• 最 近 公 影 電 影 Recent, Current, and Upcoming Films

越 界 8 里
Rap 出 我 天 地

票 房 勁 爆 Soundtrack 大 熱
《 8 里 公 路 》 美 國 史 上 20 大 開 畫 票 房 最 高 的 電 影

《 8 里 公 路 》 剛 於 11 月 8 日 在 美 國 公 映 ， 一 開 畫 便 在 戲 院 出 現 嚴 重 人 龍 ， 首 個 周 末 的 票 房 就 收 逾 5,450 萬 美 元 ， 更 刷 新 多 項 紀 錄 ， 包 括 ：

1. 繼 《 沉 默 的 殺 機 》 (Hannibal) 以 來 ， 成 為 史 上 開 畫 票 房 紀 錄 最 高 的 R 級 別 電 影 （ 17 歲 以 下 人 士 必 須 在 家 長 或 監 護 人 之 下 陪 同 觀 看 ） ；
2. 繼 《 哈 利 波 特 神 秘 的 魔 法 石 》 、 《 怪 獸 公 司 》 、 《 反 斗 奇 兵 2 》 、 《 聖 誕 怪 傑 》 後 ， 成 為 於 美 國 史 上 11 月 開 畫 第 ５ 位 票 房 最 高 的 電 影 ；
3. 《 8 里 公 路 》 於 2470 間 戲 院 上 映 ， 首 周 末 每 場 上 映 時 段 ， 平 均 收 達 22,065 美 元 ， 乃 2002 年 度 ， 繼 《 蜘 蛛 俠 》 （ 31,769 美 元 ） 及 《 星 戰 前 傳 之 複 製 人 侵 略 》 （ 25,317 美 元 ） 之 後 ， 平 均 一 場 時 段 收 入 最 高 的 影 片 。 （ 注 ： 《 蜘 》 及 《 星 》 兩 片 均 一 場 時 段 有 逾 三 千 間 戲 院 公 映 ） ；
4. 史 上 20 大 開 畫 紀 錄 最 高 的 電 影 （ 但 其 中 有 18 部 電 影 都 有 逾 三 千 間 戲 院 公 映 ） ；
5. 環 球 影 片 史 上 ， 第 ４ 部 開 畫 票 房 最 高 電 影 （ 首 三 位 為 《 迷 失 世 界 》 、 《 盜 墓 迷 城 》 及 《 聖 誕 怪 傑 》 ） ； 以 及
6. 2002 年 開 畫 紀 錄 第 ５ 位 。

但 最 重 要 的 是 ， 《 8 里 公 路 》 與 其 他 榜 首 電 影 不 一 樣 ， 並 非 大 灑 金 錢 的 過 億 鉅 製 ， 而 是 一 部 只 用 上 ４ 千 萬 美 元 製 作 費 、 以 實 實 在 在 的 口 碑 贏 得 觀 眾 支 持 的 電 影 。

至 於 電 影 原 聲 大 碟 ， 在 推 出 首 周 便 賣 過 70 萬 張 ， 更 馬 上 成 為 Billboard 及 全 美 大 碟 銷 量 No.1 。 而 主 打 歌 《 Lose Yourself 》 亦 同 時 登 上 Single 榜 No.1 。 《 8 里 公 路 》 原 聲 大 碟 ， 匯 聚 底 特 律 音 樂 紅 人 ， 除 Eminem 之 外 ， 還 有 Jay-Z 、 Macy Gray 及 Nas 登 場 。

故 事 大 綱

底 特 律 ， 1995 年 。

一 個 曾 經 輝 煌 、 富 裕 的 工 業 重 鎮 ， 今 日 已 淪 為 罪 惡 之 城 、 破 落 之 區 。

「 8 里 路 」 ， 一 條 將 貧 富 和 黑 白 種 族 分 隔 開 的 街 道 ， 標 誌 著 這 城 市 的 分 裂 。

要 逃 離 這 個 頹 靡 的 世 界 ， 對 來 自 破 碎 家 庭 的 占 美 （ Eminem 飾 演 ） 而 言 ， hip hop 音 樂 是 唯 一 的 出 路 。

占 美 與 一 班 志 同 道 合 好 友 組 成 Three One Third ， 矢 志 憑 音 樂 闖 一 番 天 地 ， 他 們 日 頭 打 工 ， 晚 上 到 全 城 rap 友 聚 腳 的 hip hop club ， 跟 不 同 對 手 以 歌 決 鬥 。 rap 友 之 間 經 常 針 鋒 相 對 ， 而 Three One Third 的 歌 詞 更 是 大 膽 出 位 ， 臭 罵 現 實 、 辱 罵 人 事 ， 亳 無 保 留 。 適 者 生 存 本 是 底 特 律 低 下 階 層 的 遊 戲 規 則 ， 占 美 能 否 將 憤 怒 轉 化 為 創 作 力 量 ， 越 界 8 里 ， 晉 身 而 成 hip hop 巨 星 ？

幕 後 花 絮

Eminem 憤 怒 的 魅 力

這 個 講 述 一 個 於 底 特 律 出 身 的 白 人 Rapper 如 何 成 名 的 故 事 ， 一 直 被 傳 是 改 編 自 Eminem 經 歷 的 半 傳 記 式 電 影 ， 這 個 猜 說 可 謂 虛 實 參 半 。 監 製 白 賴 仁 基 沙 (Brian Grazer) 就 表 示 ， 自 己 在 廿 多 年 前 已 對 hip hop 世 界 大 感 興 趣 ： 「 我 聽 了 Slick Rick 的 音 樂 ， 覺 得 hip hop 歌 手 在 歌 詞 講 了 很 多 奇 詭 的 故 事 ， 既 幽 默 又 寫 實 ， 我 很 想 發 掘 hip hop 的 根 源 。 」 但 直 至 幾 年 前 ， Eminem 的 出 現 ， 才 令 這 位 炮 製 過 《 有 你 終 生 美 麗 》 、 《 太 陽 神 13 號 》 等 金 像 猛 片 的 監 製 重 新 考 慮 把 hip hop 歌 手 的 故 事 搬 上 銀 幕 。 「 我 發 現 Eminem 的 時 候 ， 他 還 是 寂 寂 無 名 ， 但 他 有 一 股 極 大 的 魅 力 ， 令 我 相 信 他 會 一 躍 而 成 電 影 巨 星 。 」 由 於 選 了 一 位 白 人 rapper 當 主 角 ， 加 上 Eminem 本 身 亦 在 底 特 律 打 滾 過 ， 戲 中 就 難 免 有 不 少 情 節 與 Eminem 的 經 歷 不 謀 而 合 。

全 新 卡 士 組 合

除 了 唱 片 銷 量 No. 1 Rap Singer Eminem 初 次 擔 演 電 影 ， 演 繹 主 角 占 美 之 外 ， 金 髮 巨 星 金 碧 辛 嘉 亦 繼 《 幕 後 嫌 疑 犯 》 第 二 度 與 導 演 寇 蒂 斯 韓 遜 合 作 ， 在 片 中 扮 演 占 美 的 母 親 ； 至 於 《 贖 命 密 碼 》 上 位 型 女 碧 妲 妮 梅 菲 (Brittany Murphy) 則 飾 演 占 美 女 友 。 而 片 中 由 占 美 組 成 的 hip hop 組 合 Three One Third ， 成 員 則 包 括 《 舊 年 暑 假 仲 有 鬼 》 新 晉 黑 人 演 員 麥 凱 菲 科 (Mekhi Phifer) 演 的 Future 、 伊 雲 鍾 斯 (Evan Jones) 演 的 隱 陣 派 Chedder Bob 、 奧 馬 賓 信 米 拿 (Omar Benson Miller) 演 的 理 想 主 義 者 Sol 、 以 及 狄 安 哲 奴 韋 遜 (De ' Angelo Wilson) 演 的 活 躍 分 子 DJ Iz 。

