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植入記憶晶片
攝錄畢生片段
纏繞心魔之謎
由不尋常<記憶剪輯任務>解開
《絕命改造》
11月25日 直擊真相
內容簡介:
隨著科技的發達，一種名為生命晶片(Zoe Implant) 、可以讓人類任意改寫自己一生的新產品，終於面世。只要在一個生命尚在母胎的時候，在他的腦部植入一塊晶片，這塊晶片就像攝錄機一樣，記錄下此人一生的所有片段，晶片在他死後取出，再由專業的剪接師按照他家人的要求，剪輯出最美好的人生片段，此人從此流芳百世。生命晶片在推出後，立即成為有錢階級的流行玩意，但亦有反對者認為晶片是為炮製悅目回憶而捏造真相的工具，他們相信記憶應隨著死亡而灰飛煙滅。
艾倫克曼 ( 羅賓威廉斯 飾 ) 是行內最受歡迎的剪接師，他最擅長將客人的一生塑造成一個聖人那樣完美。有一天，他為晶片製造公司「慧眼科技」高層班查理剪輯回憶片段，卻從班的晶片紀錄中發現了可以解開他童年意外之謎的線索，原來艾倫一直被這個有關死亡的意外事件困擾著，他決心要找出事情的真相，但代價卻是必須以性命作抵押。與些同時，反晶片組織代表弗查 ( 占卡維素 飾) 要求艾倫交出班的晶片，因為班的晶片紀錄是攻擊「慧眼科技」最有力的武器，但艾倫的女朋友迪萊娜 ( 美娜蘇雲路 飾)卻弄壞了班的晶片…..
有關導演和演員：
觸目新秀奧馬尼安自編自導 一鳴驚人示範作
《絕命改造》是新晉導演奧馬尼安的銀幕處女作，現年只有二十七歲的他原籍黎巴嫩，童年在約旦、塞浦路斯、黎巴嫩等地渡過，後於美國受教育，現居於洛衫磯。此片的構思早於他讀大學期間已經盟生，後來用了多個月的時間寫成劇本，並寄去法國參加Equinox Project，Equinox Project每年舉辦兩次，每次選出十個劇本，然後從世界各地邀請十個有名望的電影幕後工作者以及劇本的原創者，一起聚首於法國南部，舉行工作坊。奧馬的劇本得到其中一個電影工作者的賞識，他將奧馬引薦給曾監製《性書狂人》的歷克韋斯勒，歷克收到劇本後的第二天，即致電奧馬，傾談合作事宜，並邀請奧馬親自執導，因為奧馬對劇本的透徹理解和那份熱誠，是導演此片的最佳人選。此外，《絕命改造》更榮獲法國杜維爾電影節 (Deauville Film Festival) 最佳劇本獎。
《絕命改造》構思獨特，戲中本來各不相關的人因晶片而互相牽連，劇情層層推進，結局出人意表。晶片是說整齣戲最重要的元素，不但是故事發展的軸心，亦是發人深思的關鍵所在。晶片可保留美好的回憶，讓人名垂千史，但亦可成為竄改歷史、隱瞞真相的工具，而且植入晶片與否是由父母決定，但這是一個明智的決定嗎？假如生命晶片真的面世，我們又會如何抉擇？藉著晶片，奧馬提出了我們將來可能有機會面對的問題，的確發人心省。
羅賓威廉斯
羅賓威廉斯自《白夜追兇》、《戀相狂》後，繼續扮演偏鋒角色，這次他將一個冷漠陰沉但又備受童年陰影折磨的剪接師演繹得絲絲入扣。其實羅賓威廉斯從影至今，飾演的角色極之多樣化，無論是滿腔熱忱的中學老師、搞笑滑稽的肥媽卧底、狡詐變態的狂徒兇手、或是感情豐富的機械鐵人，都維肖維妙。
羅賓威廉斯的演藝事業始於70年代在電視台任棟篤笑演員，曾獲得四次艾美獎殊榮，80年代開始晉身大銀幕，憑《早安，越南》及《暴兩驕陽》得到兩次奧斯卡提名。踏入90年代，羅賓威廉斯在影壇更趨活躍，參演多部電影，其中《天涯淪落兩心知》及《肥媽先生》分別為他贏得兩個金球獎，而他更憑《驕陽似我》勇奪奧斯卡最佳男配角獎，其精湛演技得到一致肯定。
美娜蘇雲路
美娜蘇雲路在片中飾演羅賓威廉斯的女朋友，屬於思想獨立的智慧型女性，和她本人有幾分相似。美娜蘇雲路可說是荷里活少數才藝兼備的女明星，她畢業於哈佛大學，主修東亞語言及文明研究。其後加入演藝界，演過電視劇、電影、舞台劇，並身兼監製等幕後工作。
1995年，她憑在活地阿倫自導自演的《無敵愛美神》中飾演一個頭腦簡單而心地善良的應召女郎而囊括金球獎及奧斯卡最佳女配角獎，她亦在多部電影擔當要角，其中包括《幕後謊言》、《愛情尤物》及《血仍未冷》等等。
占卡維素
占卡維素在戲中扮演一個亦正亦邪的激進組織策劃人，和老戲骨羅賓威廉斯有多場對手戲，卻毫不怯場。原來在此之前他已在影圈浸淫了一段日子，憑《受難曲》而聲名大噪，成為荷里活最炙手可熱的男演員之一。他在1999年《狂林戰曲》中的表現已令人留下深刻印象，自此片約不斷，演出的電影包括《拉闊愛的人》、《絕世荒劇大報復》、《最高罪狀》等等。
《絕命改造》
11月25日 直擊真相
| 演員： | 羅賓威廉斯 ( Robin Williams ) 美娜蘇雲路 ( Mira Sorvino ) 占卡維素 ( Jim Caviezel ) |
|
| 導演： | 奧馬尼安 ( Omar Naim) | |
| 監製： | 歷克韋斯勒 ( Nick Wechsler ) | |
| 編劇： | 奧馬尼安 ( Omar Naim) | |
| 攝影總監： | 藤本特 ( Tak Fujimoto ) | |
| 剪接： | 迪迪雅倫 ( Dede Allen ) 羅拔貝奇 ( Robert Brakey ) |
|
| 製作設計： | 占士滋安隆 ( James Chinlund ) | |
| 服裝設計： | 蒙妮卡普康瑪 (Monique Prudhomme ) | |
| 音樂： | 拜仁泰勒(Brian Tyler) | |
| 發行： | Lark Films Distribution Ltd. | |
| 級別： | 待定 | |
| 片長： | 96分鐘 | |
| 香港官方網站： | www.filmfinalcut.com |
FINAL CUT
Opens November 25
Written & Directed by
Omar Naim
Starring
Robin Williams
Mira Sorvino
Jim Caviezel
Mimi Kuzyk
Thom Bishops
FILMMAKERS
Writer/Director ... Omar Naim
Producer ... Nick Wechsler
Executive Producer ... Nancy Paloian-Breznikar
Director of Photography ... Tak Fujimoto
Editors ... Dede Allen
Robert Brakey
Production Designer ... James Chinlund
Costume Designer ... Monique Prudhomme
Music By ... Brian Tyler
CAST
Alan Hackman ... Robin Williams
Delila ... Mira Sorvino
Fletcher ... Jim Caviezel
Thelma ... Mimi Kuzyk
Hasan ... Thom Bishops
Dear Customer,
Welcome to the Zoe Tech Family. You have made an important decision - you have purchased a Zoe Implant for your unborn child. What does this mean? Immortality. Our patented Zoe Chip will be placed in your child's brain at birth to record everything that happens in their life. No longer do our cherished moments have to fade and disappear over time.
