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夢工場2004榮譽鉅獻
"史匹堡最佳喜劇，湯漢斯自《阿甘正傳》後最精彩演出"
- Access Hollywood -

湯漢斯 Tom Hanks
嘉芙蓮薜達鍾斯Catherine Zeta-Jones

前禁出路後無歸家
落難飛機場過客變住客
奇人遇奇事緣來有轉機

史提芬史匹堡Steven Spielberg導演作品

──── 荷里活A級幕後攜手打造 ────
《捉智雙雄》監製 - 和路達柏基斯 Walter Parkes
《黑超特警隊II》監製 - 羅莉麥當奴 Laurie Mac Donald
《捉智雙雄》編劇 - 謝夫登遜 Jeff Nathanson
《未來報告》攝影 - 贊路斯麥杜維爾 Janusz Kaminski
《未來報告》美術 - 亞歷斯麥杜維爾 Alex McDowell
《雷霆救兵》剪接 - 米高簡恩 Michael Kahn
《捉智雙雄》音樂 - 尊威廉斯 John Williams

9月23日上映

發行：CJ Entertainement Ltd

史匹堡與湯漢斯三度攜手合作
全球觀眾期待 04奇情幽默鉅獻___________________________________

《雷霆救兵》金像導演史提芬史匹堡最新執導電影《機場客運站》(The Terminal)，由兩屆金像影帝湯漢斯夥拍《芝加哥》金像女配角嘉芙蓮薜達鍾斯主演，將於2004年9 月23日隆重上映。

《機場客運站》故事背景發生在紐約甘迺迪機場，首次踏足美國的東歐居民維克托 (湯漢斯飾)，因為家鄉發生政變，他的國籍不被承認，他的護照亦因此變得無效而被迫滯留在甘迺迪機場。美國政府的官僚主義，令維克托被迫無了期滯留。可是，他在滯留期間，學懂在機場範圍內照顧自己的起居飲食，也在機場內認識不少朋友，甚至為朋友充當媒人而撮合一對戀人，後來他也遇上漂亮的空姐艾美妮亞 (嘉芙蓮薜達鍾斯飾)，他倆成為好友，亦逐漸產生了感情，發展一段浪漫美妙的機場情緣。

繼《雷霆救兵》(Saving Private Ryan)及《捉智雙雄》(Catch Me If You Can)後，湯漢斯第３度跟大導演史提芬史匹堡合作。嘉芙蓮薜達鍾斯可算是由史匹堡一手捧紅，當年他監製《黑俠梭羅》，就把薜達鍾斯帶來荷里活，令影迷驚為天人。這次再遇，薜達鍾斯演美麗而樸實的空姐，她因為同情湯漢斯的遭遇，而與他成為好友，並產生浪漫關係，不過他們拍拖的地點，只能停留在機場範圍內，開了花卻未知能否結果。

情節設計令人想起《劫後重生》，內容上則聯想到《真人Show》，除了編劇來自同一班底，也同樣講一個人，在別人的監視下生活，在既定的空間內。湯漢斯由於身份特殊，故在機場的一舉一動，都有官員透過閉路電視監察，只是《機場客運站》幾乎沒有任何批判性，史匹堡只是設計一個處境好讓他盡情發揮。湯漢斯上回在《捉智雙雄》演個嚴肅探員，今次身份調轉，輪到他與監視自己的機場主管大玩捉迷藏，鬥智鬥力。

不一樣的機場故事_________________________________________________

導演及監製史提芬史匹堡證實，幾乎每人都曾經試過滯留機場，他說：「當你乘搭飛機的時候，你有很大的機會會滯留機場。在某程度上，乘客坐在候機室的時間往往比坐在飛機上的時間長。機場內的環境就好像社會上的縮影，你可在那裡吃喝，購物和交朋友。」

監製華特說：「機場是個極吸引的地方，那兒充滿悲歡離合，滯留在機場並不是一件苦事。」
「然而大多數乘客認為滯留機場數小時會帶來很多不便。試想想當你滯留機場數天，甚至數月的時候，情況會怎樣？這種難以想像的情形正正是《機場客運站》的有趣劇情。」

行政監製首先想到一個人由機場過客變住客的概念，再由Sacha Gervasi編成劇本。監製Walter說：「Sacha Gervasi的劇情令人感到親切。編劇Sacha Gervasi則認為這是部有深度而帶有諷刺性的電影，一個人從未踏足美國領土，他卻能在機場內體驗美國生活。」

飾演被迫滯留機場飾演維克托的湯漢斯也非常同意，湯說：「維克托在機場內體驗了美國文化，認識到美國人的工作情況，他已置身於美國這個文化大溶爐裡。」
《機場客運站》令他忘卻了他之前閱讀過的５個劇本。監製柏奇說，史匹堡特愛及挑戰人性喜劇這類的題材。這類題材他沒有嘗試過太多，但同時這也是他最擅長的一類。繼《捉智雙雄》之後，史匹堡一直想再拍一部既可以令觀眾哭又可以令他們笑的一個關於這個世界的電影。

機場過客________________________________________________________

湯漢斯說《機》片是個好到不像現實的一個劇本。我認為當一個人去到一個不能用自己語言溝通的國家，那種感覺就像被孤立一樣。我第一次飛到外國，我就感覺過那種不自在的感覺。我完全可以理解維克托到達紐約後所要經歷的那份無奈及無助。

導演史提芬史匹堡稱湯漢斯喜歡即場發揮演繹，他說：「今次是湯漢斯最有創意的演繹，他能演活維克托這角色，他的演技超過了劇本所描述和我的想像。他稱他是在開始拍攝前10分鐘才想到這樣的演繹，他的演繹能帶起整套電影。他亦發揮得十分靈活自然，他憑他的精湛演技演繹維克托這角色。」

維托克卻是個擁有尊嚴的人。他友善，容易相信別人，而且永遠充滿希望，對著每個困難，他都能尋找積極的一面。最重要的是他對不同膚色的人種都充滿著一種強烈的好奇心，正因此他在機場這個社會縮影裡找到朋友，更給予他一個巧遇聯合空姐的一段奇緣。

嘉芙蓮薜達鍾斯所飾演的，是個在愛情路上從沒幸運過的一個女人。嘉芙蓮說：「我很喜歡阿美妮亞這個角色，她容易將信任交託於人，就算她受到傷害，但仍會帶著一絲信念，認為所有事總會有方法迎刃而解。」嘉芙蓮說阿美妮亞和維托克兩個同是天涯的淪落人，可以在機場內巧遇且產生感情，實在是個十分浪漫的安排。

搭建巨型機場客運站______________________________________________

製作人員從很早便知道基於保安角度，差不多沒可能在一個真實的飛機場拍攝《機》片。一部份的內及外境得到聯合航空的支持，借出Montreal's Mirabel Airport，及一部真實的波音747航機作拍攝之用。但整個拍攝的地方還未得到解決，《機》片的製作設計師麥達維說：「維托克既然是被滯留在紐約的甘迺迪國際機場，我想把幾個候機室混在一起，這樣才像甘迺迪機場的設計，才能給那些飛機場常客或非常客，一種熟悉的感覺。我們決定把這個構思實現起來。我們到達了加洲的Palmdale的一塊巨大的陡坡林地，利用了20週及多達200名的工人，開始蓋建一個樓高３層的機場。我們用了鋼條來搭出整個機場結構，內籠則建了很多落地玻璃，用了60,000平方呎的花岡岩來鋪蓋地面，以及2,000顆微型光管來凝造夜境。監製柏積茜亞更找來了35間公司代表著機場內的商店及食肆，由高級服裝店到快餐店，如Hugo Boss、Starbucks、Godiva、Swatch及American Express等，每一間都有自己的一貫店舖形象，35間公司就相等如35個獨立的結構，這一點實在令我們的工序複雜了很多很多。」

當這個客運站建成之後，每一個工作人員都感到驕傲及感動。嘉芙蓮記得她第一次見到這個建成的候機室時，她看著史匹堡詫異地說：「這兒太真了，就連氣味也像是一個飛機場。」男主角湯漢斯則說這兒比他想像中的大了6倍有多，是個不可思議的佈景。令到工作人員最感開心及安慰的，還是史匹堡的一句「這兒十分出眾，你們帶給我置身戲院的感覺。」

角色介紹________________________________________________________

湯漢斯（Tom Hanks）飾演維托克拿科斯基
其中一個在歷史上憑《費城故事》及《阿甘正傳》兩度獲得金像獎最佳男主角殊榮的影帝（歷史上只有兩個）。曾被提名最佳男主角的次數更多不勝數。他被提名的電影包括《雷霆救兵》，《Big》及《劫後重生》等等。這次在《機》片中所飾演的維托克‧拿科斯基是個是個擁有尊嚴的人。他友善，容易相信別人，而且永遠充滿希望，面對每個困難，他都能尋找積極的一面。最重要的是他對不同膚色的人種都充滿著一種強烈的好奇心的人，與飾演空姐的嘉芙蓮薜達鍾斯有一段奇緣。