不 是 Rap Movie 是 沒 有 美 國 夢 的 人 的 夢

但 不 要 以 為 影 片 是 一 部 Rap Movie ， 監 製 基 沙 說 ： 「 就 正 如 對 打 拳 沒 興 趣 的 人 ， 也 會 覺 得 《 洛 奇 》 、 《 狂 牛 》 好 看 ， 不 是 hip hop 迷 的 觀 眾 相 信 也 會 欣 賞 《 8 里 公 路 》 。 」 因 為 這 是 一 部 講 憤 怒 、 不 平 、 衝 動 、 執 著 、 信 念 、 掙 扎 求 存 的 電 影 。

導 演 寇 蒂 斯 韓 遜 (Curtis Hanson) 指 出 ： 「 在 《 8 里 公 路 》 ， 大 家 會 見 到 在 一 般 電 影 及 主 流 新 聞 報 道 裡 未 觸 及 的 世 界 ─ ─ 一 群 貧 窮 的 美 國 人 如 何 在 小 城 市 裡 掙 扎 求 存 。 底 特 律 人 視 8 里 路 為 一 種 限 制 、 邊 界 ； 但 對 主 角 占 美 而 言 ， 8 里 路 是 一 道 心 理 的 牆 ， 越 過 去 ， 就 是 自 己 想 去 的 世 界 ， 自 己 想 做 的 自 己 。 想 清 楚 一 點 ， 我 們 每 個 人 都 有 自 己 的 8 里 路 。 」

紀 實 拍 攝 手 法 ＋ ６ 星 期 綵 排

寇 蒂 斯 韓 遜 曾 執 導 過 《 幕 後 嫌 疑 犯 》 (L.A. Confidential) 、 《 搖 籃 驚 魂 》 (The Hand That Rocks the Cradle) 等 多 部 布 局 懸 疑 ， 引 人 入 勝 的 賣 座 片 ， 今 次 卻 刻 意 一 改 風 格 ， 在 影 片 中 帶 出 一 份 紀 實 、 自 然 的 感 覺 。 他 找 來 《 狗 男 女 的 愛 》 (Amores Perros) 的 攝 影 師 羅 德 里 高 彼 艾 圖 (Rodrigo Prieto) 負 責 攝 影 ， 而 兩 人 皆 認 為 底 特 律 那 種 不 完 美 、 充 滿 瑕 疵 的 感 覺 ， 應 該 用 上 更 多 即 興 手 法 來 表 達 。 彼 艾 圖 說 ： 「 玩 hip hop 的 人 愛 free-style rapping ， 我 們 的 攝 影 手 法 也 因 此 以 『 自 由 』 和 『 即 興 』 為 主 ， 並 用 上 了 手 提 攝 影 機 來 大 量 捕 捉 片 中 人 物 的 活 動 和 情 緒 ， 藉 以 透 過 這 些 人 物 來 解 剖 底 特 律 文 化 。 」

此 外 ， 韓 遜 亦 要 求 初 次 主 演 電 影 的 Eminem 於 開 拍 前 與 其 他 要 角 作 出 長 達 ６ 週 的 綵 排 ， Eminem 就 曾 半 開 玩 笑 地 說 ： 「 我 不 會 說 韓 遜 的 綵 排 程 序 『 獨 特 』 ， 只 覺 得 是 『 嚴 苛 』 。 」

選 景 ─ ─ Detroitism 「 循 環 結 構 」 的 城 市 風 貌

至 於 選 景 方 面 ， 製 作 設 計 師 菲 臘 麥 冼 拿 (Philip Messina) 則 認 為 底 特 律 本 身 提 供 了 很 多 建 築 上 的 新 風 貌 。 就 正 如 導 演 韓 遜 所 言 ： 「 底 特 律 到 處 都 是 這 個 城 市 的 歷 史 印 記 ─ ─ 一 個 曾 經 對 未 來 滿 有 憧 憬 的 工 業 王 國 ， 今 日 只 剩 下 落 空 了 的 承 諾 。 」 而 底 特 律 比 其 他 頹 壞 都 市 更 有 趣 的 是 ， 它 的 建 築 物 是 在 不 斷 地 循 環 再 用 ， 形 成 一 種 獨 一 無 二 的 「 循 環 結 構 」 (recycled structure) ， 譬 如 空 置 了 的 商 業 大 樓 被 改 裝 為 廉 價 公 寓 ， 教 堂 被 用 作 餐 廳 等 等 。 這 種 被 稱 為 Detroitism 的 城 市 風 貌 ， 與 hip hop 文 化 一 樣 ， 極 具 後 現 代 主 義 藝 術 色 彩 。 片 中 的 主 景 Michigan Theatre 便 是 一 個 經 典 例 子 ， 它 於 1926 年 建 成 ， 之 後 卻 隨 著 經 濟 問 題 及 都 市 轉 型 而 被 多 番 改 裝 ， 由 最 初 的 劇 場 到 餐 廳 、 夜 總 會 ， 到 今 日 已 變 成 停 車 場 。 麥 冼 拿 直 言 ： 「 我 從 來 沒 有 見 過 這 麼 奇 特 的 建 築 ， 劇 場 的 屋 頂 已 被 拆 掉 ， 卻 顯 然 可 見 還 有 四 分 之 一 的 舞 台 掛 著 長 長 的 布 幕 ， 但 這 個 地 方 其 實 已 變 成 三 層 高 的 停 車 場 。 我 們 實 在 太 喜 歡 這 個 地 方 ， 於 是 用 了 它 做 主 景 。 」

底 特 律 ─ ─ 平 民 音 樂 之 都

說 到 底 特 律 ， 就 不 能 不 提 它 與 音 樂 的 淵 源 。 首 先 ， 要 追 溯 到 60 年 代 由 底 特 律 發 ? 的 Motown sound ， 一 種 黑 人 節 奏 的 怨 曲 ， 代 表 人 物 有 gospel artist Aretha Franklin ； 另 有 所 謂 的 「 Detroit sound 」 ， 玩 的 是 Mitch Ryder, Bob Seger 及 MC5 等 流 的 rock music 。 但 不 論 是 那 門 那 派 的 音 樂 ， 底 特 律 人 玩 的 都 是 藍 領 階 層 抒 發 情 懷 、 訴 說 現 實 的 風 格 ， 直 至 80 年 代 開 始 興 起 的 hip hop 也 不 離 此 本 色 。 時 至 今 日 ， Rap music 依 然 是 低 下 層 用 作 宣 洩 不 滿 的 工 具 ， 加 上 節 拍 明 快 、 歌 詞 內 容 寫 實 到 肉 ， 除 了 瘋 魔 黑 人 圈 子 外 ， 近 年 就 連 一 般 白 人 青 少 年 亦 迷 上 這 種 表 達 方 法 ， Eminem 的 出 現 ， 就 更 令 hip hop 成 為 普 羅 音 樂 。

Hip hop 歌 手 進 軍 銀 幕 票 房 大 收

除 Eminem 之 外 ， 原 來 hip hop 歌 手 進 軍 銀 幕 大 有 前 科 ， 且 票 房 屢 有 佳 績 ， 如 Ice Cube 主 演 的 都 市 喜 劇 《 Barbershop 》 ， 開 畫 一 週 便 收 近 ７ 千 萬 美 元 ； Taye Diggs 主 演 的 hip-hop 愛 情 片 《 Brown Sugar 》 開 畫 兩 星 期 便 收 逾 2 千 2 百 萬 美 元 。 去 年 ， DMX 演 出 的 《 豹 子 彈 》 （ Exit Wounds ） 亦 收 得 5 千 2 百 萬 美 元 。

