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故事大綱

今年已經26歲��加菲貓，食飽得閒無聊就�啎U晏覺，睇下電視，曬下太陽，仲有個唔知係佢奴隸定係主人��阿北，煮埋千層麵兼服侍週到，真係係人都想做加菲貓。點知，阿北為�鱄n討好心儀�鴾k獸醫麗莎，竟然收留��加菲貓至憎�黻坁�--狗仔阿的返屋企，雖然阿的全無殺傷力，但係傻頭傻腦得�螻`得阿北寵愛，搞到加菲貓要諗下計仔趕阿的出門口。

有一日，加菲貓終於得償所願，阿的真係唔見�驉I最初，加菲貓以為可以過番佢無憂無慮�鴷肮﹛A點知佢睇電視見到阿的被名主持人卓開開心捉�驉A又見到阿北悶悶不樂，一股從無發生係加菲貓身上�鴷蕈q感湧晒出黎，�唻郊X城去拯救阿的……

家傳戶曉��加菲貓，處男投身大銀幕，由漫畫變身3D，以全新形象同大家見面，兼夾與真人同場演出，必定一新大家耳目。英語版請�薊鰷y影帝標梅利聲音演出，粵語版就由失驚無神窒到你應��劉青雲為加菲貓配音。

除��劉青雲以尖酸刻薄兼夾抵死綴核聲音演繹加菲貓，粵語版仲搵到今年有淡市奇跡之稱、愈跑愈勇�鴾H氣銷量小天后薛凱琪聲音演繹阿北夢中情人麗莎；彈得一手辣結他�餭ock友歌手周國賢為加菲貓主人阿北配音；其他貓貓主角，則有由多產兼多才�黻茈x新人金獎得主林一峰配音��加菲貓老友毛毛、貓痴組合At 17��林二汶一聲分飾兩角演繹��羅蘭女士同埋厭尖貓、At 17�鴷t一半盧凱彤聲音扮演��阿蓮，同加菲貓一齊飛撲搵狗去。請密切留意加菲貓處男演出大日子--8月19日。

製作資料

第一個第一次！--漫畫巨星難得出關
面世二十六年來從未登上大銀幕的加菲貓，終於由平面變身3D，借助電腦動畫成為電影巨星，仲同真人同場演出。四份一世紀以來在全球二千六百份報章連載，讀者人數逾二億六百萬的加菲貓，可以話係無人唔識得佢，所以第一次拍電影就得到曾獲奧斯卡提名的影壇巨星標梅利作聲音演繹--講到尖酸、精警，標叔絕對同加菲貓人貓合一。

其實要嘆慣食慣唔駛郁的加菲貓大爺走出屋企已經唔容易，而且講名氣，他又已經威盡全球，係咪登上銀幕，真係唔係好至在。所以本片製作人惟有出盡法寶，又跪又�恣C多年來影片監製約翰狄韋斯多次遊說，講到口水乾才說服加菲貓之父--漫畫家占戴維斯出售電影版權，俾世人一個可以在銀幕上看到加菲的機會。占戴維斯說，在繪畫加菲貓的四份一世紀以來，一直視加菲貓為一隻有血有肉的真貓，只有到依家的電影科技先至可以將加菲貓真正�鵅u貓樣」呈現銀幕上。

第二個第一次！--3D立體露出真貓樣
在片中加菲貓破天荒以真貓造型露面，更首次四腳爬爬，不過導演彼德希域認為加菲受人愛戴是因為他的性格和生活態度惹人共鳴，所以堅持電影必要忠於原著，即使在與其他貓狗和真人演員做對手戲時，也要展現他的招牌幽默感和小動作，並同時令觀眾相信他是一隻真貓。

不過在加菲貓靠電腦動畫特技現身之前，跟他同場演出的演員先要借作道具頂替這位尊貴的貓大爺，先至可以將對手戲演得有說服力。加菲貓咁夠份量，拍戲梗有替身，替身就包括加菲貓布公仔，同埋一個豆袋。

為�鱄�加菲貓脫離平面漫畫的框框，監製狄韋斯找來了富電腦動畫經驗的《反斗奇兵》編劇祖爾高恆和阿歷蘇高路為加菲度身訂造劇本，仲搵到開創真人與動畫同場演出的《夢城兔福星》攝影師甸簡迪將加菲攝入鏡頭。而塑造立體加菲的，則是曾監製《夜魔俠》及《D老篤日記》的視覺效果監製約翰裘堅尼和製作《獅子王》的動畫監督基斯比利及他轄下為數多達百人的電腦特技專家，以及曾製作《D老篤日記》的視覺特技公司Rhythm & Hues。他們努力的成果是，由425個特技鏡頭製成的加菲在銀幕上的一舉一動，以至他行路時隨風擺動的貓毛和貓鬚，皆條條獨立仲會郁，真�鴾@樣。

第三個第一次！--深閏加菲首度出城
生性黐家的加菲對生活要求其實很簡單，只要有得食同�唌B阿北又聽佢支笛，對他來講已經好老�薄A而且連門口都可以唔駛行出一步。不過在此電影中，製作人將加菲的家由郊外搬到城市，在阿的被擄走後，他還要在大城市中四處找尋阿的下落，首度出城，難免心驚驚。幸好加菲貓向來面矇心精，區區城市無咁易難到佢。

演員資料

搞笑抵死冷面笑匠--標梅利　（為加菲貓作英語配音）
在《加菲貓》電影中以聲音演繹加菲的標梅利，在八、九十年代憑《捉鬼敢死隊》及《偷天情緣》等電影奠定冷面笑匠地位。他擅長演態度冷淡、講�浀陸帚漕餑※迭A為加菲貓配音，簡直是人貓合一，更得到加菲貓原創人占戴維斯的激烈讚賞，認為有他助陣，等於畫龍點睛。

標梅利在七十年代是美國電視搞笑節目《Saturday Night Live》的台柱之一，深受觀眾歡迎，之後進軍影壇亦屢創佳績。近年他嘗試改變戲路，棄喜劇而取劇情片，在《Rushmore》的演出獲2002年紐約、洛杉磯及全美影評人協會最佳男配角獎；而他在今年年初上映的《迷失東京》的表現，更被譽為從影以來最佳演出，影片為他帶來歐美無數獎項，包括金球獎最佳喜劇男演員、英國演藝協會最佳男主角獎、獨立精神獎最佳男主角、全美影評人協會最佳男主角獎等，連向來抗拒喜劇演員的奧斯卡，也提名他角逐最佳男主角。他現正拍攝曾與他在《Rushmore》及《癲才家族》中兩度合作的導演韋斯安德遜的新片《The Life Aquatic》。

