| 首頁 Home | 電影 Films | 評論 Opinions | 戲院 Cinemas | 資訊 Information | 網站地圖 Site Map

首頁 -> 電影 -> 香港每年上映電影 ->
Home -> Films -> Films Released in Hong Kong by Year ->

千 面 奇 才 與 FBI 神 探 棋 逢 敵 手
一 場 世 紀 矚 目 的 智 激 追 捕

CATCH ME IF YOU CAN

改 編 自 美 國 暢 銷 小 說 -Catch Me If You Can 的 ? 捉 智 雙 雄 ? 是 根 據 轟 動 全 美 的 真 人 真 事 寫 成 。 這 套 由 電 影 奇 才 史 提 芬 史 匹 堡 親 自 執 導 ， 荷 里 活 寵 兒 里 安 納 度 狄 卡 比 奧 及 屢 獲 奧 斯 卡 金 像 獎 最 佳 男 主 角 湯 漢 斯 主 演 ， 被 譽 為 明 年 奧 斯 卡 的 大 熱 電 影 。

這 部 電 影 劇 本 源 自 一 本 最 暢 銷 的 傳 記 小 說 ， 講 述 一 名 千 面 騙 徒 法 蘭 克 阿 伯 尼 爾 (Frank Abagnale) 的 真 實 故 事 。 他 是 一 名 逃 學 少 年 ， 學 業 成 績 平 凡 ， 於 是 另 尋 生 命 刺 激 。 他 用 高 明 的 詐 騙 技 巧 ， 成 功 偽 裝 為 飛 行 員 、 律 師 、 大 學 教 授 、 醫 生 四 處 行 騙 ， 騙 取 金 額 數 以 百 萬 計 ， 法 蘭 克 犯 案 時 只 有 19 歲 ， 在 六 十 年 代 來 說 ， 絕 對 是 令 人 咋 舌 的 年 青 犯 罪 天 才 。 他 的 大 膽 盜 行 最 終 引 起 聯 邦 密 探 卡 爾 (Carl Hanratty) 將 他 視 為 首 要 追 捕 的 目 標 罪 犯 。 里 安 納 度 狄 卡 比 奧 就 是 飾 演 這 個 年 輕 智 慧 型 罪 犯 ； 湯 漢 斯 則 飾 演 聯 邦 探 員 ， 兩 人 高 智 角 力 ， 展 開 一 場 棋 逢 敵 手 的 捉 與 捕 的 遊 戲 。

原 著 作 者 法 蘭 克 阿 伯 尼 爾 一 生 的 事 蹟 吸 引 了 導 演 史 提 芬 史 匹 堡 及 編 劇 積 夫 尼 芬 遜 把 這 個 傳 奇 人 物 搬 到 大 銀 幕 上 。 史 提 芬 史 匹 堡 稱 一 直 以 來 ， 他 甚 喜 愛 電 影 中 一 些 小 流 氓 角 色 ， 雖 然 他 們 常 作 違 反 法 律 的 行 為 ， 來 對 抗 社 會 醜 陋 ， 但 是 他 們 處 事 的 衝 勁 及 膽 色 ， 就 是 令 觀 眾 又 愛 又 恨 的 可 愛 之 處 。

< 捉 智 雙 雄 > 結 合 狄 卡 比 奧 及 湯 漢 斯 兩 大 天 才 男 星 同 場 競 技 ， 令 人 矚 目 期 待 ， 影 片 亦 是 史 提 芬 史 匹 堡 繼 < 未 來 報 告 > 後 再 次 親 自 操 刀 之 作 ， 絕 對 予 人 無 限 信 心 。

< 捉 智 雙 雄 > 將 於 2003 年 1 月 30 日 上 映 ， 是 香 港 賀 歲 檔 期 的 重 頭 電 影 之 一 。

里 安 納 度 狄 卡 比 奧 Leonardo Dicaprio 飾 法 蘭 克 阿 伯 爾

飾 演 千 面 奇 才 法 蘭 克 阿 伯 爾 的 狄 卡 比 奧 ， 絕 對 是 荷 里 活 現 今 最 有 演 戲 天 份 的 年 青 演 員 。 早 在 一 九 九 四 年 ， 他 就 憑 < 不 一 樣 的 天 空 > 贏 得 奧 斯 卡 金 球 獎 提 名 。 九 七 年 他 再 憑 < 鐵 達 尼 號 > 獲 金 球 獎 提 名 。

狄 卡 比 奧 那 種 不 羈 的 氣 質 吸 引 著 無 數 少 男 少 女 ， < 不 一 樣 的 天 空 > 令 他 一 舉 成 名 ， 之 後 加 上 < 心 之 全 蝕 > 及 < 羅 麥 歐 與 朱 麗 葉 後 現 代 激 情 篇 > ， 成 為 當 紅 偶 像 。 但 令 他 萬 千 寵 愛 在 一 身 的 ， 無 疑 是 < 鐵 達 尼 號 > 這 部 破 盡 票 房 紀 錄 的 愛 情 電 影 。 之 後 他 參 與 過 活 地 阿 倫 的 < 名 人 百 態 > ， 古 裝 傳 奇 片 < 鐵 面 王 子 > 及 驚 慄 文 藝 片 < 迷 幻 沙 灘 > ， 近 兩 年 埋 頭 苦 幹 全 情 投 入 拍 攝 < 捉 智 雙 雄 > ， 片 中 千 面 奇 才 的 角 色 可 說 是 為 他 度 身 訂 造 ， 影 評 人 皆 估 計 此 片 有 望 為 他 贏 得 另 一 次 奧 斯 卡 提 名 。

湯 漢 斯 Tom Hanks 飾 卡 爾

湯 漢 斯 今 年 剛 在 < 末 路 驕 陽 > 中 飾 演 向 黑 幫 復 仇 的 父 親 ， 贏 得 了 無 數 影 評 人 的 喝 采 。 他 是 有 史 以 來 連 續 兩 屆 獲 得 奧 斯 卡 最 佳 男 主 角 的 兩 位 影 帝 之 一 。 九 四 年 ， 他 在 < 費 城 故 事 > 中 飾 演 患 上 愛 滋 病 的 病 人 。 九 五 年 ， 他 在 < 阿 甘 正 傳 > 中 飾 演 智 商 有 問 題 但 一 生 卻 充 滿 傳 奇 的 阿 甘 ， 連 續 兩 屆 獲 得 奧 斯 卡 最 佳 男 主 角 獎 。

湯 漢 斯 演 技 出 色 ， 獲 得 全 球 觀 眾 公 認 ， 他 與 美 琪 賴 恩 被 喻 為 近 年 最 出 色 的 銀 幕 拍 擋 ， 他 倆 合 演 的 < 緣 份 的 天 空 > 及 < 網 上 情 緣 > 是 現 代 愛 情 電 影 的 經 典 。 此 外 他 在 < 劫 後 重 生 > 、 < 雷 霆 救 兵 > 、 < 太 陽 神 十 三 號 > 等 ， 影 片 的 演 出 ， 均 獲 得 高 度 評 價 。

湯 漢 斯 在 < 捉 智 雙 雄 > 中 ， 飾 演 老 練 的 FBI 聯 邦 密 探 ， 是 他 首 次 ? 綱 的 新 鮮 角 色 ， 甚 具 挑 戰 性 。

法 蘭 克 阿 伯 尼 爾 Frank W. Abagnale ─ 足 智 多 謀 的 奇 才

< 捉 智 雙 雄 > 的 故 事 乃 根 據 法 蘭 克 阿 伯 尼 爾 的 真 實 事 蹟 改 編 。 阿 伯 尼 爾 可 說 是 世 界 上 其 中 一 個 最 傳 奇 騙 徒 ， 在 六 十 年 代 以 不 同 的 喬 裝 角 色 例 如 機 師 、 律 師 、 及 醫 生 等 ， 以 高 智 手 法 騙 取 多 達 數 以 百 萬 的 金 錢 ， 終 引 致 聯 邦 密 探 的 追 捕 。

今 日 阿 伯 尼 爾 是 受 人 尊 敬 的 防 止 盜 騙 及 保 險 的 權 威 ， 但 在 三 十 五 年 前 ， 他 是 惡 名 昭 著 的 騙 徒 ， 在 其 十 六 至 二 十 一 歲 期 間 ， 他 在 美 國 及 其 他 二 十 六 個 國 家 ， 騙 取 了 合 共 二 百 五 十 萬 美 元 ( 在 六 十 年 代 這 是 很 驚 人 的 數 目 ) 。 在 二 十 一 歲 時 他 被 法 國 警 方 拘 捕 ， 曾 在 法 國 、 瑞 典 及 美 國 等 地 服 刑 ， 五 年 後 他 獲 釋 ， 但 必 須 為 聯 邦 政 府 服 務 ， 提 供 防 止 盜 騙 方 面 的 知 識 。 一 轉 眼 ， 他 為 美 國 政 府 服 務 了 二 十 五 年 ， 幫 助 政 府 設 立 研 究 課 程 及 每 年 到 處 進 行 講 座 。

阿 伯 尼 爾 自 己 也 設 立 了 顧 問 公 司 ， 專 門 為 私 人 機 構 設 計 防 盜 騙 及 保 險 安 全 課 程 。 憑 其 經 驗 之 談 集 結 成 書 ， 先 後 編 出 The Client Service Bulletin ， The Abagnale Document Verification and Currency Transaction Manual 等 ， 1998 年 CNN 更 選 他 為 「 世 界 400 奇 才 」 之 一 。

1980 年 ， 他 將 自 傳 經 歷 寫 成 Catch Me If You Can 一 書 ， 大 受 歡 迎 ， 及 後 也 出 版 了 The Art of Steal ， 描 寫 他 由 罪 犯 變 成 防 止 犯 罪 專 家 的 過 程 。 Catch Me If You CAN 被 史 提 芬 史 匹 堡 看 上 改 編 成 < 捉 智 雙 雄 > ， 阿 伯 尼 爾 也 被 邀 請 ? 任 這 部 電 影 的 顧 問 一 職 。