嘉芙蓮薜達鍾斯（Catherine Zeta-Jones）飾演阿美妮亞華倫
她曾憑《芝加哥》勇奪奧斯卡最佳女配角，亦曾以《毒網》贏得金球獎提名。這次她在《機》片中所飾演的阿美妮亞是個在愛情路上從沒幸運過的一個女人。她容易將信任交託於人，就算受到傷害，卻仍會帶著一絲信念，認為所有事總會有方法迎刃而解。與沒身份的維托克在機場內巧遇且產生感情。

史丹利杜池 (Stanley Tucci) 飾演法蘭克戴臣
舞台劇出身的他，演出過的電影包括與珍妮花盧比絲合作的《五星級戀人》，及與湯漢斯合作的《末路驕陽》等。《機》片中飾演的法蘭克是名駐甘迺迪機場的移民局專員。他為人好高騖遠，遇著不能進境的維托克，不加同情之餘更使盡一切橫手讓維托克滯留機場，使他知難而退。

幕後人員________________________________________________________

導演及製作人 - 史提芬史匹堡 (Steven Spielberg)
憑《雷霆救兵》及《舒特拉的名單》榮獲兩屆奧斯卡金像獎最佳導演的史匹堡（《舒特拉的名單》更獲得奧斯卡金像獎最佳電影殊榮），近年力作包括《捉智雙雄》，《未來報告》，《人工智能》等等。

《機》片是史匹堡繼《捉智雙雄》之後，另一部他一直想再拍既可以令觀眾哭又可以令他們笑的一個關於這個世界的電影。史匹堡特愛及挑戰人性喜劇這類的題材。這類題材他沒有嘗試過太多，但同時這也是他最擅長的一類。

製作人 - 華特柏高 (Walter F. Parkes)
曾3度獲奧斯卡金像獎提名的華特，是全美其中一個最活躍於電影業的製作人。他製作過的電影包括《七夜冤靈》，《未來報告》，《捉智雙雄》及《黑超特警組1、2》。

音樂大師 - 尊威廉斯 (John Williams)
是其中一位多產和受尊敬的電影作曲家。他獲獎無數，包括5屆奧斯卡金像獎、3屆金球獎、4屆艾美獎、18項格林美獎項及British Academy Award。在他所獲得的5項奧斯卡金像獎中，其中3個獎項均是史匹堡執導的電影　包括《大白鯊》、《E.T.外星人員l》及《舒特拉的名單》，其餘兩個獎則來自《星球大戰》及《錦繡良緣》。他創作多元化，為不少電影創出主題音樂。他曾獲奧斯卡37項提名，包括史匹堡執導的3集《奪寶奇兵》、《超人》、《雷霆救兵》及《斷鎖怒潮》、等。

Academy Award(R) winners Tom Hanks ("Philadelphia," "Forrest Gump") and Catherine Zeta-Jones ("Chicago") star in "The Terminal," under the direction of Academy Award(R)-winning filmmaker Steven Spielberg ("Schindler's List," "Saving Private Ryan").

"The Terminal" tells the story of Viktor Navorski (Tom Hanks), a visitor to New York City from Eastern Europe, whose homeland erupts in a fiery coup while he is in the air en route to America. Stranded at John F. Kennedy International Airport with a passport from nowhere, he is unauthorized to actually enter the United States and must improvise his days and nights in the terminal's international transit lounge until the war at home is over.

As the weeks and months stretch on, Viktor finds the compressed universe of the terminal to be a richly complex world of absurdity, generosity, ambition, amusement, status, serendipity and even romance with a beautiful flight attendant named Amelia (Catherine Zeta-Jones). But Viktor has long worn out his welcome with airport official Frank Dixon, who considers him a bureaucratic glitch, a problem he cannot control but wants desperately to erase.

Emmy winner Stanley Tucci (TV's "Winchell," "Road to Perdition") stars as Frank Dixon. Rounding out the main cast of "The Terminal" are Chi McBride (TV's "Boston Public"), Diego Luna ("Y Tu Mamá También"), Barry Shabaka Henley ("Ali"), Kumar Pallana ("The Royal Tenenbaums") and Zoe Saldana ("Drumline").

Walter F. Parkes ("Catch Me If You Can"), Laurie MacDonald ("The Ring") and Steven Spielberg produced "The Terminal," with Patricia Whitcher, Jason Hoffs and Andrew Niccol serving as executive producers. The screenplay is by Sacha Gervasi and Jeff Nathanson from a story by Niccol and Gervasi.

ABOUT THE PRODUCTION

NOW BOARDING

If you travel by air, even occasionally, chances are you have been stuck in an airport terminal at one time or another. "Almost everybody has been stuck in an airport," director/producer Steven Spielberg attests. "I don't know anyone who hasn't spent longer sitting in an airport chair than on the airplane ride itself at some point. Airports have become small microcosms of society. There are places to eat, places to shop, places to meet people…"

Producer Walter F. Parkes remarks, "If you are going to be stuck somewhere, an airport can actually be a fascinating place to be. They are places of high emotion-people are either saying goodbye or saying hello. There are intense reunions or the anticipation of absence. You get to see a cross-section of humanity parading through, and if you look at it that way, it's not the worst place to spend a few hours."

That being said, most people still view getting delayed at the airport for a few hours as an inconvenience. But try to imagine those hours stretching into days…weeks…and even months. That incredible circumstance is the premise of "The Terminal."

Executive producer Andrew Niccol had the initial concept of a man who was detained at the airport and ended up living in the terminal. He developed the story with screenwriter Sacha Gervasi, who recalls, "I thought it was a brilliant place to start in creating a scenario that most people would never believe could actually happen."

That idea grew into the screenplay "The Terminal," which told the story of Viktor Navorski, an entirely fictional character from the equally fictitious Eastern European country of Krakozhia, who is en route to New York City when his country is torn apart by war. Viktor lands in New York only to discover that his identity has become a casualty of the war at home, and to be told that "America is closed"…at least to him.

Parkes says, "This is one of those stories that is really about the smallest moments of human interaction, and Sacha's script kept the story very intimate. It's about a man encountering a handful of people in a very closed environment, and yet there's this impression that, in a way, he's meeting what America is in this place. I think that makes the story truly interesting."

Gervasi comments, "It seemed to be both incredibly profound and ironic that a man who may never be able to walk onto American soil would still be able to experience what life in America is like…to live the American dream in the terminal."

Tom Hanks, who portrays Viktor Navorski, agrees. "Viktor experiences an immersion in the American culture by way of the condensed world of the terminal. There is a great cross-section of Americans at work in the airport and a huge amount of the American culture constantly on display there. Racial diversity and racial divisions can be readily sampled at the airport. What Viktor goes through is a crash course in the American melting pot."

The script eventually made its way to Steven Spielberg, who read it as one of several screenplays the studio was considering. "It was the last script I read, and it made me forget the five scripts I'd read before it. I thought it was an amazing idea," he remembers.

Jeff Nathanson, who had collaborated with Spielberg on "Catch Me If You Can," later came on board to work on the screenplay. "I was attracted to the project because this is a fascinating time in our history, obviously," says Nathanson. "This story allows us, in a very entertaining way, to explore some issues that I think are paramount to everything that's going on in our country right now, so when I got the script, I was really excited."

It wasn't until Spielberg read the new draft of the screenplay that he made the decision to direct the film. "I had an immediate affinity for Viktor's story. I believe all of us have felt a little bit like Viktor at some time in our lives-this displaced person in search of a life."

"I think Steven was very interested in and challenged by the human comedy of this story," Parkes notes. "It's something he hasn't done too much of, but is very good at. Not unlike 'Catch Me If You Can,' it's the kind of movie that allows him to stretch his comedic muscles."

"After 'Catch Me If You Can,' I wanted to do another movie that could make you laugh and cry and feel good about the world," Spielberg acknowledges. "I wanted to do something else that could make us smile. This is a time when we need to smile more, and Hollywood movies are supposed to do that for people in difficult times."

THE PASSENGERS

Even before Spielberg decided to occupy the director's chair, Tom Hanks had signed on to portray Viktor Navorski, the man without a country who must make a home for himself in "The Terminal."

"I read the screenplay and thought it was almost too good to be true," Hanks states, adding that anyone who has touched down in a foreign country might relate in some way to Viktor's plight. "I don't think any human being who has been to a land where they don't speak the language-or even if they do-has not felt that complete disenfranchisement. I remember the first time I went overseas, I felt incredibly, immediately self-conscious. I was nervous about approaching anybody…never mind having problems with your papers and with immigration and the Homeland Security Department and whatnot. So, yes, I think his situation is very relatable."