演 員 及 導 演 簡 介

銷 量 No. 1 Rapper Eminem

Eminem ， 原 名 Marshal Mathers ， 30 歲 ， 白 人 ， 有 「 hip hop 界 貓 王 」 之 美 譽 ； 他 打 低 以 往 一 直 由 黑 人 領 導 的 hip hop 界 ， 成 為 全 球 銷 量 No. 1 的 rap singer 。 Eminem 又 打 破 了 向 來 rap singer 的 形 象 ， 不 串 金 帶 銀 ， 而 改 為 普 通 的 汗 衣 裝 束 ； 他 的 歌 詞 不 寫 衣 著 、 汽 車 、 珠 寶 ， 而 是 講 人 生 、 講 現 實 ， 祝 福 他 愛 的 人 ， 詛 咒 他 痛 恨 的 人 。 其 中 最 惹 人 非 議 的 便 是 他 在 全 新 大 碟 《 The Eminem Show 》 中 ， 痛 罵 他 那 有 毒 癮 的 母 親 ， 在 歌 詞 中 直 言 小 時 候 母 親 想 他 早 死 早 著 ， 所 以 他 針 對 母 親 地 唱 ： 「 我 的 女 兒 Hailie 長 得 又 大 又 漂 亮 ， 你 應 該 見 ? 佢 ； 不 過 ， 你 呢 世 都 唔 使 旨 意 見 到 佢 ， 即 使 你 出 殯 ， 佢 都 唔 會 出 席 。 」 Eminem 亦 曾 在 歌 詞 中 聲 言 ， 想 把 他 那 恨 得 入 骨 的 前 妻 Kim 殺 死 。

而 《 The Eminem Show 》 於 今 年 5 月 推 出 以 來 便 連 續 20 多 個 星 期 高 舉 Billboard 十 大 暢 銷 磅 ， 除 躍 身 本 年 度 最 暢 銷 大 碟 ， 亦 成 為 美 國 歷 史 上 單 周 鈉 量 最 高 藝 人 的 第 三 位 。 根 據 最 近 結 算 ， Eminem 出 道 以 來 共 三 張 大 碟 的 全 球 銷 售 量 ， 已 累 積 達 二 千 五 百 萬 張 打 破 了 所 有 Rap Singer 的 整 年 唱 片 銷 量 紀 錄 ， 隨 ? 新 碟 面 世 ， 相 信 衝 破 三 千 萬 大 關 亦 指 日 可 待 。

從 小 便 迷 上 Ice T 和 LL Cool J 的 Eminem ， 12 歲 便 跑 到 底 特 律 ， 因 無 心 向 學 ， 中 三 留 級 三 次 後 決 定 追 尋 rap music 夢 ； 24 歲 時 推 出 首 張 大 碟 《 Infinite 》 ， 繼 而 因 參 加 洛 杉 磯 Rap Olympics 而 輾 轉 贏 得 與 Dr. Dre 合 作 的 機 會 ， Eminem 的 音 樂 自 此 響 遍 天 下 ， 他 的 創 作 不 但 震 撼 rap 界 ， 更 享 譽 pop music 圈 子 ， 2000 年 推 出 的 《 The Marshal Mathers LP 》 更 成 為 首 張 獲 格 林 美 提 名 全 年 最 佳 大 碟 的 rap album 。 Eminem 共 出 過 三 張 個 人 大 碟 ， 《 The Marshal Mathers LP 》 之 外 ， 還 包 括 98 年 推 出 的 《 Slim Shady LP 》 以 及 新 作 《 The Eminem Show 》 。

《 8 里 公 路 》 是 Eminem 首 部 主 演 的 電 影 。 他 之 前 亦 曾 在 《 Da Hip Hop Witch 》 及 Dr. Dre 的 《 The Wash 》 客 串 演 出 。

金 髮 性 感 象 徵 金 碧 辛 嘉

憑 《 幕 後 嫌 疑 犯 》 奪 得 奧 斯 卡 及 金 球 獎 最 佳 女 配 角 的 金 碧 辛 嘉 (Kim Basinger) ， 今 次 再 度 與 導 演 寇 蒂 斯 韓 遜 合 作 ， 在 片 中 扮 演 占 美 母 親 一 角 。

三 歲 起 學 習 芭 蕾 舞 的 碧 辛 嘉 ， 一 直 渴 望 成 為 音 樂 喜 劇 演 員 ， 仍 就 讀 中 學 時 便 勇 闖 紐 約 模 特 兒 圈 ， 結 果 以 一 頭 金 髮 兼 標 緻 身 材 ， 20 歲 便 成 為 日 薪 一 千 美 元 的 名 模 ， 同 時 贏 得 多 個 廣 告 合 約 ， 並 在 劇 場 及 電 視 台 開 始 演 員 工 作 。 1983 年 ， 碧 辛 嘉 被 選 中 做 《 鐵 金 剛 勇 奪 巡 航 導 彈 》 (Never Say Never Again) 的 邦 女 郎 ， 翌 年 與 羅 拔 烈 福 合 演 《 天 賜 奇 才 》 (The Natural) 之 後 ， 正 式 在 影 圈 大 展 拳 腳 ， 演 出 了 多 部 賣 座 作 品 ， 包 括 《 蝙 蝠 俠 》 (Batman) 、 《 九 個 半 星 期 》 (9 1/2 Weeks) 、 《 致 命 戀 人 》 (Final Analysis) 、 《 生 於 某 年 某 日 》 (Bless the Child) 、 《 狂 野 鴛 鴦 》 (The Gateway) 、 《 神 偷 俏 佳 人 》 (The Real McCoy) 等 等 。

碧 辛 嘉 一 度 是 頭 條 新 聞 人 物 ， 除 她 與 演 員 丈 夫 艾 力 寶 雲 (Alec Baldwin) 由 戲 假 情 真 到 去 年 離 婚 收 場 ， 掀 起 過 多 番 風 雨 之 外 ， 更 因 為 她 曾 口 頭 答 應 演 出 《 情 碎 海 倫 娜 》 (Boxing Helena) ， 卻 後 來 拒 絕 主 演 而 被 法 庭 判 罰 逾 ８ 百 萬 美 元 給 電 影 監 製 作 為 賠 償 ， 碧 辛 嘉 因 此 被 迫 令 破 產 ， 而 結 果 影 片 亦 一 如 她 所 料 拍 得 一 塌 胡 塗 。

現 實 生 活 中 ， 碧 辛 嘉 是 出 名 的 活 躍 環 保 分 子 ， 除 堅 持 素 食 、 大 搞 愛 護 動 物 運 動 之 餘 ， 近 年 還 在 《 非 洲 之 夢 》 (I Dreamed of Africa) 一 片 中 演 繹 保 護 野 生 動 物 專 家 Kuki Gallmann 的 事 蹟 。 碧 辛 嘉 其 他 新 作 還 有 與 阿 爾 柏 仙 奴 合 演 的 《 People I Know 》 及 愛 情 片 《 Aurora Island 》 。