明星叢中長大--碧堅邁亞　
飾演加菲貓主人阿北的碧堅邁亞從小已是加菲擁躉，其母更是愛加菲貓如命，碧堅每年也買一件與加菲有關的物品如布公仔或小擺設予母親作聖誕和生日禮物。在他接拍《加菲貓》後，第一件做的事便是傳真一張阿北的漫畫給媽媽，還寫上「你估下我今次演邊個？」

能演阿北這角色固然令碧堅及他媽媽開心不已，但拍攝此片對碧堅來說卻是件苦差，因為他對貓敏感。雖然片中加菲全由電腦製作，但加菲貓的朋友毛毛和阿蓮皆由真貓飾演，碧堅在片場內惟有以啪抗敏感丸度日。

碧堅自小已有演戲天份，他更可謂是在明日之星叢中長大，曾跟茱芭里摩、雅莉茜亞蕭華史東等人是同學，茱更是帶他入戲行的人，介紹他與經理人簽約。十多歲的碧堅已在不少青春片中演出，其中《叻女掌門人》中的搞笑板仔角色更為他帶來不少機會，其中包括《四仔旅行團》及《隔世情緣》等。

純情尤物--珍妮花露芙希維　
為了演阿北夢中情人獸醫麗莎，珍妮花露芙希維不昔作出犧牲，將一頭及腰秀髮剪短。頭髮都唔要，是因為珍妮花自小已是加菲迷，第一次養貓也想將貓兒命名為加菲貓，可惜被阿哥反對；而她第一次吃千層麵，也因為那是加菲貓最愛的食物。

孩童時期已開始拍廣告的珍妮花，憑電視劇《The Party of Five》成名，繼而接拍電影，賣座驚慄片《舊年暑期搞乜鬼》及其續集令她成荷李活最受注目新星之一，她的惹火身材及純情面孔更令她成無數少男的夢中情人。她更是個歌手，曾在日本推出兩張個人專輯。珍妮花近年作的演出包括在《千你奇緣》中演薛歌妮韋花的女兒，以及在《特務踢死兔》中與成龍合作。

熟口熟面小人物--史提芬杜布魯斯基　
若你覺得在片中演一人分飾兩角，分別飾演擄走阿的的三流兒童節目主持人卓開開心及其任職新聞報導員的孖生兄弟華達的史提芬杜布魯斯基熟口熟面，那是因為他曾在超過五十部電影及百多個電視節目中演出，美國報紙《USA Today》在千禧年特輯中也將他列舉為九十年代十大出鏡率最多演員之一。

雖然已得此殊榮，但在踏入千禧年之後史提芬卻絕無放慢腳步，繼續有得演就演。擅演小人物的他近作包括《何必偏偏玩謝我》、《衰鬼媽咪》及《凶心人》。除演戲外，史提芬亦是個編劇，作品《Two Idiots in Hollywood》不但在舞台演出，更被電影公司購下版權，即將被搬上銀幕。史提芬也曾被美國雜誌《Buzz》選為「洛杉磯一百個酷人」之一。

幕後精英

加菲貓之父--占戴維斯
生於美國中西部印第安那州的占戴維斯在父母的農場長大，但因自小患有哮喘，所以時常要留在家中，逐養成了繒畫的興趣，尤其是當父母想他做家務時，他便以要畫畫作藉口而推辭。戴維斯的父母是愛貓之人，家中有二十五隻貓，故此戴維斯可謂與貓一起長大，對貓的習性比對人更瞭如指掌，順理成章以貓作為他繒畫的題材，並於1978年創作了加菲貓這隻懶惰爛�唌B言語諷刺的橙色肥貓。不過當加菲漫畫最初在報章連載時，並不算受歡迎，直至戴維斯將四格漫畫結集出版第一本單行本漫畫書時，加菲貓才成為廣受注目的新星，單行本更高据暢銷書流行榜一百個星期。此後加菲貓更被搬上熒幕，成為電視卡通主角，並獲得艾美獎。現時加菲貓是在全球最多報章連載的漫畫。

對於加菲貓受歡迎的原因，戴維斯說：「任何年齡的人也能在加菲貓身上看到自己。小朋友愛他的可愛樣子和滑稽的動作；他我行我素、不受管教的性格和對權威人士的抗拒令青少年產生代入感；而他令成年人對自己的小缺點和小瑕疵--如吃得太多、睡得太多、不做運動或沒有目標等--感到沒有那麼內疚。加菲貓夠膽說很多我們說不出口的心底話，所以特別惹人共鳴。」

導演彼德希域
生於英國的彼德希域於著名的英國國家電影學院畢業，初次執導的短片作品《The Candy Show》已為他贏得英國演藝協會最佳短片獎。

希域曾導演由奇洛里維斯主演的《超時空怪旅》，以及由著名童話改編、描述一班只得幾寸高的小人為家園而戰的《反斗神偷》。

粵語配音：
劉青雲--加菲貓　　　　　　　　薛凱琪--麗莎
林一峰--毛毛　　　　　　　　　周國賢--阿北
林二汶--羅蘭女士／厭尖貓　　　盧凱彤--阿蓮

演出：標梅利　Bill Murray （為加菲貓配音）
　　　《迷失東京》（Lost in Translation）
　　　《癲才家族》（The Royal Tenenbaums）
　　　《偷天情緣》（Groundhog Day）
　　　《衰鬼波士》（Scrooged）
　　　《捉鬼敢死隊》（Ghostbusters）

　　　珍妮花露芙希維　Jennifer Love Hewitt
　　　《特務踢死兔》（The Tuxedo）
　　　《千你奇緣》（The Heartbreakers）
　　　《舊年暑假搞乜鬼》（I Know What You Did Last Summer）

　　　碧堅邁亞　Breckin Meyer
　　　《四仔旅行團》（Roadtrip）
　　　《隔世情緣》（Kate and Leopold）
　　　《叻女掌門人》（Clueless）

　　　史提芬杜布魯斯基　Stephen Tobolowsky
　　　《何必偏偏玩謝我》（Adaptation）
　　　《衰鬼媽咪》（Freaky Friday）

導演：彼德希域
　　　《反斗神偷》（The Borrowers）
　　　《超時空怪旅》（Bill and Ted's Bogus Journey）
　　　《神屁太空人》（Thunderpants）

Life couldn't be sweeter for Garfield, everyone's favorite feline. Parked on a comfortable chair in front of the television, feasting on his favorite dish, lasagna, and hurling insults at his beleaguered owner Jon (BRECKIN MEYER), Garfield is the master of his universe.

When Jon takes Garfield to visit beautiful veterinarian Liz Wilson (JENNIFER LOVE HEWITT), she gives Jon a pepped-up, tail-wagging, panting creature that represents everything that Garfield loathes. Garfield, meet Odie, a lovable, dim-witted… dog. The wise-cracking cat is, for the first time in his nine lives, left speechless The clueless Odie chases his tail till he's dizzy, crashes into walls, and barks without cause, all to the unbridled delight of Jon who eagerly welcomes Odie into his home.

