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《 奪 寶 奇 兵 》 《 帝 國 反 擊 》 編 劇 羅 倫 士 卡 斯 丹 Lawrence Kasdan
靈 異 嚇 人 之 作
恐 怖 之 王 史 提 芬 京 Stephen King 又 一 幽 異 構 思
靈 異 力 量
透 過 人 體 入 侵
超 自 然 恐 怖 災 難 漏 網 而 來 !
漏 網 之 靈 Dreamcatcher
《 驚 天 核 網 》 摩 根 費 曼 Morgan Freeman
《
深 海 變 種 》 湯 瑪 士 真 Thomas Jane
《 魂 離 情 外 天 》 積 遜 李 Jason Lee
《 雷 霆 傘 兵 》
迪 米 安 路 易 斯 Damian Lewis
《 黑 鷹 36 小 時 》 湯 薜 斯 摩 亞 Tom Sizemore
《 危 情 十 日 》 威 廉 高 文 William Goldman 編 劇
《 驚 濤 駭 浪 》 尊 西 爾 John Seal 攝 影
《
E.T 外 星 人 》 卡 露 列 圖 頓 Carol Littleton 剪 接
《 白 宮 群 英 》 鍾 赫 曼 John Hutman 美 術
4 月 10 日 靈 異 入 侵
資 料 查 詢 ： 瀏 覽 www.dreamcatchermovie.com
〈 漏 網 之 靈 〉 故 事 大 綱
《 漏 網 之 靈 》 改 編 自 恐 怖 小 說 大 師 史 提 芬 京 Stephen King 暢 銷 小 說 〈 Dreamcatcher 〉 。 故 事 講 述 居 住 在 緬 因 州 小 村 落 的 四 名 男 孩 ， 他 們 在 一 次 偶 然 的 機 會 下 ， 拯 救 了 一 名 男 童 ， 更 意 外 地 獲 得 一 股 神 奇 的 力 量 作 為 報 酬 ， 而 這 種 力 量 令 他 們 之 間 的 友 情 更 深 厚 。
二 十 年 後 ， 他 們 各 有 自 己 的 生 活 ， 而 童 年 時 拯 救 男 孩 的 英 雄 事 蹟 ， 及 那 股 神 奇 力 量 ， 不 但 沒 有 令 他 們 帶 來 幫 助 ， 反 卻 成 為 他 們 精 神 上 的 負 擔 。 在 一 年 一 次 的 重 聚 中 ， 他 們 四 人 在 一 間 狩 獵 小 屋 共 渡 歡 樂 的 時 光 。 但 卻 發 生 了 一 連 串 怪 異 的 事 情 ， 首 先 來 了 一 位 迷 路 的 獵 人 ， 他 半 邊 面 上 帶 著 傷 痕 ， 神 情 古 怪 ， 肚 皮 像 是 起 伏 不 定 ， 最 後 被 安 放 在 卧 室 中 休 息 ， 他 們 其 中 兩 人 駕 車 外 出 ， 途 中 為 閃 避 坐 於 雪 地 中 的 神 秘 女 人 ， 導 致 車 翻 人 臥 。 雪 屋 中 其 餘 兩 人 忽 爾 看 到 奇 異 景 象 ， 森 林 中 千 百 種 動 物 空 群 走 過 ， 像 驚 恐 地 要 逃 避 某 些 危 險 的 迫 近 。 另 邊 廂 ， 臥 室 內 傳 來 驚 叫 ， 他 們 破 門 而 入 ， 發 現 獵 人 肚 爆 頭 裂 ， 血 濺 滿 地 而 死 ， 狀 極 恐 怖 ， 他 們 更 驚 覺 某 種 神 秘 異 物 在 房 內 一 閃 而 過 。 兩 人 合 力 將 它 困 於 馬 桶 內 。 但 他 們 並 不 知 道 ， 他 們 所 而 面 對 的 神 秘 異 物 ， 一 股 凶 邪 的 異 形 力 量 正 迅 速 向 他 們 撲 面 而 來 ， 並 立 心 侵 入 地 球 … …
演 員 簡 介
摩 根 費 曼 Morgan Freeman 飾 Colonel Curits
摩 根 費 曼 是 一 位 演 技 精 湛 的 荷 里 活 演 員 ， 他 早 於 1995 年 憑 著 史 提 芬 京 小 說 改 編 的 《 月 黑 高 飛 》 獲 得 奧 斯 卡 金 像 獎 最 佳 男 主 角 。 他 亦 憑 著 《 山 水 喜 相 逢 》 一 片 獲 得 金 球 獎 最 佳 男 主 角 及 奧 斯 卡 金 像 獎 的 提 名 。 他 所 演 出 的 電 影 包 括 ： 《 末 日 救 未 來 》 飾 演 美 國 總 統 、 《 光 榮 》 、 《 玉 面 煞 星 》 、 《 豪 情 蓋 天 》 、 《 驚 唇 刧 》 、 《 極 度 驚 慌 》 、 《 連 鎖 反 擊 》 及 《 七 宗 罪 》 等 電 影 。 而 《 漏 網 之 靈 》 是 他 再 度 與 羅 倫 士 卡 斯 丹 合 作 的 驚 慓 片 。
湯 瑪 士 真 Thomas Jane 飾 Dr.Henry Devlin
他 近 期 所 主 演 的 電 影 《 索 女 十 誡 》 與 金 美 倫 戴 雅 絲 及 姬 絲 汀 娜 艾 寶 姬 演 出 ； 他 曾 與 摩 根 費 曼 演 出 《 摧 花 刧 》 ， 及 後 也 參 與 《 一 夜 成 名 》 的 演 出 ， 及 後 更 有 機 會 與 奇 洛 李 維 斯 演 出 《 相 戀 不 如 偶 遇 》 。 而 他 亦 有 參 與 舞 台 劇 的 演 出 。
積 遜 李 Jason Lee 飾 Beaver
積 遜 李 在 少 年 時 代 甚 喜 愛 踩 滑 板 ， 這 項 運 動 甚 至 令 他 成 為 專 業 高 手 。 當 他 二 十 歲 搬 離 洛 杉 磯 後 ， 便 開 始 發 展 他 的 演 藝 事 業 。
於 1995 年 他 演 出 由 奇 雲 史 密 夫 所 執 導 的 喜 劇 《 Mallrats 》 後 ， 成 為 事 業 上 的 突 破 。 而 他 在 《 猜 • 情 • 尋 》 演 出 ， 更 獲 得 獨 立 製 片 獎 所 頒 發 的 最 佳 男 配 角 。 他 亦 曾 參 與 《 魂 離 情 外 天 》 的 演 出 ， 在 戲 中 飾 演 湯 告 魯 斯 的 好 友 。
迪 米 安 路 易 斯 Damian Lewis 飾 Jonesy
主 要 是 飾 演 電 視 劇 集 ， 他 憑 HBO 所 拍 攝 ， 由 湯 漢 斯 監 製 的 電 視 電 影 《 雷 霆 傘 兵 》 獲 得 金 球 獎 戲 劇 組 最 佳 男 主 角 。 他 曾 在 BBC 電 視 所 拍 攝 的 《 Jeffrey Archer 》 演 出 。 其 他 演 出 包 括 《 Hearts and Bones 》 、 《 Life Force 》 。
堤 摩 菲 奧 利 芬 Timothy Olyphant 飾 Pete
堤 摩 菲 奧 利 芬 出 身 於 夏 威 夷 ， 他 於 南 加 州 大 學 修 讀 演 藝 課 程 。 畢 業 後 他 搬 往 紐 約 ， 開 展 他 的 演 藝 事 業 。 他 憑 電 視 《 Go 》 飾 演 毒 犯 角 色 ， 開 始 演 出 名 堂 。 他 曾 演 出 《 傷 心 俱 樂 部 》 ， 扮 演 同 性 戀 者 。 他 亦 積 極 參 與 舞 蹈 劇 的 演 出 。
幕 後 製 作 人 員 簡 介
導 演 - 羅 倫 士 卡 斯 丹 Lawrence Kasdan
羅 倫 士 卡 斯 丹 出 身 於 邁 阿 密 ， 他 於 密 西 根 大 學 修 讀 英 國 文 學 。 他 曾 執 導 九 部 非 常 出 色 的 大 電 影 ， 他 所 執 導 的 電 影 大 都 獲 獎 無 數 。
最 早 期 所 執 導 的 電 影 是 1981 年 的 《 焚 身 》 。 之 後 他 與 巴 巴 拉 班 尼 迪 編 寫 兼 執 導 《 山 水 又 相 逢 》 ， 該 片 更 獲 提 名 奧 斯 卡 金 像 獎 最 佳 影 片 。
而 他 於 1988 年 所 執 導 的 《 稀 客 》 獲 得 奧 斯 金 像 獎 卡 四 項 提 名 ， 珍 娜 戴 維 絲 憑 該 片 獲 得 最 佳 女 配 角 。
1992 年 ， 他 與 妻 子 所 編 寫 的 《 大 峽 谷 - 城 市 之 光 》 獲 得 金 球 獎 及 奧 斯 卡 金 像 獎 最 佳 原 著 劇 本 獎 項 。 同 年 ， 憑 著 他 十 七 歲 所 編 寫 的 劇 本 《 護 花 傾 情 》 ， 全 球 票 房 約 四 千 萬 美 元 的 驕 人 成 績 。