Hanks goes on to say how Viktor's predicament is not so far outside the realm of possibility, given the current security climate at our airports. "You can understand particularly how it could happen now: Somebody comes in from a different country where something terrible has happened and so, for all intents and purposes, his country doesn't exist. His papers are no good and the Homeland Security Department isn't about to say, 'Well, enjoy your stay in New York City.' The airport is supposed to be the doorway to the world where people are checked in, but in this case Viktor is checked, and he's no good. He can't come in and he can't go home because those borders are sealed.

"What I liked about the screenplay is that Viktor comes to understand what's at stake," Hanks continues. "He understands the way the world works in this case. There is no point in him railing against the state, because it's too big for him to conquer by himself, so while he's here, he will make the best life that he can for himself."

Jeff Nathanson adds, "Viktor's life in his little village in Krakozhia could never have prepared him for something like this. He starts out as someone who desperately wants to get to New York City, but who will not cheat or break the law to do it. He wants to leave the airport when he's allowed to go, and he will wait until he's allowed to go."

In the meantime, Viktor not only builds a life but a home in the terminal, complete with friends, employment and even a little romance. "Even though Viktor's physical world is in limbo, his emotional world is not," Hanks notes. "He keeps moving forward. He's not sitting there like a lump, saying 'Oh poor me.' He actually goes on something of an emotional journey in order to experience all that America has to offer."

Parkes observes, "If you look at the body of Tom's work, there is a little thread of characters dealing with isolation, whether an intellectual one like Forrest Gump, or a physical one like a castaway on an island. I think the idea of Viktor as a man stranded in America-a stranger in a strange land-appealed to him on that level."

Interestingly, although Hanks' character was confined, Spielberg says that he turned in one of the more improvisational and physical performances of his career. "Of all the movies we've done together, this was the most inventive I've ever seen Tom be on the set. He really brought things to the character that weren't in the script or in my imagination, things no one was expecting. After those scenes in which he'd do something extraordinary, I would ask him, 'When did you come up with that?,' and he'd say 'About 10 minutes before you said 'action.' He was just vamping so many amazing moments…not just moments, but whole ideas about his character. He was also very physical with his body. He slips, he falls, he spins around, he can't get comfortable in a chair… But it wasn't Tom Hanks; it was how he saw Viktor Navorski, and what he brought to the character."

Nevertheless, Spielberg is quick to point out, "Viktor is not a buffoon. In fact, he's a very dignified person who is extremely trusting of others and always full of hope. He finds the bright side to every problem, and he has the patience of Job. Most of all, he has an insatiable curiosity about the human race."

Viktor's interest in people and open heart soon brings him friends, and even the possibility of a romance when a United Airlines flight attendant named Amelia Warren literally slips into his life. Catherine Zeta-Jones plays Amelia, whom the director describes as "a girl who is very unlucky in love," adding, "It was Catherine's challenge to convey all of Amelia's vulnerability and insecurity, and I think she did an exceptional job."

Zeta-Jones offers, "I think Amelia's vulnerability is what attracted me to the part. I love the trust she puts in people; even when she gets hurt, she has a tiny iota of faith that it's going to work out. She is also very open-she wears her emotions on her sleeve-so when she meets Viktor, she has no trouble expressing what's going on in her life. She wants terribly to have someone who will just listen to her, and she finds that person in Viktor. It's a wonderful coming together of two lonely characters that turns into a charming relationship."

"Amelia had never experienced kismet," Spielberg says. "If Cupid had fired his arrow into her, it struck her intellect more than her heart because she thinks she is in love with Max, played by Michael Nouri, who continually makes promises to Amelia that he never keeps. Viktor comes into her life as a confidant-not as a lover or as her knight in shining armor, but he listens, and that's the beginning of a beautiful friendship."

Hanks remarks, "It puts Viktor in the position of thinking that getting stuck in an airport may be one of the best things that's ever happened to him because he got to meet this woman. But it's not a mad crush. I think it's based on the recognition of a kindred spirit who could use some help, and even though they don't speak the same language, they have so much else in common. It's a very adult relationship, which provided Catherine and me with something that can be a rare opportunity for actors. And it was a wonderful opportunity for me to work with Catherine Zeta-Jones, who is as magnificent as it gets."

"I love the relationship Amelia forms with Viktor, and it was such a pleasure to work with Tom," Zeta-Jones comments. "When you are on the set with him day to day, you see how refined his craft is. He really is an artist. There is something so subtle and minimalistic in what he does, but it's so clear and emotional. Tom made all the elements of his character so real that there were times when I would forget I had a line because I was so intently watching him work," she laughs.

Concentrating on the elements of her own character, Zeta-Jones says, "When I was thinking about how I was going play Amelia, I thought about how it must be to be constantly on the move, to have your address book alphabetized by city. Amelia is very much connected to her job description in a way. She's going somewhere all the time and never has enough time to stop, take a breath and form the kind of relationship she so desperately wants and needs in her life."

"It was just a beautiful characterization," Spielberg states. "I am so proud of Catherine for the work she did on this movie."

Spielberg can take more than a director's pride in Zeta-Jones' performance. It was he who first spotted the actress in a miniseries, which led to her being cast in "The Mask of Zorro," marking her first starring role in a feature film.

"It does feel full circle to me," Zeta-Jones says, "even though Steven was a producer on 'Zorro,' and I never actually got to work with him. It was just a dream to be directed by him at last, and I was honored to be asked to participate in this particular project. When I read the script, I just fell in love with it, and doing the movie was a terrific experience."

Stanley Tucci, who plays Frank Dixon, the airport official who is tightly wound in red tape, reveals he was also drawn to the project by the opportunity to work with Spielberg, as well as the script. "I had always wanted to work with Steven, and working with Tom for the second time after 'Road to Perdition' was very exciting. Also the character of Dixon was very well written; it's a really wonderful role. He's a complex character, which always appeals to me."

"Stanley Tucci was my first choice to play the part of Dixon," Spielberg states. "I never imagined anyone else. Then he came to the set and just overwhelmed me with how naturally he played the role. It was amazing how he fit Dixon's shoes, and yet Stanley as a person is nothing like the character of Dixon. It was really a stretch for him to play this guy, but he did it wonderfully."

Dixon, who runs the airport, starts out between a rock and a hard place. Rules and regulations prohibit him from letting Viktor leave the airport, but when Viktor's constant presence threatens to jeopardize Dixon's career, he'll do just about anything to get Viktor out of the terminal.

Spielberg comments, "Dixon is not a villain. He is just doing his job, but he does it so well, he convinces us that he is the villain. Dixon has a lot at stake, especially now when he's being considered for a job he's always wanted. He knows inspectors are going to be observing how he functions on the job, and all of a sudden there's this guy in a bathrobe walking around the food court."

"He's more of a formidable obstacle to Viktor than a villain, though he's not always a nice guy," Tucci admits. "At first, Dixon really wants to help the guy, but their relationship become adversarial. The situation just gets worse and worse and is only exacerbated by all the red tape."

"I think Dixon is a victim of what's wrong with bureaucracy when the human element is ignored," notes Spielberg.

Tucci adds, "It's a little glimpse into the downfalls of bureaucracy in our society. I think it's interesting that this person who only wants to get to America to achieve a very simple goal is ultimately thwarted by all things American."

"'The Terminal' is really an immigrant's tale," Spielberg offers, although Viktor Navorski is not technically an immigrant, as he only plans to visit New York City. "It goes back to what makes this country so great and so strong-immigrants coming here from around the globe to 'the land of milk and honey,' a place where they are allowed to dream of a better life for themselves. In some ways, we have lost sight of the immigrant's plight because security is more intense than ever before, and justifiably so. I think in a sense, this story celebrates the great American melting pot. That is why Viktor interacts so effortlessly with people from different cultures and walks of life so effortlessly, and why I wanted to have such an international cast."

Producer Laurie MacDonald attests, "From the earliest development stage, we always discussed how the world at the airport should reflect all of America with a multi-cultural cast of characters. There's also an element of 'Upstairs, Downstairs' within the group," she says, referring to the hierarchy that exists among the airport employees.

Parkes agrees, "In many ways, the world Viktor encounters at the airport is like America in microcosm, with all of its depth and richness of character. And he meets this group, which comes to represent for him-and hopefully the audience-the best and worst that the country has to offer."