A Zoe Chip is an implant that records your entire life. When you die, the footage from your life is edited into a "Rememory", a film shown at your memorial pieced together by an editor. A toy for the privileged, Zoe implants are changing the face of human interaction, but there are those who are against this technology, and believe that memories are meant to fade.
Alan Hackman (Robin Williams) is the best "cutter" in the business, his ability to grant absolution to his often corrupt clients, has put him in high demand. However, his talent for viewing life without emotion has shaped him into a distant man and has made him unable to experience life in the first person. He believes he is a "sin eater" and his work provides him with the ability to forgive the sins of the dead. He hopes that if he exonerates others, he will somehow forgive himself.
While cutting a Rememory for a high-powered Zoe Tech officer, Alan discovers an image from his childhood that has haunted him his entire life. This discovery leads Alan on a high intensity search for truth and redemption.
ABOUT THE PRODUCTION
Omar Naim's "The Final Cut" is startlingly different than a conventional science fiction film. It's a compelling fable that offers a vision of the world where memory implants record all moments of a person's life. Post mortem, these memories are removed and edited by a "cutter" into a film, depicting the life of the departed, for a commemorative ceremony called a "Rememory". It is a story that forces us to question the power of our memories and the sanctity of our privacy.
"The Final Cut" came from the fertile imagination of twenty-six year-old writer / director Omar Naim. He was in college working on his thesis film, a documentary called "Grand Theater: A Tale of Beirut" when he first began to think about this story. "I was editing my film," Naim explains, "and I had the privilege of being the only person on the Avid for about six or seven months. I got to really take my time and I had done a lot of research before starting the documentary. I read a lot of books about documentaries and had watched many. There is a false myth of objectivity that became very apparent as I was cutting the film. I had done all of these interviews and realized by moving pieces around and intercutting, the context of what people were saying completely changed. This is not a big realization. I think a lot of documentary filmmakers realize this pretty quickly."
It was while he was immersed in the documentary filmmaking process, separated from his family, that Naim's idea for the story began to take shape. "There are a lot of things I do not know about (my family), that perhaps as an interviewer, I could get out of them. I started concocting this plan to shoot 20-hour interviews with my family. Have each of them tell me, basically, the story of their lives. That way, I would always have a record of it." Ultimately he did not document his family in that way because, as he explains, "I found it a little morbid." But the seed for the idea of "The Final Cut" had been planted. As Naim continues, "I find it a very human need to keep track of memory through images. I think when you combine this need with the power of editing in a so-called subjective image, the representation of our memories are not very truthful. It really started to expand in my mind to the point where I felt that there's no way I can do this justice. This idea is too big for me," he says with a laugh. "Then I put an enormous amount of pressure on myself to do justice to all the layers available with an idea like this and that's what led to writing a script, and then rewriting and rewriting, and rewriting…"
With his task before him, Naim quit his job to devote himself to writing full time. He wanted to give this story, the time and attention it deserved. After a few months of writing and rewriting Naim submitted his work to The Equinox Project in France, where it was accepted. "It's like Hogwarts for films," Naim says of his experience, "I mean, it's a dream place for young filmmakers. It happens twice a year, they accept ten screenplays then fly the writers over to this castle in the south of France. They also bring in ten established filmmakers from all over the world and you workshop your script for a week, one on one with all these people." He goes on to describe his situation, "I had no agent, no manager, and no producer. The generosity of the advisors at Equinox were really instrumental in making this film happen. One filmmaker, Jonathan Nossiter, whose film 'Sunday' won the grand prize at Sundance several years ago, had made a film with Nick Wechsler."
Being very enthusiastic about the script, Nossiter convinced Naim that he should send the script to Wechsler, whom he felt was very trustworthy with this kind of material. Naim agreed to do so but as he explains, "I didn't send it. I mean, people say that all the time, 'You should send him the script.' I got back to L.A., and I didn't send the script. Jonathan called me again and said 'Did you send the script to Nick? He's expecting it." So I sent the script. The next day Nick Wechsler sends me an email, which I still have. It's one sentence," he laughs, "Read your script, loved every beat, I'll call you.' So he calls me up and says 'Who else has read this script?' I said nobody. He asks if I can come in that day, which I did. I was extremely nervous."
Producer Nick Wechsler recounts the meeting. "He was totally prepared. He came in with wonderful storyboards and after a while he finished writing a kind of treatise on how he was going to make the movie." As for his enthusiasm toward Naim and his script, Wechsler says, "It's been part of the journey of my career to find new filmmakers and helped them emerge. It all starts with the material and my evaluation of the individual and their passion to see whether or not they are ready for the task of directing. I found in Naim endless enthusiasm. He was very smart when talking about the material. We spent a lot of time talking about his vision for the look, the editorial, the sound design, how he saw the evolution of the characters and after several discussions I knew I would be able to sell him as the filmmaker. When I asked him if this would be a movie he'd be interested in directing, he told me that was why he wrote the script. I said, all right, I'm going to get it done for you and I set about putting the movie together."