於 1994 年 ， 他 所 執 導 的 電 影 更 是 為 人 熟 悉 的 ， 包 括 《 義 海 傾 情 》 及 《 一 切 從 失 戀 開 始 》 ； 1999 年 他 親 自 編 寫 喜 劇 《 Mumford 》 。 《 漏 網 之 靈 》 就 是 他 2003 年 的 新 作 ， 根 據 美 國 暢 銷 小 說 作 家 史 提 芬 京 的 〈 Dreamcatcher 〉 所 拍 成 的 驚 嚇 電 影 。
編 劇 - 威 廉 高 文 William Goldman
威 廉 高 文 已 有 45 年 的 寫 作 生 涯 ， 作 品 無 數 ， 有 些 更 成 為 很 出 色 的 劇 本 ， 使 他 成 為 一 位 非 常 出 色 的 編 劇 。 他 於 1965 年 開 始 編 劇 的 工 作 ， 於 1976 年 憑 著 《 大 陰 謀 》 獲 得 奧 斯 卡 金 像 獎 最 佳 改 編 劇 本 。 高 文 所 編 寫 的 作 品 多 次 獲 得 獎 項 ， 他 更 獲 得 作 家 協 會 所 頒 發 的 終 身 成 就 獎 。 其 他 出 名 的 劇 本 包 括 ： 《 一 級 滅 口 》 及 《 危 情 十 日 》 等
監 製 - 查 理 士 奧 根 Charles Okun
查 理 士 奧 根 是 羅 倫 士 卡 斯 丹 的 好 拍 擋 ， 他 與 卡 斯 丹 製 作 了 九 部 非 常 出 色 的 電 影 。 1961 年 開 始 加 入 電 影 工 作 ， 起 初 他 是 一 名 導 演 助 理 ， 之 後 不 斷 與 很 多 大 導 演 合 作 ， 直 至 與 卡 斯 丹 導 演 ， 二 人 才 合 作 無 間 製 作 出 多 部 水 準 之 作 。 他 們 自 《 銀 城 大 決 鬥 》 及 《 再 見 同 窗 》 開 始 合 作 ， 直 至 現 在 的 《 漏 網 之 靈 》 ， 再 擦 出 新 的 火 花 。
原 著 小 說 作 者 - 史 提 芬 京 Stephen King
史 提 芬 京 是 世 界 上 最 受 歡 迎 的 恐 怖 小 說 作 家 之 一 ， 1947 年 出 身 於 美 國 波 特 蘭 島 ， 他 1970 年 於 緬 因 州 大 學 畢 業 ， 青 年 時 代 已 經 替 校 報 編 寫 專 欄 。 1971 年 他 一 邊 任 中 學 教 師 ， 一 邊 寫 作 短 篇 故 事 及 小 說 。 一 直 到 1985 年 ， 他 才 開 始 編 寫 劇 本 ， 更 親 自 執 導 電 影 製 作 。 他 的 作 品 曾 被 許 多 著 名 的 大 導 演 搬 上 大 銀 幕 ， 如 《 閃 靈 》 、 《 悲 慘 》 、 《 骨 瘦 如 柴 》 、 《 魅 力 姬 斯 汀 》 和 《 夜 半 仔 敲 門 》 等 。 著 名 的 電 影 包 括 ： 《 危 情 十 日 》 、 《 月 黑 高 飛 》 和 《 綠 里 奇 蹟 》 。 而 《 伴 我 同 行 》 更 是 改 編 自 他 的 小 說 作 品 〈 The Body 〉 。
有 關 製 作
對 編 寫 過 《 奪 寶 奇 兵 》 、 《 帝 國 反 擊 戰 》 及 《 武 士 復 仇 》 的 羅 倫 士 卡 斯 丹 來 說 ， 拍 攝 《 漏 網 之 靈 》 是 前 所 未 有 的 挑 戰 ， 之 前 ， 他 曾 拍 過 的 電 影 好 像 《 山 水 又 相 逢 》 、 《 焚 身 》 、 《 稀 客 》 等 ， 都 是 知 識 份 子 型 的 文 藝 片 ， 而 《 漏 網 之 靈 》 ， 是 集 恐 怖 、 科 幻 於 一 身 的 驚 慄 片 。
卡 斯 丹 說 ： 「 史 提 芬 京 令 人 折 服 之 處 是 他 往 往 能 以 具 說 服 力 的 象 徵 或 隱 喻 去 表 達 深 層 的 恐 懼 。 《 漏 網 之 靈 》 就 借 「 捕 夢 器 」 的 傳 說 ， 讓 人 企 圖 去 控 制 藏 於 宇 宙 、 黑 暗 甚 至 或 人 體 的 無 名 恐 懼 ， 對 於 恐 怖 之 王 史 提 芬 京 來 說 ， 《 漏 網 之 靈 》 是 繼 《 危 情 十 日 》 後 ， 十 五 年 來 改 編 自 他 作 品 中 最 出 色 的 一 部 電 影 。 他 對 於 編 劇 威 廉 高 文 更 讚 不 絕 口 ， 認 為 他 把 小 說 改 編 得 天 衣 無 縫 。 高 文 曾 以 《 神 鎗 手 與 智 多 星 》 及 《 驚 天 大 陰 謀 》 兩 獲 奧 斯 卡 金 像 獎 。
作 為 一 部 超 自 然 恐 怖 片 ， 《 漏 網 之 靈 》 在 特 技 化 妝 及 視 覺 上 非 常 重 要 。 負 責 此 片 的 視 覺 特 效 的 是 憑 《 驚 濤 駭 浪 》 、 《 雷 霆 救 兵 》 及 《 龍 捲 風 暴 》 獲 奧 斯 卡 提 名 的 史 提 芬 范 明 亞 ， 而 負 責 特 技 化 妝 的 是 拍 過 《 閃 靈 》 的 史 提 夫 莊 遜 。 影 片 中 那 頭 詭 秘 異 形 惡 魔 就 是 由 他 的 精 心 泡 製 。
原 著 中 有 多 個 科 幻 場 面 ， 其 中 一 個 是 由 人 身 內 所 發 出 的 雷 達 效 果 ， 可 引 領 尋 覓 腦 中 要 找 尋 的 事 物 ， 這 個 視 覺 特 技 效 果 在 史 提 芬 史 范 明 亞 督 導 下 ， 令 觀 眾 嘖 嘖 稱 奇 。
《 漏 網 之 靈 》 故 事 主 要 發 生 在 遠 離 人 煙 的 雪 山 森 林 。 拍 攝 隊 伍 於 寒 冬 中 選 擇 了 距 離 溫 哥 華 500 哩 的 森 林 裡 拍 攝 。 時 值 歷 史 上 最 寒 冷 的 冬 天 ， 最 低 溫 曾 跌 至 零 下 34 度 ， 攝 影 隊 及 演 員 們 全 體 進 入 最 艱 辛 的 拍 攝 期 ， 每 日 熱 騰 騰 的 食 物 送 到 時 ， 頓 成 為 每 個 人 最 雀 躍 的 時 刻 。
CASTLE ROCK ENTERTAINMENT Presents
In Association with VILLAGE
ROADSHOW PICTURES and NPV ENTERTAINMENT
A KASDAN PICTURES Production
A LAWRENCE KASDAN Film
MORGAN FREEMAN
THOMAS JANE
JASON LEE
DAMIAN LEWIS
TIMOTHY OLYPHANT
TOM SIZEMORE
DONNIE WAHLBERG
"DREAMCATCHER"
MICHAEL O'NEILL
ROSEMARY DUNSMORE
Directed by LAWRENCE KASDAN
Screenplay by WILLIAM GOLDMAN and LAWRENCE KASDAN
Based on the Book by STEPHEN KING
Produced
by
LAWRENCE KASDAN
CHARLES OKUN
Executive Producer BRUCE BERMAN
Director of Photography JOHN SEALE, A.C.S., A.S.C.
Production Designer JON HUTMAN
Edited
by
CAROL LITTLETON, A.C.E.
RAUL DAVALOS, A.C.E.
Costume Designer MOLLY MAGINNIS
Visual Effects Supervisor STEFEN FANGMEIER
Creature Designer CRASH McCREERY
Co-Producers
STEPHEN
DUNN
CASEY GRANT
JON HUTMAN
Music by JAMES NEWTON HOWARD
Casting by RONNA KRESS, C.S.A.