史 匹 堡 導 演 的 話

「 和 其 他 人 一 樣 ， 我 被 阿 伯 尼 爾 的 小 說 故 事 深 深 吸 引 ， 這 故 事 由 他 父 母 離 婚 開 始 ， 影 響 了 他 的 成 長 過 程 ， 所 以 這 部 電 影 的 主 題 也 可 以 說 是 一 個 不 羈 少 年 的 成 長 故 事 。 一 向 以 來 我 都 喜 好 那 些 描 寫 不 羈 英 雄 的 電 影 ， 例 如 < 神 鎗 手 與 智 多 星 > 及 < 老 千 計 狀 元 才 > 等 ， 他 們 不 顧 法 紀 ， 但 卻 有 感 性 的 氣 質 ， 令 人 著 迷 。

拍 完 < 未 來 報 告 > 後 ， 立 即 接 拍 < 捉 智 雙 雄 > 是 個 有 趣 的 經 驗 ， < 未 > 片 是 調 子 沉 重 的 科 幻 電 影 ， 相 反 < 捉 > 片 卻 像 給 我 舒 一 口 氣 的 機 會 ， 很 輕 巧 很 清 新 ， 就 像 我 拍 完 < 侏 羅 紀 公 園 > 後 拍 < 舒 特 拉 的 名 單 > ， 兩 種 不 同 風 格 電 影 令 我 煥 然 一 新 。 」

狄 卡 比 奧 看 角 色

「 我 看 過 Catch Me If You Can 原 著 ， 立 即 迷 上 了 主 角 的 傳 奇 事 蹟 。 看 著 阿 伯 尼 爾 的 真 人 ， 你 會 相 信 他 是 個 連 郵 票 也 不 會 騙 的 人 ， 他 的 外 表 真 是 有 這 種 叫 人 信 任 的 能 力 。

我 在 演 繹 阿 伯 尼 爾 這 個 角 色 時 ， 盡 量 由 他 的 角 度 去 看 世 界 ， 他 是 一 個 高 傲 有 智 慧 的 年 青 人 ， 藉 著 行 騙 的 過 程 不 斷 成 長 ， 他 目 中 無 人 ， 不 顧 法 紀 ， 但 本 質 上 其 實 跟 其 他 年 青 人 沒 兩 樣 。 」

湯 漢 斯 看 角 色

「 我 飾 演 的 聯 邦 密 探 很 執 著 ， 但 亦 有 感 性 的 一 面 ， 當 他 發 現 所 追 捕 的 罪 犯 竟 然 如 此 年 青 也 大 嚇 一 跳 。 他 發 現 這 個 聲 名 狼 藉 的 騙 徒 ， 不 過 是 個 小 孩 ， 一 個 甚 具 天 份 的 小 孩 ， 迷 失 在 他 自 己 也 不 知 道 的 重 大 事 件 中 ， 雖 然 責 任 上 他 需 要 追 捕 他 歸 案 ， 但 到 最 後 ， 他 覺 得 這 個 年 青 罪 犯 ， 也 不 過 是 個 感 情 脆 弱 的 人 ， 值 得 給 他 一 個 改 過 的 機 會 。 」

幕 後 強 勁 陣 容 簡 介

導 演 -- 史 提 芬 史 匹 堡 Steven Spielberg

電 影 奇 才 ， 拍 了 無 數 傑 作 ， 無 論 藝 術 及 商 業 上 皆 非 常 成 功 ， 曾 憑 < 舒 特 拉 的 名 單 > 及 < 雷 霆 救 兵 > 兩 度 贏 得 奧 斯 卡 最 佳 導 演 獎 。 其 他 代 表 作 包 括 < 未 來 報 告 > 、 < 侏 羅 紀 公 園 > 、 < ET 外 星 人 > 及 < 奪 寶 奇 兵 > 等 。

監 製 -- 和 路 達 柏 基 斯 Walter P F Parkes

夢 工 場 的 最 高 主 腦 之 一 ， 也 是 當 今 荷 里 活 最 著 名 的 監 製 ， 代 表 作 品 有 < 未 來 報 告 > 、 < 黑 超 特 警 組 Ⅰ & Ⅱ > 、 < 末 路 驕 陽 > 、 及 < 帝 國 驕 陽 > 等 。

編 劇 -- 積 夫 尼 芬 遜 Jeff Nathanson

曾 為 < 火 拼 時 速 > Ⅰ 及 Ⅱ 集 編 寫 劇 本 ， 其 他 傑 作 還 包 括 < 生 死 時 速 2 > 及 < 龍 捲 風 暴 > ， 他 現 正 籌 備 另 一 劇 本 Terminal ， 跟 湯 漢 斯 再 度 合 作 。

攝 影 -- 贊 路 斯 甘 明 斯 基 Janusz Kaminski

與 史 提 芬 史 匹 堡 多 次 合 作 ， 以 < 舒 特 拉 的 名 單 > 及 < 雷 霆 救 兵 > ， 兩 度 為 他 贏 得 奧 斯 卡 金 像 獎 。 其 他 作 品 有 < 人 工 智 能 > 、 < 未 來 報 告 > 、 < 迷 失 世 界 > 及 < 甜 心 先 生 > 等 。

美 術 -- 珍 妮 莉 奧 比 維 Jeannie Oppewall

曾 兩 度 獲 奧 斯 卡 提 名 ， 以 < 一 人 一 點 顏 色 > 獲 得 多 個 獎 項 。 傑 出 作 品 還 有 : < 幕 後 嫌 疑 犯 > 及 < 麥 迪 遜 之 橋 > 。

剪 接 -- 米 高 簡 恩 Michael Kahn

是 史 提 芬 史 匹 堡 幕 後 班 底 之 一 ， 曾 以 < 雷 霆 救 兵 > 、 < 奪 寶 奇 兵 > 、 < 舒 特 拉 的 名 單 > ， 贏 得 奧 斯 卡 獎 。

音 響 -- 尊 威 廉 斯 John Williams

是 現 今 最 負 盛 名 的 電 影 配 樂 大 師 ， 名 作 琳 瑯 ， 由 < ET 外 星 人 > 、 < 大 白 鯊 > 、 < 舒 特 拉 的 名 單 > 到 < 侏 羅 紀 公 園 > 等 ， 都 令 人 留 下 深 刻 印 象 。

CATCH ME IF YOU CAN

OscarR nominee Leonardo DiCaprio ("What's Eating Gilbert Grape," "Titanic") and two-time Academy AwardR winner Tom Hanks ("Philadelphia," "Forrest Gump") engage in a game of cat and mouse in "Catch Me If You Can," under the direction of three-time Academy AwardR winner Steven Spielberg ("Saving Private Ryan," "Schindler's List").

Frank W. Abagnale (Leonardo DiCaprio) worked as a doctor, a lawyer and as a co-pilot for a major airline-all before his 21st birthday. A master of deception, he was also a brilliant forger, whose skill at check fraud had netted him millions of dollars in stolen funds. FBI Agent Carl Hanratty (Tom Hanks) had made it his prime mission to capture Frank and bring him to justice, but Frank is always one step ahead of him, baiting him to continue the chase.

"Catch Me If You Can" also stars Academy AwardR winner Christopher Walken ("The Deer Hunter"), Golden Globe Award winner Martin Sheen (TV's "The West Wing"), Nathalie Baye, Amy Adams, James Brolin, Brian Howe, Frank John Hughes and Golden Globe winner Jennifer Garner (TV's "Alias").

Steven Spielberg directed "Catch Me If You Can" from a screenplay by Jeff Nathanson, based on the autobiographical book of the same name by Frank W. Abagnale with Stan Redding. The film was produced by Steven Spielberg and Walter F. Parkes ("The Ring," "Men in Black II"), with Barry Kemp, Laurie MacDonald, Michel Shane and Tony Romano executive producing.

ABOUT THE PRODUCTION

COLORFUL CHARACTERS

The plot of "Catch Me If You Can" might have seemed a bit far-fetched even by Hollywood standards…were it not for the fact that it is based on a true story.

"Things that happen in real life are sometimes a hundred times more fascinating than anything a person could make up off the top of his head," remarks Leonardo DiCaprio, the actor who portrays the subject of the story, Frank W. Abagnale, Jr.

"Catch Me If You Can" is based on Abagnale's autobiography of the same name, which chronicles how he-as a runaway teenager, without so much as a high school diploma-managed to pass himself off as an airline pilot, a doctor, a lawyer, and a college professor, all while cashing millions of dollars in fraudulent checks.

Frank Abagnale offers, "It begins with my parents' divorce and its dramatic effect on me. I ran away and suddenly found myself a teenager alone in the world. I had to grow up very quickly and become very creative in order to survive. But what started out as survival became more and more of a game. I was an opportunist, so when I saw an opening I asked myself, 'Could I get away with that?' Then there was the satisfaction of actually getting away with it. The more I got away with, the more of a game it became-a game I knew I would ultimately lose, but a game I was going to have fun playing until I did."

A bestseller, Abagnale's autobiography has fascinated millions of readers, including director/producer Steven Spielberg. "I was like the many people who fell under the seductive influence of the real Frank William Abagnale, Jr., just through his book. And when you meet him, you understand in a second how he could pull the wool over your eyes and convince you that he was a doctor or a lawyer. I was fascinated by the unique way he came of age. I really believe he was very strongly affected by the divorce of his parents. There are all sorts of ways kids act out against divorce, and Frank just happened to act out in a way that was so original, it was worth making a movie about. Personally, I have always loved movies about sensational rogues, like the Newman/Redford classics 'Butch Cassidy and the Sundance Kid' and 'The Sting.' They were breaking the law, but you had to love them for their moxie."

Screenwriter Jeff Nathanson first learned of Abagnale's story when co-producer Devorah Moos-Hankin, who serves as president of executive producer Barry Kemp's production company, sent him a tape of Abagnale talking about his life. Nathanson recalls that, like Spielberg, the story reminded him of one of his favorite film genres. "It was the kind of feeling I got watching films like 'Butch Cassidy and the Sundance Kid' or 'One Flew Over the Cuckoo's Nest'-films that focus on people who are working on the wrong side of the law or going against society; yet you can't help but root for them because they're so incredibly charming. That's what I got out of just this 20-minute tape, so I thought it might make a good movie."