At the center of Viktor's extended airport family are: Chi McBride as Joe Mulroy, the baggage handler who seems to be the natural born leader of the group; Diego Luna as Enrique Cruz, the food service worker who uses his job to strike a mutually beneficial deal with Viktor; Kumar Pallana as Gupta, the janitor whose cart is his private domain and who has a unique way of exercising his power; and Barry Shabaka Henley and Zoe Saldana respectively as U.S. Customs and Immigration Officers Ray Thurman and Dolores Torres, who can't help but sympathize with Viktor's situation, although they are powerless to change it.

Barry Shabaka Henley notes, "Ray Thurman makes the choice to adhere to what he considers the higher calling of duty. Duty is what drives him, but it causes a conflict in his heart, which goes out to this person he really can't help. Ray has to adopt a posture of neutrality because he could easily get drawn in if he allowed himself to. He knows that sometimes you have to distance yourself from the way you feel to do the job you have to do."

Chi McBride, who plays Joe Mulroy, remarks, "Viktor is the kind of guy who's hard to be around and not be affected by his goodness. My character, Joe, is a guy who has spent the better part of his life slinging bags at the airport. He's a bit of a grouch and very matter-of-fact about his job. He just wants to finish his shift and go home where he doesn't pick up anything that weighs more than a 12-ounce can. The last thing he wants is to be burdened by somebody else's problems, but when you're around a guy like Viktor long enough, you just wanna make sure he's okay."

"I guess every character ends up in a completely different place from where they started, which has a lot to do with Viktor Navorski," says Zoe Saldana, who plays Dolores Torres. "Every character in the film has been affected one way or another by this man who is completely trapped in a seemingly hopeless situation, and yet somehow still has the power to bring hope to everybody in their own circumstances."

It is Dolores who has arguably the most life-altering interactions with Viktor Navorski, having to do with her love life. Officer Dolores Torres sits at a counter with two stamps-APPROVED and DENIED-which spell the difference between entering the United States or being detained at the airport. Every day Viktor fills out the proper forms and waits in line, hoping that he will one day see her pick up the stamp marked APPROVED.

It is in Viktor's daily encounters with Officer Torres that food service worker Enrique Cruz sees an opportunity to finally make a connection to Dolores, whom he has loved from afar. He enlists Viktor as an undercover matchmaker in exchange for daily selections from the First Class menu. Diego Luna, who plays Enrique, explains, "My character notices that Viktor makes Dolores laugh, so he sees it as a chance to get close to the woman he loves. He feeds Viktor in exchange for information about Dolores that will help Enrique win her heart."

There is one member of the group whose trust Viktor has a harder time earning: the janitor Gupta, who has his own questions about this stranger who suddenly turns up living in the terminal. "Gupta is suspicious of him," expounds Kumar Pallana, the actor who plays Gupta. "He doesn't know if he's CIA sent to spy on us or what. It's a question of trust."

"Kumar had the part the minute he walked in the door," Spielberg says of the 85-year-old actor.

Born in India, Pallana has had a long and storied career, which included stints as a juggler and plate spinner. Decades later, Pallana proved that he hasn't lost a step in a scene where Gupta provides some unique dinner entertainment for Viktor and Amelia.

Tom Hanks' character added to the international flavor of the cast even though his country of origin, Krakozhia, never existed on any real map. Hanks notes, "Krakozhia is presumably one of those republics that used to be part of the Soviet Union. There is a common pool of the Cyrillic languages, so we began with that and went from there. It's not just the matter of the accent; there are other rules of speaking that differ from ours. For example, when we ask questions, the emphasis goes up at the end of the sentence, whereas theirs goes down. There's literally another kind of logic to their language, so it ends up being behavioral as opposed to just talking 'funny.'"

THE GROUND CREW

Given the title of the movie, the centerpiece of the production was the terminal itself. The filmmakers recognized early on that it would be impossible to shoot the movie in a real airport, given the security constraints. Instead, production designer Alex McDowell was charged with designing and constructing a completely operational, full-sized airport terminal in which almost all of the filming would be accomplished. At the tail end of principal photography, some interior and exterior scenes were filmed at Montreal's Mirabel Airport, where United Airlines lent the production a Boeing 747 for one pivotal scene.

Spielberg, who had collaborated with McDowell on "Minority Report," notes, "The only marching order I gave Alex was to say, 'Look, the star of this movie is Viktor Navorski. It's a character piece, but the name of the movie is 'The Terminal,' so the setting the character is in has to look like a modern international terminal.'"

McDowell designed the terminal set, first in the computer and then as a scale model, which allowed Spielberg to pre-plan his shots using a little periscope camera that enabled him to "walk" visually through the airport set.

During the design phase, Spielberg's longtime cinematographer Janusz Kaminski collaborated with McDowell on designing what would become a state-of-the-art lighting system into the plans. McDowell affirms, "As much as anything, the stage is a giant light box, so it was extremely important to build the lighting design into the set from the very beginning. This wasn't a case of the set being built and the director of photograpy coming in and saying, 'I want light here, here and here.' Janusz was involved in integrating the lighting into the set design from its inception."

While the terminal in which Viktor is detained is presumably at New York's JFK International Airport, McDowell wanted it to be more of an amalgam of several international terminals in order to give it a feeling of familiarity to almost any frequent or not-so-frequent flyer. He and his design team researched airports from coast to coast in the United States, as well as in a number of European capitals.

The terminal set was built from the ground up in a massive hanger located in Palmdale, California's aerospace alley. Construction took approximately 20 weeks and involved more than 200 artisans and workers. Unlike a typical soundstage set, the terminal was built as a freestanding piece of real architecture, a literal three-stories-high atrium-style building within a building.

The self-supporting structure was made of steel throughout, with glass windows and 60,000 square feet of genuine granite flooring. An entire infrastructure of electrical wiring and fiber optic cables, needed to power the set and the flight information displays, was buried beneath the flooring and ran the length and breadth of the set. Among the many notable features of the terminal set were four working escalators, which were among the first actual escalators ever built specifically for a movie set.

The reality of the terminal brought another team into the mix. McDowell explains, "Normally, when you're designing a temporary set, you don't have to concern yourself too much with engineering. In this case, every single welded joint had to be inspected. Every drawing that came out of the art department had to be vetted by a team of engineers, so that was a different experience for all of us."

The design did not end at the terminal's periphery of large glass picture windows. The windows overlook an airfield, which was depicted on one of the largest matte paintings ever created. The gigantic backdrop, which wrapped around three sides of the set, was fixed with 2,000 miniature lights that were illuminated for night scenes. A blue screen was only utilized when the filmmakers wanted to show an actual plane pulling up to the terminal.

Among the more remarkable aspects of the set were the dozens of restaurant and retail outlets situated in the terminal. Executive producer Patricia Whitcher was responsible for getting all the retailers to come on board, which resulted in more than 35 companies being represented in the retail mall and food court, ranging from fast food to high fashion.

"Having 35 stores is like having 35 individual sets," McDowell points out. "Each one had its own lighting requirements and specific properties based on the actual stores, so it was a very complicated process."

In addition to the requisite Duty Free Store and CitiGroup ATMs, the retail outlets include: Verizon Wireless, Dean & Deluca, Discovery Store, Brookstone, Cambridge SoundWorks, Hugo Boss, La Perla, American Express, Hudson News, Borders Books, Paul Mitchell, Godiva, Swatch, Harry and David's, Origins and Smarte Carte.

In and around the terminal's food court, you could treat yourself to Burger King, Auntie Anne's Pretzels, Baskin-Robbins Ice Cream, Baja Fresh, Panda Express, Nathan's Famous, Au Bon Pain, Yoshinoya, S'Barro, Krispy Kreme, The Daily Grill and, of course, the ubiquitous Starbucks.

Some of the food outlets, including Starbucks, Auntie Anne's and Baja Fresh, were staffed by actual employees. In other instances where extras minded the stores, they were given employee training sessions just as if they were going to work behind the counter.

Adding to the verisimilitude of the fabricated terminal, the main flight information board and all monitors displayed actual flight schedules from the International Terminal at JFK International Airport. Solari Di Udine shipped and installed the large flight information board with its split-flap technology. In addition, the terminal featured the newly adopted color-coded, traveler-friendly signage, called the Wayfinding System. Designed by the award-winning Dutch design firm Bureau Mijksenaar, the system, which is the way of the future, was only very recently introduced at JFK and a handful of other major international airports.

When the terminal set was completed, it had the desired effect on the entire cast and crew. Catherine Zeta-Jones recalls, "When I first walked on the set, which you had to see to believe, I turned to Steven and said, 'I'm breathless.' It literally took my breath away. It had that real feel to it. It even smelled like an airport."

"The set was magical," Tom Hanks affirms. "The first time I saw it, it was six times larger than I expected it to be. It was hard to comprehend how they had gotten it all done."

Even Spielberg was blown away by its scope. Whitcher reveals, "When Steven walked on the set for the first time, he said, 'I love it. It's remarkable. You've brought me cinema,' which was incredibly rewarding to everyone."