As they began to assemble the creative team behind "The Final Cut," it began to dawn on Naim how fully he could realize his dream. He explains, "I met with Nick and he said, 'Come up with a list of cinematographers you'd like to work with.' I came up with a list that I thought were gettable. Then at the bottom, I put, 'These are my idols, and I'm just putting them on here.'" At the top of Naim's dream list was legendary cinematographer Tak Fujimoto ("Silence of the Lambs," "Philadelphia," and "Devil in a Blue Dress"). Agreeing with Naim's choice, Wechsler sent the script to Tak Fujimoto, who read the script and agreed to meet. "At that point," Naim explains, "I had the storyboards and all sorts of stuff. We talked for about an hour and he said, 'You have a very good script, you are very prepared. I think it'll be a great adventure. Let's do it." "He's been a wonderful mentor," Naim says of his collaboration with Fujimoto. "He's such a pleasure to work with and he's making the film look amazing. We have a very tight schedule for an extremely ambitious film and it looks fantastic."
"My objectives for the film were simple, but they became very complicated," Naim explains, "I like films that ask a question. I think the ability to discuss this film is a huge part of the fun of it."
"When I was writing the film, which focused on editing, I thought, 'Wouldn't it be great to get a legendary film editor to do this?' And then a name came to me, what about Dede Allen? I saw 'Wonder Boys' when I was still writing the script and said 'Oh, she's cutting again.' She had stopped for awhile. I loved 'Wonder Boys' and said, 'What the heck, let's send it to Dede Allen." We sent her the script and she loved it. We met with her and talked for three hours.
After meeting the enthusiastic young director, Allen ("Bonnie and Clyde," and "Dog Day Afternoon,") explains that though it was a very original and interesting script, it wasn't necessarily the "cutting" aspect of the story that interested her. "I found the script to be unusual, different, very challenging." Allen remembers, "I realized I would probably do a good job on it because I'm very much of a character cutter. You know, I'm an actor's kind of person and that was always important. I could do chases--I call that dessert." She laughs, "But it's really about trying to get the characters to be the people. If you have good actors, which we did, then you can achieve this. Robin is phenomenal and the other actors all seem to fit in around Robin. His relationship with Delila is charming. He's a fifty-one-year-old man, but he's very youthful. He's reserved, kind of a loner in the sense that he does this very strange work which is editing." Explaining intricate plot elements of the film, the abstruse relationships between the central characters, and the timeless imagery in the film was exciting, "and that," says Allen, "is how I got involved with this film."
Working along side Allen as a co-editor is Rob Brakey. "For me it's a lot like winning the lottery." Brakey says of his chance to work with the legendary editor. "It's like getting an opportunity to play piano with Mozart. She's an icon. When I first came out to Los Angeles, I knew whom Dede Allen was. I knew her work and to get a chance to meet someone like that is very exciting. To get a chance to work with someone like that is a once in a lifetime opportunity. I have a reverence for her and her work. The way she does her job has influenced every editor I know."
It was Dede Allen's attention to characters in the story and collaboration with the director that was the most significant for Brakey. "We always talk about the characters and we talk about where the characters are in a certain point of the story." Brakey explains, "In this film we shot the end first, which is interesting, it's like dropping the needle in the middle of a song and trying to figure out what note you're on. We were always talking about characters and how far in whatever direction we want this character to go. Brakey further describes how the editing and editors are such a central part of the story, his professional experience became very useful in defining the characters in the film. "Because it's integral to the story Omar would ask us questions about what an editor's personality is like. What will Alan Hackman be like? What kind of little personality quirks will he have that maybe a lot of editors have? So he'd ask us, you know, what kind of people are we because, he wants the editors in the story to reflect that." Brakey further describes the effectiveness of this kind of observation, "Dede has a lot more experience as an editor than I do, obviously. It's kind of funny. We'll actually watch some dailies and we'll see the way a character does a line or a little mannerism or something and we'll say, 'yeah, that's an editor.' When they get to Alan's apartment, its very clean, clinical and kind of like a hospital, and that's kind of what an editing room is like. It's very clean and organized because it's like a giant library. You have to keep it very organized so you can free your mind to think about how you're going to use all this footage.
The significant difference between a film editor and a "Zoe cutter" is a cutter is not putting together specific scenes scripted for a narrative but rather creating a narrative assembled out of the events of an entire life. Brakey discusses how he accomplished the task in order to portray such a monumental assignment in a believable way, "What's the criteria?" he asks, as a question a cutter must face, "What makes a moment valuable, as opposed to just a moment? How much of it is actually really dramatic anyway, I mean you don't really think of your day-to-day life as being anything dramatic. I'm sure there are some good scenes, but the majority of it would be pretty tedious actually. Like how many hours of Zoe footage is staring at stoplights, or, waiting in grocery store lines and, washing your car and that kind of thing."
The process for Brakey became even more intriguing because as each "life" in the film was condensed down into a two-hour rememory with Allen's attention to characters, the segments were much more than just movies within a movie. "What's interesting about the Rememory footage is that it becomes, in a way, the characters." Brakey explains, "They're characters that you never meet, and you never see, but they play in the story through their Rememory footage. Danny Monroe (one of Alan's clients) and Bannister (the executive whose Zoe footage Alan agrees to cut) are both very much characters in the story. Their rememories kind of serve as characters."
The "Zoe" footage has an identifiable look to give the audience a sense that they are seeing through an unseen character's point of view. Brakey explains, "The Zoe footage will look quite different from the rest of the film. The footage is shot on video and has a counter at the bottom with the person's name-- D. Monroe, forty-two years, 168 days, twelve hours. It'll give the audience a kind of a unique way of getting into somebody's head immediately, then coming back out and in a way that I don't think has really ever been done before. It's more than a POV shot. It's actually getting into a character, its getting behind their eyes and seeing a scene from their perspective directly. It's very interesting."
The overall look of "The Final Cut" is something that the script does not describe in great detail yet it is something that director Omar Naim clearly regarded with a very specific vision. Though it may be described as a science fiction story that is not necessarily futuristic. Producer Nick Wechsler says, "'The Final Cut' is more of a drama than it is science fiction. It really has only one science fiction element and that is the implant device that exists in (the story's) present world. We're not trying to create a future or an alternative world. What we're trying to do is create, what is basically a fable." It is a story that Naim has described simply as happening in "another time and another place." To create the look of this "time and place" Naim turned to the talents of production designer James Chinlund.
Shot entirely on location in Vancouver, British Columbia, using practical locations as often as possible, Chinlund was able to establish a wide variety of looks that are untimely and difficult to identify as any specific era or locale.