Producer Walter F. Parkes was also instantly taken with Abagnale's escapades, saying, "Any one aspect of Frank's story seems so extraordinary that you could hang an entire movie on it. But then you cap it off with the fact that it is true, and it becomes irresistible."

Others had agreed with that opinion in the years since the book Catch Me If You Can was first published in 1980. Although the book had been previously optioned, Abagnale admits, "I never dreamed it would ever really be a movie. How do you condense five eventful years of a life into a two-hour movie?"

Parkes acknowledges that the answer to that question did not come without challenges. "What was both exciting and tricky about 'Catch Me If You Can' was that it falls between several genres. There are times of searing drama, but at its heart, it is more of a comedy. So it was a challenge, both in the writing and in the execution of the movie, to somehow encompass all of those facets."

"As a writer, that made it all the more interesting," Nathanson says. "It's a cat-and-mouse thriller, but at the same time it's a coming-of-age story, and then very much a family drama. I like stories that cover different parts of life: there's laughter, there's heartbreak… 'Catch Me If You Can' gave me the chance to explore all of that through one remarkable period of Frank Abagnale's life."

The period during which Abagnale was able to pull off such elaborate scams was the decade of the 1960s, and both Parkes and Spielberg attribute at least some of Abagnale's success to the innocence of the times. "I think it was the naivete of those days that allowed Frank to get away with what he did for so long," Parkes states. "It was a time before the counterculture, a time when we actually believed that the clothes made the man, that a uniform connoted a certain stature in the world. Frank intuitively understood that and was able to exploit it. It provided him the way to become this exceptional imposter."

Spielberg adds, "It was a time of tremendous trust, when you never locked your doors, but felt safe." Interestingly, the director was coming off a film set in a future ruled by mistrust, the sci-fi thriller "Minority Report." The about-face was one of the aspects of directing "Catch Me If You Can" that appealed to Spielberg. "I had just finished shooting 'Minority Report' and was in something of a dark place. I thought this would be a breath of fresh air for me. I enjoy that whiplash sensation of going from a film like 'Jurassic Park' to a 'Schindler's List,' and now from 'Minority Report' to 'Catch Me If You Can.' Selfishly, it was also an opportunity to work with a young actor I've always admired."

That young actor is Leonardo DiCaprio, who had already been set to star as Frank Abagnale. "I have been a huge fan of Leo's, dating back to his work in 'This Boy's Life' and then 'What's Eating Gilbert Grape,' which was a phenomenal performance," Spielberg says. "Leo is a very inventive actor and has a lot of ideas. He is also his own best critic. There were times I'd accept a certain take, and Leo would say, 'No, no. I think there's something I haven't found yet; let me do it again.' And he would invariably come up with something that was just brilliant."

DiCaprio appreciated that Spielberg not only accepted, but encouraged his contributions. "That's the wonderful thing about working with Steven Spielberg. He is so open-minded-not just to me as an actor, but to people in every department. I think that is part of what makes him such a great director; he brings out the best in you, and gets everybody working like a well-oiled machine towards a common goal."

Long before he was cast in the role of Frank Abagnale, DiCaprio was a self-described "huge fan" of the book Catch Me If You Can. Years later, when he was sent Jeff Nathanson's script, he jumped at the chance to portray the quintessential con man. "For an actor, it's all about the art of misdirection…how, for example, Frank is able to make somebody concentrate on being asked out to dinner as opposed to the phony check he's about to pass. I think those are fantastic elements for an actor to play," DiCaprio states.

The actor did have an opportunity to meet with the real Frank Abagnale and relates that he still caught glimpses of the one-time con man's innate ability to disarm you. "To look at him, you wouldn't think he could steal a postage stamp. But he has an almost unconscious way of engaging you with his eyes, with his energy and with his intelligence."

While DiCaprio offers that those subtle traits were something he tried to bring to his portrayal, he was intent on not trying to create an imitation of the real-life Abagnale. "At a certain point you draw enough information from the person, and then you have to go off on your own and create that character and let the character have a life of its own. I didn't want to take away from the spontaneity of the young Frank going out in the world. I wanted the audience to be carried along with him on his journey of self-discovery, to see the sparkle in his eye the first time he sees a pilot looking like a movie star and being treated like royalty, or to watch his first mistakes as a pilot or as a lawyer… I didn't want to be too perfect, because I believe Frank gets by more on his personality and charm and his ability to misdirect, rather than on being perfect at impersonating people. I think that has a lot to do with the ego of this cocky kid who thinks he can defy everyone, including the F.B.I….and, in fact, does."

Frank Abagnale's defiance notwithstanding, the F.B.I. has other ideas and assigns Special Agent Carl Hanratty to track down this elusive "paperhanger." Tom Hanks stars in the role of Abagnale's dogged pursuer Carl Hanratty, whom he describes as "an F.B.I. agent who takes great pride in working areas like bank fraud, forgeries and check kiting."

"Tom Hanks brought such authenticity to this part. He has a bureaucratic quality I had never seen in him before," Spielberg says.

The two agents assigned to work with Carl don't share his penchant for bureaucracy and can barely hide their boredom and disdain. But, unfortunately for Frank, Hanks says, "Carl Hanratty loves that stuff; he lives and breathes it. So when he comes across this paperhanger, as they're called, who is remarkably intelligent and certainly an above-average check forger, Carl makes it his life's mission to, well, catch him if he can."

That is easier said than done because, as Spielberg notes, "In any good cat-and-mouse story, the mouse keeps winning for a long time and the poor cat is so frustrated. It's a vicious circle with the cat chasing a mouse who is much more clever than the cat. But what our F.B.I. agent does have is tremendous patience and resolve. He is just tenacious and as patient as the day is long."

However, the part of Carl Hanratty serves as more than just the cat in this cat-and-mouse tale, a fact the filmmakers realized early in the development of the script. Walter Parkes explains, "When you have all these terrific but separate incidents of a kid impersonating a doctor in the E.R. or a pilot who flies all over the world, it makes for a very episodic script. The key to turning these episodes into a complete story was the character of the F.B.I. agent. At some point we said, 'That's what it is: It's the story of a kid who leaves one father and finds a different one.' I mean, imagine this kid who can intuitively change roles, has all the women in the world and is making millions of dollars. Then there's this F.B.I. agent, the least charming person in the world, who has somehow been put on this earth to not only catch this guy, but to perceive just what kind of genius he is. There was something about that dynamic between Carl and Frank that captured Tom's imagination."

Hanks attests, "Carl is so impressed with the style and panache of his quarry that he's doubly astounded to discover how young he is. Carl suddenly realizes that he is just a kid, incredibly gifted but ultimately a child, who is in the midst of an adventure that is bigger than he is. Carl comes to feel almost protective of Frank. I mean, he treats him like a criminal-he's going to arrest him and send him to jail-but at the end of the day, he sees a fragile human being who is worth trying to redeem somehow."

DiCaprio comments, "Carl Hanratty eventually becomes the only person who Frank Abagnale trusts, which is ironic given the fact that Carl is the one who is aggressively trying to put him in jail. There is a certain element of Carl becoming something of a father figure to Frank because he ends up being the only real guidance that my character has."

That being said, no one could ever take the place of Frank's real father in his eyes. Frank Abagnale, Sr. was the greatest influence in his son's life, and Frank Jr.'s devotion to his father remained steadfast, arguably driving him to do much of what he did. "The key person in Frank's life was his father," Parkes affirms. "In our film he is a kind of modern Willie Loman. He's an extremely charismatic man whose attempts to grab onto the American dream elude him every time. There is great poignancy in that."

Christopher Walken, who was cast in the pivotal role of Frank Abagnale, Sr., remarks, "It was a wonderful opportunity to work with Steven Spielberg and Leonardo. I play his character's father, and I guess you could say that I encourage him in his pursuits because I'm a little bit of a crook myself."

It was Walter Parkes who first suggested Christopher Walken for the role. Spielberg recalls, "I have been a great admirer of Christopher Walken and have always had a desire to work with him. So the minute Walter said, 'Have you ever considered Chris Walken?,' everything came into focus about who should play Leonardo DiCaprio's father."

For DiCaprio, the awe in which he held Christopher Walken translated perfectly into the respect his character holds for his father. "Frank has an unwavering faith in his father; anything his father does is just the most brilliant, ingenious thing. I think my own admiration for Christopher Walken really helped me to portray my character in relationship to his father. As an actor, just to be in a scene with Chris was a great experience for me, both professionally and personally."

The filming of one particular scene with Walken resonated not only for DiCaprio, but also for everyone involved. Parkes remembers, "We were filming the scene in the restaurant between Leo and Chris where Chris is talking about his wife, Frank's mother, leaving him. We get to the close-ups, and halfway through the speech, his eyes well up, his voice breaks and he starts to weep. Steven and I looked at each other like, 'Where did that come from?' It was so real and so immediate, and it changed the essence of the scene to one of heartbreaking emotion. That kind of non-mechanical, genuine acting is what you pray for, and it's what you get with Christopher Walken."

Every time Frank reunites with his father in the film, it is in the blind hope that he can somehow use his ill-gotten money to bring his father and mother back together. Frank's father had regaled him from childhood with stories of how, as a young GI, he had swept this beautiful, young Frenchwoman off her feet and brought her to America as his wife.

To stay true to the part of Frank's mother, Paula Abagnale, Spielberg was determined to cast a French actress. He enlisted the aid of a friend who just happened to be living in Paris at the time, director Brian De Palma. "I sent Brian the script and asked if he would help," Spielberg says. "He did tests with different actresses, including Nathalie Baye, whom I knew from her work in the Francois Truffaut film 'Day For Night.' She was the one I wanted for the role."

"There was a particular quality Steven was going for," Parkes offers. "Frank's mother is full of contradictions: she adores her son, yet she is a pretty self-involved woman. It was a very complex character to depict in a very few scenes."

Nathalie Baye observes, "I don't think she's a very good wife, and she is not really a good mother. She met her husband when she was 18, so she feels she missed something in her life. She smokes a lot, drinks a little, and she has another man. She is not, how you say, politically correct."

After he leaves home, Frank has other women in his life. Taking on the persona of an adult opens the door to relationships with older women, including a one-night stand with a model-turned-call girl named Cheryl Ann. Jennifer Garner makes a cameo appearance in the role of the beautiful woman who sells her services to Frank…or so she thinks.