Odie turns Garfield's perfect world upside down. Garfield's solution: OUT, DARN DOG. When the hapless hound disappears into the evil clutches of local celebrity Happy Chapman (STEPHEN TOBOLOWSKY), you would think Garfield would rejoice. But he feels responsible for the fate of another. With uncharacteristic energy, courage and selflessness, Garfield manages to pull himself away from his lazy life and spring into action. He's on the unlikeliest of impossible missions: to save Odie.

This adventure brings together Jon and Liz, as well as Garfield's fellow felines Nermal and Arlene. But most importantly, it unites Garfield with Odie, who - while the finicky feline may never admit it - is really the best friend he has ever had.

Garfield, the world's most popular comic strip character, is about to become a major motion picture star. The cat who brought us catch phrases like "I would like mornings if they started later" and "I'd rather pig out than work out" toplines a live-action/computer generated film adapted from the syndicated cartoon strip read in 2,600 newspapers by 260 million readers around the globe. Garfield finally has an epic story that is as large as his ego - one that can barely be contained by the big screen.

Producer John Davis, whose many hits include the all-audience pictures "Doctor Dolittle" and "Daddy Day Care," was a natural to bring GARFIELD to life on the big screen. "It's about time that Garfield becomes a big movie star," says Davis. "He's lazy, funny, crotchety and he has attitude. It doesn't matter if you're five years old or fifty; everyone can relate to him on some level."

For several years, Davis, along with Co-Producer Brian Manis, doggedly (sorry!) pursued Garfield creator Jim Davis (no relation), for the rights to make a Garfield movie.

Jim Davis, after a quarter-century of drawing and writing the Garfield comic strip, decided it was time to bring his creation to the movies. "I've always treated Garfield as a real cat," says Davis. "He actually exists like that in my head. And new technology can finally represent him in this authentic way."

Jim Davis and John Davis wanted to be faithful to the essence of Garfield, which has made Garfield a worldwide household name for 25 years. "I think Garfield is popular to people of all ages for several reasons," says Jim Davis. "He's a very physical animal when it comes to humor, and kids love that. Teens identify with his resentment for authority; he's very much his own cat. And on an adult level, he relieves our guilt about such little foibles as over-eating, sleeping too much, not exercising enough, or being unmotivated. He has the courage to say and do a lot of things that we wouldn't. So he speaks for a lot of us."

In fact, Davis admits, "I'm 30 percent Garfield - I don't jog, I love lasagna, and I like to relax - and the other 70 percent of me, I put into the character of Garfield's owner, Jon. I'm a daydreamer, and I draw on my college dating experiences for failures in Jon's love life."

With the coveted rights secured to make a GARFIELD motion picture, John Davis approached the screenwriting team of Joel Cohen & Alec Sokolow ("Toy Story," "Cheaper by the Dozen") to write the screenplay.

Cohen says much of Garfield's appeal lies in his neuroses. "Alec and I like to tell a story through the emotional needs of the character, or of the cat, in this case," he explains. "And if you think about 'Toy Story,' you see how the marriage of plot and character neuroses helps to advance that story. Similarly, Garfield is a Chinese banquet of neuroses, which gave us a wonderful opportunity to harness it all and tell a story through his impulses."

Adds Sokolow: "Garfield is a classic comic voice. He's elemental in his desires, he doesn't suffer fools gladly, and he is probably the most honest and human of any of the characters in his world . For a writer, that's an embarrassment of riches. As long as you stay true to Garfield's basic slovenly desires, it's hard to go wrong."

The two screenwriters ventured into Garfield country - and Jim Davis' home in Muncie, Indiana - to meet with the GARFIELD creator about their star. "Jim was a great resource for us because he has this uncanny ability to immediately see in our script what is true to Garfield and what is not quite right," says Sokolow. "Also, his humor is kind of edgy by Midwestern terms, and yet kind of mainstream by the standards of the East and West Coasts."

The next step was for the two writers, and John Davis and Brian Manis, to sift through 25 years of Garfield comic strips to come up with the film's theme: the universal story of sibling rivalry.

"Garfield is the master of his universe, until Odie comes into his life and disrupts his perfect world," says John Davis. "Like a new little brother, Odie gets all the attention. Garfield feels displaced, and decides to banish him. But when Odie gets lost on his own, Garfield realizes that he actually loves the little bugger. So this agoraphobic cat that has his neighborhood wired and never goes any further, now has to venture out into the big, bad, unrelenting world to find and save Odie. It's classic because there are a lot of subconscious scary and funny childhood things you can hang on that."

In several instances throughout the story, Cohen and Sokolow have Garfield breaking the fourth wall - speaking directly to the audience. "We realized that a lot of great comic film legends utilized this technique, such as Bob Hope, Danny Kaye, Groucho Marx. They would be involved in a scene, and then suddenly stop and say something off on the side," says Cohen. "We saw this as a great opportunity for Garfield to comment on the world and on other characters by speaking to the audience, but without ever leaving the moment."

As work continued on the script, John Davis chose Peter Hewitt to direct the film because he was impressed with Hewitt's film "The Borrowers," an adventure about four-inch high people fighting to save their home. "I loved that film, and I knew he had the sensibility and the comedy for GARFIELD. Peter has a great sense of humor, which he brought to the project, but he also wanted to bring a certain level of realism to it. I think that's important because you want to see Garfield and his world come to life in a recognizable way."

Hewitt embraced the character and his movie world. "At the heart of the film is this sardonic, sarcastic cat. And he takes the saccharine away by throwing out these great one-liners," Hewitt says.

During pre-production, Hewitt brought together a team to make a 70-minute animatic film of the script. "I did a storyboard of the whole film, edited it, used actors to give voices to the characters, and added music and sound effects," says Hewitt. "This gave us a great advantage of looking at the movie early on and seeing what worked, what we could cut, and what we should add."

As the start of principal photography neared, the filmmakers faced a formidable question: Who would voice Garfield? Says John Davis: "We looked for someone with a biting, satirical, iconic and brilliant sense of comedy, and we were fortunate to get the perfect person: comedy legend, Bill Murray." Jim Davis adds, "Bill Murray is hilarious. He has just the right delivery and attitude to be the cat. It was perfect casting. I couldn't be happier."

The filmmakers cast Breckin Meyer as Jon Arbuckle, Garfield's owner. "Breckin had the humor and also portrayed an 'everyman with a cat' so perfectly," Hewitt explains.

"Jon is a not-too-suave-with-the-ladies guy, who's got a cat," says Meyer. "He also is the straight man in the story. He and Garfield are like Abbott and Costello or Martin and Lewis."

Meyer was no stranger to Garfield and his world, having grown up with the comic strip. "My mom was a huge fan of the comic," he says. "Every Christmas I would get her a Garfield-themed gift, like a stuffed animal or a figurine. So when I got the part of Jon, I immediately e-mailed my mom a drawing of Jon, with the message, 'Look who I'll be playing next.' She was very excited."

