEN STREET HOOLIGANS, starring Elijah Wood; and the romantic comedy SUBURBAN GIRL, starring Sarah Michelle Gellar and Alec Baldwin.
Gigi and Deborah also develop and produce live stage productions though their company Dee Gee Theatricals. Their first was KISS AT CITY HALL by Joe DiPietro (I LOVE YOU, YOU’RE PERFECT, NOW CHANGE), which successfully ran at the Pasadena Playhouse in 2000. Their original drama SYMMETRY, written by Dave Fields, premiered at the Victory Gardens Theatre in Chicago during Summer 2005. Most recently, they launched the new musical SNAPSHOTS, based on the book by David Stern with music and lyrics by Stephen Schwartz (WICKED), in Seattle, Florida, and Ohio (September 2007); F. Scott Fitzgerald’s THE GREAT GATSBY, which enjoyed two highly successful productions in the US with a third anticipated in London’s West End; and MILLION DOLLAR QUARTET by Colin Escott and Floyd Mutrux, a rock-and-roll story that broke box office records during its recent, critically-acclaimed run in Florida.
Gigi also dedicates her time to philanthropy and is a co-founder of the Chicago chapter of the Tibetan Resettlement Project. She serves as chairman of the board for the Chicago Children’s Museum; sits on the national board for the Children Affected by AIDS Foundation, whose
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Chicago chapter has raised over two million dollars in the last three years for HIV/AIDS-affected children and their families; and is also on the board of the Chicago Children’s Theatre. She is also involved in a variety of endeavors related to early childhood, brain research and education.
MICHAEL USLAN’s (Producer) extensive film credits include Executive Producerof: “THE DARK KNIGHT” (Warner Bros. 2008); “BATMAN BEGINS” (Warner Bros.2005); “BATMAN” (Warner Bros. 1989), winner of the People’s Choice Award as“Favorite Motion Picture”; “BATMAN RETURNS” (Warner Bros. 1992); “BATMANFOREVER” (Warner Bros. 1995); “BATMAN and ROBIN” (Warner Bros. 1997); "GOTHAM KNIGHT" (Warner Home Video 2008); “BATMAN & MR. FREEZE: SUB-ZERO” (Warner Home Video 1998); “BATMAN BEYOND: RETURN OF THE JOKER” (Warner Home Video 2000)), winner of the Annie Award for outstanding achievement in an animated movie for home video; “BATMAN: MYSTERY OF THE BATWOMAN” (Warner Home Video 2003); “CATWOMAN” (Warner Bros.2004); “BATMAN VS. DRACULA” (Warner Home Video 2005).
Uslan was also Producer of “CONSTANTINE” (Warner Bros. 2005); Producer ofthe animated feature “BATMAN: MASK OF THE PHANTASM” (Warner Bros. 1993); andAssociate Producer of “NATIONAL TREASURE” (Disney 2004).
His projects on the small screen include “WHERE ON EARTH IS CARMENSANDIEGO?” (FOX Network 1994-97) for which Uslan received the Emmy Award asExecutive Producer for “Best Animated Series.” He also was Executive Producer of“THREE SOVEREIGNS FOR SARAH,” the acclaimed PBS mini-series based on thetrue story of the Salem Witch Trials for American Playhouse, starring Vanessa Redgraveand Patrick McGoohan (1985); and Executive Producer of ROBIN COOK’S “HARMFULINTENT,” hit movie of the week for CBS based on the best-selling novel (1993).
