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長途嚇機
RED EYE
《猛鬼街》、《奪命狂呼》導演韋斯奇里雲(Wes Craven)
全新驚慄力作
離地三萬呎 恐怖殺人夜
血洗機艙 撕裂長空
August 12, 2005
故事大綱
坐上飛機，除了考慮個人安全問題外，還要被迫跟陌生人同坐一段旅程，今夜麗莎（麗素麥雅當絲飾）坐上了前往邁阿密的夜行客機，而他身邊的陌生人積遜（施利安梅菲飾），卻是一名特工，正在密謀在飛行途中把一名政府高官暗殺；最想不到的是，麗莎是整件事件中的關鍵人物 …
另一邊廂，職業殺手正挾持著麗莎的父親，若然麗莎拒絕合作，積遜便會致電給對方，下殺父之令。
被困三萬呎高空之上，麗莎求救無門；她反抗的話，亦只有死路一條，更會連累父親及機上所有乘客。航機不斷前進，時間愈來愈少，麗莎已到達歇斯底里的狀態，究竟她能否制服冷血特工，阻止一場恐怖的剌殺發生？
製作花絮
三大靈魂人物 三大賣點
萬眾期待的「韋斯奇里雲驚慄作品」─《長途嚇機》(Red Eye)鐵定於05暑假強勢出擊。影片還未開畫，網友在留言板上狂呼「必睇不可!!!勁正!!!好驚!!!」（Must See !!! Terrific !!! Thrilling !!!），大力推薦奇里雲今次的新作。
影片除了在網上掀起熱烈討論，片中三大靈魂人物亦搶盡風頭，他們包括：
驚慄大師 密室心理戰
80年代，奇里雲以《猛鬼街》系列震慄全球觀眾，90年代的《奪命狂呼》(Scream) 系列則玩盡多齣驚嚇片塲面，兩個系列均成為恐怖片經典。踏入新世紀，奇里雲嘗試以嶄新角度處理驚慄題材。今次《長途嚇機》，他先設定空間為「密室」狀態（即在三萬呎高空上飛行中的機艙）， 並透過兩位主角的心理角力，逐一撕破恐怖的真相。就正如緊張大師希治閣喜歡安排自己的角色蒙在鼓裡，讓觀眾代替他感受身邊的危機／恐怖感一樣，《長途嚇機》全片的氣氛是真正的「一步一驚心」。
此外，奇里雲亦利用了全人類的恐懼感：包括畏高、坐飛機的恐懼感、幽閉恐懼症、對陌生人的恐懼感等。既然大部份人都有這些恐懼，觀眾亦會很快認同及投入角色的緊張處境。
更重要的是，此片繼承了奇里雲一貫的驚慄片主旨──年青人如何對抗恐怖的環境，他們如何施展渾身解數，克服逆境，逃出生天。
婚期迫近 也要開拍
無巧不成話，開拍此片之前，導演及男主角亦因為婚期迫近而差點無緣開拍此片。奇里雲老拍檔監製瑪莉安馬德蓮娜(Marianne Maddalena)回想此事，說：「我收到這劇本，覺得非常之好……但當時我們正在拍攝《奪命咒》，奇里雲已筋疲力盡，加上他正在籌備婚事，所以當我談及《長途嚇機》劇本的時候，他就說：『不，我太忙了！』但我堅持說：你看完再說吧。」
結果，65歲第三度結婚、兼打算度密月的奇里雲，也難敵劇本的威力，決定開拍此片。奇里雲更盛讚劇本令人一直想追下去，他說：「卡爾艾斯禾夫的劇本結構精密，充滿原創性。我想在恐怖片之外表現自己的驚慄手法，這個故事集合所有懸疑與驚駭元素……而我就最鍾意見到觀眾瑟縮在椅上一角看我的影片！」
至於30還未出頭的靚仔主角施利安亦竟然在倫敦舉行婚禮的前兩天，被急call去洛杉磯試鏡。連冼里亞的準新娘也擔心他來不及婚，幸而導演奇里雲聯同監製到洛杉磯機場與施利安見面，並在半小時後馬上放人，以免延誤對方的喜事。施利安也沒有白走一趟，奇里雲大讚他有熱誠、有幽默感：「他那一雙藍眼睛真的殺死人，而他亦能表現角色的才智及緊張感。」很明顯，特工一角非他莫屬。