上 位 叻 女 碧 妲 妮 梅 菲

憑 《 叻 女 掌 門 人 》 (Clueless) 嶄 露 頭 角 的 碧 妲 妮 梅 菲 (Brittany Murphy) ， 近 年 憑 爽 朗 形 象 人 氣 急 升 ， 繼 早 前 與 米 高 德 格 拉 斯 合 演 《 贖 命 密 碼 》 (Don't Say a Word) 、 與 茱 芭 莉 摩 亞 合 演 《 與 男 孩 同 車 》 (Riding Cars With Boys) ， 以 及 演 出 了 愛 情 小 品 《 情 慾 紐 約 》 (Sidewalks of New York) 之 外 ， 即 將 公 映 的 新 作 還 有 《 Spun 》 、 《 Molly Gunn 》 及 《 Just Married 》 等 多 部 輕 喜 劇 。

現 年 25 歲 的 梅 菲 ， 自 小 充 滿 演 藝 天 份 ， ９ 歲 便 在 地 區 劇 場 演 出 ， 並 接 下 多 個 廣 告 工 作 ； 13 歲 時 ， 首 次 演 出 電 視 劇 《 Blossom 》 ； 到 15 歲 便 拍 了 第 一 部 電 影 《 Family Prayers 》 。 梅 菲 以 性 情 古 怪 及 壞 女 孩 形 象 出 位 ， 在 《 叻 女 掌 門 人 》 、 《 我 有 冇 問 題 》 (Girl, Interrupted) 等 片 均 有 突 破 性 表 演 ， 令 人 印 象 深 刻 。 梅 菲 其 他 作 品 還 包 括 《 處 女 殺 手 》 (Cherry Falls) 、 《 美 麗 比 一 比 》 (Drop Dead Gorgeous) 及 《 Summer Catch 》 等 。

新 一 代 緊 張 大 師 寇 蒂 斯 韓 遜

1997 年 ， 寇 蒂 斯 韓 遜 (Curtis Hanson) 身 憑 兼 監 製 、 導 演 、 編 劇 三 職 炮 製 了 《 幕 後 嫌 疑 犯 》 （ L.A. Confidential ） ， 並 憑 此 片 獲 得 ９ 項 奧 斯 卡 提 名 。

現 年 57 歲 的 韓 遜 ， 過 去 三 十 年 致 力 於 導 演 及 編 劇 工 作 ， 並 以 擅 於 勾 勒 人 性 黑 暗 面 及 設 計 緊 張 布 局 見 稱 ， 他 的 早 期 作 品 如 《 都 市 情 狂 》 (Bad Influence) 、 《 血 窗 迷 魂 》 (The Bedroom Window) 等 便 極 具 希 治 閣 影 片 色 彩 ， 至 於 《 搖 籃 驚 魂 》 (The Hand That Rocks the Cradle) 、 《 狂 野 之 河 》 (The River Wild) 等 更 是 人 所 共 知 的 口 碑 作 。

近 年 ， 一 嘗 改 戲 路 的 韓 遜 監 製 兼 導 演 了 《 Wonder Boys 》 ， 此 片 同 樣 獲 得 奧 斯 卡 多 項 提 名 ， 今 次 新 作 《 8 Mile 》 則 是 另 一 次 大 膽 嘗 試 。

此 外 ， 韓 遜 亦 是 大 力 推 動 保 存 電 影 底 片 的 一 員 ， 1999 年 ， 他 更 被 邀 請 做 UCLA Film and Television Archive 的 首 任 主 席 。

8 MILE

No matter where we live, no matter who we are, we're all bound by borders ... some real, some imagined. Many of us are content to live within these borders. Others are forced to. But some of us need to break out, burst through, even if what lies on the other side is both frightening and unknown. 8 Mile is a story about these boundaries that define our lives, and a young man's struggle to find the strength and courage to transcend them.

From Academy AwardR winner Curtis Hanson, director of L.A. Confidential and Wonder Boys, and Academy AwardR winner Brian Grazer, producer of A Beautiful Mind and Apollo 13, the Universal Pictures-Imagine Entertainment production 8 Mile stars Eminem, Kim Basinger, Brittany Murphy, Mekhi Phifer, Omar Benson Miller, Evan Jones, Eugene Byrd, De'Angelo Wilson, Anthony Mackie, Taryn Manning and Michael Shannon.

Scott Silver wrote the screenplay. The film was produced by Grazer, Hanson and Jimmy Iovine, with Carol Fenelon, James Whitaker, Gregory Goodman and Paul Rosenberg serving as executive producers. The director of photography was Rodrigo Prieto, the production designer Philip Messina, the costume designer Mark Bridges, and the film editors Jay Rabinowitz and Craig Kitson.

Detroit, 1995. The Mo. The Big D. Murder City. A fallen empire. Once affluent neighborhoods have been left to decline in the wake of white flight as the opportunity and optimism of this once thriving city have evaporated. The shining promise of Detroit's industrial majesty has collapsed into a heap of economic and racial polarity following one of the worst riots in American history. 8 MILE Road, the city's perimeter, is now a dividing line between urban and suburban, between black and white.

But bubbling beneath the surface of Detroit is a long history of pressure-cooked creativity, much of it emerging in music. From the Motown sound that dominated the popular music of the 60's to the gospel artistry of Aretha Franklin, and on through the "Detroit sound" of such rockers as Mitch Ryder, Bob Seger and the MC5, the music of the city has always come from its blue-collar guts, an unfiltered authentic expression of life's realities. Detroit's hip hop scene is no exception.

Survival is key in the harsh lower depths of Detroit, and for many, the current emotional life preserver is hip hop. As an art form, rap music is impromptu and fast-paced, topical and insightful, requiring skills of language, nuance and keen observation, as well as emotional truth. For people like Jimmy Smith, Jr. (Eminem), hip hop is the only thing standing between him and the void.

In the absence of nurturing parents, Jimmy and his friends - cool and charismatic Future (Mekhi Phifer), optimistic dreamer Sol (Omar Benson Miller), aspiring activist DJ Iz (De'Angelo Wilson) and slow but steady Chedder Bob (Evan Jones) - have created their own family. Jimmy and his "crew" (Three One Third), live on hopes of "getting that big deal soon," while struggling to eke out a living at their dead end jobs and navigating the minefields of their turbulent personal relationships. As Jimmy so bluntly puts it: "We're all broke as shit and living at home with our moms." At night, they feed their dreams in the hip hop clubs of Detroit where the city's best rappers battle each other with emotionally abusive rhymes as they vie for the respect of their peers. In the un-poetic world of Three One Third, rhyme is wielded like a weapon with words meant to wound. And victory belongs to the quick-witted.

The world of Detroit's hip hop clubs is one that 8 Mile star Eminem knows well: "I remember, if I lost a battle, it would be like my entire world was crumbling. A lot of people would say, 'What's the big deal? Get over it. You lost, try again.' But I would feel like my whole life was over. It's competition. It's like a sport that is somebody's whole life. It may look silly to a lot of people, but to a lot of us, it's our world."

In 8 Mile, Jimmy has the skills he needs to win. But he needs to find his voice and channel his anger into his music. "My character, Jimmy, is really hot-headed," said Eminem, "which is how I used to be, and I guess still can be at times. His emotion constantly gets the best of him." But as Jimmy finds his voice, he also begins to find his way and a will to pursue the new roads that will take him beyond the boundaries he can no longer live within.

Fascinated by the hip hop world, producer Brian Grazer had long been convinced that it had enormous dramatic potential which had never been fully explored on film. He was determined to develop a story that would bring its power, energy and truth to the screen.

"I've been interested in hip hop for more than 20 years," explained the producer. "I got introduced to the music of Slick Rick, who was this absurd hip-hop artist who told perverse stories in his songs that had humor and truth. That's what made me want to discover more about the roots of hip hop, how it works, what the lyrics are relevant to. This was before it became a multi-billion dollar industry."