Considered an authority on comic book history, Uslan has served as instructor of both the first accredited college course and correspondence course on comic books (Indiana University 1971); author of: the first text-book on comics, THE COMIC BOOK IN AMERICA (Indiana University); AMERICA AT WAR: A HISTORY OF WAR COMICS (Simon & Schuster); MYSTERIES IN SPACE A HISTORY OF SCIENCE FICTION COMICS (Simon & Schuster); THE BEST OF ARCHIE (G.P. Putnam’s Sons); THE COMIC BOOK REVOLUTION (Indiana University); THE POW! ZAP! WHAM! COMIC BOOK TRIVIA QUIZ BOOK (William Morrow); writer of history of comic books with introductions for: SUPERMAN IN ACTION COMICS ARCHIVES VOL 3; BATMAN IN THE 50’s ; SHAZAM ARCHIVES VOL 3 ; THUNDER AGENTS ARCHIVES VOL 1 and VOL 2; JUST IMAGINE STAN LEE CREATING THE DC UNIVERSE VOL 1, VOL 2, and VOL 3; THE MIGHTY CRUSADERS ARCHIVES VOL 1 (Archie Publications); SUPERMAN IN WORLD’S FINEST COMICS ARCHIVES VOL 1; SUPERMAN: THE GREATEST STORIES EVER TOLD; COMIC CAVALCADE ARCHIVES VOL 1; CATWOMAN: 9 LIVES OF A FELINE FATALE; BRAVE & BOLD TEAM-UP ARCHIVES VOL 1; THE SPIRIT ARCHIVES VOL 16; ENEMY ACE ARCHIVES VOL 2; ADAM STRANGE ARCHIVES VOL 2; BATMAN: DYNAMIC DUO ARCHIVES VOL 2; GREEN LANTERN ARCHIVES VOL 6; MARVEL MASTERWORKS, GOLDEN AGE CAPTAIN AMERICA VOL 3; MARVEL MASTERWORKS, YOUNG ALLIES VOL 1; and THE SPIRIT FEMMES FATALES.
His other extensive credits in film, television and the printed word include: Executive Producer/Writer of “LITTLE ORPHAN ANNIE’S VERY ANIMATED CHRISTMAS”, a holiday special (Fremantle 1995). Executive Producer of the prime-time animated series “FISH POLICE” (CBS 1992). Creator/Writer/Executive Producer of “DINOSAUCERS,” a
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65 episode cartoon series (Coca-Cola/Columbia/ DIC in syndication 1987-91, The Family Channel 1992 and USA Network 1993).
Producer of: “SWAMP THING” (United Artists 1982); “THE RETURN OF SWAMP THING” (Miramax 1989) based on the DC comic book series. Executive Producer of: “SWAMP THING” cartoon series (FOX Network1991and USA Network 1992-93); “SWAMP THING” prime-time live-action series, 72 episodes (USA Network 1991-93 and The Science Fiction Channel 1994-99).
Author of the hardback children’s book, CHATTERBOX: THE BIRD WHO WORE GLASSES (2006), Best Books Award Finalist as “Best Hardback Children’s Book.”
Author of the acclaimed hardback graphic novel, BATMAN: DETECTIVE #27 illustrated by Peter Snejbjerg (2004).
Writer of the internationally syndicated newspaper comic strip, “TERRY AND THE PIRATES”, (1995-96); Initiator and a writer of “JUST IMAGINE” the historic comic book project bringing Marvel Comics’ Stan Lee, creator of “Spider-Man”, “X-Men”, “The Hulk”, “Daredevil,” and “The Fantastic Four”, to rival DC Comics to create all-new interpretations of “Batman”, “Superman”, “Wonder Woman” and other DC super-heroes (2001-02); scripter of “BATMAN” and “THE SHADOW” comic books (the 70’s); and scripter with FJ DeSanto of "THE SPIRIT" comic books (2009).
Author of numerous books including DICK CLARK’S THE FIRST 25 YEARS OF ROCK AND ROLL for Dell, a Literary Guild Selection; and THE ROCK 'N ROLL TRIVIA QUIZ BOOK for Simon and Schuster; THE POW! ZAP! WHAM! COMIC BOOK TRIVIA QUIZ BOOK for William Morrow; THE BEST OF ARCHIE for GP Putnam's Sons; and THE TV TRIVIA QUIZ BOOK VOL 1 and VOL 2 for Crown.
Uslan began in the film industry as a motion picture production attorney for United Artists in charge of legal affairs of films including “APOCALYPSE NOW,” “ROCKY II,” “RAGING BULL,” and “THE BLACK STALLION” (1976-80).
He holds several degrees including Doctor of Jurisprudence, Indiana University School of Law, 1976; Master of Science in Urban Education, Indiana University School of Education, 1975; Bachelor’s Degree in History, Indiana University, 1973.