Meyer had a small "issue" that could have proved troublesome to him and the production: He's allergic to cats. So he was pleased to learn that Garfield would be computer generated. "I didn't tell the filmmakers until the first day of the film that I'm allergic to cats," says Meyer. "But because I had some scenes opposite Garfield's feline friends Nermal and Arlene - who were the real things - there was always allergy medicine on the set."

Jennifer Love Hewitt stars as Jon's love interest - and Garfield's veterinarian - Liz Wilson. John Davis had previously worked with Hewitt on the comedy "Heartbreakers." "She's a wonderful comedienne ; she's really charismatic and perfect opposite Breckin," says Davis. "There was chemistry the second we put them together."

Adds Peter Hewitt: "It was important to cast a couple that had a sweetness together, but also a strong presence that you would remember, so that when they're not on screen you don't forget what's going on between them as well."

"There's a mutual crush between Liz and Jon," notes Jennifer Love Hewitt. "Liz's real role in the story is to make Jon's heart beat a little faster every time he's in a room with her. So he trumps up excuses to bring Garfield to the vet."

Jennifer Love Hewitt, too, is a Garfield fan. "I grew up watching the cartoon series, and I was really influenced by it. I had a big orange cat that I wanted to name Garfield, but I was out-voted by my brother. And I tried lasagna for the first time because of Garfield," she says.

The actress made several personal adjustments to "get into character." Since her comic strip counterpart has short hair, Love Hewitt followed suit. "I cut my hair the shortest it's ever been," she says. "My new flippy hair, flirty false lashes and colorful clothes really got me into the spirit of a realistic cartoon character."

Stephen Tobolowsky stars as the villainous Happy Chapman, a third-rate host of a children's show on a small cable channel. "Happy has visions of greater things," says Tobolowsky. "He'd like to be on national television, and he sees some sort of EmmyR in his future."

One role was not enough for the versatile actor, who also plays Happy's twin brother Walter J. Chapman, a prominent newscaster. "Happy has a terribly unhealthy competition with him," says Tobolowsky.

Tobolowsky wanted to have a special slogan for Happy, so he came up with one himself. "Happy isn't the sharpest knife in the drawer so I created this simple send-off, 'Be happy,' which I punctuate with my index finger. I thought it would be easily remembered and not terribly inspiring. It's also a great foil for the evil that lies within him."

Joining the starring cast is the man who made it all possible - Jim Davis. In true Hollywood fashion, Davis landed a cameo in the film - as a rowdy Raccoon Lodge member.

John Davis entrusted veteran animal coordinator Larry Madrid ("Dr. Dolittle," "George of the Jungle," "102 Dalmatians") to train the film's four-legged cast members. At first, the filmmakers considered a real-life cat to play Garfield. "I discovered a cat that looked just like him but not as hefty," he recalls. "I had successfully put a fat suit on a cat in a previous show, and I was going for that for GARFIELD. But then we made the decision to make him computer generated."

For lovable canine Odie, the bane of Garfield's existence, Madrid had a pooch in mind from the start: Tyler, a half dachshund and half cairn terrier mix. "I had worked with Tyler on another movie and I thought he'd be perfect for Odie because he looks cartoonish with his long body, short legs and expressive eyes," says Madrid. "But Peter wanted me to enhance him a little more, so we cut and lightened his torso fur, while his paws, ears, muzzle and tail stayed dark, which gave him a very distinctive look."

Tyler's identical sister Chloe stood in for Tyler for the less physical scenes, and to give her sibling a well-earned break during filming.

For his big-screen starring debut, Tyler had to master some challenging athletic moves, including a big dance sequence for a dog show scene. He already knew how to hop on his hind legs, but had to learn to hop in one place and then twirl around in a circle, also on his hind legs. On the day of this dance number Tyler was a regular Gene Kelly. In fact, twirling is now one of his favorite behaviors.

Tyler also had to master a back flip. "We used a harness to help him with this stunt to make sure his long body would tolerate it. And once again, he did it with gusto," says the dog's trainer, Kristy Campbell.

One would think that the physical scene - like teaching one of the feline cast members to pull a skateboard with a pie on it, or jump in a bucket and ride up 12 feet in it - would have been challenging for Madrid and the cats. But these stunts were not nearly as demanding as training the cats to sit still and stare for any length of time. "Cats get bored easily, so you have to keep their interest long enough for them to hold the look," says Madrid. "And the look has to be in the right position. It's a much more complicated than you'd expect."

Madrid and his team also cast and trained Happy Chapman's cat, Persnikitty; Luca, a Doberman who plays the neighborhood bad guy; and five mice that play Louis. Along with these featured "cast members," were 15 cats, 30 rats and 35 dogs of different breeds.

To meet the special challenges of filming so many animals, the production employed two film units shooting simultaneously. The first unit was for the human actors and Odie; the second was an animal unit.

Creating the right look for GARFIELD was as important as the casting. "We wanted to give the film a very vibrant visual style," says John Davis. To that end, Cinematographer Dean Cundey, ASC, Production Designer Alexander Hammond and Costume Designer Marie France gave GARFIELD a visual style that bridges fantasy and reality. "Our look was a slightly heightened fantasy world," says Cundey. "It's a real world, but a bit toward comic strip as far as color selections and surfaces; there's not a lot of texture."

Hammond's reading of countless Garfield comic strips revealed that they were composed of very few elements. "There was something very Midwestern about the strips; they are uncomplicated looking, very straightforward," says the Production Designer. "After reading the script and talking with Peter, we remained true to the comic strip and simplified the look of the film across the board. The film can be viewed as being made up of solid blocks of color.

"We also knew Garfield was going to be orange, so it was decided he would be the only orange object in the movie."

Hewitt and Hammond divided the film into three distinct looks. "Garfield's house and neighborhood are his domain, where he feels completely comfortable," says Hammond. "So we made his cul de sac, filmed on Universal Studios' backlot, a magical, inviting storybook street: colorful homes with front porches, manicured lawns, shady trees."

When Garfield journeys to the big city (also filmed on the Universal Studios' back lot) to find Odie, Hammond's designs reflect the fact that Garfield is completely out of his element.

Costume designer Marie France gave the cast a classic look. "My inspiration was from the 1950s, a more innocent era," says France. "The women never wear pants, and no one wears jeans or sneakers. Liz wears sexy, pretty clothes, but they have a certain demeanor about them because she's a professional woman. For Jon, the designer broke away from the comic strip's plaid clad, polka dotted guy, to give him a more stylish, sympathetic look. Again, no one wears orange. That color belongs solely to Garfield."