"James Chinlund had worked with Nick Wechsler twice, on 'Requiem for a Dream,' and 'The 25th Hour.' Director Naim recounts, "Nick suggested him because he knew I needed someone very special to design this film. Very early on, after writing this script, I decided, "The obvious thing to do, with this film - is to go cold, sleek, and sharp, and angular. That's what everyone does. But this is a film about a world drenched in nostalgia, that's the concept. It's idolizing the past. So what I wanted was a film that looks like a memory of a film."
Before Naim actually had the chance to meet Chinlund face to face he spoke to him several times on the telephone to discuss different possibilities. "Even if what's happening is dark," he told Chinlund, "It should look like we are remembering this film." Naim recalls, "The other way I had been describing this story is, it's like a period piece made 100 years from now, about 150 years ago. The first thing James said to me was, 'Wouldn't it be great, if the "guillotine" (the cutters primary editing bay), was carved out of wood?'"
Chinlund knew that coming up with the design for the guillotine was important in determining the look and the feel for many other aspects of the film. As he describes these early meetings, "The guillotine was the first thing I talked about with Omar, and I think it's obviously the central challenge of the film, in terms of its design. Part of what I was thinking was this idea of craftsmanship, taking technology, and couching it in the familiar. So the flat screen is still there. The tech elements are still there, but sort of housing them in a handcrafted casing. I was thinking about it more as a musical instrument. It is much more physical. It shows history, it shows age. We were excited about being able to put those two ideas together. It's right there, both layers - the future and the past."
The other element of the film that has its unique and significant look is the Zoe implant recordings. The footage for the special Zoe point-of-view was created by a directing unit called the Zoe Unit, headed up by second unit director Rob Turner. "The 'Zoe Unit' on this movie is a unit that captures the points of view of all of the characters that have chips implanted in their heads. The unit is capturing, all the memories, and all of the 'Zoe' footage."
To give the Zoe a look that is different from the more objective shots in the film the unit shot all their footage on a 24P digital camera. "It's not unlike a consumer digital handycam," Turner explains. "It's digital video. It's a fantastic camera. It has a film like look, but digital. The choice was made to go with this camera on this movie, because it gave an image that wasn't digital video. After a lot of testing it was determined to be the camera that delivered the right kind of look for the Zoe implant. It didn't look like what you are traditionally used to seeing as video, but it had a quality that certainly wasn't film.
The filmmakers felt equally blessed when it came time to cast the film. As producer Nick Wechsler puts it, "I think the movie god shined down on us when it became apparent that we were going to be able to get Robin Williams to play the role of Alan." Omar Naim agrees completely. "Robin Williams is a genius, in case you all didn't know," he laughs. "My idea of the character changed drastically from when I wrote it," Naim continues, "When I first wrote it I was into the idea of the character being kind of distant, you know… cool. But with Robin, he's a human being. The way he plays the character is human and so devastating."
As for what attracted Robin Williams to the role of Alan Hackman, like the filmmaker, it was Naim's script. "It's basically why I'm in." Williams explains, "I was finding myself surprised at every turn, which is great. Plus the idea of that technology. It seems in the last couple of months there have been a lot of articles about the idea of implants, either memory monitors or things that would be augmenting memory. That's fascinating, as is the idea of subjective versus objective memory."
Wechsler agrees with the timeliness of the project, adding, "One of the things we found as we were developing the movie is all the articles that appeared about, say, a chip to track individuals. To track their events, track their health, and basically monitor people that, right now, are employees of the Pentagon or of the CIA, but will extend further and be a device which is used at some time to track everybody's lives, I guess, if they're willing. The project is an extension of what's happening today with reality television." Williams agrees, saying its, "the ultimate home movie. It started off with digital photography, where people now catalog a lot of digital video and share their archives on their own website. Instead of having fifteen minutes of fame you can kind of augment that with people putting cameras in bedrooms, to see everything."
In casting the pivotal role of Delila, the filmmakers knew that they would need someone that could not only stand up to the complexity of the Alan Hackman character, but also have a lot of life experience. As Wechsler explains, "We needed an actress that radiated a lot of intelligence, a lot of vulnerability and would be a good pairing in terms of physical chemistry, even psychological chemistry, with Robin." They decided on Academy Award winner Mira Sorvino. "Mira had the right chemistry with Robin Williams. We knew that from the beginning."
Her diversity as an actor is what also convinced Naim to cast Sorvino in the part. "Mira Sorvino is just an amazingly intelligent, skilled, talented woman," Naim says. "And this part she's playing is a good combination of many of her skills that she's had in many different films. Her humor, her intelligence, her warmth, her sexuality, her sexiness, but the thing I'm realizing that excites me is the material has attracted really smart people. Delila on the page was never as interesting as Delila on the screen." For Sorvino, it was her initial meeting with Naim that really attracted her to the project. "The first time I met Omar, I was delighted." Sorvino remembers, "Often, first-time directors are either insecure, or pompous." She laughs, "He was neither. He had written this incredibly brilliant script, had these great ideas for it, was very confident, and yet very at ease with himself. He invites you to play. He is not threatened if everybody is experimenting a little bit - which makes for a very interesting stew. Because Robin will ask for an extra take, or I'll ask for an extra take. And we'll try something new. Sometimes it's no good and other times something new and good is discovered. Omar is completely open to anything. It's very nice to see such a confident young director who is so on top of his own material, and yet so open to inviting us to the table." Sorvino continues, "The funny thing is, although he might call it his 'little film' to me it feels like a big film - a big, important movie. There is a darkness to this world he created. There's also a real poignancy, so I don't think of it as 'a little film' at all."
It was the multi-layered character, Delila, whom she clearly has a deep understanding of, as well as the themes of the story that convinced her that this was a part she wanted to play. "She is not as judgmental as, like, the Jim Caviezel character, Fletcher," Sorvino explains. "She runs an antique bookstore, a used bookstore, and she is interested in texture, story, authenticity, and - preserving things in their frail reality, rather than the reconstituted simile of a life. However, I think she also wants to know, and in fact I have the line in the script, 'What are people's lives like? Do they make any sense?' Actually, she is almost asking him, 'Being able to see so many lives, do you know something more about life, than the rest of us? Because, for all of us, we seem to be muddling through it, a little bit lost, and hoping that there is some grand scheme to it. He's this editor, though, who is putting - imposing maybe - structure on lives. There is something almost godlike about what he is doing. He is finding the destiny in people's stories - which I think attracts her. At the same time, she is a little frightened of it." As for the experience of working opposite Williams, Sorvino says, "He is a wonderful actor. And in this movie, I think people will really see him give a very nuanced performance. I don't think you can really compare it to anything he has done yet. His character is a conflicted man, who has a very good side, and then a very remote side. He is fighting his own demons. He is really struggling with them, but he is making an effort to grow, and to reach out. He's fascinating, he's enigmatic yet there are these moments of warmth that really draw you in."