Grazer knew that for a film about this world to work, it was essential to find the right rap artist. As destiny would have it, Grazer's laser focus fixed on the brilliant and controversial rapper Eminem at exactly the same time that the rapper was searching for the right project in which to make his motion picture debut.

Eminem and producer Jimmy Iovine had listened to countless film pitches but nothing connected for them until they met Grazer. According to Iovine, "We kept hitting the ball and Brian Grazer was the first guy to hit it back."

"I became interested in Eminem several years ago," Grazer remembered. "He wasn't a star at the time, but I felt he had enormous charisma and that he could be explosive as a film star. I got him in my office, and he just wouldn't talk. He wouldn't even look at me. After about 15 minutes, he finally engaged. And once I got him talking, he was fantastically articulate and eloquent."

With Eminem on board, Grazer engaged the services of screenwriter Scott Silver, whose independent film johns was imbued with a street-smart realism that impressed Grazer as having qualities similar to what he was seeking in 8 Mile. Noted Grazer, "Just as you don't have to appreciate boxing to like Rocky or Raging Bull, you don't have to be a hip hop fan to appreciate 8 Mile. It's about human endurance, tenacity, getting into this world and surviving it."

For director Curtis Hanson, 8 Mile was an opportunity to once again explore a unique stratum of American culture, to peel back its layers and take a look at people struggling to find their way: "In 8 Mile, we are exposed to a world little known or visited in film, or in mainstream news coverage: impoverished America struggling to make it legitimately in the recesses of the inner city. The people in Detroit know 8 Mile as the city limit, a border, a boundary. But for the character of Jimmy, 8 Mile is the psychological dividing line that separates him from where he wants to be and who he wants to be. If you think about it, we all have our own 8 Mile."

While the characters and plot of 8 Mile are fictional, the world of Jimmy Smith Jr. is one that Eminem knows well: "8 Mile separates the city from the suburbs. To grow up as a rapper, to grow up on the Detroit side as opposed to the suburban side gives you credibility. It's a big deal. And if you don't listen to hip hop, you just don't care, it's not a big deal to you. But if you're in it, let me tell you, it very much is."

Eminem's motion picture acting debut began with a six-week rehearsal schedule. "Curtis had a pretty unique rehearsal process," said Eminem. "I wouldn't say 'unique'...I'd say 'grueling.' We rehearsed for over a month straight, of just doing the lines and trying different ways to do them. It gave all of us a chance to get to know each other … I don't want to sound corny, but Curtis is great at what he does. He's one of those directors who, when you think you know how a scene should play, there's always a way that he will come up with that is different than what you thought, and better."

Hanson has nothing but praise for the rapper's acting debut: "Marshall gave me all a director could ask for from an actor - enormous talent, focus, dedication and a total commitment to the story we were trying to tell. He came at the job with humility, respect and tremendous self-discipline. No matter how difficult the circumstances, he was always determined to do his best and to find the truth in every moment."

In his quest to find the perfect actress to portray the fictional character of Jimmy's mother, Stephanie, Hanson turned to Kim Basinger, who won an Academy AwardR, Golden Globe Award and Screen Actors Guild Award for her performance in Hanson's L.A. Confidential. Basinger readily accepted the invitation. "It was a second gift to me to be able to work with Curtis again," said Basinger. "It is the most sincere collaboration I have ever experienced. I cannot think of anyone more talented or worth one's trust than Curtis Hanson, especially being the insecure artists that we are, always in search of someone to believe that we can do it with the right guidance. He's so supportive - a humble, beautiful person with the excitement of a kid, a great friend and a little bit of a mystery - a wonderful combination. I am thankful I know him."

Hanson also reached out to a number of vital young performers, who were all more than willing to reach back. "I went in and met with Curtis a few times," remembered Brittany Murphy, who received critical praise for her performance opposite Michael Douglas in the suspense thriller Don't Say a Word and co-starred with Drew Barrymore in Riding in Cars with Boys. "He was absolutely lovely. I loved the story ... I thought it was representing a piece of our nation that hasn't really been shown on film yet, and a great story about a young man with a massive amount of energy trying to figure out what the outlet is for him to better himself. I think that any performer would understand this need. There's a way to use all that energy as opposed to letting it eat you alive, and that's Jimmy Smith's struggle in the story.

"Curtis had a really interesting way of going about rehearsals, and I loved what he did," Murphy continued. "In a way, I see him as a grand puppet master ... he's a very mysterious man. There was a beautiful sense of everyone getting to know each other. Everyone truly became friends and got to know everyone's tics. To be the only girl with all those silly guys was fun and crazy. I would stay in after I had finished rehearsing my scenes and watch their rehearsals, because it was just too much fun."

Recalled Mekhi Phifer, who emerged as a major film talent when director Spike Lee and producer Martin Scorsese cast him as the lead character in their movie adaptation of Richard Price's Clockers: "When they first told me about the project, I wasn't excited. I didn't even want to read it. I thought it was going to be a rapper movie, and I'm not interested in doing that type of film. But after meeting Curtis, I learned that 8 Mile is comedy, it's drama, it's action, it's multi-genre. It's about finding your own way, what really makes you happy, pursuing your dreams and not letting your talent go to waste."

The backdrop and rehearsal process swept the actors into a kind of crusade for truth that brought art and life together. "We came to this project with no false pretenses," said Phifer. "We came with our passion, ready to work. We came to better the project and make it our own. Rehearsals helped define our relationships. We changed and enhanced the dynamics between the characters, making them stronger and understanding their motivations."

Hanson's overriding goal throughout production was to make the movie feel authentic: "I wanted the movie to feel real. Natural. Almost documentary-like. I loved exploring the world this story takes place in and I wanted the audience to feel that they actually went into that world, too." His crew was chosen with this primary mission in mind. In order to capture the reality he was seeking and the authentic texture of Detroit, Hanson selected a group of collaborators who straddle the line between independent and mainstream cinema, including Mexican-born cinematographer Rodrigo Prieto (Amores Perros, Frida), production designer Philip Messina (Ocean's Eleven, Traffic, Erin Brockovich), costume designer Mark Bridges (Boogie Nights, Punch-Drunk Love) and film editors Jay Rabinowitz (Requiem for a Dream, Affliction) and Craig Kitson (Wonder Boys).

Prieto's much praised work in Alejandro Gonzalez Inarritu's Amores Perros impressed Hanson with its realistic depiction of life on the streets of one of the world's toughest urban environments, Mexico City. "After doing period pieces like Frida and Original Sin," said Prieto, "I was excited to do another urban film more in the style of Amores Perros. Curtis said that he wanted 8 Mile to look and feel 'like a weed emerging from the sidewalk.' I really loved that image."

"When I first read the script," recalled Messina, "my initial feeling was that it was set in a world that was kind of alien to me. But Curtis made it clear that we weren't going to make a 'rap movie.' We were going to make a movie about a journey. Then I knew that I could delve into a world that I hadn't been exposed to before, and try to make it really ring true. The most important task, from the design point of view, was to make it real."

While there were initial discussions about shooting the film somewhere other than Detroit, these plans were quickly rejected. Explained Brian Grazer: "It was very important to make this movie in Detroit, particularly for Curtis, who wanted it to feel as authentic as it possibly could. And after seeing the film, you can see that it couldn't have been done in any other place."

Making a movie in Detroit isn't easy. Making a movie in Detroit in the middle of winter is a challenge. Nonetheless, the artists behind 8 Mile found themselves quickly falling in step with the city. "Getting to know Detroit was a revelation," said Hanson. "Everywhere you looked you'd see evidence of the city that used to be - the city that promised a future to all who came there and now appeared to promise nothing. It was the perfect setting both visually and thematically for our story."