Final Production Information
Jonesy, Henry, Pete and Beaver. Twenty years ago they were just kids in a small town in Maine - kids who found the courage to respond heroically to childhood cruelty. In saving a strange boy named Duddits, they unexpectedly gained a fifth friend at the center of their circle. Even more unexpected were the uncanny powers he conveyed to them, bonding them all beyond ordinary friendship.
Now the four are men with separate lives and separate problems, haunted by the memory of heroism, with powers that are more of a burden than a gift. When a shocking accident almost claims one of them, they don't at first recognize the return of the eeriness that is somehow linked to Duddits.
But when they reunite for their annual visit to a hunting cabin in the north woods, anticipating only the warmth and humor that nourishes them, they are overtaken by a gathering doom. First comes a stranger, a lost hunter unaware of the terrible contagion he bears. On his heels is a blizzard, a vicious storm in which something much more ominous moves - a deadly alien force that will consume some of the foursome and force those who make it to the end of the road to once again summon their forgotten strength… and confront an unparalleled horror.
Castle Rock Entertainment presents, in association with Village Roadshow Pictures and NPV Entertainment, a Kasdan Pictures production, Dreamcatcher, starring MORGAN FREEMAN, THOMAS JANE, JASON LEE, DAMIAN LEWIS, TIMOTHY OLYPHANT, TOM SIZEMORE and DONNIE WAHLBERG. The film is directed by LAWRENCE KASDAN. The screenplay is by WILLIAM GOLDMAN and Lawrence Kasdan, based on the book by STEPHEN KING. The film is produced by Lawrence Kasdan and CHARLES OKUN and executive produced by BRUCE BERMAN. The director of photography is JOHN SEALE, A.C.S., A.S.C.; the production designer is JON HUTMAN; the film is edited by CAROL LITTLETON, A.C.E. and RAUL DAVALOS, A.C.E.; special visual effects and animation by INDUSTRIAL LIGHT & MAGIC; co-produced by STEPHEN DUNN, CASEY GRANT and Jon Hutman; music by JAMES NEWTON HOWARD.
Dreamcatcher will be distributed worldwide in 2003 by Warner Bros. Pictures, an AOL Time Warner Company, and in select territories by Village Roadshow Pictures.
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ABOUT THE PRODUCTION
"I think science fiction, fantasy and horror are at their most powerful if you believe in and care about the people involved," says Dreamcatcher writer/director/ producer Lawrence Kasdan.
Since co-writing Raiders of the Lost Ark, The Empire Strikes Back and Return of the Jedi early in his career, Kasdan has been looking for a story that would allow him to direct a big effects movie. Known for personal, humanistic films such as The Big Chill, The Accidental Tourist, Grand Canyon and Mumford, Kasdan sought an emotionally engaging story that was rooted in reality.
"In my movies I've always tried to find the most potent metaphor," says Kasdan, "and one of the things Stephen King does really well is find interesting, extravagant metaphors for things that embody our deepest fears. Dreamcatcher is about controlling the fear of the chaos that's out there, whether it's somewhere in the universe, outside in the dark, or in your body as it begins to rebel against you. Then there are all the things I've tried to deal with in my other movies, the relationships between characters, friendships, issues of loyalty and redemption; but as with a lot of King's writing, they're married to an exotic, horrifying action story. That's something I've always wanted to try."
By the time Kasdan heard about Stephen King's best-selling novel Dreamcatcher, a script was already in development for Castle Rock Entertainment, the company that produced the films Stand By Me, Misery, The Shawshank Redemption, Dolores Claiborne, The Green Mile and Hearts in Atlantis, all based on King's books or stories.
"This is the first really successful horror/suspense movie made from one of my books in at least fifteen years," says King. "Not surprisingly, the last one was also a Castle Rock film: Misery, with Kathy Bates. Castle Rock is the one company that has never treated me as a horror commodity. They've been able to see that these are actually stories about human beings, and that sometimes the monsters and the elements of horror are good ways of looking at the things that really trouble us in real life."
Two-time Academy Award-winning screenwriter William Goldman (Butch Cassidy & the Sundance Kid, All the President's Men), who had previously adapted King's novels Misery and Hearts in Atlantis for Castle Rock, took on the task of distilling the essence of the six-hundred-page book down to a couple of hours of screen time. Then, as is his custom, Kasdan wrote the final shooting script himself.
Dreamcatcher is the story of four friends who perform a heroic act as children and are changed forever by the supernatural powers they gain in return. Over time, Jonesy, Henry, Pete and Beaver grow up to be men who feel isolated from the rest of the world, never quite recapturing the thrill of heroism that they felt in their youth. Unable to understand or master their powers, they are left with the nagging frustration of possessing great potential, but not the ability to realize it.
When the time came to begin casting, the filmmakers needed actors who could not only embody the characters, but also convincingly portray the strong bond between the friends that sustains them through their loneliness and frustration and forms the core of their story.
Dreamcatcher benefited from Kasdan's expertise in bringing together a strong ensemble. "This movie is full of wonderful young actors," the director attests. "I feel I've been very lucky in finding terrific actors all through my career, and this is a new crop of great guys."
Thomas Jane plays Henry, whom we find at the beginning of the film has reached the end of his rope. "Henry is slightly telepathic," explains Jane. "He's a psychiatrist, which is a difficult profession to be in for someone with the ability to read people's thoughts, because he always knows when you're lying; to him, to yourself, to your wife. It becomes difficult for Henry to be of service because he so desperately wants to help that he eventually gets himself into trouble telling people what they don't want to hear, and ends up doing more harm than good. So Henry is pretty suicidal when we meet him at the beginning of the film."
"I'd seen Thomas in Deep Blue Sea, Magnolia and Boogie Nights," says Kasdan, "and recognized that he's a wonderful, adventurous young actor and leading man."
Jason Lee plays Beaver, a toothpick-gnawing carpenter with the dubious gift of maddeningly vague precognitive powers; he can feel when something bad is coming, but can't see clearly enough to do anything about it.
"I'd worked with Jason in Mumford," says Kasdan, "and I'd admired his performance very much in Cameron Crowe's movie Almost Famous. He's just incredible in this movie. He's funny and surprising - when I was writing Beaver I thought, this is Jason Lee."
"Beaver is the kind-hearted, good-natured one," says Lee. "Larry is the rare director who encourages actors to make character choices. For instance, when I thought about Beaver, I just felt that he likes 1950s music; his kind of a good time is going to the bar, having a beer or two and hearing a 1950s song come on the radio. He's that guy; doesn't smoke cigarettes, he's got the Leatherman tool, the toothpick holder, looks a little like Buddy Holly. And Larry said, 'Done,' and it was great because it was my first time defining a character to that degree. He's definitely one of the more unique characters I've played."
Kasdan cast Damian Lewis as Jonesy, who is the victim of a terrible accident early on in the film, the bizarre repercussions of which even he cannot fully grasp.
"Jonesy is a sensitive, rather sincere guy," Lewis muses. "Not necessarily serious, but gentle and thoughtful. At the beginning of the movie, he gets hit by a car, which is the first time Stephen King wrote of his own accident in dramatic form. He gave that retelling of his own life to Jonesy, who goes through a difficult transition where he's lost quite a bit of his confidence. Jonesy is harboring a secret through much of the film, and he grows increasingly fragile as the movie goes on."
"Damian Lewis, whom I first saw in Band of Brothers, is an extraordinary young British actor," says Kasdan. "He's very magnetic, charismatic and soulful. I was just wildly taken with him, and could see that he played an American very easily; I was just knocked out by his abilities."
A unique facet of Jonesy provided Kasdan and company with both a design challenge and an incredible creative opportunity: his "memory warehouse." "The idea behind the memory warehouse is that all of Jonesy's memories and experiences are stored in what is essentially a big library," explains Kasdan. "In it are all of his memories; sports humiliations, old report cards, the lyrics to every song on every record that he's ever owned. It's not the easiest concept to convey in a movie, but Jon Hutman, the production designer, achieved it brilliantly by coming up with a graceful spiral design, and our set designer Rose Marie McSherry filled every single shelf of this multi-storied warehouse. Eventually, it winds up being the scene of a chase in which Jonesy is trying to hide some of the warehoused information from the menacing intruder who has broken into his mind; your mind is not a place you would want anyone rummaging around and seeing what you've got in there."
Timothy Olyphant plays Pete, whose unique talent for finding what is lost once saved a little girl and made him a hero; these days he uses it to locate misplaced car keys and try to pick up on women.
"I'd seen Tim Olyphant in Go," says Kasdan. "He's a very instinctive actor and very much in the vernacular. I wanted him to play Pete, who in some ways is the saddest of the friends."