The lighting of the enormous set was a challenge unto itself. Spielberg notes, "I told Janusz that I wanted to make it as if we were on location filming in a real terminal, and that is exactly how Janusz made everything look."

It sounds a great deal simpler than it was. To create lighting that mimicked sunlight streaming in from the windows, a track of 100,000-watt lights was placed along the length of the set's steel truss ceiling. The lights were pointed upwards and outwards into a huge canopy of white Ultrabounce fabric that wrapped the set like a cocoon. As its name suggests, the light bounced off of the fabric and diffused to create a sunlit ambience.

Kaminski also utilized color changes in the lighting to subtly convey the evolution of Viktor's circumstances. Spielberg expounds, "In the film's earlier scenes, Janusz used cool tones of blue and green because at that point, you don't think of the airport and immigration as a very warm place to be. The cool tones are evident until Viktor starts to settle into his predicament and he realizes he's going to be stuck in this airport for an unspecified amount of time. Then, as you get to know Viktor and he becomes more at home, the colors in the movie start to move towards the warmer tones."

Viktor's gradual acclimation to his temporary home is also reflected in his wardrobe. Costume designer Mary Zophres surmised that someone like Viktor would wear a suit for his first visit to the United States. However, Viktor comes from what they presumed was a small village in Krakozhia, "where they don't get their suits made to measure," Zophres asserts. "To me, it had to look like a mass-produced suit that he's probably owned for at least five years and doesn't fit him quite right. It's very boxy, made from a thick-textured, old-world fabric, and I also stripped it of any details like a chest pocket or pocket flaps."

That first suit is a stark contrast to the tailored Hugo Boss suit in which we later see Viktor. But in between, there is a gradual transformation in his overall wardrobe that conveys not only the passage of time, but also Viktor's growing ease with his living situation. "He goes from somebody who has just arrived in America to looking relatively American," Zophres states.

Zophres, who designed the colorful stewardess uniforms for the '60s-era "Catch Me If You Can," stayed more on the conservative side for the 21st-century United Airlines flight attendant's uniform worn by Catherine Zeta-Jones as Amelia. Taking a few liberties with the actual uniform worn by the airline's flight attendants, Zophres says, "we replicated the uniform as closely as we could, but tailored it to fit Catherine better. We wanted her to look like she's wearing a uniform, but we also wanted it to be flattering."

For the other uniforms seen in the terminal, Patricia Whitcher and the costume department worked closely with the Department of Homeland Security to obtain the proper insignia and uniform styles.

Zophres had a lot more creative freedom with the ethnically diverse costumes worn by the thousands of extras who passed through the terminal on their way to or from the four corners of the globe. Zophres spent weeks shopping in every ethnic pocket in and around Los Angeles to find clothing that was rich in both color and cultural traditions for the milieu of the airport.

"Mary had the best time with the extras' wardrobe," Spielberg comments. "She was very daring in how she dressed some of them because, let's face it, you never know what you're going to see walking through an airport."

Composer John Williams also brought an ethnic quality to the musical score of "The Terminal." He notes, "I wanted to create a musical portrait for Viktor that has an ethnic feel. We know Krakozhia is located in Eastern Europe, so I featured a clarinet in his themes, which is in the idiom of so much of Eastern European music. I also included a cimbalom, which is indigenous to Hungary, and the subtle use of an accordion, which were woven into the orchestral texture to suggest Viktor's origins and culture."

Spielberg, whose association with Williams dates back to the director's first movie, "The Sugarland Express," adds, "The music captures the Eastern European flavor of Viktor's character, but never neglects the richly American sounds of Amelia's story. Then John wrote another beautiful theme that brings the two characters together."

"The Terminal" marks Spielberg's eighteenth feature film collaboration with editor Michael Kahn, although Spielberg says, "Michael and I don't think of ourselves as collaborators. It's more like an extraordinary brotherhood. We read each other's minds; we make the same choices at the same time. We really share the same brain in the editing room."

Spielberg and Kahn worked together to create a fast-paced story, which might seem like a contradiction to the film's tag line: "Life is Waiting." The director counters, "Even though Viktor is stuck in the terminal, everything happening around him is a blur. So there is a tremendous volume of travelers moving to and fro while Viktor, by contrast, is the only one standing still. There is one shot where Viktor is just standing there, and as the camera pulls back, he becomes invisible. You lose him in this sea of people moving in every direction of the compass-everyone except him. So there is an energy to the story. Waiting can be exciting. Waiting can be entertaining."

ABOUT THE CAST

TOM HANKS (Viktor Navorski) is one of only two actors in history to win back-to-back Best Actor Academy AwardsR. Hanks won his first OscarR in 1994 for his moving portrayal of AIDS-stricken lawyer Andrew Beckett in Jonathan Demme's "Philadelphia." The following year, he took home his second OscarR for his unforgettable performance in the title role of Robert Zemeckis' "Forrest Gump." He also won Golden Globe Awards for both films, as well as a Screen Actors Guild (SAG) Award for the latter.

Hanks has also been honored with Academy AwardR nominations for his performances in Penny Marshall's "Big," Steven Spielberg's "Saving Private Ryan," and Robert Zemeckis' "Cast Away," also winning Golden Globes for "Big" and "Cast Away." In 2002, Hanks received the American Film Institute's Lifetime Achievement Award.

This fall, Hanks stars in the animated adventure "The Polar Express," which he also executive produced and which reunited him with director Robert Zemeckis. His other feature film credits include the Coen brothers' "The Ladykillers," Steven Spielberg's "Catch Me If You Can," Sam Mendes' "Road to Perdition," Frank Darabont's "The Green Mile," Nora Ephron's "You've Got Mail" and "Sleepless in Seattle," Penny Marshall's "A League of Their Own," Ron Howard's "Apollo 13" and "Splash," and the computer-animated blockbusters "Toy Story" and "Toy Story 2."

Hanks' work on the big screen has translated to success on the small screen. Following "Apollo 13," Hanks executive produced and hosted the acclaimed HBO miniseries "From the Earth to the Moon," also directing one segment, and writing several others. His work on the miniseries brought him Emmy, Golden Globe and Producers Guild Awards, as well as an Emmy nomination for Best Director.

His collaboration with Steven Spielberg on "Saving Private Ryan" led to them executive producing the HBO miniseries "Band of Brothers," based on the book by Stephen Ambrose. Hanks also directed a segment and wrote another segment of the fact-based miniseries, which won Emmy and Golden Globe Awards for Best Miniseries. In addition, Hanks earned an Emmy Award for Best Director, and an Emmy nomination for Best Writing, and received another Producers Guild Award for his work on the project. Hanks and Spielberg are currently developing another World War II-era miniseries, this time through the eyes of the soldiers in the Pacific theatre.

In 1996, Hanks made his successful feature film writing and directing debut with "That Thing You Do," in which he also starred. Under his own Playtone banner, Hanks, together with his wife, Rita Wilson, and partner, Gary Goetzman, produced 2002's smash hit romantic comedy "My Big Fat Greek Wedding."

CATHERINE ZETA-JONES (Amelia Warren) won an Academy AwardR for Best Supporting Actress for her portrayal of the murderous Velma Kelly in the OscarR-winning Best Picture "Chicago," in which she starred with Renée Zellweger and Richard Gere. She also won Screen Actors Guild (SAG), BAFTA and Critics Choice Awards, and received a Golden Globe Award nomination for her acting, singing and dancing performance in the musical. In addition to Zeta-Jones' individual awards, the entire cast of "Chicago" won the SAG Award for Outstanding Performance by a Motion Picture Cast.

Zeta-Jones had previously earned a Golden Globe nomination for her work in Steven Soderbergh's drama "Traffic," and, along with her castmates, won a SAG Award for Outstanding Performance by a Motion Picture Cast.

More recently, Zeta-Jones starred opposite George Clooney in the Coen brothers' comedy "Intolerable Cruelty," in which she played a gold-digging Beverly Hills divorcee. Later this year, she will be reteamed with Clooney in "Ocean's Twelve," the sequel to "Ocean's Eleven," which also reunites her with her "Traffic" director Steven Soderbergh.

Zeta-Jones first gained international recognition with her standout performance in Martin Campbell's action adventure hit "The Mask of Zorro," in which she starred as Elena, the daughter of the elder Zorro, played by Anthony Hopkins, and the love interest of the younger Zorro, played by Antonio Banderas. She is next set to reprise her role in "Zorro 2," which brings her together again with Banderas under the direction of Campbell.