Spielberg had seen Garner on her hit series "Alias," in which she is the one playing different characters from week to week. "The first time I saw Jennifer, I immediately said she would be the next superstar. I knew she was locked into the series, but I wondered if she would do this small role. She came in and worked for just one day and was just remarkable."

Recalling how she got the part, Garner laughs, "It was so like a dream that it'll sound ridiculous. My agent called and said, 'You have been offered a small role in a film…and Steven Spielberg is directing.' I thought, 'How can that be possible?' But it was, and it turned out to be an amazing experience."

Not all of Frank's female encounters are so casual. The loneliness of his illusory lifestyle finally catches up with him when he meets a sweet and innocent young woman named Brenda. "As fantastic and colorful as Frank's life was, at the end of the day, he really had nobody," DiCaprio says. "He finally finds a girl he feels he can settle down with, but he soon learns there can be no picturesque, idealistic family life for him."

Amy Adams won the role of Brenda over numerous other hopefuls following a casting search that Spielberg says lasted for months. "I was blessed because I had one of the most resourceful casting directors I've ever worked with in Debra Zane. She brought me a lot of potential Brendas, but when she brought in the tape of Amy Adams, I could tell she had somebody she really liked. She was so excited and she was holding the tape like it was the Rosetta Stone of the whole movie," he recalls. "I loved Amy's test. Then when Leo came in that afternoon, I told him, 'Leo, I'm going to show you eight or nine different actresses.' When we got to Amy, he said, 'Go back. Who's that?'."

"Amy was as fresh and honest as anyone we'd seen, and honesty is very important in this part," Parkes notes. "The great irony of Frank's relationship with Brenda is: here is Frank who's living the biggest lie you could imagine, and in that lie, he meets the one honest, true thing he's ever known and falls in love with her. Yet the relationship is totally based on deception. It was very important that the actress playing Brenda be able to convey that simple purity, which is in stark contrast to what Frank's life has become at that point."

Amy Adams agrees that Brenda does possess a certain naivete, but adds that there is more to her than meets the eye. "I understand why Frank is taken with Brenda. She is very open and honest with him, and that must be attractive to somebody who has had to live a lie for so long. She's also, of course, completely enchanted by him. Who wouldn't be? He's darling. Brenda is naive and innocent, but at the same time, she has this raw energy and passion, so it was really fun to play that innocence just bordering on losing control."

Frank meets Brenda at the hospital where she works as a candy striper, and in that moment, he changes his identity from Pan Am co-pilot Frank Taylor to Doctor Frank Conners. After proposing to Brenda, he goes with her to her parents' New Orleans home to ask her father for her hand in marriage. Brenda's father, Roger Strong, is the New Orleans District Attorney, so as quickly as he became Dr. Conners, Frank adds Attorney at Law to his resume.

Spielberg wanted Martin Sheen for the role of Roger Strong, and fortunately, the actor's schedule on the hit series "The West Wing" did not preclude him from being available to do it. "Martin brought an immediate power and solidity to the role-maybe helped a little by the fact that we now know him as the President of the United States," Walter Parkes jokes. "Seriously, he has that kind of intimidating presence, which is very important in that it gives Frank a certain amount of anxiety to deal with."

Frank's welcome into the Strong's home is the closest thing he has had to a family in years. It causes his relationship with them to be, in some ways, more honest than any he has had, with the possible exception of Carl Hanratty. However, it is too late for Frank to start over with his new family, regardless of how much he wants to.

Martin Sheen offers, "Frank is genuinely in love with my daughter, and we are overwhelmed by his charm, intelligence and charisma. Of course, it ends badly, but his heart was in the right place. There is no question that he's sincere. I mean, he could never pull off the frauds that he does if he didn't come from a foundation of honesty. At heart, he's a good and decent young man, and that's why I think the audience is going to be pulling for him from the first frame."

A COLORFUL TIME

The title "Catch Me If You Can" could just as easily be applied to the film's shooting schedule as to its story. The movie was filmed in just 56 jam-packed days, utilizing more than 140 sets on locations in and around Los Angeles, New York, Montreal and Quebec City. Spielberg states, "It was a lot of moving around-sometimes three locations on a single day-and I have never worked faster in my entire life. But I think, in this case, moving so fast kept the momentum going for the entire cast and crew."

Leonardo DiCaprio confirms, "That was the fastest paced film I have ever worked on. We were constantly moving, but that's what was good about it. It was like a theatre group; we were always creating new things and then moving to the next location. I think the frenetic pace gave the entire production so much life and energy."

The speed of the production was also reflective of the 1960s period in which the story is set. "This was the age of the jet set," Tom Hanks says. "Literally, you could get on a jet plane and be on the other side of the world in a matter of hours. For my generation, it was the height of glamour: colors looked cooler and everything was very bold and stylish."

To capture the bold, colorful style of the times, Spielberg assembled a creative team that included his longtime collaborators: director of photography Janusz Kaminksi, editor Michael Kahn and composer John Williams. Working for the first time with the director were production designer Jeannine Oppewall and costume designer Mary Zophres.

Given the pace of the shooting schedule, Parkes points out that the shorthand that has developed between Spielberg and Kaminski was especially crucial. "The thing about Janusz is he's very quick, very intuitive, and he and Steven have an unspoken communication that is like nothing I've ever seen."

"Janusz and I have the greatest working relationship," Spielberg agrees. "I set the camera, I block the scenes, but it is Janusz who paints every shot. He is a master of light. 'Catch Me If You Can' is a very upbeat movie, so we didn't want to go with a low, dark half-light. It's very bright and very colorful, which is a huge stylistic departure for us in our work together."

Kaminski adds, "The visual approach was really very simple: Let's have fun; let's create a world that's slightly idealistic, and not too serious. The lighting reflects that. It's like a glass of champagne."

Despite that approach, the sheer number of locations and the speed at which the company was moving through them made the actual task of lighting the sets anything but simple. Kaminski notes, "We were not on soundstages. We were filming in existing buildings and on existing streets, so we had to work around certain limitations. We didn't have the luxury of removing walls or windows and putting the lights or the camera wherever I wanted. We had to compromise occasionally, but compromise is good because it forces you to be innovative. You could look at it as a disadvantage or as a great challenge. I happen to like the challenge."

The extensive location sets-all of which had to be in the style of the period-posed an even more daunting challenge to production designer Jeannine Oppewall and her team. Oppewall attests, "I thought 'L.A. Confidential' was difficult because I counted 93 sets in 40 or 50 locations. When I first broke down the 'Catch Me If You Can' script, I counted well over 100 sets, and then I couldn't count anymore because I started to panic."

Of all the many locations, perhaps the greatest coup for the production was being able to film in the historic TWA Terminal at New York's JFK Airport, which opened in 1962 and was nicknamed by many "the bird building." Now standing empty, the landmark terminal was designed by Eero Saarinen, which gave it special meaning for Oppewall. "I used to work for Charles Eames, and Eero Saarinen and Eames were best friends," she offers.

Interestingly, Oppewall's connection to Charles Eames was also the thing that first connected her to Steven Spielberg. "Jeannine is a wonderful designer and has done extraordinary work, but then I heard that she had worked for Charles Eames. Growing up, I had an Eames chair; I did all my homework in that chair. I think he is one of the greatest designers of all time, so I was starstruck," Spielberg confesses.

On the opposite coast, California's old Ontario Airport doubled for Miami International Airport, where Frank evades the F.B.I. by surrounding himself with a bevy of beautiful stewardesses. In Canada, an abandoned prison in Montreal became the French prison where Carl Hanratty comes to extradite Frank back to the U.S.; and a square in Quebec City doubled for the French village of Montrichard, where Frank is cornered in a scene that features a cameo appearance by the real Frank Abagnale. Just a few of the other widely varied location sets included: a Victorian house in Altadena, California, which was used as the Strong family's New Orleans home; an old Boeing factory in Downey, California, which was used for the offices of the F.B.I.; and the Ambassador Hotel and Union Station, both in Los Angeles.

The most logistically challenging location was in front of the famed Waldorf Astoria Hotel on Park Avenue, right in the middle of busy New York City. The constant flow of traffic had to be stopped, and replaced with vintage cars and taxis that filled the street. Everything and everyone had to appear as they would have about 40 years ago.

"It was really a guerilla operation," Spielberg laughs. "Jeannine had a commando crew who went out and got their hands on anything they could possibly need to make everything look absolutely '60s-perfect."

"The '60s did have a certain flavor," Oppewall suggests. "It was a time when people felt a little more frivolous, a little more able to burst out in wild colors."

The production designer notes that she and costume designer Mary Zophres used color as more than a sign of the times. It also signaled the emotional arc of the story. When we first meet Frank, he is living an ordinary, relatively bland existence, so his environment is equally bland and slightly monochromatic. However, Oppewall illustrates, "As he gets better and better at his game, the color palette gets wilder and wilder. When he is at the top of his game, we were able to play with vibrant colors like orange and yellow and red and pink. Then towards the end, as he is totally blending in with the bureaucracy, everything is again relatively monochromatic. It's a fascinating way to watch the character evolve."

"It was fun to do all the different looks for Leo," Zophres agrees. "At first, I had the impression that he was going to be in his Pan Am pilot's uniform much of the time. Then I read the script again and realized he would have about 100 wardrobe changes."

Parkes comments, "When you think about it, Frank is a man who is able to impersonate people and enter into different worlds by virtue of the clothes he wears on his back. So this was one of those times when costuming was tied to the very essence of the story. Mary Zophres not only handled the many logistical challenges of the day-to-day production, but also the fact that her costumes were the externalization of the character more than in most movies."

In contrast to DiCaprio's ever-changing wardrobe, Tom Hanks wears virtually the same suit day after day. Zophres remarks, "Tom could have worn 20 suits in this movie, and no one in the audience would know if he wore 20 or just one, because it's essentially the same silhouette from one to another. We actually went to a lot of effort to tailor suits that had the same exact details: the same shape, the same shoulders, and the same buttons. Only the fabric is slightly different-one is navy, one is a bit lighter navy, one is brown-but they are all fundamentally identical. And he always wears the same style shirt and narrow tie with the diagonal stripe. It was basically the 'uniform' of the F.B.I. in those days. They lightened up in the '70s, but in the '60s, it was all very regimented."