"Pete wanted to be an astronaut," says Olyphant, "and now he is selling cars at a used car dealership, so there's a certain amount of disappointment that he's living with, or denying; he's turned to drinking all the time. I think that behind all of Pete's charm and humor there's a certain kind of sadness; he's definitely confused about how he's got to where he is, and why he isn't where he thought he'd be."
Donnie Wahlberg was cast in the pivotal role of Duddits, the mysterious figure at the center of the friends' circle. Kasdan knew that it was imperative that the actor playing Duddits be able to come in late in the movie and make the audience care deeply about the character in a very short amount of time. "He's central to the story, so that in a very short amount of screen time he has to have enormous impact. And Donnie totally embraced that challenge, he went out of his way to look sickly, to lose the weight and shave his head and take extreme measures with his make-up."
"In a sense, Duddits is the fifth friend," says Wahlberg. "When they stumble across him in their childhood, they save him from a bully and he rewards them by giving them a gift. That gift forces them to bond together, and that's the real power that he gave them, this bond that they share for the rest of their lives.
"I experimented with a thousand things about Duddits," Wahlberg reveals, "but I really found him in the other characters, in the way that they speak about him. It's very easy to get trapped into wanting to do a grand performance, because Duddits is very ill - you could easily set yourself up. But I always went back to what everyone said, how sweet Duddits was and how lovable he was and how much they cared about him, and that his heart was the greatest heart in the world."
The film also stars renowned actor Morgan Freeman as the alien hunter Colonel Abraham Curtis, commander of an elite, top-secret military task force known as Blue Unit, whose purpose is the eradication of all alien invaders and the containment of the contagion that they spread. A vigilante who works independently of the regular Armed Forces, Curtis is more than a little crazy after twenty-five years of obsessive pursuit of extraterrestrials.
"Curtis is king, he's a very powerful guy in his group," says Freeman. "It's his own personal army, and whatever he needs, he gets - all the money, the manpower and weaponry. He's a little burnt out, but he's a dedicated soldier. He is a man who, if the job needs to be done, he gets it done; people call that ruthlessness, but he thinks of it as dedication to purpose."
"Morgan Freeman has been a god to me for a long time," says Kasdan. "He's one of those extraordinary, monumental actors who I don't think has ever given a bad performance or had a false moment. There's never a point in a Morgan Freeman performance where you feel it's false or manufactured. And in this movie he plays a very dark character and he does it wonderfully. He embraced it beautifully and was happy, I think, to get away from his more saintly performances. Because people like to use his incredible charisma for goodness, and this is a much more sinister character."
Tom Sizemore plays Owen Underhill, Colonel Curtis's second in command and dedicated protégé, whom Curtis has been grooming to eventually take over command of Blue Unit.
"I'd cast Tom before, in my film Wyatt Earp," says Kasdan. "He is an incredibly convincing performer and he did excellent work in Saving Private Ryan and Black Hawk Down. He's just a terrific actor."
"The relationship between Owen and Curtis is a father-son relationship in the truest sense of the term," says Sizemore. "Owen is looking for his approval too much. Curtis talks to him in too loving a way, and then when he's aggressive, it's too aggressive. He can hurt Owen the way a father can deeply hurt a son just by saying something, whereas someone who is only your boss can't hurt you in the same way. In this movie, Owen can be hurt that way."
Dreamcatcher is an unusual film in that it encompasses many different genres, and Kasdan used rehearsal time to get his cast on the same page with regard to the tone of the movie. "Larry likes trying to figure out characters more than most writers," says Jason Lee. "Half of the filmmaking process is actually shooting the movie, but the other half is the fun and the challenge of figuring out characters, and he does that so well. When we shot Mumford we talked and talked and talked as a group for days, and from that comes the development of these characters. And it's amazing that even in an effects-filled action movie like this, he still takes the same approach. I don't care if you're Al Pacino or Robert De Niro, every actor has to have a director. It's like a conductor - the conductor walks off stage, the music just falls apart."
"Larry Kasdan is a storyteller with a fabulous sense of humor and an instinctive ability to make dramatic choices," says Stephen King. "He's not afraid to work on a big canvas with a lot of characters. I think that he may have been attracted to the idea of making Dreamcatcher because it's a story that goes back and forth between humor and horror. This is something that we've seen in Larry ever since the opening shot in The Big Chill, which appears to be somebody dressing up for a big party to the tune of Marvin Gaye's 'I Heard It Through the Grapevine,' then the camera pulls back and you realize that this is a corpse that's being dressed for burial. And that is maybe the essential Lawrence Kasdan; someone who's able to play both sides of the fence."
His versatility allowed Kasdan to deftly negotiate the film's multilayered landscape. "The great thing about this movie," says Timothy Olyphant, "is that the moments when you're laughing and you're nervous and you're scared and you're saddened and it's tragic…are all in one scene. The fact that all hell breaks loose is a source of fun, but at the heart of it is a great story about friends who have a chance to be heroes again, to live like they haven't lived since they were kids."
The story's action element enticed Kasdan, as it provided him with an opportunity to work with the latest filmmaking technology. "I've made a lot of movies where people sit around and talk to each other," he says. "This movie has snowmobile chases and car wrecks and spaceships and monsters. It's been wonderful to get out there and discover how you wreck a car, how you simulate a machine gun battle between ground and helicopter, how you depict an animal that's been infected with an alien body."
Kasdan has learned that the visual effects process is grueling work. "It's incredibly frustrating," he says. "You're doing the mid-step; you're preparing something for an effects shot that's not going to be developed until months later. In addition to the technical challenges, we had to find ways to make it look absolutely realistic, because that's the standard we set for ourselves on this movie."
There are over four hundred visual effects shots in Dreamcatcher, created by a post-production group almost as large as the main filming crew. The visual effects team is comprised of some of the most accomplished professionals in the field: Stefen Fangmeier, two-time Oscar nominee and winner of three BAFTA Awards for The Perfect Storm, Saving Private Ryan and Twister, headed a huge team at Industrial Light & Magic (ILM); creatures builder Steve Johnson, two-time Emmy winner for Best Makeup in a Miniseries for his work on The Shining and The Stand, created the puppet versions of the monster known as the 'shitweasel'; and visual effects producer Jacqui Lopez oversaw the realization of it all.
Taking a more down-to-earth, humanistic approach to the story necessitated some changes in the way the team usually works. "Directors who are used to shooting visual effects for science fiction or fantasy tend to work more from a visual discipline," explains Lopez. "They do their storyboards and adhere stringently to the dramatic concepts developed in pre-production. Larry is used to working with actors, so he is much more story and dialogue-driven. The visual effects must be a natural extension of the elicited performances, rather than adhering to the storyboard, so you have to allow for a lot more flexibility. It's more challenging for visual effects, but I think it's a much better way to work."
Some of the effects that appear to be the simplest onscreen were the most creatively challenging for the designers. One example of this is "The Line," the physical manifestation of Pete's inner radar that directs him to things that are lost. "The Line has a very mystical element to it, so when you try to visualize it, it's very abstract, which is not necessarily easy to translate onto film," explains visual effects supervisor Stefen Fangmeier. "While it's a technical challenge to match the realistic look of an Apache helicopter, we have very good reference photography that's available, so we know exactly what it has to be. With more abstract designs like The Line, we have to invent something completely original."
Bringing the hideous creatures that terrorize the world of Dreamcatcher to life was a very laborious process. Based on Crash McCreery's design, the creature team built a clay maquette, which was then digitally scanned into the computer to form the bones of the three-dimensional monster. The computer graphics modeler then "sculpted" it with all the features and details required. Then the model was digitally painted, and the digital armature that the animators use to control the creature's movement was embedded within it. When the creature moves, it bends and might deform in odd ways. So the designers employ a process called "enveloping," which goes over the object and ensures that no matter how the creature moves, the skin will follow the movement naturally, without any kinks. After the animator animates it into a particular shot, the technical director lights and integrates the creature to blend into the three-dimensional world.
"Finding the right sense of movement for the various creatures requires a lot of creative searching as well," Fangmeier attests. "How do you make something like that move in a very distinctive way? A lot of the personality comes from the movement, from the unique way it approaches and interacts with other characters."
Once those images are rendered by the computer - after all the work done by the modelers, the painters, the animators and the technical director - the resulting image is then composited together with the filmed footage. Small touches are added that increase the look of authenticity, such as a cast shadow, or a reflection in a puddle of blood on the floor. All these little nuances eventually add up to create an unbelievable creature that the audience can believe in completely.
The makeup team faced similar design challenges. One of the major hurdles for makeup supervisor Bill Corso was designing the disease that is spreading amongst the humans and animals unfortunate enough to be caught in the woods. "We had to come up with an unearthly biological disease that has never been seen before, and create something that is both visually interesting and practically effective," Corso explains. "The animals in particular were difficult, because I had to figure out how to replicate the look of the growth that we put on the humans in a way that was safe for the animals. It must be edible and non-toxic because chances are they'll eat it. Will it stay on them? Will the other animals try and eat it off them? But what makes this work fascinating is not just coming up with some creative idea, but figuring out how to implement it in a practical and realistic way."