Zeta-Jones' additional film credits include Jon Amiel's romantic thriller "Entrapment," opposite Sean Connery; Jan De Bont's "The Haunting"; Stephen Frears' "High Fidelity"; and Joe Roth's directorial debut feature "America's Sweethearts," with Julia Roberts, Billy Crystal and John Cusack. She also voiced the role of Marina in "Sinbad: Legend of the Seven Seas," opposite Brad Pitt.

Born in Wales, Zeta-Jones began her career on the stage, starring in the West End production of "42nd Street." She then landed a leading role in the hit Yorkshire Television series "The Darling Buds of May," based on the novels of H.E. Bates.

STANLEY TUCCI (Frank Dixon) will next be seen in the romantic comedy "Shall We Dance?," in which he stars with Richard Gere and Jennifer Lopez. He recently co-starred with Lopez in the comedy hit "Maid in Manhattan," and with Tom Hanks in the drama "Road to Perdition." On the small screen, he portrays director Stanley Kubrick in the HBO movie "The Life and Death of Peter Sellers."

Honored for his work in films and on television, Tucci won a Golden Globe Award and earned an Emmy Award nomination for his chilling portrayal of Adolf Eichman in the HBO docudrama "Conspiracy." In 1999, he won Emmy and Golden Globe Awards and was nominated for a Screen Actors Guild Award for his performance in the title role of the HBO biopic "Winchell."

Tucci had earlier been recognized for his work on both sides of the camera for the widely praised independent feature "Big Night," which he co-wrote, co-directed and co-produced, as well as starred in. "Big Night" brought Tucci an Independent Spirit Award for Best First Screenplay, a New York Film Critics Circle Award for Best New Director, the Waldo Salt Screenwriting Award at the 1996 Sundance Film Festival, a Recognition of Excellence Award from the National Board of Review, and the Boston Society of Film Critics Awards for Best Screenplay and Best New Filmmaker. He also garnered Independent Spirit Award nominations for Best Male Lead and Best First Feature for his work on the film. Tucci's follow-up project, "The Imposters," which he wrote, directed, produced and starred in, was an Official Selection at the 1998 Cannes Film Festival.

Tucci's credits as an actor also include the features "Big Trouble," "America's Sweethearts," "Sidewalks of New York," "William Shakespeare's A Midsummer Night's Dream," "A Life Less Ordinary," "Deconstructing Harry," "Kiss of Death," "Jury Duty," "It Could Happen to You," "Mrs. Parker and the Vicious Circle," "The Pelican Brief," "Prelude to a Kiss," "Beethoven," "Billy Bathgate," "Slaves of New York" and "Prizzi's Honor." His upcoming films include the independent feature "Spin," and he will also be heard in the animated film "Robots."

A native New Yorker, Tucci started acting on the stage. In 2003, he earned a Tony Award nomination for Best Actor in a Play for his performance on Broadway in "Frankie and Johnny in the Clair de Lune." He previously appeared on Broadway in the plays "The Misanthrope," "Brighton Beach Memoirs," "Execution of Justice" and "The Iceman Cometh," and off-Broadway in the title role of "Scapin."

CHI McBRIDE (Joe Mulroy) is perhaps best known to television audiences for his work on the acclaimed David E. Kelly series "Boston Public," on which he starred for four seasons. In 2002, McBride won an AFI Award for Male Television Actor of the Year for his portrayal of principal Steven Harper on the show. He also has a growing list of feature film roles to his credit. McBride will next be seen later this summer in Alex Proyas' "I Robot," based on the sci-fi book by Isaac Asimov, in which McBride stars with Will Smith.

McBride's recent film credits also include "Paid in Full," "Undercover Brother," "Narc," "The Kid," "Gone in Sixty Seconds" and "Dancing In September." In addition, he made a cameo appearance in Andrzej Bartkowiak's "Cradle 2 the Grave." His earlier film work includes "Mercury Rising," "Hoodlum," "The Frighteners," "What's Love Got to Do With It" and "The Distinguished Gentleman."

On the small screen, McBride recently portrayed Drew "Bundini" Brown in the biopic "Muhammad Ali: King of the World." TV fans also remember him as Heavy Gene, the wisecracking janitor on "The John Larroquette Show." His other television credits include the series "Max Steel," "God, the Devil and Bob" and "The Secret Diary of Desmond Pfeiffer." McBride has also guest starred on such series as "The Practice," in a crossover episode from "Boston Public," "The Parkers," "Nash Bridges," "The Fresh Prince of Bel Air" and "Married…With Children."

DIEGO LUNA (Enrique Cruz) was already a star in his native Mexico when he was introduced to American audiences with his starring role in the award-winning international hit "Y Tu Mamá También," from director Alfonso Cuarón. Luna won Best Actor Awards at the Venice and Valdivia Film Festivals for his work in that film. He most recently starred in "Dirty Dancing: Havana Nights," and was also seen in Kevin Costner's "Open Range"; Julie Taymor's acclaimed biopic "Frida," starring Salma Hayek; and Julian Schnabel's "Before Night Falls."

Luna has several films upcoming, including "Criminal," directed by Gregory Jacobs and produced by Stephen Soderbergh and George Clooney, and "Nicotina." Currently, Luna is filming a starring role in "Goal!," the first in a soccer trilogy for director Michael Winterbottom, and "Solo Dios Sabe" ("Only God Knows"), opposite Alicia Braga.

His previous credits include such award-winning films as "Soldados de Salamina," "Ciudades Oscuras," "Un Dolce Olor A Meurte," "Ámbar," and the short "El Ultimo Fin Del Ano," which won a Student Academy AwardR, and which marked Luna's first film. His film work also includes "John Carpenter's Vampires: Los Muertos," "Atlético San Pancho," "Todo el Podor," "El Cometa" and "Un Hilito de Sangre."

Luna began his professional acting career at the age of seven in Mexico. Before he reached his teens, he made his screen debut in a soap opera, which led to more television roles and eventually feature films. He continues to return to the stage, winning Mexico's Association of Theatre Reviewers' 1996-97 Male Revelation Award for his work in "El Cantaro Roto." The association more recently named Luna the Best Comic Actor of 2001-02 for "The Complete Works of William Shakespeare," which he also produced.

BARRY SHABAKA HENLEY (Ray Thurman) next co-stars in the drama "Collateral," starring Tom Cruise and Jamie Foxx, under the direction of Michael Mann. Henley previously collaborated with Mann as a regular on the drama series "Robbery Homicide Division," which Mann produced. The actor also appeared in Mann's acclaimed biopic "Ali," starring Will Smith.

Henley's additional film credits include "Life," "Patch Adams," "Rush Hour," "How Stella Got Her Groove Back," "Bulworth," "Lord of Illusions," "Devil in a Blue Dress," "The Scout," "The Thing Called Love" and "What's Love Got To Do With It." His television work includes a recurring role on "Roc," and guest spots on such series as "Oz," "ER," "NYPD Blue" and "Crossing Jordan," among others.

An accomplished stage actor, Henley won Drama Desk and Obie Awards as a member of the New York ensemble cast of August Wilson's "Jitney." He reprised his role in cities nationwide, including Boston, Chicago and Los Angeles, as well as in the London production, for which the cast won an Olivier Award. He has also appeared on the stages of Los Angeles in such plays as "Richard II," "Fool for Love," "Boseman & Lena," "Wild Duck," "Waiting for Godot" and "Rabbit Foot," the last of which he directed.

In addition, Henley worked with the West Coast Black Repertory Theatre and spent eight years with San Francisco's Mime Troupe. In 1987, he was honored with a Tony Award for Excellence in Regional Theatre for his work with the troupe.

Born in New Orleans, Henley has traveled extensively in Europe and Africa. A professor of African Studies suggested adding Shabaka to his name, honoring the Nubian pharaoh acclaimed for reviving cultural arts in ancient Egypt.

KUMAR PALLANA (Gupta) is an 85-year-old actor who has been performing live all his life, but who has only lately developed something of a cult following for his roles in the Wes Anderson films "Bottle Rocket," which marked his feature film debut, "Rushmore" and "The Royal Tenenbaums." He has also recently appeared in Danny DeVito's "Duplex," with Ben Stiller and Drew Barrymore, and the independent film "Bomb the System."

Born in the still-colonial India of 1918, Pallana was forced to leave his home country in 1939 because of his activities as a freedom fighter. To earn money to send to his family, he relocated to Kenya and South Africa, where he performed at festivals with extraordinary feats of balance and yoga.

After India gained its independence in 1946, the Pearl S. Buck East/West program invited Pallana to New York to showcase his skills, which he soon developed into a one-man show. Adding juggling rings, spinning plates, rope tricks and magic, he became "Kumar of India" on the vaudeville/burlesque/county fair circuit.