The look of the title character, of course, took center stage. Peter Hewitt and the film's visual effects team were regularly in touch with Jim Davis to get his feedback on the creation of the computer generated Garfield. Davis was a valuable resource. "Jim has been a good godfather to us," says Hewitt. "Although he didn't ask for it, we made sure we got his blessing on everything we were doing. He's very much been a part of the team."

To bring the title character to life, GARFIELD employs state-of-the-art computer generated imagery (CGI). "We couldn't find a trained cat that was big and fat enough, and could deliver a lot of one-liners," jokes John Davis, "so we had to come up with a way to use technology to help us tell this story. And I think one of the main reasons Jim Davis decided it was time to bring Garfield to life after all this time was because technology has advanced so much in the past several years."

Dean Cundey, whose has much experience photographing effects-heavy films, such as "Who Framed Roger Rabbit" and the "Back to the Future" trilogy, Associate Producer/Visual Effects Producer John Kilkenny ("Daredevil," "Dr. Dolittle 2"), Animation Supervisor Chris Bailey ("Mighty Joe Young") and the visual effects team at Rhythm & Hues (who worked with John Davis on "Dr. Doolittle" and "Dr. Dolittle 2"), together created the on-screen Garfield, infusing him with his trademark cartoon characteristics: girth, hooded eyes and toothy grin.

Hewitt insisted that Garfield be believable and true to character. "Garfield has to walk on all fours for the first time, interact with his human and animal co-stars, and exhibit all the humor and mannerisms we associate with the comic strip, and still make us believe he's a real cat," he says.

To create the CG Garfield, the filmmakers first rehearsed with a marquette (a stuffed Garfield stand-in) so the camera operator could note Garfield's location in a scene at a given time, and the actors could have something to react to.

After these rehearsals, scenes were shot without a marquette or any "stand-in," to give the visual effects artists a space to place the CG Garfield. In part three of this process, a neutral grey sphere, and then a shiny mirrored sphere, were photographed exactly in the spot where Garfield ultimately would appear. This gave the animators a sense of the direction and quantity of lights hitting him, and accurately showed reflections of light of his flesh or his eyes.

Animation Supervisor Chris Bailey, who worked on "The Little Mermaid" and "The Lion King," was on-set for Garfield's scenes. He showed the cast how to hold the non-existent cat, as if Garfield were really there. "It's very natural at first for actors to hold an invisible character stiffly or too close or too far away," says Bailey. "So I gave Breckin a beanbag to feel some weight. Then I gave him a stuffed Garfield to see where to support the cat's hips and chest."

Dan Deleeuw, from the visual effects house Rhythm & Hues, was on set to take exact measurements of rooms, furniture, and distances between two points. This enabled him to re-build the sets in the computer during post-production and editing.

The busy principal photography period was only the first step in the lengthy and complicated process to bring Garfield to cinematic life. During the 12 months that followed, the filmmakers seamlessly created a new dimension to the wisecracking cat through the use of state-of-the-art computer generated imagery.

GARFIELD has over 500 CGI shots, 425 of which are of Garfield himself. The remaining shots animate the mouths of the on-screen "talking animals": Nermal, Arlene, Luca and Louis. (Odie doesn't speak.) "Because we've used real animals for these roles, their muzzles will be CG, so we can sync animation with the dialog and add certain expressions to their faces," says Hewitt.

Before Garfield's pals' faces were animated, Rhythm & Hues created a "biological" Garfield, comprised of bones, muscles and eye color, to serve as a template for the final, animated character. After Peter Hewitt completed an initial cut of the picture, Rhythm & Hues scanned that material into a computer, and began building the CG characters from the set information. Then, they recreated the camera moves and lighting that were used on set, ultimately merging them with the animation.

Finally, actors recorded the voices for the animals. "There's no such thing as a temporary voice," says John Kilkenny, "because the animation is so frame specific to the actor's voice and inflections. We also videotaped the actors so we could incorporate some of their body language into their on-screen animal characters. Even subtle things like an actor's raised eyebrow or a special grin could be used for the animation while still remaining true to the character."

Animation Supervisor Chris Baily headed a team of 100-plus lighters and effects specialists to animate Garfield. "I supervised Garfield's comedic timing, his movements and his pathos," says Bailey. "When Garfield careens down a hallway and his fur is blowing in the wind or his whiskers are moving, that's the work of Rhythm & Hues."

After over 18 months of principal photography and post-production and effects work, Garfield will finally make his debut as a live-action star.

"This was a collaborative effort by the cast, production filmmakers and special effects team," says John Davis. "And they all had a common vision, to make a film that kids, teens and adults will relate to on different levels."

But it's best to quote Garfield himself about his big-screen debut, following a quarter-century of comic strip and television fame: "I've found, if you wait long enough, everything comes to you."

ABOUT THE CAST

BRECKIN MEYER (Jon) has quickly become one of Hollywood's most sought-after talents. With starring roles in the hilarious DreamWorks comedy "Roadtrip," Doug Lyman's ensemble feature "Go," and Miramax's provocative drama "54," Meyer's resume is as extensive as it is versatile.

Recently, Meyer was seen in "Kate and Leopold" opposite Meg Ryan and Hugh Jackman. Additional feature film credits include Paramount's ensemble comedy "Rat Race," "Can't Hardly Wait," "Clueless," "The Craft," "Prefontaine" and "Josie and the Pussycats."

On television, Meyer currently stars in the ABC-TV comedy "Married to the Kellys," and he is featured as the voice of Joseph Gribble on TV's "King of the Hill."

A Minnesota native, Meyer currently lives in Los Angeles.

JENNIFER LOVE HEWITT (Liz), one of Hollywood's hottest young actors, starred in the action/comedy "The Tuxedo" opposite Jackie Chan as an intelligence agent who takes on a malevolent corporate mogul.

Hewitt starred in "Heartbreakers" with Sigourney Weaver, where they portrayed a mother-daughter con team who specialize in using their feminine wiles to swindle men. The film also starred Gene Hackman and Ray Liotta.

Hewitt received critical acclaim in the title role in the ABC Original Movie "Audrey Hepburn," based on the life of the Academy AwardR-winning actress. Hewitt is also known to television audiences as Sarah Reeves from the award-winning drama series "Party of Five."

Her career has been linked to box-office success with such films as "I Know What You Did Last Summer," for which she won a 1998 BlockbusterR Entertainment Award. She also starred in the film's sequel "I Still Know What You Did Last Summer" and the comedies "Can't Hardly Wait," "The Suburbans," and "Sister Act 2."

Hewitt is also a successful singer who recently released her fourth album, "BareNaked," on the Jive label. Hewitt co-wrote most of the songs on the alternative/pop album.

STEPHEN TOBOLOWSKY (Happy Chapman/Walter J. Chapman) has appeared in over 50 movies and 100 television shows. USA Today, in their Millennium Issue, listed him as the ninth most frequently seen actor in the 1990s, where he is most popularly remembered in such films as "Groundhog Day," "Sneakers," "Thelma and Louise," "Mississippi Burning" and "Bird on a Wire."