Zophres was able to get much more creative with the wardrobe of some of the supporting characters and even the extras, particularly those 1960s stewardess uniforms, which range from prim and proper to bright and kitschy. As outlandish as some of them are, they are all modeled after actual uniforms that Zophres came across during her extensive research.

When it comes to fashion, everyone knows the cliche "Everything old is new again." However, one thing that defines an era perhaps more than anything else is its music. In a rare move for a Steven Spielberg movie, "Catch Me If You Can" features a number of popular songs that are evocative of that time, including Frank Sinatra's classic rendition of "Come Fly With Me," which was a particular favorite of Spielberg's.

The songs are interspersed with a score by John Williams. "Catch Me If You Can" marks Spielberg's 20th film collaboration with the composer, but marks something of a departure for them. "John did something he's never done before," Spielberg says. "He wrote music in the idiom of progressive jazz, which was very popular in the 1950s and '60s."

"In my past work with Steven, we have had large orchestras and broad themes," Williams notes, "but on this particular film, we don't have that kind of canvas. It's more intricate. The story is light and amusing, but is also about a serious subject, so the music had to have different shades. It's comedic one moment, and then tense as the F.B.I. closes in on Frank."

In composing the score for "Catch Me If You Can," Williams drew on one of his earliest inspirations. "One particular figure who I think dominated the American film music scene in the 1960s was Henry Mancini," he states. "He typified the best of that stylish, jazzy approach to films that we now associate with that period so nostalgically. I actually was the pianist in Henry Mancini's orchestra at the beginning of both of our careers. I played on the Peter Gunn recordings and on 'Breakfast at Tiffany's' and was very close to him personally, as well as musically. 'Catch Me If You Can' has been a wonderful opportunity for me to revisit that part of myself that's been lying dormant for a few decades now. It was a kind of regression, and one I enjoyed very much."

Coming full circle is a theme for several people involved in the making of "Catch Me If You Can," beginning with the real Frank W. Abagnale. "My story is not just about someone being very young and getting away with a lot. I got caught and served time in prison, but I paid my debt and have worked for my government for 25 years. I also have my own successful consulting business. People ask me all the time, 'What was the most incredible thing you ever pulled off?' But to me, the greatest thing I have been able to do is to take those experiences and put them into the business I have today."

"In a way, Frank's life was his graduate school," Walter Parkes says. "The great irony is that after all his attempts to reinvent himself, he finally succeeded by becoming himself. There's something redemptive about the end of the movie that suggests that you really can start over."

Spielberg adds, "Part of the inspiration of 'Catch Me If You Can' for me is that it shows you can turn your life around and make something better of yourself, but it's also a story that is pure, unadulterated fun. It has tremendous joie de vivre, which is reflective of who the real Frank Abagnale is to me."

The director goes on to reveal, "I could also relate to him in a way. When I was first trying to become a movie director, I became a 16-and-a-half-year-old executive. I put on a suit and tie and carried a briefcase, and walked right past Scotty at the main gate at Universal Studios every day during summer vacation. Five days a week for three months, I walked on and off that lot…and was, for that one moment, Frank Abagnale."

ABOUT THE CAST

LEONARDO DICAPRIO (Frank Abagnale) is an Academy AwardR-nominated actor, and also the star of the top-grossing movie of all time. In 1994, he earned both Oscar and Golden Globe nominations for his role as a mentally handicapped young man in Lasse Hallstrom's "What's Eating Gilbert Grape." His performance also brought him awards from the National Board of Review and the Chicago Film Critics Association. He received his second Golden Globe nomination in 1997 for his starring role in James Cameron's Academy AwardR-winning Best Picture "Titanic."

Born in Hollywood, California, DiCaprio began performing while still in elementary school. Following work in commercials and daytime television, he landed a regular role on the series "Parenthood." The following year, he joined the cast of the hit ABC sitcom "Growing Pains."

DiCaprio landed his first major feature film part when director Michael Caton-Jones cast him in the coveted role of Tobias Wolff in his big screen adaptation of Wolff's autobiographical drama "This Boy's Life." Starring opposite Robert De Niro and Ellen Barkin, DiCaprio earned praise for his compelling performance as a boy who must endure his stepfather's abuse.

DiCaprio's award-winning turn in "What's Eating Gilbert Grape" came next, followed by starring roles in three very diverse films, all released in 1995: Sam Raimi's Western "The Quick and the Dead," with Sharon Stone and Gene Hackman; Jim Carroll's harrowing autobiographical story of drug addition, "The Basketball Diaries"; and Agnieszka Holland's film version of the Christopher Hampton play "Total Eclipse."

The following year, DiCaprio again appeared in multiple features, first starring as Romeo, opposite Claire Danes as Juliet, in Baz Luhrmann's updated screen adaptation of "William Shakespeare's Romeo + Juliet." He then joined an all-star ensemble cast, including Meryl Streep, Diane Keaton and Robert De Niro, in "Marvin's Room."

In 1997, DiCaprio starred in "Titanic," James Cameron's blockbuster about the ill-fated maiden voyage of the doomed ship, which went on to shatter every box office record and win the OscarR and Golden Globe for Best Picture. His subsequent film credits include Woody Allen's "Celebrity," "The Beach" and dual roles in "The Man in the Iron Mask."

In addition to "Catch Me If You Can," DiCaprio also stars this holiday season in Martin Scorsese's period crime drama "Gangs of New York," with Cameron Diaz, Daniel Day-Lewis and Liam Neeson.

TOM HANKS (Carl Hanratty) earned praise from both critics and audiences this past summer for his portrayal of gangster Michael Sullivan in Sam Mendes' Depression-era drama "Road to Perdition." One of only two actors in history to win back-to-back Best Actor Academy AwardsR, Hanks won his first OscarR in 1994 for his moving portrayal of AIDS-stricken lawyer Andrew Beckett in Jonathan Demme's "Philadelphia." The following year, he took home his second OscarR for his unforgettable performance in the title role of Robert Zemeckis' "Forrest Gump." He also won Golden Globe Awards for both films, as well as a Screen Actors Guild (SAG) Award for the latter.

Hanks more recently garnered Academy AwardR, Golden Globe and SAG Award nominations for his work in Steven Spielberg's "Saving Private Ryan," and he last year won a Golden Globe Award and garnered his fifth OscarR nomination for his role in "Cast Away." He had previously won a Golden Globe Award and earned an OscarR nomination for his portrayal of a little boy in a man's body in Penny Marshall's "Big," and received another Golden Globe nomination for his work opposite Meg Ryan in the romantic comedy smash "Sleepless in Seattle," directed by Nora Ephron.

In 1998, Hanks, Ryan and Ephron again scored a hit when they reunited for the romantic comedy "You've Got Mail." The following year, Hanks starred in Frank Darabont's acclaimed drama "The Green Mile," for which he shared in a SAG Award nomination for Outstanding Cast Performance.

Hanks' other film credits include starring roles in "A League of Their Own," "Turner & Hooch," "Punchline," "Nothing in Common," "Volunteers," "Bachelor Party" and "Splash." The actor also lent his voice to the computer animated blockbusters "Toy Story" and "Toy Story 2."

Hanks' work on the big screen has also translated to success on the small screen. Following his critically acclaimed portrayal of astronaut Jim Lovell in Ron Howard's "Apollo 13," Hanks executive produced and hosted the acclaimed HBO miniseries "From the Earth to the Moon." He also directed one segment, and wrote or co-wrote several others, in addition to appearing in one episode. Hanks' work on the miniseries earned him Emmy, Golden Globe and Producers Guild Awards for Outstanding Miniseries, as well as an Emmy nomination for Best Director.

His collaboration with Steven Spielberg on the World War II drama "Saving Private Ryan" led to them teaming to executive produce the HBO miniseries "Band of Brothers," based on the book by Stephen Ambrose. Hanks also directed a segment and wrote another segment of the fact-based miniseries, which follows one group of paratroopers from boot camp to D-Day to the end of World War II. The show recently won both Emmy and Golden Globe Awards for Best Miniseries. In addition, Hanks won an Emmy Award for Best Director, earned an Emmy nomination for Best Writing, and received another Producers Guild Award for his work on the project.

In 1996, Hanks made his successful feature film writing and directing debut with "That Thing You Do," in which he also starred. The film's title song received an Academy AwardR nomination for Best Original Song. This year, under his own Playtone banner, Hanks, together with his wife, Rita Wilson, and partner, Gary Goetzman, produced the smash hit romantic comedy "My Big Fat Greek Wedding." Budgeted at approximately $5 million, the film has to date grossed more than $200 million at the domestic box office.

CHRISTOPHER WALKEN (Frank Abagnale, Sr.) won the 1978 Academy Awarda for Best Supporting Actor for his gripping performance in Michael Cimino's "The Deer Hunter." He also earned a New York Film Critics Award, as well as a Golden Globe nomination for his work in the film.

Walken first gained attention for his work on screen in the role of Diane Keaton's brother Duane in Woody Allen's Oscara-winning Best Picture "Annie Hall." He has since had memorable roles in more than 50 feature films, including Herbert Ross' "Pennies From Heaven"; David Cronenberg's adaptation of Stephen King's "The Dead Zone"; James Foley's "At Close Range," opposite Sean Penn; Mike Nichols' "Biloxi Blues," based on the Neil Simon play; Abel Ferrara's "King of New York"; Tony Scott's "True Romance"; Quentin Tarantino's "Pulp Fiction"; Peter O'Fallon's "Suicide Kings"; Joe Roth's comedy "America's Sweethearts," with Julia Roberts, John Cusack and Billy Crystal; and Tim Burton's "Batman Returns" and "Sleepy Hollow."

An accomplished stage actor, Walken began his career at the age of ten, acting and dancing. He trained to be a dancer at the Professional Children's School in Manhattan, and went on to appear in numerous plays and musicals. He received the Clarence Derwent Award for his performance in the Broadway production of "The Lion in Winter," an Obie for his role in "The Seagull," a Theatre World Award for "The Rose Tattoo," and the 1997 Susan Stein Shiva Award for his work with Joseph Papp's Public Theatre.