For 8 Mile, Hanson and Prieto developed a disciplined, yet free form approach to capturing the drama. "When things aren't perfect, it's more spontaneous," said Prieto, "and that's the way we approached the photography. Curtis and I talked about the way these guys live and how they do free-style rapping, and that's the way we shot it - free-styling, with a lot of improvisation. We did almost all of it with hand-held camera. It gave freedom to the camera, not confining it to a track or a tripod. You can move around as things happen, with the camera adapting to the situation and organic as to what the actors are doing. We're not doing complicated dolly or crane shots, and generally not doing establishing shots of locations either. We discover Detroit through the characters."

The cinematographer added: "Curtis has really been great. He listens to whatever we have to say, as a team. He has his ideas about how he wants to do it, but always asks for our opinion. And when he thinks it's correct, he'll do it without hesitation. He has no ego ... it's all about the movie and the end result."

Production designer Messina was dazzled by the multitude and variety of looks that Detroit offered. The variety may be largely due to the unusual number of vacant or recycled structures that remain as architectural reminders of Detroit's illustrious past. Office buildings from the turn of the century stand empty and unused or in some cases have been gutted and converted to condominiums. Churches have become restaurants. Mansions dating back to the Model T are now nursing homes or community theaters. This tendency to incorporate and expand upon what came before rather than raze and start completely anew is not only a Detroitism, it is also a concept central to hip hop, where the use of beats and samples from the music of the past is key. As Nelson George notes in his book Hip Hop America, hip hop "is a postmodern art in that it shamelessly raids older forms of pop culture - Kung Fu movies, chitlin' circuit comedy, 70's funk and other equally disparate sources - and reshapes the material to fit the personalities of an individual artist and the taste of the times." Hanson and Messina decided to build on this idea and showcase many of Detroit's structures that have had a past life, or in some cases lives, reflecting how the city has struggled to survive and reinvent itself over the years.

One example of this phenomenon is the Michigan Theatre, which opened in 1926 and went through several incarnations as a supper club, nightclub and finally, a parking garage, which Messina described as "one of the most bizarre things I've ever seen in my life. The theatre was literally gutted from the roof down, with about a quarter of its proscenium intact with tattered curtains hanging over it, and the rest is a three-level parking garage. We really fell in love with it and it became a key location."

The filmmakers also found and then resurrected the Chin Tiki in its original location, where it had closed years before. "It was almost as if someone had just walked away from it on a Saturday night," recollected Messina. "There were still liquor bottles at the bar, and matchbooks out. The owner was there the night we were shooting, and he was almost crying, seeing his restaurant bustling again and filled with activity."

Another key location is the "abandoned house" where a little girl has been raped, prompting its torching by Three One Third. While such acts of arson are still a fact of life in Detroit, in 1995 they were epidemic, with more than 4000 incidents reported, many of them on "Devil's Night," a prelude to Halloween. "A lot of those derelict and abandoned structures became drug zones and crack houses, very dangerous for people in the neighborhood," explained De' Angelo Wilson. "And the city wouldn't or couldn't focus on the problem. So for my character, DJ Iz, who sees himself as a political militant, burning the house down isn't fun… it's a statement." For Jimmy, it's an emotional turning point, prompting him to reflect on the abandoned house's previous incarnation as a family's home and, by extension, on the family life he never had.

About the Cast …

Kim Basinger (Stephanie) reunites with director Curtis Hanson on 8 Mile after L.A. Confidential, for which they both won Academy AwardsR. Basinger's performance also brought her a Golden Globe Award, a Screen Actors Guild Award and a BAFTA (British Academy of Film & Television Arts) nomination. She will next be seen opposite Al Pacino and Tea Leoni in People I Know.

Since making her motion picture debut opposite Robert Redford in Barry Levinson's The Natural, Basinger has appeared in more than 20 films. Her other motion picture credits include Bless the Child, I Dreamed of Africa, Batman, 9 1/2 Weeks, No Mercy, Fool for Love, Final Analysis, The Marrying Man, The Getaway, Cool World and The Real McCoy among others.

Brittany Murphy (Alex) most recently starred opposite Drew Barrymore in Penny Marshall's Riding in Cars With Boys, in Gary Fleder's Don't Say A Word opposite Michael Douglas, and in Ed Burns' Sidewalks of New York. She next stars as the lead in Molly Gunn and in Jonas Akerlund's ensemble film Spun.

Murphy starred alongside Winona Ryder and Angelina Jolie in Girl, Interrupted and in Alan Rudolph's Trixie opposite Emily Watson. She first gained attention from her role as "Tai Frasier" in Clueless. Her feature film credits include Summer Catch, Drop Dead Gorgeous and Cherry Falls.

On television, Murphy starred opposite Lukas Haas and Sidney Poitier in David and Lisa, in Showtime's Devil's Arithmetic opposite Kirsten Dunst and in Common Ground. Her talent for voices and accents can be heard each week as "LuAnn" and "Joseph" on Fox-TV's animated comedy King of the Hill.

Murphy performed on Broadway with Allison Janney in Arthur Miller's Tony Award-winning A View From the Bridge. Born and raised in New Jersey, she currently resides in Los Angeles.

Mekhi Phifer (Future) recently starred opposite Josh Hartnett and Julia Stiles in O, and opposite Gary Sinise in Impostor. He also starred in the drama Paid in Full this year.

In addition to working steadily in films, Phifer has added to his growing list of television credits with a starring role on the Emmy Award-winning series ER. Born and raised in New York, Phifer made his feature film debut in Spike Lee's Clockers opposite Harvey Keitel, John Turturro and Delroy Lindo, followed by the comedy High School High.

He went on to co-star in such films as I Still Know What You Did Last Summer and Soul Food. Additional film credits include Hell's Kitchen, Tears of a Clown and An Invited Guest, winner of the Audience Award at the 1999 Urbanworld Festival and the Grand Prize at the Acapulco Film Festival.

On television, Phifer starred in the ABC telefilm Brian's Song, in MTV's Carmen: A Hip-Hopera (in which he did all of his own rap work) opposite Beyonce Knowles, and in HBO's Emmy Award-winning A Lesson Before Dying opposite Don Cheadle and Cicely Tyson, which earned him an NAACP Image Award nomination. His other television credits include starring roles in HBO's The Tuskegee Airmen and Subway Stories, as well as guest appearances on the police dramas Homicide: Life on the Street and New York Undercover.

Phifer is currently starring opposite Jessica Alba in the feature film Honey, scheduled for release next year. He received the Rising Star award from the American Black Film Festival in June.

Evan Jones (Chedder Bob) grew up in College Station, Texas. After landing lead roles in several college theater productions, Jones headed to Los Angeles to pursue his acting career. Shortly after arriving, he earned roles in several commercials, then progressed to guest-starring roles on television shows such as The Guardian, ER and The District. He had a recurring role last season on Showtime's Going to California. Jones can also be seen in the independent features films Going Greek, Social Misfits and Wishcraft.

Omar Benson Miller (Sol George) recently co-starred in the comedy Sorority Boys. He will next be seen in John Leguizamo's Infamous. The California native is a 2001 graduate of San Jose State University's theatre arts program, from which he received a Bachelor of Arts degree in Television, Film and Theatre. At San Jose State, he starred in numerous productions, including Shakespeare's Shorts, King: A Man & His Dream, Kimchee & Chitlins and Hair. He received the Best Male Actor for his graduating class.