During the 1950s and '60s, Pallana crisscrossed the globe with a daunting schedule of nightclub performances in Paris, London, Madrid and Casablanca. Ultimately landing in Las Vegas, he began opening for and/or socializing with such legends as Sammy Davis Jr., Martin & Lewis, Harry Belafonte, Jimmy Durante and Milton Berle. During this time, Pallana also demonstrated his amazing chair-balancing prowess on such now-classic television shows as "The Ed Sullivan Show," "The Mickey Mouse Club" and "You Asked For It." In addition, he joined Bob Hope's USO tour, performing for the troops in Alaska.

Pallana later settled in Dallas, Texas, where he and his family operated a yoga studio/cafe called "The Cosmic Cup." The bohemian spot became a gathering place for artists and students, like Wes Anderson and Owen Wilson who were then attending the University of Texas. The young filmmakers wrote their friend Kumar into their first project, which became the sleeper hit "Bottle Rocket."

ZOE SALDANA (Dolores Torres) is an actress whose star has been rapidly on the rise. She was seen in last summer's blockbuster "Pirates of the Caribbean: The Curse of the Black Pearl," with Johnny Depp and Orlando Bloom, and previously starred opposite Nick Cannon and Orlando Jones in "Drumline."

Following "The Terminal," Saldana will star in a number of diverse film projects, including the independent features "Haven," opposite Orlando Bloom for director Frank E. Flowers, and "Dirty Deeds," both due out later this year. In addition, she stars in "Temptation," a pop/rock/musical version of "Faust." She is currently filming "Constellation," in which she stars with Billy Dee Williams, and will next begin work on the title role in "Lucy," with Natasha Richardson and Bonnie Hunt.

Trained as a dancer, Saldana moved at age 10 from New York City to the Dominican Republic, where she won a dance scholarship to the preeminent school of the arts Ritmos Espacio de Danza Academy. Returning to the United States as a teen, she began performing on the stage, including a role in the chorus of the New York Youth Theatre production of "Joseph and the Amazing Technicolor Dreamcoat."

Saldana's dance background led to her feature film debut in the dance-themed drama "Center Stage," for director Nicholas Hytner. She went on to co-star with rap star Nelly in the urban hit "Snipes," with Kirsten Dunst in the romantic comedy "Get Over It," and with Britney Spears in the road comedy "Crossroads."

ABOUT THE FILMMAKERS

STEVEN SPIELBERG (Director/Producer) is a three-time Academy AwardR winner, earning two OscarsR for Best Director and Best Picture for "Schindler's List," and a third OscarR for Best Director for "Saving Private Ryan." He has also received Best Director Oscar nominations for "E.T. The Extra-Terrestrial," "Raiders of the Lost Ark" and "Close Encounters of the Third Kind."

In 1994, Spielberg's internationally lauded "Schindler's List" emerged as the year's most honored film, receiving a total of seven Oscars , including the aforementioned nods for Best Picture and Best Director. The film also collected Best Picture awards from many of the major critics organizations, in addition to seven BAFTA Awards, including two for Spielberg. He also won the Golden Globe Award and received a Directors Guild of America (DGA) Award.

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

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

For television, on the heels of "Saving Private Ryan," Spielberg and Tom Hanks executive produced the miniseries "Band of Brothers" for HBO and DreamWorks Television. Based on the book of the same name by the late Stephen Ambrose, the fact-based World War II project won both Emmy and Golden Globe Awards for Best Miniseries. Spielberg and Hanks are currently in development on an as-yet-untitled World War II miniseries, focusing on the battles in the Pacific theatre.

Last year, Spielberg won another Emmy Award for Outstanding Miniseries for "Steven Spielberg Presents Taken," a Sci Fi Channel drama about alien abduction, which he executive produced. He is currently developing another miniseries to air on the Sci Fi Channel called "Nine Lives." Also for television, Spielberg is currently executive producing "Into the West," an original limited series Western to air next year on the TNT cable network.

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

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

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

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

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

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

WALTER F. PARKES (Producer) is one of today's most active motion picture producers, in addition to being the co-head of DreamWorks Pictures with his wife and partner Laurie MacDonald. Parkes is currently producing two more films slated for release over the next year: the fantasy adventure "Lemony Snicket's A Series of Unfortunate Events," starring Jim Carrey, Meryl Streep and Jude Law under the direction of Brad Silberling; and the horror sequel "The Ring 2," starring Naomi Watts.

Together with MacDonald, Parkes previously produced "The Ring," directed by Gore Verbinski, which became one of 2002's biggest sleeper hits. That same year, Parkes served as a producer on "Minority Report," starring Tom Cruise, and "Catch Me If You Can," starring Leonardo DiCaprio and Tom Hanks, both for director Steven Spielberg. He and MacDonald also produced the sequel "Men in Black II," which re-teamed stars Tommy Lee Jones and Will Smith and director Barry Sonnenfeld. The couple had earlier produced the 1997 blockbuster "Men in Black," for which they were named ShoWest Producers of the Year.

In addition, Parkes was an executive producer on Sam Mendes' "Road to Perdition," starring Tom Hanks and Paul Newman. He had earlier served as an executive producer on Ridley Scott's "Gladiator," whose numerous honors included the Academy AwardR, Golden Globe and BAFTA Award for Best Picture.

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

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

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

LAURIE MACDONALD (Producer), the co-head of DreamWorks Pictures with Walter F. Parkes, is also a prolific motion picture producer. She and Parkes are currently producing the horror sequel "The Ring 2," having previously produced the hit film "The Ring," starring Naomi Watts. Watts reprises her role in the sequel, which is being directed by Hideo Nakata, the director of "Ringu," upon which "The Ring" was based. MacDonald is also teamed with Parkes as a producer on Brad Silberling's "Lemony Snicket's A Series of Unfortunate Events," starring Jim Carrey, Meryl Streep and Jude Law.

In 2002, MacDonald served as an executive producer on Steven Spielberg's "Catch Me If You Can," starring Leonardo DiCaprio and Tom Hanks. She and Parkes also produced that summer's sequel "Men in Black II," which reunited stars Will Smith and Tommy Lee Jones and director Barry Sonnenfeld. The duo had earlier produced the 1997 sci-fi comedy smash "Men in Black," which brought them Producers of the Year honors at ShoWest.

MacDonald was an executive producer on the OscarR-winning Best Picture "Gladiator," which was one of the most honored and successful films of 2000. Her credits as an executive producer also include the recent remake of "The Time Machine," "The Mask of Zorro," "The Peacemaker," "Amistad" and "Twister."

During her tenure as co-head of DreamWorks Pictures, MacDonald has overseen such hit features as "American Beauty," which won numerous honors, including the Academy Award for Best Picture; and Steven Spielberg's Oscar -winning drama "Saving Private Ryan," which was the most successful of any film released in 1998 at the domestic box office.

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

JEFF NATHANSON (Screenwriter) has worked on a variety of film and television projects. "The Terminal" marks his second collaboration with director Steven Spielberg, following "Catch Me If You Can," for which Nathanson earned a BAFTA Award nomination for Best Original Screenplay.

He recently made his directorial debut on the crime comedy "The Last Shot," which he also scripted. The film stars Matthew Broderick, Alec Baldwin and Toni Collette and is scheduled for release this fall. Nathanson is currently writing an original comedy called "Floaters," which he will also direct.

Nathanson graduated from the University of California at Los Angeles, before entering the American Film Institute's screenwriting program in 1989. His earlier film credits include the hit action comedies "Rush Hour" and "Rush Hour 2," "Speed 2: Cruise Control" and "Twister."

SACHA GERVASI (Screenwriter) began his career as a journalist before segueing into screenwriting with "The Big Tease," a 1999 comedy he co-wrote with Craig Ferguson. Gervasi also served as an executive producer on the film. Currently, he is adapting the book Comrade Rockstar for DreamWorks and Playtone, and is also working on the screenplay "The Hypnotist," to star Jim Carrey.

Born in London to American parents, Gervasi earned his degree in modern history at Kings College. His interest in music led him to turn down a Harvard fellowship in favor of co-founding the alternative rock group Bush, which would later sell 10 million records in America. Gervasi left the group to work for British Poet Laureate Ted Hughes. He subsequently supported himself as a freelance journalist, writing for such publications as Punch, The Observer, and the London Sunday Times.

Moving to Los Angeles in 1995, Sacha attended the graduate screenwriting program at UCLA Film School, where he twice won the BAFTA/LA scholarship. While in school, he continued to write for British publications to help fund his education. His final interview was with a then little known Welsh actress named Catherine Zeta-Jones.

ANDREW NICCOL (Executive Producer/Story) previously produced and wrote the screenplay for the widely praised drama "The Truman Show," starring Jim Carrey under the direction of Peter Weir. In 1999, Niccol earned Academy AwardR, Golden Globe Award and Writers Guild of America Award nominations and won a BAFTA Award for Best Original Screenplay for "The Truman Show" script, which portended the reality show craze. Niccol also received a BAFTA nomination for Best Film for his work as a producer on that film.