In the fall of 1999, Walken co-starred in the stage adaptation of James Joyce's "The Dead." He returned to the stage in the summer of 2001 in the New York Shakespeare Festival revival of Anton Chekhov's "The Seagull," in which he starred with Meryl Streep and Kevin Kline, under the direction of Mike Nichols.

On television, Walken has been one of the most popular hosts of "Saturday Night Live," returning five times to host the show since 1990. In addition, he recently performed an unforgettable dance number in the Spike Jonze-directed music video for Fat Boy Slim's "Weapon of Choice," and wrote and directed the short film "Popcorn Shrimp," which premiered on Showtime in 2001.

Walken's upcoming film work includes Martin Brest's "Gigli," with Ben Affleck and Jennifer Lopez, and Barry Levinson's comedy "Envy," in which he stars with Ben Stiller and Jack Black.

MARTIN SHEEN (Roger Strong) is presently best known for his starring role on the award-winning NBC television series "The West Wing." Sheen's portrayal of President Josiah Bartlett has brought him a Golden Globe Award for Best Actor in a Drama Series, as well as three more Golden Globe nominations, and three Emmy nominations. He was also honored by his peers with a Screen Actors Guild (SAG) Award for Outstanding Actor in a Drama Series, and shared with the other members of "The West Wing" cast in two SAG Awards for Outstanding Ensemble in a Drama Series.

It has been more than 20 years since Sheen took on what would be one of the signature roles of his career: the enigmatic Captain Willard in Francis Ford Coppola's searing Vietnam War epic "Apocalypse Now." In 2001, the movie was re-released with added footage, bringing it to a new generation of filmgoers as "Apocalypse Now Redux."

Born and raised in Dayton, Ohio, Sheen first garnered attention from critics when he starred in the Broadway production of "The Subject Was Roses." He went on to reprise his role in Ulu Grosbard's 1968 screen version of the play, earning a Golden Globe Award nomination for his performance. Sheen also received early praise for his chilling portrait of serial killer Kit Carruthers in Terrence Malick's "Badlands."

Sheen's other notable film credits include Rob Reiner's "The American President," written by "The West Wing" creator Aaron Sorkin, Oliver Stone's "Wall Street," Jason Miller's "That Championship Season," and Richard Attenborough's OscarR-winning Best Picture "Gandhi," to name only a few. He made his feature film directorial debut with "Cadence," in which he also starred with his son, Charlie Sheen.

In addition to "The West Wing," Sheen's myriad television credits include some of the most memorable longform projects of the past three decades, including "The Execution of Private Slovick," for which he earned an Emmy nomination; "That Certain Summer," which was one of the first television dramas to deal openly with homosexuality; "The Missiles of October"; "Blind Ambition"; "In the Custody of Strangers"; "Kennedy," for which he received a Golden Globe nomination; and "Gettysburg," playing General Robert E. Lee. Sheen also won an Emmy Award for his guest starring role on the comedy series "Murphy Brown."

NATHALIE BAYE (Paula Abagnale) is one of France's most distinguished and admired actresses. Among her honors, she has won three Cesar Awards, France's equivalent of the OscarR, and earned another four Cesar nominations. American moviegoers have seen her in several of her more than 60 films, including three for famed director Francois Truffaut: "Day for Night," which marked her major motion picture debut; "The Man Who Loved Women"; and "The Green Room." She also starred opposite Gerard Depardieu in "The Return of Martin Guerre."

Baye's more recent film credits include "Une liaison pornographique" ("An Affair of Love"), for which she won the Volpi Cup at the Venice Film Festival; and "Venus beaute (institut)" ("Venus Beauty Institute"), which brought her her most recent Cesar Award nomination.

Baye began her career in the arts as a dancer, and moved to New York at age 17 to study classical ballet and modern dance. She toured the United States with a dance company before returning to France, where she turned her attention to acting. She won her first Cesar Award in 1981 for her performance in Jean-Luc Godard's "Sauve qui peut (la vie)" ("Every Man for Himself"), and earned an additional Cesar nomination that same year for her role in Bertrand Tavernier's "Une semaine de vacances" ("A Week's Vacation").

Over the next two years, Baye won two consecutive Cesar Awards for her work in Pierre Granier-Deferre's "Une etrange affaire" and Bob Swaim's "La balance." Her other Cesar nominations came for her performances in Robin Davis' "J'ai epouse un ombre" ("I Married a Dead Man") and Nicole Garcia's "Un week-end sur deux" ("Every Other Weekend").

Baye's most noted film credits also include Jean-Luc Godard's "Detective," Bertrand Blier's "Beau-pere" and "Notre histoire" ("Our Story"), and Diane Kurys' "C'est la vie," to list only a few. She was also featured in Roger Spottiswoode's award-winning television movie "And the Band Played On."

AMY ADAMS (Brenda Strong) has been seen in several feature films, but "Catch Me If You Can" marks her first starring role in a major motion picture release. She made her film debut playing a cheerleader in the dark comedy "Drop Dead Gorgeous," and includes among her other film credits "Serving Sara," and the independent features "Psycho Beach Party" and "Pumpkin."

On television, Adams has had guest starring roles on such series as "The West Wing," "Smallville" and "Buffy the Vampire Slayer." She also starred in the television project "Cruel Intentions 2: Manchester Prep."

Hailing from Colorado, Adams began her career on the stage in a number of regional theatre productions. She appeared in such classic musicals as "Brigadoon," "Good News," "State Fair," "Crazy For You," "Seven Brides for Seven Brothers," "Anything Goes!," "A Chorus Line" and "Annie."

JENNIFER GARNER (Cheryl Ann) was virtually catapulted to stardom with her leading role in ABC's hit dramatic action series "Alias." Starring as double agent Sydney Bristow, Garner has won a Golden Globe Award for Best Actress in a Drama Series, and also earned an Emmy nomination for her work on the show.

On the big screen, Garner stars opposite Ben Affleck in the upcoming actioner "Daredevil," based on the popular Marvel Comics superhero, due out in early 2003. She had previously worked with Affleck when she co-starred with him, Josh Hartnett and Kate Beckinsale in Michael Bay's World War II drama "Pearl Harbor." Garner also starred opposite Ashton Kutcher and Seann William Scott in the comedy hit "Dude, Where's My Car?". Her additional film credits include "Deconstructing Harry," "Washington Square," "Mr. Magoo" and "1999." She is next set to star in the comedy "13 Going on 30."

Born in Houston, Texas, and raised in West Virginia, Garner moved to New York to pursue her acting career. She was featured in the longform television projects "Zoya," "Dead Man's Walk" and "Rose Hill," before landing her first series role on "Significant Others." Garner went on to star with Jennifer Love Hewitt on the "Party of Five" spin-off series "Time of Your Life," and she had a recurring role on the WB hit "Felicity." Her other television work includes guest roles on such series as "Spin City" and "Law & Order."

ABOUT THE FILMMAKERS

STEVEN SPIELBERG (Director/Producer) has directed, produced, or executive produced eight of the thirty top-grossing films of all time, including "Jurassic Park" and "E.T. The Extra-Terrestrial." Among his myriad honors, he is a three-time Academy AwardR winner, earning two OscarsR for Best Director and Best Picture for "Schindler's List," and a third OscarR for Best Director for "Saving Private Ryan." He has also received Academy Awarda nominations for Best Director for "E.T. The Extra-Terrestrial," "Raiders of the Lost Ark" and "Close Encounters of the Third Kind."

Spielberg's critically acclaimed World War II drama "Saving Private Ryan," starring Tom Hanks, was the highest-grossing release (domestically) of 1998. The film also won five OscarsR, including the one for Spielberg as Best Director, as well as two Golden Globe Awards for Best Picture (Drama) and Best Director. In addition, Spielberg was recognized by his peers with a Directors Guild of America (DGA) Award, and shared with the film's other producers in the Producers Guild of America's (PGA) Award. That year, the PGA also presented Spielberg with the prestigious Milestone Award for his historic contribution to the motion picture industry.

"Saving Private Ryan" also won Best Picture honors from the New York, Los Angeles, Chicago, Toronto, British and Broadcast Film Critics Associations, with the Los Angeles, Toronto and Broadcast Film Critics also naming Spielberg Best Director.

On the heels of "Saving Private Ryan," Spielberg and Hanks executive produced the miniseries "Band of Brothers" for HBO and DreamWorks Television. Based on the book of the same name by the late Stephen Ambrose, the fact-based World War II project recently won both Emmy and Golden Globe Awards for Best Miniseries.

In 1994, Spielberg's internationally lauded "Schindler's List" was the year's most honored film, receiving a total of seven Oscarsa, including the aforementioned nods for Best Picture and Best Director. The film also collected Best Picture honors from many of the major critics organizations, in addition to seven BAFTA Awards, including two for Spielberg. He also won the Golden Globe Award and received his second DGA Award.

Spielberg won his first DGA Award for his work on "The Color Purple" and earned DGA Award nominations for "E.T. The Extra-Terrestrial," "Raiders of the Lost Ark," "Close Encounters of the Third Kind," "Empire of the Sun," "Jaws" and "Amistad." With nine in all, Spielberg has received more DGA Award nominations than any director in history, and, in 2000, he received the DGA's Lifetime Achievement Award. He is also the recipient of the Lifetime Achievement Award from the American Film Institute and the prestigious Irving G. Thalberg Award from the Academy of Motion Picture Arts and Sciences.

Born in Cincinnati, Ohio, Spielberg was raised in the suburbs of Haddonfield, New Jersey and Scottsdale, Arizona. He started making amateur films while still in his teens, later studying film at California State University, Long Beach. In 1969, his 22-minute short "Amblin" was shown at the Atlanta Film Festival, which led to a deal with Universal, making him the youngest director ever to be signed to a long-term deal with a major Hollywood studio.

Four years later, he directed the suspenseful telefilm "Duel," which garnered both critical and audience attention. He made his feature film directorial debut on "The Sugarland Express" from a screenplay he co-wrote. His other earlier film credits as director include "Always," "Hook," and the "Raiders of the Lost Ark" sequels "Indiana Jones and the Temple of Doom" and "Indiana Jones and the Last Crusade."