His more recent credits include "Adaptation," "Freaky Friday," "Memento" and "The Insider."

Tobolowsky grew up outside Dallas, Texas, attended SMU and received his Masters degree in acting from the University of Illinois.

In addition to acting in "Two Idiots in Hollywood," Tobolowsky wrote and directed the play, which enjoyed a sold-out run in Los Angeles, and was picked up by [didn't want to use the word "sold" twice in the same sentence] New World Films. He wrote "True Stories" with David Byrne, and directed the original New York production of "The Miss Firecracker Contest."

Tobolowsky also holds the distinction of being nominated as one of the 100 coolest people in Los Angeles, by Buzz magazine.

BILL MURRAY (as the voice of Garfield) has been praised for his performances in both seriocomic films and blockbuster movies.

His performance as Bob Harris in Sofia Coppola's "Lost in Translation" earned him numerous honors, including Best Actor Awards from the Hollywood Foreign Press (Golden GlobesR), BAFTA, the Broadcast Film Critics, the Independent Spirit Awards, the Satellite Awards, the National Society of Film Critics, the New York Film Critics, the Los Angeles Film Critics, and many others.

Mr. Murray's portrayal of Herman Blume in Wes Anderson's "Rushmore" brought him the New York Film Critics Circle, National Society of Film Critics, Los Angeles Film Critics Association, and Independent Spirit Awards for Best Supporting Actor. He has twice been nominated for a Golden Globe Award, for his performances in "Rushmore" and Ivan Reitman's "Ghostbusters."

Murray began his acting career in his hometown of Chicago with the improvisational troupe Second City. He joined the cast of NBC's "Saturday Night Live" in the show's second season, and shortly thereafter won an Emmy Award as one of the show's writers.

After making his screen debut in Ivan Reitman's "Meatballs," he reteamed with the director on "Stripes" and the two "Ghostbusters" movies. His film credits also include Harold Ramis' "Caddyshack" and "Groundhog Day," Art Linson's "Where the Buffalo Roam," Sydney Pollack's "Tootsie," John Byrum's "The Razor's Edge," Richard Donner's "Scrooged," Frank Oz' "What About Bob?," John McNaughton's "Mad Dog and Glory" and "Wild Things," Tim Burton's "Ed Wood," Peter and Bobby Farrelly's "Kingpin," Jon Amiel's "The Man Who Knew Too Little," Tim Robbins' "Cradle Will Rock," Michael Almereyda's "Hamlet", and Wes Anderson's "The Royal Tenenbaums." Murray stars in Anderson's upcoming film "The Life Aquatic."

Murray also authored the book Cinderella Story: My Life in Golf.

ABOUT THE FILMMAKERS

PETER HEWITT (Director) has helmed six feature films. In 1991 he directed Keanu Reeves in "Bill and Ted's Bogus Journey." This was followed by "Tom and Huck," "The Borrowers" starring John Goodman and Jim Broadbent, and "Whatever Happened to Harold Smith" starring Sir Tom Courtenay.

In 2002 Hewitt produced and directed the feature comedy "Thunderpants," which he wrote with writing partner Phil Hughes. Hewitt and Hughes have written over a dozen screenplays together. Their script "I Want Candy" is shooting in the U.K. this summer and their most recent script, "The Gentleman's Gentleman," will be produced by GARFIELD producer John Davis. Hewitt will direct.

Hewitt's television credits include the mini-series "Wild Palms," produced by Oliver Stone, and Princess of Thieves" for "The Wonderful World of Disney."

Hewitt is originally from Brighton, England, and he graduated from the prestigious National Film School in 1990. That same year he wrote and directed "The Candy Show," which won the BAFTA Award for Best Short Film.

JOHN DAVIS (Producer), Chairman of Davis Entertainment, is one of Hollywood's most prolific producers of major motion pictures and movies for television. His 60-plus film and television productions have earned more than $2 billion worldwide.

Davis Entertainment's three divisions - feature film, independent film, and television - develop and produce film and television projects for the major studios, independent distributors, networks and cable broadcasters. The company, established in 1985, currently has a first-look production deal at Twentieth Century Fox, and has over 30 motion picture projects in development at the various major studios.

A hallmark of Davis' achievements is his ability to attract the industry's most successful actors, directors, writers and other creative talent time and again to his productions. His proven ability to find and develop commercial projects, coupled with his long-standing creative relationships, account for his consistency in producing both large and modest scaled theatrical productions, as well as major telefilms and specialized cable programming.

The company's most recent releases were the John Woo action film, "Paycheck," starring Ben Affleck and Uma Thurman; and the $100 million-plus hit Eddie Murphy comedy "Daddy Day Care," also starring Steve Zahn, Jeff Garlin and Angelica Huston.

Davis' next big-screen projects for domestic release in summer 2004 include the classic comic strip and cartoon favorite, GARFIELD; the Alex Proyas-directed high-tech event film, "I Robot," starring Will Smith; "First Daughter," starring Katie Holmes; and "Alien Vs. Predator," an action thriller bringing together the two classic creatures. Davis Entertainment also is producing "Flight of the Phoenix," a retelling of the classic Robert Aldrich-directed film, for fall 2004. Davis is teaming with Bill Cosby for the live action/animated "Fat Albert" for this holiday season; next year sees "Daddy Day Camp," a sequel to the hit "Daddy Day Care."

Other recent releases include "Life or Something Like It," starring Angelina Jolie, and the hit action film "Behind Enemy Lines," starring Owen Wilson and Gene Hackman. The Davis-produced feature, "Dr. Doolittle 2," starring Eddie Murphy, grossed over $113 million domestically, and "Heartbreakers," starring Sigourney Weaver, Gene Hackman and Jennifer Love Hewitt, opened as the #1 film in the country.

Davis Entertainment Television produced the NBC made-for-television movies "The Jesse Ventura Story" and "Little Richard," as well as the ABC made-for-television movie "Miracle at Midnight," starring Sam Waterston, for the Wonderful World of Disney franchise. His television department has series and made-for-television movies set up with all of the major television networks and cable broadcasters.

Davis produced or co-produced an impressive slate of motion pictures in the '90s, including "Dr. Dolittle," starring Eddie Murphy; "Out to Sea," starring the venerable comic pair of Walter Matthau and Jack Lemmon; the blockbuster "The Firm," which starred Tom Cruise and won a People's Choice award for Best Dramatic Film; "Grumpy Old Men," which was a People's Choice award winner for Best Comedic Film; "Grumpier Old Men," re-pairing Matthau and Lemmon; "Courage Under Fire," starring Denzel Washington and Meg Ryan; "The Chamber," based on John Grisham's bestselling novel, starring Gene Hackman and Chris O'Donnell; "Daylight," starring Sylvester Stallone; "Waterworld," starring Kevin Costner; and "Richie Rich," starring Macaulay Culkin.