Then, Sorvino admits, when the camera stops rolling she is no longer in the presence of the mysterious and solemn Alan Hackman, but Robin Williams. "He is the most generous collaborator, as an actor, I have ever worked with," she says. "He is so kind-- and hysterical. I would literally have tears in my eyes because he is so hilarious. I mean I have never seen someone with the natural comedic gift that he has. She also acknowledges his respect for the subject matter. "On the super dramatic days, where there is some really big revelation that has to happen, or some really emotional moment that's really tender and needs, you know, delicate handling - he won't go into that hilarious stuff.
Wechsler also could not help but comment on Williams' ability to have fun entertaining the other cast and crew members then, in an instant, snap right back into character. "Robin does go off, pretty much between every take," he says "and I think it's a way of releasing a lot of pent-up energy, which then allows him to be in a more relaxed, focused state for his dramatic lines." Wechsler also acknowledged the great amount of respect that Williams would show for the entire crew and that they in turn had for him, "We view Robin as one of the world's great actors. What we didn't expect and what has been one of the great surprises of the movie is how entertaining and generous he is on a daily basis," Wechsler says.
The cutters in the world Omar Naim created are, in a sense, a community of people that all have a great deal of respect for each other's talents. They have in common a view of life and mortality that outsiders may not understand. The center of this community is Thelma. To play the matriarch of this story the filmmakers cast respected Canadian actress Mimi Kuzyk. Thelma has a very unique relationship with all of the cutters, and of her connection with Alan Hackman, Kuzyk says, "Oh, she and Alan go way back. We have talked about it. That they probably go back, I don't know, 20, 25 years. I think probably we were contemporaries and use a different method of 'cutting' but I think we like each other a lot. Thelma is as close to Alan, as anyone gets to Alan. She loves him - as friends. And they respect each other enormously."
The creator of the style that so illustrates each of the characters and is a key element in defining the film is costume designer Monique Prudhomme. "The main idea working with production designer James Chinlund is we wanted to create a movie that is ageless so you couldn't pinpoint the period." Prudhomme explains, "It's a science fiction theme, but instead of going to the leather jump suit and an invention of a world that does not exist, we preferred to create a world that we know but is timeless. The wardrobe and the styles we're using go from the 30's to the 80's and we are shamelessly mixing everything. So we cannot ever pinpoint this is a 50s outfit or this is a 40's gown, it made the look seamless.
The color scheme that the designer agreed upon to identify the film is simply a season rather than a period. The main narrative of the film is set in Fall with earth tones and wool whereas the flashback segments tend toward the lighter fabric and colors, more like summer. As Prudhomme explains, it is "so the viewer will be able to see the difference between past and present."
Prudomme describes her attention to detail in designing the look that would define a character through all the changes in the story. "It's interesting," she says of the process, "we were all inspired by European movies and film noir. The men were more formal than they are now. So what we did for Robin's character, because he is so closed in at the beginning of the movie, is we created a three-piece suit for him. We can buy suits but also we can make them. Three-piece suits are not that fashionable and for Robin's character it needed to be perfect. We chose the fabric, then had it tailored to fit him to the millimeter. However he wears it, it will always fall right. That becomes the armor he needs as a character to shield himself from the world."
Prudhomme then describes how her designs contribute to the evolution of the character. "As the movie goes through this catharsis, there is a rejection of love, then the redemption of love and the rest his wardrobe gets deconstructed. He loses the three-piece suit. He loses the jacket, he loses the vest, and then the colors change. From white we go to gray, then blue. Then we go to much warmer colors so that by the end of the movie he wears the same colors as Delila. We created a transition for him that works really well."
Individuals in every department, cast and crew would identify a single source for their own energy and the enthusiasm on this project and that was the imagination and drive of the young writer, director Omar Naim. As Wechsler put it, "The one thing I'm sure about in developing and making the movie up to this stage is that Omar's a real filmmaker. It's hard to compare Omar with any filmmaker that I've worked with or any filmmaker that's already out there. Omar's distinct and will have, a unique and successful career. We'll be hearing a lot more from him in the next twenty years."
ABOUT THE FILMMAKERS
OMAR NAIM (Writer/Director)
"The Final Cut" marks Omar Naim's feature film directorial debut. A Lebanese filmmaker based in the United States, Naim was raised in Jordan, Cyprus and Lebanon. He attended Emerson College in Boston where he made the Student Academy Award nominated documentary film "Grand Theater: A Tale of Beirut." His early experience included serving as cinematographer on several low budget short films and one feature.
Naim, born in 1977 to a journalist father and an actress mother, currently lives in Los Angeles, California.
NICK WECHSLER (Producer)
Nick Wechsler launched his successful producing career with a pair of seminal features that ushered in a new era of independent filmmaking in Hollywood: "Sex, Lies, and Videotape," a Cannes Film Festival Palme d'Or winner, and "Dugstore Cowboy," both in 1989. That same year, his high-profile production operation merged with best friend Keith Addis' thriving management business and Hollywood history was made when Addis-Wechsler and Associates became the first firm to combine top-notch talent management and first-rate feature film and television production into one innovative, dynamic and multi-faceted entity. In 1998, the company rechristened itself Industry Entertainment.
Wechsler's producing and executive producing credits include the following slate of acclaimed films: Spike Lee's "25th Hour" starring Ed Norton, Philip Seymour Hoffman, and Barry Pepper; Philip Kaufman's film "Quills" (2000, National Board of Review Award for Best Film) starring Geoffrey Rush for which he was nominated for a Best Actor Oscar, Michael Caine, Joaquin Phoenix, and Kate Winslet; "Requiem for a Dream," Darren Aronofsky's film for which Ellen Burstyn was nominated for a Best Actress Oscar; "The Player" (1991, National Society of Film Critics Best Film, Golden Globe for Best Motion Picture Comedy); James Gray's film "The Yards" for Miramax starring James Caan, Joaquin Phoenix, Charlize Theron, and Mark Wahlberg; "Little Odessa" (1995, Venice Film Festival Silver Lion Award); John Herzfeld's "Fifteen Minutes," starring Robert DeNiro, Ed Burns, and Kelsey Grammer for New Line; "Love Jones" (1997, Sundance Film Festival Audience Award for Best Film) and "Eve's Bayou" (1998, Independent Spirit Award for Best First Feature). Other credits of Wechsler's that have pushed the artistic envelope include Michael Tolkin's "The Rapture," "The New Age" and Steve Buscemi's "Trees Lounge."