Spielberg's more recent films include the futuristic thriller "Minority Report," starring Tom Cruise, and he also wrote, directed and produced "A.I. Artificial Intelligence," which was realized from the vision of the late Stanley Kubrick. In 2000, Spielberg won the Stanley Kubrick Brittania Award for Excellence in Film, presented by BAFTA - Los Angeles.

In 1984, Spielberg formed his own production company, Amblin Entertainment. Under the Amblin banner, he has served as producer or executive producer on more than a dozen films, including such successes as "Gremlins," "The Goonies," "Back to the Future I, II, and III," "Who Framed Roger Rabbit," "An American Tail," "The Land Before Time," "The Flintstones," "Casper," "Twister," "The Mask of Zorro," "Men in Black" and "Men in Black II." Amblin Entertainment also produces the hit series "ER" with Warner Bros. TV.

In October 1994, Spielberg announced the formation of the new studio DreamWorks SKG, in partnership with Jeffrey Katzenberg and David Geffen. The studio's successes have included three consecutive Best Picture OscarsR for "American Beauty," "Gladiator" and "A Beautiful Mind," the latter two in partnership with Universal.

Spielberg has also devoted his time and resources to many philanthropic causes. The impact of his experience making "Schindler's List" led him to establish the Righteous Persons Foundation using all his profits from the film. He also founded Survivors of the Shoah Visual History Foundation, which has recorded more than 50,000 Holocaust survivor testimonies. In addition, Spielberg executive produced "The Last Days," the Shoah Foundation's third documentary, which won the Academy AwardR for Best Documentary Feature. He is also the chairman of the Starbright Foundation, which combines the efforts of pediatric health care, technology and entertainment to empower seriously ill children.

WALTER F. PARKES (Producer), in addition to being the co-head of DreamWorks Pictures, is one of the most active producers in Hollywood today. He most recently produced the thriller "The Ring," starring Naomi Watts, which has grossed more than $100 million at the box office. He also produced the summer 2002 releases: "Minority Report," directed by Steven Spielberg and starring Tom Cruise; and, with his partner and wife Laurie MacDonald, the sequel "Men in Black II," which re-teamed Tommy Lee Jones and Will Smith and director Barry Sonnenfeld. Parkes and MacDonald had earlier produced the 1997 blockbuster "Men in Black," for which they were named ShoWest Producers of the Year.

Parkes was also an executive producer on the acclaimed drama "Road to Perdition," starring Tom Hanks and Paul Newman, under the direction of Sam Mendes. Previously, Parkes served as an executive producer on Ridley Scott's "Gladiator," which won five Academy AwardsR, including Best Picture, as well as Best Picture honors from the Golden Globe, BAFTA, and Broadcast Film Critics Awards, among others.

His other credits as an executive producer or producer include the Jackie Chan starrer "The Tuxedo," the recent remake of "The Time Machine," "The Mask of Zorro," "Deep Impact," "Amistad," "The Peacemaker," "Sneakers," which he also co-wrote, "Volunteers," "Project X" and "True Believer."

A three-time Academy Awarda nominee, Parkes earned his first nomination as the director/producer of the 1978 documentary "California Reich," which exposed neo-Nazi activities in California. He garnered his second Oscara nomination for writing (with Lawrence Lasker) the original screenplay for "WarGames," and his third nod for his work as a producer on the Best Picture nominee "Awakenings."

As co-head of DreamWorks Pictures, together with Laurie MacDonald, Parkes has overseen such successes as the OscarR and Golden Globe-winning Best Picture "American Beauty," and the Academy Awarda and Golden Globe-winning drama "Saving Private Ryan," which was the top-grossing film domestically of 1998.

JEFF NATHANSON (Screenwriter) has worked on a variety of film and television projects over the last ten years. He wrote the screenplay for the hit action comedy "Rush Hour 2," having earlier worked on the first "Rush Hour." His other film work includes "Speed 2: Cruise Control" and "Twister." He more recently wrote "Providence," a black comedy that he will also direct, and he just completed a rewrite for the upcoming DreamWorks project "Terminal," to star Tom Hanks.

Nathanson graduated from the University of California at Los Angeles, before entering the American Film Institute's screenwriting program in 1989.

FRANK W. ABAGNALE (Author/Consultant) is today one of the world's most respected authorities on the subjects of forgery, embezzlements and secure documents. However, more than 35 years ago, he was better known as one of the world's most infamous confidence men. Between the ages of 16 and 21, he successfully posed as an airline pilot, an attorney, a college professor and a pediatrician. During that five-year period, he cashed $2.5 million in fraudulent checks across the United States and in 26 foreign countries.

Apprehended by the French police when he was 21 years old, he served time in prisons in France, Sweden and the United States. After five years, he was released on the condition that he would use his expertise to help the federal government by teaching and assisting its law enforcement agencies. Over the past 25 years, Abagnale has more than met that condition.

Believing that punishment for fraud and recovery of stolen funds are extremely rare, Abagnale teaches prevention as the only viable course of action. He has developed new procedures and created manuals and educational programs utilized by over 14,000 financial institutions, law enforcement agencies and corporations. He lectures and instructs extensively at the FBI Academy and field offices, and conducts more than 140 domestic and international seminars each year with the single objective of instructing attendees how to reduce their exposure to fraud, forgery and embezzlement.

In the private sector, Abagnale designed the IPS Official Check used by thousands of financial institutions in place of cashiers' checks. He also designed and developed the SAFEChecks? and Check Plus? programs that provide small and medium businesses with an inexpensive secure check. His expertise is relied upon by three major secure document printers and credit card manufacturers. In addition, he is a consultant to the nation's largest accounts payable auditing firm.

Frank Abagnale's consulting business includes document reviews and design as well as specialized training and seminars. In his continuing efforts to provide companies, law enforcement and institutions with up-to-date information on today's high-tech crimes, Abagnale publishes The Client Service Bulletin, a document devoted exclusively to the education in and prevention of forgery and embezzlement. He also publishes The Abagnale Document Verification and Currency Transaction Manual and the quarterly Abagnale Advisor Newsletter. In 1998, he was selected as a distinguished member of the "Pinnacle 400" by CNN Financial News.

Since authoring the bestselling 1980 memoir Catch Me If You Can, Abagnale has more recently written The Art of the Steal. The book chronicles the remarkable story of how he parlayed his knowledge of cons and scams into a successful career as a consultant on preventing financial foul play, while also showing the reader how to identify and outsmart perpetrators of fraud.

BARRY KEMP (Executive Producer) optioned Frank Abagnale's book Catch Me If You Can from Michel Shane and Tony Romano in 1997, and first developed the screenplay with Jeff Nathanson. A well-known writer and producer for both television and film, Kemp previously executive produced the hit comedy "Romy and Michele's High School Reunion," starring Mira Sorvino and Lisa Kudrow, and produced the Robin Williams hit "Patch Adams." For television, he has created and/or produced 12 television series, including the two back-to-back hits "Newhart," starring Bob Newhart, which ran on CBS for eight years, and "Coach," starring Craig T. Nelson and Jerry Van Dyke, which ran on ABC for nine years.

Kemp began his career 25 years ago as a staff writer for the acclaimed television series "Taxi." Over the course of his three seasons with the show, he wrote 14 episodes, earning an Emmy nomination and two Writers Guild nominations. In 1981, Kemp was recruited by MTM to create a new series for Bob Newhart, resulting in the CBS hit "Newhart." Kemp was an executive producer on the series for the first two seasons, receiving two more Emmy nominations, a Golden Globe nomination and a People's Choice Award nomination, all for Best Comedy series. In 1986, he co-wrote and executive produced the five-part CBS comedy miniseries "Fresno," starring Carol Burnett, Charles Grodin and Teri Garr.

The following year, Kemp moved to Universal Television, where he created the series "Coach," which premiered on ABC in 1989 and ran for 200 episodes. During his ten years at Universal, Kemp's other projects included "Coming of Age," "Princesses," "Delta," "Blue Skies" and "A Whole New Ballgame."

Kemp now heads two separate producing entities. Bungalow 78 Productions has an overall deal with Paramount Television to develop and produce new series, their most recent project being the prequel to "Romy and Michele's High School Reunion," which is being developed as an ABC two-hour movie and back-door pilot. The film division, The Kemp Company, is developing various film projects, including "Without Warning," based on the 1997 flood in Grand Forks, North Dakota, and "Seeing Red," loosely based on the true story of a young American marketing whiz assigned the task of converting the fabled Russian Red Army hockey team into a successful capitalist enterprise.

LAURIE MACDONALD (Executive Producer), the co-head of DreamWorks Pictures, has also produced or executive produced a number of films. She and her husband, Walter F. Parkes, most recently teamed to produce the hit thriller "The Ring," starring Naomi Watts. MacDonald and Parkes also produced this past summer's sequel "Men in Black II," which reunited stars Will Smith and Tommy Lee Jones and director Barry Sonnenfeld. The duo had earlier produced the 1997 sci-fi comedy smash "Men in Black," which brought them Producer of the Year honors at ShoWest.

MacDonald was an executive producer on the OscarR-winning Best Picture "Gladiator," which was one of the most honored and successful films of 2000. Her credits as an executive producer also include the Jackie Chan starrer "The Tuxedo," the recent remake of "The Time Machine," "The Mask of Zorro," "The Peacemaker," "Amistad," "How to Make an American Quilt," "The Trigger Effect" and "Twister."

As co-head of DreamWorks Pictures, alongside Walter Parkes, MacDonald has overseen such feature hits as "American Beauty," which won numerous honors, including the Academy Awarda for Best Picture; and Steven Spielberg's Oscara-winning drama "Saving Private Ryan," which was 1998's highest-grossing release domestically.

MacDonald began her producing career as a documentary and news producer at KRON, the NBC affiliate in San Francisco. She later joined Columbia Pictures, where she served as a Vice President of Production. After four years, she started a production company with Walter Parkes. Immediately prior to joining DreamWorks, MacDonald oversaw development and production at Amblin Entertainment.