Davis' other feature producer credits are "Predator," "Predator 2" "The Thing Called Love," "Fortress," "Gunmen," "Storyville," "Shattered," "Little Monsters," "The Last of the Finest," "License To Drive," "Three O'Clock High," and "The Hunted."

For television and cable, Davis produced the NBC mini-series "Asteroid," which received the highest ratings for a mini-series, telefilm or feature film presentation on television during the 1996-1997 season. Davis Entertainment also produced "Volcano: Fire on the Mountain," for ABC; the highly-rated NBC movie of Truman Capote's "One Christmas," starring Katharine Hepburn; and the popular CBS movie "This Can't Be Love," starring Katharine Hepburn and Anthony Quinn.

Davis' other television and cable credits include "Tears and Laughter," "The Last Outlaw," "Silhouette," "Voyage," "Irresistible Force," "Wild Card," "Dangerous Passion," "Curiosity Kills," and "Caught in the Act." Davis Entertainment Television is currently developing numerous series and event movies for network and cable outlets.

Davis was born and raised near Denver, Colorado. His obsession with film began as a youth when his father purchased the neighborhood movie theater, where he subsequently viewed up to 300 films a year. Davis attended Amherst College, graduated from Bowdoin College, [this sentence sounds weird… he graduated from Bowdoin AND attended Amherst? Was it Amherst first and then he transferred?]and received an M.B.A. from the Harvard Business School.

JOEL COHEN & ALEC SOKOLOW (Screenwriters) have worked together since 1989. They have co-authored 30 screenplays, including the Fox hit "Cheaper by the Dozen," "Toy Story," "Goodbye Lover," "Money Talks" and "Frankenstein Sings" which they also co-directed.

Cohen has a Masters degree from Columbia University. He bartended with Bruce Willis at Caf�m Central in New York City, and collaborated with Academy Award winning screenwriter Bill Condon on the feature "Sister, Sister," and with Neil Cohen on the feature "Pass the Ammo." Cohen is also a playwright; his work includes "Rat's Nest" and "Friends Too Numerous to Mention." He is a patron of the arts who counts painter Eric Fishl and sculptor Bryan Hunt as his closest friends.

Sokolow is the product of a counter-culture upbringing in New York City. Family friends and personal influences included Abbie Hoffman and Dr. Timothy Leary as well as Salvador Dali. Sokolow attended the University of Pennsylvania as an intercollegiate athlete. Following college, he briefly contributed to National Lampoon Magazine and wrote for "The Arsenio Hall Show."

Garfield's creator, JIM DAVIS, was born in 1945 in Marion, Indiana, and was raised on a small Black Angus cow farm with his parents, James and Betty Davis, and his younger brother, Dave (Doc). Like most farms, the barnyard had its share of stray cats; about 25 at one time, by Davis's estimate.

Davis thinks he probably would have become a farmer, had it not been for his serious bouts with asthma as a child. Forced inside, away from regular farm chores, he whiled away the hours drawing pictures. His pictures were so bad he had to label them. He got better with practice, but he concluded that pictures, when accompanied by words, were more fun anyway.

By junior high school, the asthma was in check, and Davis even went on to letter in high school football. Later, he attended Ball State University in Muncie, Indiana, where he majored in art, business, and practical jokes. After college, Davis spent two years working for a local advertising agency before becoming an assistant to "Tumbleweeds" creator, Tom Ryan. Davis learned the skills and discipline necessary to become a syndicated cartoonist and began his own strip, "Gnorm Gnat." When he tried to sell the strip to a newspaper syndicate he was told, "It's funny, but bugs? Who can relate to a bug?" After five years of drawing Gnorm, Davis drew a giant foot that fell out of the sky, crushing Gnorm in his last comic appearance.

Davis studied the comics pages closely and noticed there were a lot of successful strips about dogs, but none about cats! He combined his wry wit with the art skills he had honed since childhood and Garfield - a fat, lazy, lasagna-loving, cynical cat - was born. Davis says Garfield is a composite of all the cats he remembered from his childhood, rolled into one feisty orange furball. Garfield was named after Davis's grandfather, James Garfield Davis.

The strip debuted on June 19, 1978 in 41 U.S. newspapers. Several months after the launch, the Chicago Sun-Times cancelled Garfield. Over 1300 angry readers demanded that the strip be reinstated. It was, and the rest, as they say, is history. Today, Garfield is read in 2,570 newspapers by 263,000,000 readers around the globe. Recently, Guinness World Records named Garfield "The Most Widely Syndicated Comic Strip in the World."

Davis has had many successes with Garfield, including four Emmy Awards for Outstanding Animated Program and induction into the Licensing Hall of Fame (1998). But his most prized awards are from his peers in the National Cartoonist Society: Best Humor Strip (1981 and 1985), the Elzie Segar Award (1990), and the coveted Reuben Award (1990) for overall excellence in cartooning.

Davis is founder and president of Paws, Inc., a full-service licensing studio created to support Garfield's global business ventures. He is married to Jill Davis and has three children, James, Ashley, and Christopher.

NEIL MACHLIS (Executive Producer) has become one of the entertainment industry's busiest and most highly respected producers. His film career has spanned more than 30 years.

Machlis has worked with some of the great directors in recent history, including Mike Nichols, Bob Fosse, Ron Howard and Joel Schumacher. His list of producing credits is equally impressive: "The Birdcage," "Dr. Doolittle 2," "Primary Colors," "Honeymoon in Vegas," "Bedazzled," "What Planet Are You From?," "I.Q.," "Lenny," "Postcards From the Edge" and "Planes, Trains and Automobiles."

Born and raised in Belle Harbor, New York, Machlis earned a B.A. degree from American University, and he began his film career at Astra Films in Washington, D.C. During the social unrest of the late '60s, Machlis found himself at the 1968 Democratic National Convention in Chicago filming commentary for the U.S. Senate during that historic period.

The following year, Machlis moved back to New York and entered the Directors Guild of America's training program. (He was one of only ten trainees accepted from more than 1,500 applicants.) Under the guidance of the training program, he began his formal training in filmmaking.

He was associate producer of the hit films "Grease," "American Gigolo," "Johnny Dangerously" and "Cujo."

DEAN CUNDEY, ASC (Director of Photography) photographed the "Back to the Future" trilogy, "Who Framed Roger Rabbit" (which earned him an Oscar nomination), "Hook," "The Flintstones," "Apollo 13," "Flubber," "Krippendorf's Tribe," "The Parent Trap" and "What Women Want." Cundey's experience in photographing characters and creatures which aren't there, in films such "Casper," "Jurassic Park" and "Looney Tunes: Back in Action," was particularly helpful for his work on GARFIELD.