Eugene Byrd (Wink) starred in the Sundance Film Festival hit, Lift, and has appeared in Jim Jarmusch's Dead Man with Johnny Depp and Billy Bob Thornton, Barry Levinson's Sleepers with Kevin Bacon, the independent film White Boys and others.

On television, Byrd, who has been acting for 19 years, was a regular on Sesame Street as a child, starred in Showtime's Chris Cross as a teenager and was a regular on For Your Love and Promised Land as an adult. He also hosted CBS' Sports Illustrated for Kids and had a leading role in Showtime's Enslavement: The True Story of Fanny Kemble and several other made-for-television movies. His recent guest starring appearances include NBC's Law and Order: Special Victims Unit, NBC's Third Watch and ABC's NYPD Blue.

De'Angelo Wilson (DJ Iz) was attending Kent State University and working part-time in the casting office of The Antwone Fisher Story when the film's director, Denzel Washington, met the young man and awarded him the role of the title character's ill-fated best friend. 8 Mile marks Wilson's second screen appearance.

Anthony Mackie (Papa Doc), originally from New Orleans, Louisiana, first studied acting at the New Orleans Center for Creative Arts (NOCCA), then attended the North Carolina School for the Arts. He later moved to New York to study at the Juilliard School's Drama Division. In Spring 2001, he became one of the first students in Juilliard's history to be allowed to simultaneously perform a play outside of school while continuing his studies. His performance as rapper Tupac Shakur in Up Against the Wind earned rave reviews from The New York Times and Daily Variety. In Spring 2002, Mackie received an Obie Award for his work in Talk at the Public Theatre. Most recently, he shot a role in Ron Shelton's Untitled Cop Film, starring Harrison Ford and Josh Hartnett. He also appeared in the independent film Brother to Brother.

His theater roles at Juilliard include Richard in Blues for Mister Charlie, Karna in The Mahabharata, and Adam in Someone Who'll Watch Over Me.

Taryn Manning (Janeane) was born in Tucson, Arizona, where she began dancing at the age of 12 before segueing into acting. Since then, she has been seen in the features crazy/beautiful, Crossroads and White Oleander. She recently completed the independent film Into the Sun with Vincent Kartheiser and Mare Winningham.

Manning has appeared in telefilms including Come On, Get Happy: The Partridge Family Story and Kiss Tomorrow Goodbye. She had a recurring role on the series Get Real and has also made guest star appearances on The Practice, Pacific Blue, NYPD Blue and Boston Public. Manning also kickboxes, does Tae Bo, was a champion dancer and rollerskater, and has a third degree green belt in karate.

Michael Shannon (Greg Buehl) has previously been seen in several major independent and mainstream features, among them Groundhog Day, Chain Reaction, Chicago Cab, Jesus' Son, Cecil B. Demented, Tigerland, Pearl Harbor, Vanilla Sky and High Crimes. He can also be seen in the upcoming Kangaroo Jack. Born in Lexington, Kentucky, Shannon also appeared off-Broadway in Killer Joe and in Shoppers Carried by Escalators into the Flames.

Who's Who Behind the Scenes ….

Curtis Hanson (Director/Producer) produced, co-wrote and directed L.A. Confidential, which received nine Academy AwardR nominations, including three personal nominations for Hanson for Best Director, Best Picture and Best Screenplay Based on Another Medium.

Hanson most recently produced and directed Wonder Boys, which also received several OscarR nominations, winning for Best Song. Among Hanson's other directing credits are The River Wild, The Hand That Rocks the Cradle, Bad Influence and The Bedroom Window, which he also wrote. His other screenplay credits include White Dog, Never Cry Wolf and The Silent Partner.

Hanson is also a champion of film preservation and in 1999 was named the first Chairman of the UCLA Film and Television Archive.

Brian Grazer (Producer) has been making movies and television programs for more than 20 years. As both a writer and producer, he has been personally nominated for three Academy AwardsR, and in 2002 he won the Best Picture OscarR for A Beautiful Mind. In addition to winning three other Academy AwardsR, A Beautiful Mind also won four Golden Globe Awards (including Best Motion Picture Drama) and earned Grazer the first annual Awareness Award from the National Mental Health Awareness Campaign.

Over the years, Grazer's films and TV shows have been nominated for a total of 39 OscarsR and 17 EmmysR. At the same time, his movies have generated more than $10.5 billion in worldwide theatrical, music, and video grosses. Reflecting this combination of commercial and artistic achievement, the Producers Guild of America honored Grazer with the David O. Selznick Lifetime Achievement Award in 2001. His accomplishments have also been recognized by the Hollywood Chamber of Commerce, which in 1998 added Grazer to the short list of producers with a star on the Hollywood Walk of Fame.

In addition to A Beautiful Mind, Grazer's films include Apollo 13, for which Grazer won the Producers Guild's Daryl F. Zanuck Motion Picture Producer of the Year Award as well as an OscarR nomination for Best Picture of 1995, and Splash, which he co-wrote as well as produced and for which he received an OscarR nomination for Best Original Screenplay of 1986. Among his other films are The Grinch, Nutty Professor, Liar Liar; Ransom, My Girl, Backdraft, Kindergarten Cop, Parenthood, Clean and Sober, and Spies Like Us.

His most recent film is Blue Crush; his upcoming film projects include Dr. Seuss' The Cat in the Hat starring Mike Myers, and Intolerable Cruelty, written and directed by Joel and Ethan Coen, and starring George Clooney and Catherine Zeta-Jones.

Grazer's television productions include Fox's 24, the WB's Felicity and ABC's SportsNight, as well as HBO's From the Earth to the Moon, for which he won the EmmyR for Outstanding Mini-Series.

Grazer began his career as a producer developing television projects. It was while he was executive producing TV pilots for Paramount Pictures in the early 1980's that Grazer first met his longtime friend and business partner Ron Howard. Their collaboration began in 1985 with the hit comedies Night Shift and Splash, and in 1986 the two founded Imagine Entertainment, which they continue to run together as co-chairmen.

Jimmy Iovine (Producer) is Chairman of Interscope Geffen A&M Records, a unit of Universal Music Group, the global music leader.

Iovine co-founded Interscope Records in 1990, championing cutting edge music in a wide range of genres and helping to build the company into one of the most prominent and creative labels in the music business. Interscope achieved platinum-selling success with artists such as No Doubt, Dr. Dre, Nine Inch Nails, Eminem, Limp Bizkit, Enrique Iglesias, Mya, 2Pac, Smash Mouth and Eve.

Universal's acquisition of Polygram in 1999 resulted in the newly comprised Interscope Geffen A&M Records, among whose artists (in addition to those mentioned above) are U2, Sting, Beck, Weezer and Sheryl Crow. Iovine was named Co-Chairman and, in 2001, Chairman.

Named one of the five hottest producers of the 1980s by Billboard, Iovine was twice voted Producer of the Year by Rolling Stone. An engineer in the mid-1970s for John Lennon and Bruce Springsteen, he then produced hit albums for U2, Dire Straits, the Eurythmics, Stevie Nicks, Tom Petty & The Heartbreakers, The Pretenders, Bob Seger and Patti Smith.

In 1987, he initiated with his wife Vicki the A Very Special Christmas album benefiting the Special Olympics. Releasing its fifth edition in 2001, it is the most successful series of benefit albums ever launched, having raised $75 million. Most recently, Iovine was co-executive producer of 2001's September 11 benefit album America: A Tribute to Heroes.