MICHEL SHANE and TONY ROMANO (Executive Producers), principals in Romano Shane Productions, most recently executive produced the dramatic feature film "North Fork," directed by Mark and Michael Polish, due to be released in Spring 2003. Romano and Shane are currently preparing to produce George Gallo's comedy "Friends Again." The partners previously produced "Rennie's Landing," starring Scott Foley, Peter Facinelli and Ethan Embry for Franchise Pictures. They also have several projects in various stages of development, including "The Outfit," based on the Pulitzer Prize-nominated non-fiction book by Gus Russo; and "Dog Eat Dog," which is being adapted from the book by Edward Bunker. In addition, Shane and Romano have a first-look deal at Splendid Pictures, under which they are producing two action adventure feature films, "Starbright" and "Band On The Run."

A graduate of Canada's McGill University, Michel Shane attended law school for two years before deciding on a career in the entertainment business. In the early 1980s, his video distribution company was the first to put advertising on videocassettes. Shane helped expand his company by also handling distribution and production duties on two very highly successfully syndicated television shows. He later segued into film production through the financing of films, utilizing the Canadian government's tax incentives.

Tony Romano began working on Wall Street at a very young age, starting out as a runner. He quickly learned the ropes while working for legendary CBS pioneer William Paley, and Jeff and Alex Paley. Several years later, the Paley family bought him a seat on the New York Stock Exchange, which he now leases out to his partners. During his time in the financial world, Romano also helped take a number of companies public, including Fuji Photo and Superscope, a division of Sony. Changing careers, he set his sights on acting and appeared in a number of television series and movies. Romano started his producing career by buying the rights to several high-profile books.

Combining their experience on Wall Street and in film distribution, the producing team has been able to set up and market several films, obtain funding toward the completion of projects, and has also consulted companies on how to utilize their assets to complete their endeavors. They bought the rights to Frank W. Abagnale's book Catch Me If You Can in 1990.

DANIEL LUPI (Co-Executive Producer) most recently produced Paul Thomas Anderson's critically acclaimed romantic comedy "Punch-Drunk Love," which marked their fourth teaming. Lupi had earlier co-produced Anderson's films "Magnolia," "Boogie Nights" and "Hard Eight."

Lupi also served as a co-producer on Andrew Niccol's "Simone," starring Al Pacino, and produced the sci-fi thriller "Imposter," starring Gary Sinise. Among his other producing credits are Ole Bornedal's "Nightwatch" and Wes Craven's "Scream 2."

Lupi's credits also extend to the television arena, where he was the production manager on numerous American Playhouse productions. He has also worked extensively in the commercial and music video realms.

DEVORAH MOOS-HANKIN (Co-Producer) currently serves as President of Feature Production for Barry Kemp's film production company. During her tenure, Moos-Hankin has co-produced the hit film "Patch Adams," directed by Tom Shadyac and starring Robin Williams. She also worked on the development and production of "Romy and Michele's High School Reunion," starring Mira Sorvino and Lisa Kudrow.

Prior to joining Kemp's company, Moos-Hankin was Vice President of Production for Imagine Entertainment, where she served as an associate producer on "My Girl 2." While at Imagine, she also worked on such films as "Kindergarten Cop," "Far And Away," "For Love Or Money" and "Opportunity Knocks."

JANUSZ KAMINSKI (Director of Photography), a two-time Academy AwardR winner, took home his first OscarR for his black-and-white cinematography in Steven Spielberg's "Schindler's List." For his work on the film, Kaminski was also honored with a BAFTA Award and numerous critics awards, including the Los Angeles and New York Film Critics Awards for Best Cinematography. He won his second Academy AwardR for his work on Spielberg's World War II drama "Saving Private Ryan." In addition, Kaminski received a third OscarR nomination for his cinematography in Spielberg's "Amistad."

Kaminski most recently lensed Spielberg's futuristic thriller "Minority Report," and has also collaborated with the director on "A.I. Artificial Intelligence" and "The Lost World: Jurassic Park." His other film credits include Cameron Crowe's hit "Jerry Maguire," "How to Make an American Quilt," "Trouble Bound," "Tall Tale" and "The Adventures of Huckleberry Finn."

A native of Poland, Kaminski came to the United States in 1981. He studied cinematography at Columbia College in Chicago, receiving his B.A. in 1987. After graduating, he relocated to Los Angeles to become a cinematography fellow at the prestigious American Film Institute, and began his professional career on the feature "Fallen Angel." He also lensed two television projects: the Amblin production "Class of '61," and the acclaimed cable movie "Wildflower," directed by Diane Keaton.

In 2000, Kaminski made his feature film directorial debut with the thriller "Lost Souls," starring Winona Ryder, Ben Chaplin and John Hurt. He has also directed a number of commercials.

JEANNINE OPPEWALL (Production Designer) is a two-time Academy AwardR nominee, earning her most recent nod for work on "Pleasantville." Her design of the too-perfect world in that film also brought her a Los Angeles Film Critics Award for Best Production Design. Oppewall had earned her first OscarR nomination, as well as a British Academy Award nomination, for the gritty milieu of 1950s Los Angeles in Curtis Hanson's "L.A. Confidential."

Oppewall more recently served as the production designer on the films "The Sum of All Fears," "Wonder Boys" and "Snow Falling on Cedars." She is currently working on the upcoming film about the legendary Triple Crown-winning horse "Seabiscuit."

A graduate of Bryn Mawr College, Oppewall began her career as a curator and researcher for famed designer Charles Eames. Segueing to films, she worked with production designer Paul Sylbert on such films as "Hardcore," "Blow Out" and "Resurrection." Her first film as a production designer was Bruce Beresford's "Tender Mercies."

Oppewall's subsequent film credits included "Maria's Lovers," "The Big Easy," "Ironweed," "Music Box," "White Palace," "Sibling Rivalry," "School Ties," "The Vanishing," "Corrina, Corrina," "Losing Isaiah," "The Bridges of Madison County" and "Primal Fear."

MICHAEL KAHN (Editor) has won three Academy AwardsR for Best Editing for his work on films directed by Steven Spielberg. He won his most recent OscarR for the World War II drama "Saving Private Ryan," and had earlier won OscarsR for his work on "Raiders of the Lost Ark" and "Schindler's List." In addition, Kahn has garnered OscarR nominations for his work on Spielberg's "Empire of the Sun" and "Close Encounters of the Third Kind," as well as Adrian Lyne's "Fatal Attraction." His additional film honors have included BAFTA Awards for "Schindler's List" and "Fatal Attraction."

Kahn has edited nearly all of Steven Spielberg's films, most recently working with the director on the sci-fi thriller "Minority Report." His other Spielberg collaborations include "A.I. Artificial Intelligence," "Amistad," "Jurassic Park" and the sequel "The Lost World: Jurassic Park," "Hook," "Always," "Indiana Jones and the Last Crusade," "Indiana Jones and the Temple of Doom," "1941" and "The Color Purple."

Kahn has also edited a wide range of films for other directors, including "Reindeer Games," "The Haunting," "Twister," "Casper," "Alive," "Arachnophobia," "The Goonies," "Poltergeist" and "Eyes of Laura Mars."

MARY ZOPHRES (Costume Designer) has designed the costumes for four films for the Coen Brothers, beginning with their award-winning hit "Fargo." Their collaboration continued on the films "The Big Lebowski," "O Brother, Where Art Thou?" and "The Man Who Wasn't There." She most recently designed the costumes for the Coens' upcoming film "Intolerable Cruelty," starring George Clooney and Catherine Zeta-Jones.

Zophres' other recent film credits include the drama "Moonlight Mile," starring Dustin Hoffman and Susan Sarandon, the critically acclaimed independent feature "Ghost World," and the upcoming romantic comedy "A View From the Top," starring Gwyneth Paltrow. She has also served as the costume designer on such films as "Any Given Sunday," "Paulie," "Digging to China," "Playing God" and three films for the Farrelly Brothers: "There's Something About Mary," "Dumb and Dumber" and "Kingpin."

JOHN WILLIAMS (Composer) is one of the most esteemed composers of all time and the recipient of numerous honors, including five Academy AwardsR, three Golden Globe Awards, a British Academy Award, and eighteen Grammy Awards. Williams won three of his five Oscarsa for his work on the Steven Spielberg films "Jaws," "E.T. The Extra-Terrestrial" and "Schindler's List." His other Academy Awardsa came for the unforgettable "Star Wars" score and the scoring of the screen version of "Fiddler On the Roof."

Williams has also earned a remarkable 36 additional Oscara nominations, most recently receiving dual nominations this year for his scores for Spielberg's "A.I. Artificial Intelligence" and the blockbuster "Harry Potter and the Sorcerer's Stone." A master of every genre, he has created many of the most familiar themes in movie history, including the Oscara-nominated scores for "Close Encounters of the Third Kind," "Superman," and all three of Spielberg's "Indiana Jones" movies: "Raiders of the Lost Ark," "Indiana Jones and the Temple of Doom" and "Indiana Jones and the Last Crusade." Williams' additional Academy Award nominations have included Best Original Score nods for "The Patriot," "Saving Private Ryan," "Amistad," "Nixon," "Sabrina," "JFK," "Home Alone," "Born on the Fourth of July," "Empire of the Sun," "The River," "The Towering Inferno" and "The Poseidon Adventure," to name only a portion.

"Catch Me If You Can" marks the 20th film he has scored for Steven Spielberg, beginning with the director's first film, "The Sugarland Express" and most recently encompassing the futuristic thriller "Minority Report." Williams also composed "Celebration 2000," an orchestral work written to accompany Spielberg's film tribute to the new millennium, "The Unfinished Journey."

In addition to his film work, Williams has created themes and fanfares for several Olympic games. He has also composed numerous concert pieces, including two symphonies, and a cello concerto, premiered by Yo Yo Ma and the Boston Symphony Orchestra in 1994, as well as concertos for flute, tuba, violin, clarinet, bassoon and trumpet. Williams was also Music Director of the Boston Pops Orchestra for 13 highly successful seasons from 1980 to 1993. He still holds the title of Laureate Conductor of that famed ensemble, as well as that of Artist in Residence at Tanglewood. As a guest conductor, he appears regularly with many of the world's most renowned orchestras.

註：以上資訊由片主或其推廣代表提供。本網並不保證此等資訊是否正確。
Note: The information above is provided by the owners of the film or their agents who are responsible for the promotion of the film. We do not guarantee the accuracy of such information.

相關連結 Related Links

• 最近公影電影 Recent, Current, and Upcoming Films