In addition, Niccol wrote and directed the science fiction drama "Gattaca," starring Ethan Hawke, Uma Thurman and Jude Law. In 1999, the London Film Critics Circle named Niccol the Screenwriter of the Year for both "The Truman Show" and "Gattaca." Niccol also wrote, directed and produced the sci-fi comedy/drama "S1m0ne," starring Al Pacino.

Upcoming for Niccol is the action drama "Lord of War," starring Ethan Hawke and Nicolas Cage, which he will produce and direct from his own screenplay.

PATRICIA WHITCHER (Executive Producer) held the dual posts of executive producer and unit production manager on the 2004 holiday release "Surviving Christmas," a comedy starring Ben Affleck, James Gandolfini and Christina Applegate. Whitcher is also an executive producer on the upcoming feature "Memoirs of a Geisha," based on the best-selling novel by Arthur Golden, to be directed by Rob Marshall.

Her credits as a producer or executive producer/unit production manager also include Brad Silberling's "Moonlight Mile," starring Dustin Hoffman and Susan Sarandon; "Unconditional Love," starring Kathy Bates and Rupert Everett, for director P.J. Hogan; "Where the Heart Is," starring Natalie Portman and Ashley Judd; and P.J. Hogan's smash hit "My Best Friend's Wedding," starring Julia Roberts. In addition, Whitcher served as a co-producer/unit production manager on "High School High," and as a line producer/unit production manager on "A Dangerous Woman."

Whitcher was also the unit production manager on such films as "How to Make an American Quilt," "True Lies," "The Meteor Man," "The Lawnmower Man," "Iron Maze" and "Darkman."

JASON HOFFS (Executive Producer) recently closed an overall producing deal with DreamWorks Pictures. The deal brings him back to the studio where he served as a senior production executive from DreamWorks' inception in 1994 until early 2000. During his tenure, he supervised such hits as "Meet the Parents," "Deep Impact" and "Mouse Hunt." While still at DreamWorks, he developed "The Terminal" with Walter F. Parkes and Laurie MacDonald.

In 2001, Hoffs joined John Baldecchi in a production deal at Sony Pictures, where they have several projects on the fast track, including "Hot Wheels," "RPM" and "Return to Castle Wolfenstein." In addition, they are producing "Argonauts" for DreamWorks, with Steven Sommers and Bob Ducsay.

Hoffs started his film career working on independent features before joining producer Scott Rudin's company in 1991. As head of production, he worked on such box office successes as "The Addams Family" and "Sister Act," among others. In 1992, he was named Vice President of Production of Steven Spielberg's Amblin Entertainment, where he was involved in such films as "The Flintstones," "Casper" and "The Mask of Zorro."

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

Kaminski more recently collaborated with Spielberg on the '60s-era dramatic comedy "Catch Me If You Can" and the futuristic thriller "Minority Report." He has also served as the director of photography on the Spielberg-directed films "A.I. Artificial Intelligence" and "The Lost World: Jurassic Park." Kaminski's other film credits include Cameron Crowe's hit "Jerry Maguire," "How to Make an American Quilt," "Trouble Bound," "Tall Tale" and "The Adventures of Huckleberry Finn."

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

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

ALEX McDOWELL (Production Designer) previously worked with Steven Spielberg as the production designer on the director's science fiction thriller "Minority Report." McDowell went on to design the fantastical world seen in "The Cat in the Hat," the big-screen adaptation of the classic story by Dr. Seuss.

McDowell is currently collaborating with director Tim Burton on the fantasy adventure "Charlie and the Chocolate Factory," starring Johnny Depp, which is due out next year. He recently worked with Burton, designing the miniature sets for the upcoming stop-motion animation film "The Corpse Bride," which Burton is producing.

Born in Borneo, McDowell lived for seven years in Indonesia, where his father worked as an engineer for an oil company. He later studied fine art at the Central School of Art in London. When the punk movement erupted in London, he founded the design group Rocking Russian, creating record sleeve graphics for the burgeoning punk music industry. With the emergence of MTV in the 1980s, he began designing for music videos, eventually designing more than 100 videos for various artists. In 1986, he moved to Los Angeles to begin his career as a production designer, starting out on commercials.

McDowell's first feature film as a production designer was 1992's "The Lawnmower Man." His subsequent film credits have included "Fear," "The Crow" and its sequel "The Crow: City of Angels," "Fear and Loathing in Las Vegas," "Fight Club" and "The Affair of the Necklace."

MICHAEL KAHN (Editor) has won three Academy AwardsR for Best Editing for his work on films directed by Steven Spielberg. He won his first OscarR in 1982 for the blockbuster "Raiders of the Lost Ark," and was also honored by his peers with an Eddie Award from the American Cinema Editors. In 1994, he received his second OscarR for the editing of "Schindler's List," for which he also won a BAFTA Award. His most recent OscarR came for his work on Spielberg's World War II drama "Saving Private Ryan," which brought him another Eddie Award. In addition, Kahn has garnered OscarR nominations for his work on Spielberg's "Empire of the Sun" and "Close Encounters of the Third Kind," as well as Adrian Lyne's "Fatal Attraction," winning another BAFTA Award for the last.

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

Kahn has also edited a wide range of films for other directors, including "The Haunting," "Twister," "Casper," "Alive," "Arachnophobia," "The Goonies," "Poltergeist" and "Eyes of Laura Mars." He is currently working on "Lemony Snicket's A Series of Unfortunate Events," for director Brad Silberling.

MARY ZOPHRES (Costume Designer) counts "The Terminal" as her second collaboration with Steven Spielberg, following "Catch Me If You Can," for which she received a BAFTA Award nomination for Best Costume Design.

Zophres has also designed the costumes for five films for the Coen brothers, beginning with their award-winning hit "Fargo." Their collaboration continued on the films "The Big Lebowski," starring Jeff Bridges; "O Brother, Where Art Thou?," with George Clooney; "The Man Who Wasn't There," starring Billy Bob Thornton; and "Intolerable Cruelty," pairing George Clooney and Catherine Zeta-Jones. She most recently designed the costumes for the Coens' "The Ladykillers," starring Tom Hanks.

In addition, Zophres has worked with the Farrelly brothers, serving as the costume designer on the comedies "There's Something About Mary," "Dumb and Dumber" and "Kingpin." Her other film credits include "Moonlight Mile," "Ghost World," "View From the Top," "Any Given Sunday," "Paulie," "Digging to China" and "Playing God."

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

Williams has also earned a remarkable 37 additional Oscar nominations, the most recent coming in 2003 for Spielberg's "Catch Me If You Can." The year before, he received dual nominations for his scores for Spielberg's "A.I. Artificial Intelligence" and the blockbuster "Harry Potter and the Sorcerer's Stone." A master of every genre, he has created many of the most familiar themes in movie history, including the Oscar -nominated scores for "Close Encounters of the Third Kind," "Superman," and all three of Spielberg's "Indiana Jones" movies: "Raiders of the Lost Ark," "Indiana Jones and the Temple of Doom" and "Indiana Jones and the Last Crusade." Williams' other Academy Award nominations have included Best Original Score nods for "The Patriot," "Saving Private Ryan," "Amistad," "Nixon," "Sabrina," "JFK," "Home Alone," "Born on the Fourth of July," "Empire of the Sun," "The River," "The Towering Inferno" and "The Poseidon Adventure," to name only a portion.

Williams' long association with Spielberg began with the director's first feature, "The Sugarland Express," and has encompassed almost all of Spielberg's films, more recently including "Minority Report" and "A.I. Artificial Intelligence." Williams' latest film franchise credits include "Harry Potter and the Sorcerer's Stone," "Harry Potter and the Chamber of Secrets" and the soon-to-be-released "Harry Potter and the Prisoner of Azkaban"; and "Star Wars: Episode I - The Phantom Menace," "Star Wars: Episode II - Attack of the Clones" and the upcoming "Star Wars: Episode III."

In addition to his feature film work, Williams has created themes and fanfares for several Olympic games, and also wrote an orchestral work to accompany Spielberg's film tribute to the new millennium, "American Journey." He has also composed numerous concert pieces, including two symphonies, and a cello concerto premiered by Yo Yo Ma and the Boston Symphony Orchestra in 1994, as well as concertos for flute, tuba, violin, clarinet, bassoon and trumpet. Williams was also Music Director of the Boston Pops Orchestra for 14 highly successful seasons from 1980 to 1993. He still holds the title of Laureate Conductor of that famed ensemble, as well as that of Artist in Residence at Tanglewood. As a guest conductor, he appears regularly with many of the world's most renowned orchestras.

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