Cundey also directs and shoots commercials, and he directed the Disney film "Honey, We Shrunk Ourselves."

Born and raised in Alhambra, on the outskirts of Los Angeles, Cundey was interested in film from an early age, and he studied filmmaking at UCLA. A serendipitous encounter in a class taught by the great James Wong Howe, ASC, shifted his interest from production design to cinematography. His first job after graduation in 1969 was handling make-up for two Roger Corman films. During the 1970s, Cundey learned his craft shooting documentaries, insert shots, and finally low budget features that he describes as "projector fodder" for drive-ins.

His breakthrough film was "Halloween," which he shot for John Carpenter in 1978. Cundey lensed many horror flicks during subsequent years, including "The Fog," "The Thing" and "Escape From New York." His first non-genre film was "Romancing the Stone" in 1984.

ALEXANDER HAMMOND (Production Designer) designed the critically acclaimed film "Donnie Darko," written and directed by Richard Kelly. He designed two of Rod Lurie's political dramas, "The Contender" and a DreamWorks television pilot, "Capital City." Hammond's design work is also on display in the independent films "Let the Devil Wear Black" and "Dead Simple."

Art direction credits include "The Cat in the Hat," "Men in Black II," "K-Pax," "Austin Powers: The Spy Who Shagged Me" and "Lost and Found."

A graduate of Amherst College and the Yale School of Drama, Hammond began his professional design career working in live theater and opera. He had the good fortune to design sets and costumes for noted theater directors JoAnne Akalaitis, Bill Rauch, James Bundy, Bartlett Sher and Everett Quinton. While still designing theater, Hammond was the inaugural recipient of the Princess Grace Foundation's Faberge Theater Prize, Yale's Oenslager Fellowship in Scene Design, and a Graduate Fellowship in Scene Design from Amherst College.

PETER BERGER, A.C.E. (Editor) received an Academy Award nomination (with Michael Kahn) and a British Academy Award (BAFTA) for his work on Adrian Lyne's 1987 thriller, "Fatal Attraction."

He edited four of the "Star Trek" movies - "Star Trek IV: The Voyage Home," "Star Trek V: The Final Frontier," "Star Trek: Generations" and "Star Trek: Insurrection."

Among his two dozen feature credits are "Save the Last Dance," "Red Corner," "Like Mike," "Homeward Bound II: Lost in San Francisco," "Hocus Pocus," "Dead Again," "The Good Mother," "Memories of Me," "Less Than Zero," "Monsignor," "Mommie Dearest," "First Monday in October" and "The Promise."

MARIE FRANCE (Costume Designer) designed costumes for "The Dangerous Lives of Altar Boys," "A Texas Funeral," "The Wonderful Ice Cream Suit," and three films for director Peter Hewitt: "The Borrowers," "Tom and Huck" and "Bill and Ted's Bogus Journey." Other features on her impressive resume are "Gridlock'd," "Coneheads," "Buffy The Vampire Slayer," "Encino Man," "That Darn Cat" and the pilot for the hit series "Beverly Hills, 90210."

A graduate of fine arts and literature from the School of Beaux Arts and the Sorbonne in Paris, Marie France has been designing costumes for feature films for 18 years. She began her career collaborating with musician-composer Prince, designing costumes for his features "Purple Rain" and "Under the Cherry Moon," and for his music videos. While designing for music videos, she worked with such artists as Natalie Cole, Don Henley, Tina Turner, Rod Stewart, Steve Winwood and George Clinton, to name a few.

MICHELE IMPERATO STABILE (Co-Producer/Production Manager) has worked in this capacity on such films as "Dr. Doolittle 2," "What Planet Are You From?," "Bedazzled," "Primary Colors" and "The Birdcage."

Imperato Stabile began her film career in 1988 when she moved to Los Angeles from New York. She started as a production assistant and worked her way up to production manager, associate producer and co-producer. She became a DGA member in 1991.

Her impressive feature film credit list includes: "The Untouchables," "Scrooged," "Postcards From the Edge," "Three Men and a Little Lady," "Regarding Henry," "Honeymoon in Vegas," "Wolf," "I.Q." and "GI Jane."

BRIAN MANIS (Co-Producer) joined Davis Entertainment in January of 2001 as Senior Vice President, where he actively seeks out new projects for both the feature and television departments. Manis brought GARFIELD to Fox in the fall of 2001 and developed the material with screenwriters Joel Cohen and Alec Sokolow. Since bringing the script to Davis Entertainment, he has been actively involved in all aspects of the film's development and production.

Manis brought "Chip and Keisha's Wedding" to Fox 2000, and "NYPD Nanny" to Fox, where they are currently in active development. He is also developing various projects, including the true story of the Mamas and Papas and the action comedy "Ice Men" for Davis.

Manis, Davis Television Vice President Amy Palmer, and creator Jim Patton recently set up the drama pilot "Landsharks" at FX Network. Manis also set up "Young Robin Hood" at NBC, and the true story "The Proving Ground" at CBS.

Prior to Davis Entertainment, Manis served as Executive Vice President of Peters Entertainment at Warner Bros., where he set up the live action remake of the anime classic "Akira," and "Son of Robin Hood." Manis also was Production Executive on "Wild Wild West," where he contributed to all aspects of production, advertising, promotions and marketing. In addition, Manis oversaw Peters' development slate including "Superman," "A Star is Born," "Around the World in 80 Days" and "Ali."

Manis earned his B.A. degree in journalism at the University of Memphis in 1992. He went on to cut his teeth in production, working on such films as "Rosewood," "Twister," "The Indian in the Cupboard," "Star Trek: Generations," "The Client" and "The Firm."

CHRISTOPHE BECK (Music) has composed music for feature films, television series and movies. He scored the recent Fox hit "Cheaper by the Dozen," directed by Shawn Levy, as well as two other Levy-helmed hits: "Just Married" and "Big Fat Liar." Other recent credits include the Jackie Chan action-comedy "The Tuxedo," "Slap Her, She's French," "Interstate 60," "Stealing Harvard," and "Confidence."

Beck composed the score for four features due for release this year: "Saved," starring Jena Malone, Mandy Moore and Macaulay Culkin; "A Cinderella Story," starring Hilary Duff and Chad Michael Murray; "Little Black Book," starring Brittany Murphy; and "Without a Paddle," starring Matthew Lillard and Seth Green.

Previously, Beck wrote the score for the cheerleading hit "Bring It On," and he includes among his other film credits "The Broken Hearts Club: A Romantic Comedy," "Guinevere," "Coming Soon," "Thick as Thieves," "Bone Daddy," "Dog Park," "Airborne," "Past Perfect" and "Star Struck."

Beck won an Emmy Award for his work on the hit series "Buffy the Vampire Slayer." His other television credits include the telefilms "Earthquake in New York," "Killing Mr. Griffin," and the series "The Practice," "George & Leo" and "Second Noah."

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