Uslan is a member, Advisory Board, Discovery Channel Global Education Partnership, Silver Spring, MD (2003-2009); Member, Board of Trustees, The Center for Excellence in Education, Washington, DC (1993-99). Former member, Youth Grants Panel, National Endowment for the Humanities, Washington, DC. Vice Chairman, The New Jersey Motion Picture and Television Commission (1992-2009). Member, Board of Trustees, Thomas A. Edison Media Arts Consortium/Black Maria Film Festival (1992-2002).
Recipient of: The Independent Spirit Award from The Garden State Film Festival (2005); The Hoagy Carmichael Creative Achievement Award (1989); Distinguished Hoosier Award (2001); President’s Circle Award (2002); Academy of Law Alumni Fellows (2006); Iconosphere Award for Film (2006); The President’s Medal for Excellence (2006); Who’s Who in Entertainment; Who's Who in the World. Uslan in a motivational speaker with Greater Talent Network, NYC, and has lectured at universities, corporations, and seminars all over the world.
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LINDA McDONOUGH (Co-Producer) is Executive Vice President, Production & Development for Odd Lot Entertainment, a company she has been with since its start in 2001, shepherding both development and production on all company films. Prior to this, she spent an equal amount of time as vice president of development for Drew Barrymore's and Nancy Juvonen's Flower Films, where she developed CHARLIE’S ANGELS I & II, DUPLEX, DONNIE DARKO and 50 FIRST DATES. McDonough was previously a development executive at both 1013 Productions and 20th Century Fox Television.
FJ DeSANTO (Co-Producer) is the Senior Vice President of Production and Development and Producer for Comic Book Movies Inc., a franchise building company founded by partners M. Jonathan Roberts and Michael Uslan. He is responsible for acquiring, developing and maintaining a large slate of projects based on comic books, graphic novels, manga and anime while also overseeing deals with writers, agents, comic book companies, creators and movie studios. Before that, Mr. DeSanto spent five years as the Vice President of Development for Branded Entertainment and four years at Batfilm Productions, Inc.
Beyond overseeing the forthcoming slate of Comic Book Movies feature and direct to home live and animated DVD movies, Mr. DeSanto has many live-action films currently in development: including THE SHADOW (Columbia Pictures), and THE STUNTWOMAN (Comic Book Movies, LLC), as well as the animated direct-to-home DVDs, THE LONE RANGER: SIX GUNS AND SAMURAI and TUROK: DINOSAUR HUNTER (Classic Media). In 2005, he served as an assistant to the producers of CONSTANTINE (Warner Bros).
Mr. DeSanto became the first person to ever speak on the topic of Japanese manga and anime at The Smithsonian Institution when he moderated the “Manga to Anime: Astro Boy to Spirited Away” seminar at Freer Galley of Art in Washington, DC.
F.J. DeSanto graduated New York University’s Tisch School of the Arts Department of Undergraduate Film and TV in 1994 with an honors scholar award. Mr. DeSanto returned to NYU as an adjunct professor, teaching a class entitled PROFESSIONAL COLLOQUIM. The course, which Mr. DeSanto created, was designed to educate senior and graduate writing students on the fundamentals of the motion picture business.
He has spent the last two years as a panelist at SCRIPT MAGAZINE’s annual PITCH X-CHANGE, helping the writers of tomorrow hone their story pitching skills for the entertainment industry.
Mr. DeSanto is also an accomplished musician and has performed all over the world with his bands Hypefactor and The Aggression. He has released five CD’s for various independent labels and is a noted electronic rock producer, songwriter and remixer.
BILL POPE (Cinematographer)Pope started buying Frank Miller's comics in the early 80's, and has been a fan ever since. With The Spirit, he decided to help Frank bring his style to the movie screen, instead of just continuing to steal from him. “I'll do that later,” says Pope.
MICHAEL DENNISON’s (Costume Designer) more than 20 credits as wardrobe supervisor or costumer have included The World According to Garp, Sophie’s Choice, Moscow on the Hudson, The Falcon and the Snowman, Jagged Edge, Heartburn, The Mosquito Coast, Beaches, Jacob’s Ladder, Chaplin, TV’s Rogers and Hammerstein’s Cinderella for The Disney Channel, Starship Troopers, Snow Falling on Cedars The
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Chronicles of Riddick,, What Women Want, Unfaithful. Mona Lisa Smile, starring Julia Roberts and an ensemble cast
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