NANCY PALOIAN-BREZNIKAR (Executive Producer)
Nancy Paloian-Breznikar executive produced the critically acclaimed "Antwone Fisher" directed Denzel Washington. She served as co-producer Twentieth Century Fox's "Dude, Where's My Car?" starring Ashton Butcher and Sean William Scott and Fox Searchlight Pictures' Penelope Cruz stirrer "Woman On Top." Paloian-Breznikar's co-production credits include Twentieth Century Fox's "Drive Me Crazy," directed by John Schultz, "Best Laid Plans" starring Reese Witherspoon and Josh Brolin, and "Blunt Force."
Her other credits as a line producer include "Lured Innocence" with Dennis Hopper and Talia Shire; Martin Bregman's "A Weekend In The Country," starring Jack Lemmon and Dudley Moore; "The Maker," with Matthew Modine; "Somebody Is Waiting," starring Gabriel Byrne; and the tele-feature Out There with Rod Steiger, Julie Brown and Billy Bob Thornton.
TAK FUJIMOTO, A.S.C. (Director of Photography)
Tak Fujimoto is one of the most respected cinematographers working today. Having collaborated with director M. Night Shyamalan on his groundbreaking box office smash "The Sixth Sense" he again brought his unique visual style to the director's thriller "Signs". Fujimoto is perhaps best known for his longtime successful collaboration with Academy Award winning director Jonathan Demme, for whom he has photographed several feature films including: "Caged Heat," "Last Embrace," "Melvin and Howard," "Swing Shift," "Something Wild," "Married to the Mob," "The Silence of the Lambs," "Philadelphia," "Beloved," "The Truth About Charlie," and is currently at work on Demme's upcoming remake of the classic thriller "The Manchurian Candidate."
He was awarded the National Film Critics Award for Best Cinematography for his work on "Devil in Blue Dress" which was executive produced by Jonathan Demme and Edward Saxon. Fujimoto also served as cinematographer on "That Thing You Do" and "Miami Blues," which were produced by Demme along with Gary Goetzman and Edward Saxon.
Fujimoto's additional credits include "A Thousand Acres," "Grumpier Old Men," "Night and the City," "Gladiator," "Singles," "Crooked Hearts," "Cocoon: The Return," "Sweet Hearts Dance," "Pretty In Pink," "Ferris Bueller's Day Off," "Heart Like A Wheel," "Death Race 2000" and "Badlands."
DEDE ALLEN (Editor)
Dede Allen was born in Cleveland, Ohio on December 3, 1923 and lived in New York City until the age of three when her father, an executive for Union Carbide was killed in an automobile accident.
Dede's mother took Dede and her sister to Switzerland where she spent seven years in a mountain sun school. When she returned to the United States in 1934, French was her first language.
The family lived in numerous places around the country including California where she attended the Dominican Convent in San Raphael for a brief period of time before moving to Pasadena. There she went to Politechnic Elementary and Junior High School.
Dede then returned to her grandparent's home in Cincinnati where she graduated from The College Preparatory School for Girls. She returned to California to attend Scripps College. But after two years was drawn to Hollywood by her obsession with movies and got her first job in film as a messenger at Columbia Pictures.
In the late 1940's and early '50s, while working in the sound effects department at Columbia Pictures, she also spent many nights and weekend hours working in theatre at the Actor's Lab, an offshoot of New York's Group Theatre in Los Angeles.
Dede also got involved in documentary filmmaking. It was on such a project, researching a film on interracial housing toward the end of World War II, that she met her future husband, Steve Fleischman, a freelance documentary writer.
In New York, their film careers and their family life become intertwined. Dede worked for a company called Film Graphics, making industrial films and commercial spots for television, the beginnings of a burgeoning industry. Steve became a network news and documentary producer-writer.
Working in commercial spot houses, Dede learned how to tell a story in 60 or 30 seconds -- and to lay out her own opticals - the forerunner of the kind of special effects we see in movies today.
"It was valuable experience. It stood me in good stead in feature editing in later years," Her sound editing years and the innovative use of sound and picture used in cutting industrials and commercials foreshadowed many of the editing techniques used in films like "Bonnie and Clyde."
In 1951, the Fleischmans had their first child, Tom - in 1953, their second, a daughter, Ramey. Tom became a feature re-recording mixer in New York, a two time Academy Award nominee for sound. Ramey recently had a screen story, My Little Assassin aired on cable television. Today, in addition they have five grandchildren.
After a seven year stint as a Warner Brothers executive, Dede is enjoying her favorite occupation again - film editing.
***
FILMOGRAPHY
1958 Terror from the Year 5000
1959 Odds Against Tomorrow
1961 The Hustler
1963 America, America
1967 Bonnie and Clyde
1968 Rachel, Rachel
1969 Alice's Resturant
1970 Little Big Man
1972 Slaughterhouse Five
1973 Serpico, Visions of Eight ("The Highest" segment)
1975 Dog Day Afternoon, Night Moves
1976 The Missouri Breaks
1977 Slapshot
1978 The Wiz
1981 Reds
1984 Mike's Murder, Harry and Son
1985 The Breakfast Club
1986 Offbeat
1988 The Milagro Beanfield War
1989 Let It Ride
1990 Henry and June
1991 The Addams Family
2000 Wonder Boys
2002 John Q
ROBERT BRAKEY (Editor)
"The Final Cut" is the second feature film for editor Robert Brakey. After graduating from The University of Texas at Austin, Brakey quickly started work on the film "Dazed and Confused", which eventually brought him from Austin, Texas to Los Angeles, California. For the next decade, Brakey worked as an assistant editor and associate editor on over ten films and television series, including "Assassins", "Mulan," "Dinosaur," "Fallen," "Bless the Child," "Frailty" and the first season of NYPD Blue. In that time he had the privilege of learning his craft from some of the best film editors in the industry, including Sandra Adair, Alan Heim, Arnold Glassman, Lawrence Jordan, Sheldon Kahn and Richard Marks. In 2002, Brakey edited his first feature, the independent comedy "Lady Killers." It is an honor for him to be co-editing 'The Final Cut 'with the great Dede Allen. Brakey also regularly contributes articles to publications such as Editorsnet.com and the Motion Pictures Editors Guild magazine. He currently lives in Venice, California with his new wife Alyssa.