Usually, the most disturbing scenes in horror films are set in traditionally creepy settings, such as an abandoned house, a pitch-black basement, or a car parked in the woods at night. Dreamcatcher brings horror to a somewhat different locale: the audience is first introduced to the film's terrifying monsters… in the bathroom.
"The sequence in the bathroom may be the most fun sequence I've ever done, and also the most gory and grossest and creepiest," says Kasdan. "In some ways I'm prouder of that sequence than anything I've ever done because there were so many people working to make it so textured and varied: the creature designer, the puppeteer, the group at ILM, the actors, the set designer. There's a lot of physical dressing, reflecting the effects of this alien infestation. When you go into the bathroom it's an abattoir, a complete mess. It's out there on the edges of what you can stand to look at - it's funny and exciting and scary all at the same time, and those are the combinations that I wanted. In a movie like this you want to see a horrific effect but only for a glimpse and then have people look at each other and say, Did I see what I saw?"
A key figure in establishing the eerie, heart-racing tone of the film was Australian cinematographer John Seale, winner of the Best Cinematography Oscar for his work on The English Patient. A man of boundless energy and good humor, Seale is an advocate of working with multiple cameras, often using three cameras in a setup.
"I love being able to work out schemes with a director where two or three cameras might be running during an entire scene," says Seale. "I've heard in the past that a lot of actors like multiple cameras. I remember one actor saying, 'Every time I came around a corner there was a camera in my face, so I could never stop acting. I had to keep the performance going, keep the character alive at all times.' I think that's fantastic, because that surely must make a better film."
"Working with multiple cameras is very stimulating," says Kasdan. "It gives me enormous freedom to move quickly. You automatically have different angles, and it means that you don't need every take to be perfect, because you know you have a lot of options to cut around. It gives you an openness about the process that I haven't always been able to achieve."
When it comes to shooting style, Seale approaches each film as if it's his first. "Larry said, 'I want to get the feeling that we didn't set this up for the camera; that we are there by invitation only. We didn't create it and we're just trying to capture it.' I loved the idea, it's the first time something like that has been asked of me. It makes for a whole new look, the feeling that we're simply there as observers, grabbing what we can with the multiple cameras and long lenses. This film is not about making every shot so beautiful you could frame it. It will be full of grit, misframings and flat zooms, rather than perfect tracking shots. If it's consistent, it will give the audience the feeling, of 'Man, we were there! We saw it happen!'"
Most of the action in Dreamcatcher occurs in the midst of a raging blizzard deep in the woods of Maine; unfortunately, filming in Stephen King's home state wasn't an option. Production designer Jon Hutman, winner of an Outstanding Art Direction Emmy for his work on the hit American television series The West Wing, scouted the United States and Canada in search of a hilly, forested area with a guaranteed snowfall. As the story often calls for only a single set of tire tracks or footprints in front of the camera, the location also had to make it possible for all the production's support system, crew, camera, lighting and snow-making equipment to remain invisible. It also had to be near a community capable of accommodating two hundred and fifty people.
Hutman settled on Prince George, British Columbia, about 500 miles north of Vancouver. Most of the key exteriors were filmed in the countryside outside Prince George. The shells of a barn, a grocery store and the cabin known as Hole in the Wall were designed and built in Vancouver, then shipped to Prince George in segments and assembled at the location. They were so beautifully and convincingly aged, some locals wondered if they hadn't been there all along.
Most productions hope for mild, accommodating weather during shooting; Dreamcatcher, however, necessitated a harsher climate. Despite a history of severe winter weather, there were a few nervous moments the week before filming began in early January, 2002, when the city experienced a period of unseasonably balmy weather. But just as production began, the snow came back to British Columbia.
"The weather was never consistent," says Hutman. "We had real snow that fell, real snow that we trucked in, snow that we made from water and blew in. Then we had paper snow of different sizes, which was mainly what went on the ground, and popcorn snow, made out of cornstarch for the falling snow. A smorgasbord of snow." But there was always enough of the real stuff in the woods that equipment had to be moved on sleds.
And the cold came as well. The lowest temperatures occurred during a night shoot, when the mercury dropped to -34°F (-37°C). Car fenders dripped with icicles, hotel windows iced up on the inside, water bottles froze solid on set. With few daylight hours, everyone had to work efficiently despite the cold. To save time, the production's caterers carried hot food to the crew along logging paths.
Later the unit moved to Vancouver, first to stages where the interiors were built. These included the cabin and the massive Memory Warehouse, imagined as a spiral library rising to infinity. As spring came on, exteriors for the flashbacks to the boys' childhood were shot in the countryside nearby. The weather was better, and the days gradually grew longer, but the pace was still demanding.
Even after experiencing the seemingly endless challenges and difficulties of creating a film of such enormous scope, his experience working on Dreamcatcher has only heightened Kasdan's enthusiasm for filmmaking. "I've been directing movies now for twenty years, and it's only made me hungrier to try different things. I love so many different kinds of movies that I want the opportunity to play in those fields. A lot of what I've done has been about the everyday challenges that people face in the normal world, and I think that the pleasure I found in dealing with this story is that it is so extreme, so beyond the normal world, and takes those basic concerns and amplifies them. To me, this film was the most fun you could possibly have, dealing with extreme situations and doing things I had never done before; combining a lot of disciplines to create a great opportunity."
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ABOUT THE CAST
MORGAN FREEMAN (Colonel Curtis) recently starred with Ben Affleck in the Tom Clancy thriller The Sum of All Fears and with Ashley Judd in High Crimes. Yet to be released are the films Levity, opposite Billy Bob Thornton, Bruce Almighty with Jim Carrey, The Big Bounce with Owen Wilson and Danny the Dog, with Jet Li.
Mr. Freeman received an Academy Award nomination for Best Actor for his work in Frank Darabont's adaptation of Stephen King's The Shawshank Redemption, which like Dreamcatcher was made by Castle Rock Entertainment. He received a Golden Globe Award, the Berlin Film Festival's Silver Bear for Best Actor and an Academy Award nomination for his performance in Driving Miss Daisy.
Earlier in his career he won the Los Angeles, New York and National Society of Film Critics Awards and received Academy Award and Golden Globe nominations for Best Supporting Actor for his work on Street Smart.
Mr. Freeman's recent work includes Along Came a Spider and Nurse Betty. He played the President of the United States in Deep Impact and abolitionist Theodore Jackson in Steven Spielberg's Amistad. His many film credits include The Unforgiven, Kiss the Girls, Bonfire of the Vanities, Lean on Me, Robin Hood: Prince of Thieves, Outbreak, Seven, Brubaker, Eyewitness, Harry & Sons, Teachers, Marie, That Was Then, This Is Now, Clean and Sober, Johnny Handsome, Glory and Chain Reaction.
His television credits include The Atlanta Child Murders with Cicely Tyson and The Execution of Raymond Graham.
Mr. Freeman made his film-directing debut in 1993 with Bopha! starring Danny Glover and Alfre Woodard and soon after formed Revelations Entertainment, a production company developing entertainment product in all existing and emerging media that "enlightens, inspires and glorifies the human experience."
Morgan Freeman became known nationally when he created the popular character Easy Reader on the highly praised American public television children's show The Electric Company, but he was already well known in New York's theater circles.
He won the Drama Desk Award, the Clarence Derwent Award and a Tony Award nomination for his performance in The Mighty Gents (1978). He won Obie Awards for Coriolanus, at the New York Shakespeare Festival; for The Messenger in the acclaimed Brooklyn Academy of Music production of Gospel at Colonus (1984) and for Hoke Coleburn in Alfred Uhry's Pulitzer Prize-winning play Driving Miss Daisy (1985). His performance in Driving Miss Daisy also won him a Dramalogue Award. Mr. Freeman last appeared on stage in 1991 as Petruchio in the New York Shakespeare Festival's The Taming of the Shrew with Tracey Ullman.
Displaying astonishing versatility with a wide range of upcoming films, THOMAS JANE (Dr. Henry Devlin) combines a leading man's profile with a character actor's art of performance. His next project is starring in the title role of Stander for director Bronwen Hughes. Based on a true story, Jane stars as a South African police officer who, in the early 1980s, turned to a life of crime, robbing as many as four banks a day.
Jane recently completed starring roles in Roger Kumble's romantic comedy The Sweetest Thing opposite Cameron Diaz, Christina Applegate and Selma Blair; in the role of baseball legend Mickey Mantle in the Emmy nominated, Billy Crystal helmed 61* for HBO Pictures; and opposite Samantha Morton in Eden, which premiered at the 2001 Venice Film Festival. Jane also starred opposite Morgan Freeman, Gene Hackman and Monica Belucci in the independent thriller Under Suspicion, a remake of the French film Gare de Vue directed by Stephen Hopkins and written by Peter Illif. The film made its audience debut at the 2000 Cannes Film Festival.