Carol Fenelon (Executive Producer) has had a long creative association with Curtis Hanson. After graduating from Yale University, she began her career as a record company executive at such labels as MCA, Warner Brothers, RCA and Arista. During that time, she worked with Hanson as his music supervisor on Bad Influence, The River Wild and Wonder Boys, for which Bob Dylan won an Academy AwardR for Best Original Song. Following the completion of Wonder Boys, Fenelon joined Hanson as his producing partner at their production company, Deuce Three Productions.

James Whitaker (Executive Producer) currently serves as Executive Vice President of Production for Imagine Films. He was the co-producer of Nutty Professor II: The Klumps and Life, starring Eddie Murphy and Martin Lawrence. He also was the associate producer of Gus Van Sant's Psycho. Most recently, Whitaker worked on the Coen brothers' Intolerable Cruelty, starring George Clooney and Catherine Zeta-Jones. He is in pre-production on a CGI version of Curious George.

Whitaker, who attended Georgetown University, began his career in documentary filmmaking. He joined Imagine as an intern before graduating from USC's Peter Stark Program in 1994.

Gregory Goodman (Executive Producer) has served as producer of Candyman, Kalifornia, Dead Connection, A Pig's Tale and Hit Me, as co-producer of Polish Wedding and as executive producer of Three Kings and The Gift. He began his career in various production capacities on independent films such as The Oasis, Radioactive Dreams and Pulse, then graduated to production manager on House Party 2, Talkin' Dirty After Dark and others.

Paul Rosenberg (Executive Producer) is founder and CEO of Goliath Artists, Inc., the management firm that handles the careers of Eminem, Cypress Hill and Xzibit. Rosenberg also handles Vice President and General Manager duties for Eminem's record label, Shady Records.

Raised in Detroit, Michigan, Rosenberg attended Michigan State University and graduated in 1993 with a Bachelor of Science in Psychology. He went on to attend the University of Detroit Law School with his eye set on becoming a music attorney. Rosenberg moved to New York in 1996 where he practiced defense litigation for a year before joining the music law firm Cutler & Sedlmayr.

During one of his visits to Detroit, Rosenberg became acquainted with Eminem, and seeing the young artist's potential, became his attorney. After he orchestrated Eminem's deal with Dr. Dre's Aftermath Entertainment, Rosenberg postponed his career in law to start Goliath Artists, Inc., where he focused on guiding the career of an artist who became one of the most controversial and innovative acts in popular music history.

Scott Silver (Screenwriter) wrote and directed the independent feature johns, a gritty drama starring Lukas Haas, David Arquette, Arliss Howard and Keith David, and the action film The Mod Squad, starring Claire Danes, Giovanni Ribisi, Omar Epps and Dennis Farina.

Rodrigo Prieto (Director of Photography) most recently collaborated with Julie Taymor on Frida, starring Salma Hayek as legendary artist Frida Kahlo, followed by Spike Lee's The 25th Hour, starring Edward Norton. Prior to that he worked with Michael Cristofer on Original Sin, starring Angelina Jolie and Antonio Banderas, and Amores Perros, his controversial collaboration with director Alejandro Gonzalez Inarritu, which won the Critics Week Grand Prize at the Cannes Film Festival and the Gold Frog for Cinematography at the Camerimage Festival in Lodz, Poland, as well as Mexico's Ariel Award for Cinematography.

Born in Mexico City, the son of a Mexican father and North American mother, Prieto studied at the Centro de Capacitacion Cinematografica (CCC), the premier Mexican film school. Upon graduating, Prieto worked on only one short as a first assistant before ascending to director of photography on more than 500 commercials, winning the Circulo de Oro Award in 1994 for his efforts.

Prieto moved into features with Un Instante Para Morir, Dama de Noche and Perfume Efecto Immediato. His next film, Sobrenatural (All of Them Witches), brought him an Ariel and a Diosa de Plata Award, as well as the Colombia Film Festival Award for best cinematography, He took home the same prize from Colombia for Edipo Alcalde. Fibra Optica won the cinematography award for Prieto at the Latin American Film Festival in New York, and Un Embrujo (Under a Spell) won the Concha de Plata for best cinematography at the San Sebastian Film Festival, in addition to yet another Ariel Award.

Prieto has also photographed several documentaries, most recently two feature-length studies of Fidel Castro and the Middle East conflict, both directed by Oliver Stone.

Prieto will next reunite with Amores Perros' Alejandro Gonzalez Innaritu on the director's first English-language project, 21 Grams, starring Sean Penn, Benicio Del Toro and Naomi Watts.

Philip Messina (Production Designer) most recently designed Solaris and Ocean's Eleven, his fourth and fifth collaborations with director Steven Soderbergh. Ocean's Eleven earned him a nomination from the Art Directors Guild for Excellence in Production Design. Messina also designed Traffic and Erin Brockovich, both of which were nominated for Academy AwardsR for Best Picture in 2001. He first worked with Soderbergh when he served as art director on Out of Sight.

Born and raised in Lawrence, Massachusetts, Messina attended Phillips Andover Academy and went on to Cornell University where he graduated with a Bachelor's Degree in Architecture. His initial foray into the film industry was as a set designer on the films Mermaids and Housesitter. Among his many credits as art director is The Sixth Sense.

Messina designed the production of the television series pilot Freaks and Geeks, which re-teamed him with director Jake Kasdan, for whom he had served as art director on his feature film Zero Effect.

Messina is married to set decorator Kristen Toscano Messina, with whom he frequently collaborates.

Mark Bridges (Costume Designer) has designed costumes for Blow, Deep Blue Sea, Blast From the Past and Can't Hardly Wait. He is also a frequent collaborator with director Paul Thomas Anderson, having designed the wardrobe for Hard Eight, Boogie Nights and, most recently, the Cannes Film Festival award winner Punchdrunk Love. Bridges made his debut as production designer on Anderson's ensemble drama Magnolia.

Bridges began his career in film as a design assistant on Miller's Crossing and Married to the Mob. His credits as assistant costume designer have included Oliver Stone's Nixon and Natural Born Killers, Dave, The Hudsucker Proxy, Hero, Doc Hollywood, Barton Fink and The Grifters.

Bridges' television work includes the pilot for HBO's Six Feet Under for director/creator Alan Ball.

Jay Rabinowitz (Film Editor) has been editing motion pictures for more than 20 years, most recently with Darren Aronofsky on Requiem for a Dream and Arliss Howard's Big Bad Love.

Rabinowitz began cutting film at New York University's undergraduate film program in 1980. In 1985, he began an ongoing collaboration with director Jim Jarmusch, from Down By Law through Night on Earth and, most recently, Ghost Dog: The Way of the Samurai. It was through Jarmusch that he met the legendary photographer and filmmaker Robert Frank, editing his film Last Supper.

Rabinowitz's other credits include Paul Schrader's Affliction, Lodge Kerrigan's Clean, Shaven, Jarmusch's Year of the Horse, Dead Man, Mystery Train and the short Int. Trailer Night, which will be included in the upcoming omnibus feature Ten Minutes Older.

Rabinowitz also worked with Tom Fontana and Barry Levinson on their television series Homicide: Life on the Street and OZ.

Craig Kitson (Editor) was born and raised in Stockton, California before he attended undergraduate and graduate programs in the School of Theater, Film and Television at UCLA. He began his career as a film researcher, working on the ABC television series Ripley's Believe It or Not and then two projects for director William Friedkin, where he met veteran film editor Bud Smith. This encounter led Kitson from film research to editorial. He worked first for Smith and later as an assistant editor or editor on various film, cable and feature film projects including Sunchaser for Michael Cimino. In 1997, he edited the main title sequence for L.A. Confidential. This was followed by his work as an additional editor on Wonder Boys. In addition to his editing work, Kitson has also been an editing instructor at the USC School of Cinema-Television.