JAMES CHINLUND (Production Designer)
Production Designer James Chinlunds has worked with some of the most innovative film makes in the business today. He most recently collaborated with director Spike Lee on the much heralded "The 25th Hour." He received critical praise for his vision and attention to detail, defining the world of Bob for Paul Schrader's "Auto Focus" Additional credits include: Darren Aronofsky's AFI Movie of the Year winner "Requiem for a Dream," Todd Solondz's "Storytelling," Demane Davis' 2001 Sundance Film Festival hit "Lift" and Rob Schmidt's "Saturn." Early in his career he served as the art director on Vincent Gallo's "Buffalo '66."
Chinlund has worked extensively in the world of music videos and commericals. Some of those credits include s music videos for Whitney Houston, Mariah Carey, the Black Eyed Peas, Ben Harper, Kelis, and Sheryl Crow. He has had productive collaborations with many directors in the field including Roman Coppola, Lance Acord, Kevin Bray, Vincent Gallo, and Gus Van Sant.
MONIQUE PRUDHOMME (Costume Designer)
Monique Prudhomme was born and raised in Montreal where she studies fine arts at L'Ecole des Beaux Arts de Montreal.
After graduating she had a contract teaching arts to high school kids. She realized it was not her calling and decided to go into the movies industry by getting a job in the costume department. It suited her more artistic temperament and interest in textiles and tri-dimensional forms. She started carrying the books of Louis Jobin, an award winning Canadian costume designer and production designer.
From there Prudhomme studied her craft by learning from mistakes and success. She moved, for love to Vancouver, where she has been working steadily ever since.
She has designed the costumes for more than 30 projects, from feature films to made for television movies. She was honored by the American Film Institute for her work on "Best In Show". Her other designing credits include "Lizzy McGuire," Snow Dogs," "Trixie," "Alaska," "Neverending Story III," "Needful Things," Stephen King's "It" and many others.
ABOUT THE CAST
ROBIN WILLIAMS (Alan Hackman)
Robin Williams was most recently seen in the critically acclaimed "One Hour Photo," directed by Mark Romanek. Prior to that he appeared in the 2002 releases "Insomnia," directed by Christopher Nolan and starring opposite Al Pacino as wall as in Danny DeVito's "Death To Smoochy."
Williams received both the Best Supporting Actor Academy AwardR and the Screen Actors Guild ActorR award for his compassionate, intelligent portrayal of Dr. Sean McGuire in the 1997 film "Good Will Hunting."
His first feature film was Robert Altman's "Popeye" in 1980. Audiences then embraced a more poignant Williams in "The World According To Garp," followed by Paul Mazursky's "Moscow on the Hudson." Barry Levinson's landmark film, "Good Morning, Vietnam," earned Williams his first Academy Award nomination, with Peter Weir's enormously popular "Dead Poets Society," earning him a second OscarR nomination.
Subsequently, Williams starred opposite Robert De Niro in Penny Marshall's "Awakenings" (bringing him a special honor from the National Board of Review) followed by Terry Gilliam's "The Fisher King," for which Williams received his third Academy Award nomination. He also starred in Barry Levinson's "Toys," Steven Spielberg's "Hook," and Mike Nichols' "The Birdcage."
Williams received Golden Globe Awards for his unforgettable performances in "Mrs. Doubtfire" and "The Fisher King" and also earned a Special Achievement Award from the Hollywood Foreign Press Association for his vocal contributions as Genie in the animated blockbuster feature "Aladdin."
First capturing the attention of television audiences when he guest-starred as Mork on the hit sit-com Happy Days, Williams was quickly signed for the spin-off series Mork & Mindy. Williams, who began his career as a stand-up comedian, has won four GrammyR Awards, including one for Robin Williams: Live at the Met on HBO, the culmination of a 23-city SRO tour. On July 14, 2002, Williams returned to HBO in another Grammy winning performance , Robin Williams: Live from Broadway, his first live comedy special in more than 16 years. He also won Emmy Awards for the television specials Carol, Carl, Whoopi, and Robin and ABC Presents A Royal Gala.
He is active in several humanitarian organizations, and has been a primary force in Comic Relief, an annual benefit to aid the homeless, which has raised America's consciousness, and $50 million to date.
MIRA SORVINO (Delila)
An Academy Award-winning actress with seemingly limitless versatility, Mira Sorvino continues to add to her repertoire of diverse roles.
In 1995, Sorvino left an indelible impression as the unaffected helium-voiced call girl/porn actress, 'Linda Ash' in Woody Allen's "Mighty Aphrodite." For her breakthrough performance, she was honored with Best Supporting Actress Awards from the New York Film Critics Association and the National Board of Review, received the Golden Globe - and ultimately, the Academy Award.
Sorvino most recently appeared opposite Harvey Keitel, Steve Buscemi, David Arquette and Natasha Lyonne in Tim Blake Nelson's drama "The Grey Zone," as an Auschwitz prisoner smuggling explosives to rebels. She also starred in the Bernando Bertolucci production, "Triumph Of Love," opposite Ben Kingsley and Fiona Shaw.
Constantly challenging herself, Sorvino's recent films have included Spike Lee's acclaimed drama "Summer of Sam" opposite John Leguizamo, Antoine Fuqua's action thriller, "The Replacement Killers" opposite Hong Kong star Chow Yun-Fat, Paul Auster's "Lulu On The Bridge" with Harvey Keitel, Willem Dafoe and Vanessa Redgrave. Both "Summer of Sam" and "Lulu on the Bridge" premiered at the Cannes Film Festival.
Additional film credits include Sorvino's role as a scientist in Guillermo del Toro's "Mimic," David Mirkin's comedy, "Romy And Michelle's High School Reunion" with Lisa Kudrow, Gary Winick's critically acclaimed drama "Sweet Nothing" opposite Michael Imperioli, Ted Demme's "Beautiful Girls," a cameo opposite Harvey Keitel in Wayne Wang's "Blue In the Face" and "Between Strangers," opposite Sophia Loren.