Jane is also well known for his starring role in the Warner Bros. Pictures thriller Deep Blue Sea. Directed by Renny Harlin, the film also stars Samuel L. Jackson, Saffron Burrows and LL Cool J. He starred with Sean Penn, Nick Nolte, Jim Caviezel, Woody Harrelson, John Cusack and Adrien Brody in Terrence Malick's Academy Award nominated World War II drama The Thin Red Line, based on James Jone's classic novel. Jane received critical praise for his work starring opposite Mark Wahlberg, Julianne Moore and John C. Reilly in Paul Thomas Anderson's Boogie Nights. The film also starred Burt Reynolds, Don Cheadle and William H. Macy, and the actors were nominated for a 1998 Screen Actors Guild (SAG) Award for Best Ensemble Performance by a Cast in a Theatrical Motion Picture. Jane also received critical attention for his portrayal of Neal Cassady opposite Keanu Reeves, Claire Forlani and Adrien Brody in Stephen Kay's independent drama The Last Time I Committed Suicide. Other film credits include Lance Lane's Junked, in which Jane reprised the role of Switch that he originated in the stage production at the Marilyn Monroe Theater.
On stage, Jane received critical notice for his role of Tom in Tennessee Williams The Glass Menagerie at the Laguna Playhouse and Chris in Arthur Miller's All My Sons at the Odyssey Theater.
Born and raised in Huntington Beach, California, JASON LEE (Beaver) turned a childhood pastime of skateboarding into a professional career. He began to develop an interest in acting after moving to Los Angeles in his twenties.
Lee's big break came in 1995 when he was cast in the leading role of the slacker Brodie in writer/director Kevin Smith's comedy Mallrats. Mallrats was the first of four movies with Smith. Lee's performance as Ben Affleck's insecure, outspoken roommate 'Banky' in Chasing Amy won him an Independent Spirit Award for Best Supporting Actor. He also starred in Smith's supernatural comedy Dogma as the demonic Azrael and in Jay and Silent Bob Strike Back.
Lee was the lead singer of the 1970s rock band Stillwater in writer/director Cameron Crowe's Golden Globe-winning film Almost Famous. He went on to re-team with Crowe for Vanilla Sky, playing the best friend of Tom Cruise's character.
Lee's additional credits include Lawrence Kasdan's Mumford, in which he played a lonely young skateboarding billionaire, A Guy Thing, Stealing Harvard, Big Trouble, Heartbreakers, Enemy of the State, Kissing A Fool and American Cuisine.
DAMIAN LEWIS (Jonesy) makes his American movie debut in Dreamcatcher. Earlier this year he received a Golden Globe nomination for Best Actor in a mini-series or TV drama for his performance as Major Richard Winters in HBO's Band of Brothers, the story of America's E Company of the 101st Airborne Division's 506th Regiment, from its initial training to the end of World War II. The 10-part mini-series was based on the best-selling novel by Stephen Ambrose and was executive produced by Steven Spielberg and Tom Hanks.
Already well known in his native Britain, Lewis recently starred as Soames in Granada TV's adaptation of the Galsworthy classic, The Forsyte Saga, directed by Crispin Menaul. This controversial drama aired on American public television in the fall of 2002.
For the BBC, Lewis recently starred as Jeffrey Archer in Jeffrey Archer - The Truth, a satirical drama based on the disgraced politician's life. He also starred in Hearts and Bones, which chronicled the lives and loves of seven friends in London and in Warriors, the story of UN peacekeepers in Bosnia, which won a European Film Award and a BAFTA Award. His television credits also include Robinson Crusoe, which was bought by Miramax for theatrical release, Life Force, and two popular, highly rated British series, A Touch of Frost and Agatha Christie's Poirot, which is seen in the U.S. and Canada on public television and A&E (Arts & Entertainment Cable Network).
Lewis trained at the Guildhall College of Speech and Drama. He spent two years at Britain's prestigious Royal Shakespeare Company, playing leading roles. He also played Hamlet in the open-air theater production in London's Regent's Park and was Laertes to Ralph Fiennes' Hamlet on Broadway. His theater credits include Stephen Sondheim's Into the Woods at the Donmar Warehouse and School for Wives at the Almeida.
TIMOTHY OLYPHANT (Pete) received great notice as the drug dealer Todd Gaines in Doug Liman's critically applauded film Go. Olyphant most recently finished shooting the pilot episode for the new HBO western series Deadwood created by David Milch and directed by Walter Hill. Timothy stars as Seth Bullock, the famous marshall from Montana, who came to the rogue town of Deadwood to instill some law and order with the help of Wild Bill Hickock.
Olyphant has two films coming out this year, the Independent Film Channel's The Safety of Objects opposite Glenn Close and New Line Cinema's A Man Apart opposite Vin Diesel.
Olyphant also starred in the Sony Classics film The Broken Hearts Club, which told the story of a close-knit group of young gay men, who struggled to cope with their identity and found comfort in playing together on a softball team. The film also starred Dean Cain and John Mahoney.
On television, Olyphant appeared in the HBO film When Trumpets Fade by director John Irvin. He also joined the critically acclaimed drama series High Incident, which was created by Steven Spielberg and Eric Bogosian for DreamWorks.
Olyphant was born in Hawaii and raised in California. He studied fine art and theater at the University of Southern California and after graduation moved to New York to enroll in William Esper's acting program. It was in New York that his acting career began. He received the World Theater Award for Outstanding Debut Performance - an award previously won by Al Pacino and Alan Alda - for his role as Tim Hapgood in the Playwright Horizon's The Monogamist, written by Christopher Kyle.
He went on to star in David Sedaris's one-man production Santaland Diaries at the Atlantic Theater and later returned to the Playwright Horizon to star in Plunge, also written by Christopher Kyle.
Prior to acting, Olyphant swam competitively at University of Southern California and was a U.S. National Finalist in the 200 individual Medley.
He currently resides in Los Angeles with his wife and two children.
TOM SIZEMORE (Owen Underhill) has established himself as one of the most versatile actors working in film today. His co-starring role opposite Tom Hanks in Steven Spielberg's Academy Award nominated drama, Saving Private Ryan, in which he portrayed Sergeant Michael Horvath, garnered enormous critical praise for his depiction of a tough-as-nails, but ever loyal ranger.
Recently, Sizemore starred in the American television drama series RHD for creator Michael Mann. He also starred in the lead role of Tom Cherry in Sins of the Father. As Cherry, Sizemore delivered an emotional performance playing a son who spends his adult life seeking the love and approval of his father, but who eventually realizes that his father was complicit in one of the most violent hate crimes in U.S. history.
Sizemore has become highly sought after for lead roles in major feature films. He starred in the Academy Award nominated film Black Hawk Down, with Ewan McGregor and Josh Hartnett for director Ridley Scott. His upcoming independent films include The Florentine with Chris Penn, Jeremy Davies and Michael Madsen for director Nick Stagliano, and Polygram Film's The Match with Ian Holm, Richard E. Grant and Max Beesley.
He co-starred in the blockbuster film Pearl Harbor, directed by Michael Bay and produced by Jerry Bruckheimer. Sizemore has also played major roles in Red Planet, Martin Scorsese's Bringing Out the Dead, Play it to the Bone and Big Trouble. Sizemore gained critical acclaim for his role in HBO's Witness Protection, in which he starred as a man who must comply with the government to win his family's safety from the Boston Mafia.
Sizemore's first movie role was for Oliver Stone in Born on the Fourth of July. He later re-teamed with Stone to play Scagneti, the self-promoting detective who apprehends Woody Harrelson and Juliette Lewis in Natural Born Killers. Other standout performances include the 1997 suspense thriller The Relic, in which he starred with Penelope-Ann Miller in a role that garnered him a Best Actor Award at the Madrid Film Festival.
In 1995, Sizemore had a banner year in which he starred opposite Al Pacino, Robert De Niro and Val Kilmer in Michael Mann's Heat. He also starred opposite Denzel Washington in director Carl Franklin's Devil in a Blue Dress, based on the acclaimed novel by Walter Mosley, and in Strange Days for director Kathryn Bigelow. Sizemore has graced the screen in a wide range of films including Ron Underwood's Hearts and Souls, Tony Scott's True Romance, Lawrence Kasdan's Wyatt Earp, Passenger 57, Watch It, Guilty Suspicion, and the highly successful television miniseries, Witness to the Mob, in which he portrayed John Gotti to critical raves.
With an impressive background that spans across the worlds of music, film and television, DONNIE WAHLBERG (Duddits) has captured the attention of audiences worldwide. He has proven his versatility by transforming himself from a teen pop sensation to a noteworthy dramatic film actor and critically acclaimed television star.
Wahlberg currently stars in the new American television drama series Boomtown, where he has received praise from critics and audiences alike for his portrayal of Joel Stevens, an intense Los Angeles detective struggling to keep his troubled home life a secret while remaining dedicated to facing the challenges of his daily work life. Graham Yost, executive producer and writer of Boomtown, had worked with Donnie in Band of Brothers in which Wahlberg starred as 2nd Lt. C. Carwood Lipton and was so impressed by his performance that he wrote the role of Joel Stevens specifically for him.
Prior to Band of Brothers, Wahlberg received a great deal of attention for his dynamic role in The Sixth Sense as the psychotic patient of Bruce Willis in the opening sequence. This role was originally intended for a 13-year-old boy until Wahlberg met with M. Night Shyamalan to inquire about obtaining the rights for a theater production and ended up getting this pivotal role.
He also starred as the kidnapper who was in over his head in Ransom with Mel Gibson, directed by Ron Howard. Prior to that, Wahlberg received attention for his role in an independent film, Southie, directed by John Shea.
Born in Boston, the eighth of nine children, Wahlberg began performing in plays and banging on pots and pans as early as the first grade. In high school, he attended a fledgling arts program and became involved in theater, acting, writing and directing plays. At age 14, Wahlberg started a band, and in a few years they went from playing at high school parties to becoming the pop music sensation New Kids on the Block. At the height of New Kids' popularity, Wahlberg made a decision to go in another direction, focusing on writing and producing for his younger brother, Mark. He then appeared in Bullet with Mickey Rourke and Tupac Shakur, a project that lit a spark in him, motivating him to continue to work on his craft.
Wahlberg currently lives in Los Angeles with his family.
ABOUT THE FILMMAKERS
LAWRENCE KASDAN (Writer/Producer/Director) has directed nine films prior to Dreamcatcher: Body Heat, The Big Chill, Silverado, The Accidental Tourist, I Love You to Death, Grand Canyon, Wyatt Earp, French Kiss and Mumford. He has written or co-written all of these pictures except John Kostmayer's I Love You to Death and Adam Brooks' French Kiss.
In addition, Kasdan has written or co-written four of the most successful pictures in motion picture history - Raiders of the Lost Ark, The Empire Strikes Back, Return of the Jedi and The Bodyguard. Born in Miami Beach, Florida and raised in West Virginia, Kasdan attended the University of Michigan, supporting himself with a series of writing awards while he studied English literature.
Kasdan made his critically acclaimed directorial debut with Body Heat in 1981. Next, he directed The Big Chill, which he co-wrote with Barbara Benedek and which was nominated for three Academy Awards, including Best Picture. His next effort was the sprawling western Silverado, which he directed, produced and co-wrote with his brother Mark.
Kasdan next directed The Accidental Tourist, based on the novel by Anne Tyler and adapted by Kasdan and Frank Galati. The film was named Best Picture of 1988 by the New York Film Critics, received four Academy Award nominations, including Best Picture, and earned Geena Davis a Best Supporting Actress award. 1990's I Love You to Death, written by John Kostmayer, was the first script that Kasdan directed that he did not write.
The script for Grand Canyon, co-written with his wife Meg Kasdan, earned them Academy Award and Golden Globe nominations for Best Original Screenplay. The film received the Golden Bear Award for Best Picture at the 1992 Berlin Film Festival.
In 1992, Kasdan's seventeen-year-old script for The Bodyguard was filmed under the direction of Mick Jackson. Kasdan, Jim Wilson and Kevin Costner produced the movie, which went on to gross $400 million in theaters worldwide.
In 1994, Kasdan made Wyatt Earp, starring Kevin Costner, Dennis Quaid, and Gene Hackman, and in 1995, directed French Kiss, a romantic comedy set in Paris and Cannes with Meg Ryan and Kevin Kline.
Kasdan made his theatrical stage debut in the fall of 1995 as director of John Patrick Shanley's Four Dogs & a Bone, a dark comedic look at the seamier side of Hollywood, as the inaugural play of the newly renovated Geffen Playhouse.
The comedy Mumford, which Kasdan wrote, directed and produced with Charles Okun, was released in 1999.
Prior to Dreamcatcher, WILLIAM GOLDMAN (Screenwriter) adapted the Stephen King books Hearts in Atlantis and Misery for Castle Rock Entertainment.
Goldman won Academy Awards for his adaptation of All the President's Men, and for his original script, Butch Cassidy and the Sundance Kid. Both screenplays also earned him Writers Guild Awards. Other honors include Lifetime Achievement Awards from the WGA and from the National Board of Review of Motion Pictures, and the Writers Guild of Great Britain.
Goldman's first screen credit was the 1965 thriller Masquerade. The following year his script for the detective drama Harper won the Edgar Allen Poe Award for Best Motion Picture Screenplay. His screenwriting credits include Absolute Power, The Ghost and the Darkness, Heat, Misery, Maverick, Chaplin, Year of the Comet, Magic, A Bridge Too Far, Marathon Man, The Great Waldo Pepper, The Stepford Wives, The Hot Rock and The Princess Bride.
Goldman has been an author for 45 years. Since his first novel, The Temple of Gold, he has written more than two dozen books, both fiction and non-fiction. Among his novels are Magic, The Princess Bride, Marathon Man and Tinsel. His non-fiction work includes acclaimed books about the entertainment industry - Adventures in the Screen Trade, Hype and Glory, The Season: A Candid Look at Broadway and Which Lie Did I Tell?.
STEPHEN KING (Novel) was born in Portland, Maine in 1947, the second son of Donald and Nellie Ruth Pillsbury King. From his sophomore year at the University of Maine at Orono, he wrote a weekly column for the school newspaper, The Maine Campus. He graduated from the University in 1970 with a B.S. in English and qualified to teach on the high school level. He and Tabitha Spruce married in January of 1971.
King made his first short story sale to a mass-market men's magazine shortly after his graduation from the University. Throughout the early years of his marriage, he continued to sell stories to men's magazines. Many of these were later gathered into the Night Shift collection or appeared in other anthologies. In the fall of 1971, King began teaching high school English classes at Hampden Academy in Maine. Writing in the evenings and on the weekends, he continued to produce short stories and work on novels.
In the spring of 1973, Doubleday & Co. accepted the novel Carrie for publication. King wrote his next-published novel Salem's Lot, in 1973, and Carrie was published in the spring of 1974. That same fall, the Kings left Maine for Boulder, Colorado. They lived there for a little less than a year, during which King wrote The Shining. Returning to Maine in the summer of 1975, King finished writing The Stand. The Dead Zone was also written in Bridgton.
The Kings have three adult children. King put some of his college dramatic society experience to use when he played a bit part in a George Romero picture, Knightriders, and Creepshow, a film he scripted. In 1985, King wrote and directed the movie Maximum Overdrive, and Creepshow II was released in 1987. Many of his works have been adapted for the screen, including Carrie, The Shining, Christine, Cujo, Pet Cemetery (for which King wrote the screenplay and had a bit part as a minister), and Misery, as well as The Green Mile and The Shawshank Redemption. The popular movie Stand By Me was adapted from his novella The Body from the Different Seasons collection. In 1992, the film Sleepwalkers was produced from an original screenplay by King. In 2004, King's first television series, Kingdom Hospital, will air in America.
CHARLES OKUN (Producer) has teamed with director Lawrence Kasdan on nine films. They initially met when Okun was preparing Kasdan's first feature film, Body Heat, in 1981.
A native of New York, Okun taught school briefly following his graduation from NYU. In the fifties he left teaching to join the film industry, working first as an electrician on documentaries, commercials and industrial training films. In 1961, he became an assistant director, first on commercials and then, in 1968, on feature films.
His film career as an assistant director, unit production manager and producer has spanned over 30 films. He worked as an assistant director for Frank Perry on Diary of a Mad Housewife and Rancho Deluxe. This was followed by Such Good Friends for Otto Preminger, Michael Winner's Death Wish, Jonathan Demme's Handle With Care, Sidney Lumet's Loving Molly, the first feature from Michael Cimino, Thunderbolt and Lightfoot, and Ted Kotcheff's Fun with Dick and Jane. Okun worked with Cimino again on Heaven's Gate and on The Deer Hunter, which won five Academy Awards.
Okun collaborated with Kasdan as executive producer/unit production manager on Silverado and as co-producer on Cross My Heart, which was produced by Kasdan. He served as producer/unit production manager on The Accidental Tourist, nominated for four Academy Awards including Best Picture, and on Grand Canyon. Okun was executive producer/unit production manager of I Love You to Death and Wyatt Earp, executive producer on French Kiss and producer on Mumford, 1999.
BRUCE BERMAN (Executive Producer) joined the production division of Warner Bros. Pictures and rose through the executive ranks to become President of Worldwide Theatrical Production. Under his aegis, the studio produced and distributed such titles as the Oscar-winning Driving Miss Daisy, as well as GoodFellas, Presumed Innocent, Robin Hood: Prince Of Thieves, Batman Forever, Malcolm X, The Bodyguard, JFK, The Fugitive, Dave, A Time To Kill and Twister.