In 1994, Sorvino co-starred opposite Rob Morrow in Robert Redford's "Quiz Show." Previously, she co-starred in Whit Stillman's critically acclaimed film, "Barcelona" and in "Tarantella." For her work in "Quiz Show" and "Barcelona," Sorvino was awarded the Premiere Newcomer of the Year Award from the Motion Picture Bookers Club of America. Sorvino's performances in "Blue In the Face," "Tarantella," and "Sweet Nothing," garnered her recognition as "Runner-Up for Best Actress" at the 1995 Seattle Film Festival.
Robert Weiss' "Amongst Friends," an audience favorite at the 1993 Sundance Film Festival, marked Sorvino's feature film debut. Short films include "The Second Greatest Story Ever Told," Brian Cox's "The Obit Writer," and Susan Seidleman's Academy Award-nominated, "The Dutch Master."
Behind the camera, Sorvino has served as associate producer for "Amongst Friends" as well as having co-produced "Freedom to Hate," a documentary about anti-semitism in Russia. Most recently, Sorvino produced "Lisa Picard is Famous," an official entry at the 2000 Cannes Film Festival. Directed by Griffin Dunne, the film is a mockumentary which chronicles the life of a woman in the minutes preceding her 15 minutes of fame.
On television, Sorvino earned 1996 Best Actress Emmy and Golden Globe nominations for her portrayal of the legendary Marilyn Monroe in the HBO production, Norma Jean and Marilyn. She acted opposite Alan Alda in the CBS Hallmark presentation of Neil Simon's Jake's Women. She also appeared with Ben Gazzara and Gena Rowlands in the Showtime production of Parallel Lives, and as 'Conchita Closson' in the BBC mini-series, The Buccaneers, based on Edith Wharton's unfinished novel. The Buccaneers subsequently aired on Masterpiece Theatre. Sorvino also starred as 'Daisy' in A&E's The Great Gatsby which premiered earlier this year.
On stage, Sorvino has appeared in Joyce Carol Oates' GREENSLEEVES and in BEST OF SCHOOLS in UBU Repertory's Festival of New Plays. Most recently, she performed off-Broadway in the Classic Stage's production NAKED.
Raised in Tenafly, New Jersey, Sorvino is a magna cum laude graduate from Harvard University, where she majored in East Asian languages and Civilizations, living for eight months in Beijing and writing a Hoopes Prize-winning thesis on racial conflict in China. After working on social-programs targeting illiteracy and prejudice, Sorvino gravitated towards acting. Sorvino currently lives in Manhattan with her dog, Deer.
JIM CAVIEZEL (Fletcher)
Since his breakthrough performance in 1999 as 'Witt' in Terrence Malick's "The Thin Red Line," Jim Caviezel has rapidly become one of the busiest actors in Hollywood.
In 2001 alone, audiences saw him star in three films. Most recently he starred in Buena Vista Film 's critically acclaimed "The Count of Monte Cristo," and in 20th Century Fox's "High Crimes" opposite Ashley Judd. He also starred opposite Jennifer Lopez in the Warner Bros. film "Angel Eyes".
Jim co-starred with Kevin Spacey, Helen Hunt and Haley Joel Osment in the Warner Bros. film "Pay it Forward" as a homeless recovering heroin addict taken by a boy looking to start a program of good deeds. He also starred opposite Dennis Quaid and Andre Braugher in the New Line Cinema sci-fi feature, "Frequency," portraying a New York cop who discovers he can communicate with his late firefighter father who died in 1969.
Also in 1999, he appeared in "Ride with the Devil," the Civil War epic directed by Ang Lee.
Growing up in rural Mount Vernon, Washington, acting was far from Jim's mind. While still in his teens, however, he decided to test his abilities by auditioning in Seattle for a small part as an Italian ticket agent in Gus Van Sant's "My Own Private Idaho." He landed the role by fooling casting agents into believing he was a recent Italian immigrant.
Upcoming for Jim are starring roles in the New Line thriller, "Highwaymen," and the independent film, "Madison," the true story about the economically depressed community of Madison, Indiana and their desire to win a Gold Cup hydroplane boat race to be held in their small town. Also upcoming is the Lions Gate release, "I Am David."
Jim will star in "Passion of Christ," which is set to be release in February. He plays the role of Jesus, for director Mel Gibson.
MIMI KUZYK (Thelma)
In just the past year, Ms Kuzyk completed five feature films including the "The Human Stain" based on the novel by Philip Roth, and starring Anthony Hopkins, Nicole Kidman, Ed Harris and Gary Sinise; "The Day After Tomorrow" featuring Dennis Quaid and Jake Gyllenhal; "The Last Sign," which was shot in Montreal and stars Andie MacDowell; and "A Different Loyalty," a romantic drama starring Sharon Stone and Rupert Everett. Her extensive body of film work also includes Chris Philpott's independent feature, "Fairytales And Pornography," Bryan Goeres' "Phase IV," opposite Dean Cain; Lea Pool's "Lost And Delirious," which earned Ms. Kuzyk a Genie nomination for Best Supporting Actress; "The Defenders" with Beau Bridges; "Waking The Dead" with Hal Holbrook; "Cruel Justice" with A. Martinez; "Strange Justice" with Mandy Patinken; and, one of her personal favorites, "My Date With The President's Daughter," in which she played the first lady to Dabney Coleman's president.
On television, Ms. Kuzyk was well-recognized for her role as Detective Patsy Mayo on Hill Street Blues, and as Jimmy Smits' potential love interest on L.A. Law. Her performances in the CBC drama Little Criminals, and as Deputy Chief Kay Barrow in Blue Murder earned her Gemini nominations for Best Supporting Actress. The Winnipeg, Manitoba native also performed recurring roles in the CBC sitcom Our Hero, and Global TV's Traders, and a guest-starring role on The Chris Isaak Show.
Seven years ago, Ms. Kuzyk moved from Los Angeles to Toronto, which she now considers her home.
THOM BISHOPS (Hasan)
A native of Brooklyn, New York, Thom Bishops recently graduated with honors from NYU with a double major in Economics and cinema studies while studying in acting coach Susan Batson's, master class. At the time of graduation Bishops worked in off-Broadway theater, as well as appearing in some small, independent films. Moving to Los Angeles only a year ago, Bishops appeared opposite Tony Shalhoub in the feature premiere, "T4T" executive produced by the Farrelly Brothers, which went on to win Best Picture honors at the Boston International Film Festival.
Bishops met Director, Omar Naim at a dinner and was asked to read for the part of Hasan. After a lengthy, month and half long casting process, Thom won the coveted part over many established young actors.
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