In 1996, Berman started Plan B Entertainment, the Warner Bros. Pictures-based independent production company that was later acquired by Village Roadshow Pictures. Village Roadshow Pictures, where Berman now holds the post of Chairman and Chief Executive Officer, currently has 20 projects in various stages of development at Warner Bros. Pictures. Most recently, Berman executive produced the immensely successful Ocean's Eleven, Showtime, Training Day, Cats & Dogs, Three Kings, The Matrix, Analyze This, Deep Blue Sea, Practical Magic and Space Cowboys through Village Roadshow's partnership with Warner Bros. Pictures, as well as the hit comedy Miss Congeniality, produced jointly with Warner Bros. Pictures and Castle Rock Entertainment. He most recently served as executive producer on the romantic comedy Two Weeks Notice.
Berman will serve as executive producer for the next two highly anticipated chapters in the Matrix saga, The Matrix Reloaded and The Matrix Revolutions, both scheduled for release in 2003.
JOHN SEALE A.C.S A.S.C. (Director of Photography) is widely respected as one of the world's most accomplished cinematographers. His recent work includes Harry Potter and the Sorcerer's Stone, The Perfect Storm and The Talented Mr. Ripley.
Seale won an Academy Award, a BAFTA Award, a European Film Award and the American Society of Cinematographers' Award for The English Patient. He also received Academy Award nominations for Rainman and Witness and BAFTA Award nominations for Witness, Gorillas in the Mist and The Talented Mr. Ripley. He is the winner of two Milli Awards, the Australian Cinematographers' Society's highest honor, and an AFI award from the Australian Film Institute for Careful, He Might Hear You.
His credits include City of Angels, Ghosts of Mississippi, The American President, Beyond Rangoon, The Paper, The Firm, Lorenzo's Oil, The Doctor, Dead Poets' Society, Stakeout, The Mosquito Coast and Children of a Lesser God.
After Dreamcatcher, Seale re-teams with Anthony Minghella for Cold Mountain.
JON HUTMAN (Co-Producer & Production Designer) won an Emmy for Outstanding Art Direction for a Single-Camera Series in 2000 for his work as production designer on The West Wing. His recent motion picture credits include What Women Want and Coyote Ugly.
Dreamcatcher is Hutman's fifth collaboration with Lawrence Kasdan. He served as art director on I Love You to Death, and designed French Kiss and Mumford, for which he also received a co-producer credit.
Hutman has designed three films for Robert Redford, The Horse Whisperer, Quiz Show and A River Runs Through It, and two films for former Yale classmate Jodie Foster, Nell & Little Man Tate. Other credits include Lolita, Flesh and Bone, Trespass, Meet the Applegates and Heathers.
He made his directing debut with episodes for American television's Gideon's Crossing and The West Wing.
Hutman has a degree in architecture from Yale and studied scenic design, painting and lighting at the university's School of Drama.
CAROL LITTLETON (Editor) recently edited The Truth About Charlie for Jonathan Demme and The Anniversary Party for Alan Cummings and Jennifer Jason Leigh. Littleton, known for her focus on the subtleties of characterization and performance, was chosen by Lawrence Kasdan to edit his first film, Body Heat, because she saw the humor, which had escaped the attention of other editors.
Littleton has now worked with Kasdan on eight movies: The Big Chill, Silverado, The Accidental Tourist, Grand Canyon, Wyatt Earp, Mumford and Dreamcatcher and continues to appreciate that sense of humor, as well as Kasdan's skill as an observer of human behavior.
Littleton was nominated for an Academy Award and an ACE Award for her work on E.T.. Her credits include Beloved, Twilight, Benny and Joon, China Moon, White Palace, Swimming to Cambodia, Brighton Beach Memoirs and Places in the Heart.
RAUL DAVALOS (Editor) edited the first and second seasons of the successful, fast-talking American television series, Gilmore Girls, before leaving to become one of the editors of Dreamcatcher.
Davalos edited Via Dolorosa, directed by veteran cinematographer John Bailey, which screened at the Sundance Festival in 2000 and Cronos, directed by Guillermo del Toro, which won a prize at the Cannes Film Festival.
Dreamcatcher is Davalos' eighth film with Carol Littleton. Their seventeen-year collaboration began in 1985 on Lawrence Kasdan's Silverado. Davalos worked with Littleton on Vibes, The Accidental Tourist, White Palace and China Moon, and became associate editor on Benny and Joon and Wyatt Earp.
His television credits as an editor include Blue Ridge Fall, an independent film televised on HBO, Judas, and several films directed by Douglas Barr: Conundrum for Showtime; Love Lessons, Switched at Birth, Half a Dozen Babies and Cloned.
Davalos was born in Havana and grew up in Key Biscayne, Florida. He first studied pre-med, but changed direction after seeing The Godfather and A Clockwork Orange. He attended the London Film School and edited commercials in Florida before moving to LA.
STEPHEN DUNN (Co-Producer & 1st Assistant Director) was the 1st Asst. Director on Lawrence Kasdan's Mumford and Wyatt Earp. Dreamcatcher is his sixth collaboration with Kasdan, with whom he first worked on The Big Chill.
Dunn was recently associate producer, as well as 1st Asst. Director, on The Shipping News, his fourth film for Lasse Hallstrom. He was 1st Asst. Director on Chocolat, The Cider House Rules and Something to Talk About.
His credits also include What Dreams May Come, One Fine Day, Kansas City, A Little Princess, Falling Down, Dying Young and Dances With Wolves.
Dunn started as Tom Laughlin's assistant on Billy Jack Goes to Washington. He worked for Paul Schrader on Blue Collar, Hardcore, Cat People, American Gigolo and Patty Hearst. He edited the Robert Altman films Fool for Love and Beyond Therapy and recently produced the independent film Final for Campbell Scott. He is a graduate of U.S.C.'s School of Cinema.
CASEY GRANT (Co-producer) acted as executive producer on Snow Dogs, co-producer and production manager on the John Frankenheimer feature Reindeer Games and Excess Baggage, and as production manager on Double Jeopardy, Along Came a Spider and Cool Runnings. Grant also served as unit production manager on Run, Leaving Normal and This Boy's Life, and as associate producer/production manager on the films The 13th Warrior, Carpool and Man of the House.
JAMES NEWTON HOWARD (Composer) recently scored Treasure Planet, his third feature film for Walt Disney Features Animation after Dinosaur and Atlantis, The Lost Empire. Howard has scored more than 65 feature films and earned five Academy Award nominations. Among his most celebrated contributions to film music are the Oscar-nominated scores for The Fugitive, The Prince of Tides and My Best Friend's Wedding. He has also written the Oscar-nominated songs "Look What Love Has Done" (from Junior) and "For the First Time" (from One Fine Day).
In addition, his evocative music has enhanced such films as Signs, The Sixth Sense and Unbreakable for M. Night Shyamalan, America's Sweethearts, Big Trouble, Snow Falling on Cedars, Devil's Advocate, Liar, Liar, Space Jam, Primal Fear, Restoration, Falling Down, Wyatt Earp, Dave, Alive, Glengary Glen Ross, The Man in the Moon, Dying Young, Grand Canyon, My Girl, Pretty Woman, Flatliners and Everybody's All-American, among others. His credits also include scores for the upcoming films Who Shot Victor Fox and The Palace Thief.
Howard began his music studies at age four. He continued training at Santa Barbara Music Academy of the West and at U.S.C School of Music as a piano performance major. He completed his formal education with orchestration study under the legendary arranger Marty Paich. He subsequently began his industry career performing as a keyboard artist for Melissa Manchester and Elton John. He toured with the latter superstar in the 1970s and early 80s. Additionally, he worked with such legendary artists as Barbra Streisand, Diana Ross, Rod Stewart and Bob Seger.
For television, Howard has composed and/or written memorable themes for which he has garnered two Emmy Award nominations for the series ER.
WILLIAM CORSO (Make-up Artist) was a key character make-up artist on How the Grinch Stole Christmas, Planet of the Apes and Life, all collaborations with the legendary Rick Baker.
Corso's credits as a make-up artist include Frank Darabont's The Majestic, D.J. Caruso's The Salton Sea, Milos Forman's Man on the Moon, Steven Soderberg's Out of Sight, Steven Spielberg's A.I.: Artificial Intelligence and Amistad, Joel Schumacher's Batman and Robin, and the upcoming Bruce Almighty, directed by Tom Shadyac and starring Jim Carrey.
Corso spent ten years at Steve Johnson's XFX - the company which created the monsters in Ghostbusters and The Abyss - where he became an art director and head make-up artist. The collaboration resulted in two Emmys for outstanding achievement in make-up, for the Stephen King mini-series The Stand and The Shining.
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