大玩心理拉鋸 演技大挑戰
玩密室、玩原始恐懼之外，兩位主角的心理拉鋸亦是提升驚嚇度的重要一環。麗素麥雅當絲飾演的麗莎是一個酒店行政人員，她工作有條，職業上她學會了面對問題就即時解決的本能；可是她卻是一個害怕建立關係，對人際關係抱著存疑態度的人，是次旅程她正是去處理至親祖母死去的事情，她內心的不隱令這次事件變得更為可怕。
施利安飾演的積遜是一個盡忠職守的特工，有任務他就會設法完成，冷血、無道德規範，無感情顧慮。而片中不少場面，都依賴演員的一舉手、一投足、一個眼神來表現人物關係的變化，帶出緊張氣氛。「在這麼狹小的空間中玩心理戰，是挑戰自己演技的一個極好機會」。
麗素大喊高難度之餘，亦大讚導演功力深厚：「奇里雲可以準確地知道如何加入一個眼神就能加強全場戲的緊張氣氛。作為演員，只需跟著他的節奏演出，就自然感受到劇情不斷在推進。」
突破機場禁地 攝製隊大暴走3個機塲
故事由機場開始，因此本片選取了多個機塲以作拍攝之用；但由於恐怖襲擊之後，美國的機場保安比以往更加嚴謹，海關保安地區都不獲準拍攝，於是攝製隊選取了加拿大的安大略國際機場取景，把部份場景改裝，模擬美國德州的達拉斯國際機場。安大略機場亦準許攝製隊來到過境海關的位置拍攝，這些曾被認為是電影公司的拍攝禁地，本片都能闖入，奇里雲可說是得償所願。
而美國方面則讓攝製隊在洛杉磯國際機場的Tom Bradley Terminal取景；結局一塲追逐戲而在邁阿密國際機場拍攝。
機艙取景 重組波音 767
至於片中的機艙主景，就更為有趣。首先，導演揀選了座位設定為2－3－2的波音767客機為故事發生的地方。可惜，市面上的波音767飛機絕不會出租給拍攝之用。攝製組靈機一轉，從多個途徑，找來不同的飛機艙部份，再把頭頂的行李艙、座位等機件裝嵌成一個十足十767機艙的場景。
想不到這個由多個不同類型的配件改建而成的機艙，反成為了導演及攝影師的大恩物。正因為機艙不是密封，而是四分五裂的關係，導演在選取拍攝角度上就有更大彈性。奇里雲說：「我將吊軌設在機頂，攝影機便可在上空沿著座位之間的通道滑行拍攝，又可飛越人頭、自由地推前拉後。」當然，為了表現機艙內的壓迫感，以及營造出「密室」恐慌，更多時候，攝影機是在兩個座位之間活動，令觀眾尤如置身其中，恐怖感像要爆發一樣，但自己卻繼續被困於座位中，承受危機。
片場製造氣流 人造離心力嚇破膽
其實，被困在座位之中的除了片中女主角麗莎之外，80位「同機」演出的臨時「乘客」一樣被困「機艙」，而且是６星期之久！由於全片有６星期是在機艙場景內拍攝的關係，負責扮演乘客的臨時演員，基本上不論是哪一場戲，都是穿著同一套衫，坐在同一個座位「演出」。由於他們的戲份實在太輕鬆，短短６星期內，大家竟已組成「啤牌小組」，亦有人趁休息時間慶祝25周年結婚紀念。幕前氣氛雖然緊張，幕後卻不分上下，樂也融融。
唯一令大家有點焦慮的是：當有氣流發生時……
為了製造飛機遇上氣流的場面，攝製組原來早已在改建的機艙之下，放了一個105呎ｘ24呎的水力甲板，並在甲板之下裝置了50個可發動8,000磅威力的超級cushion。負責人解釋：「只要將不同的cushion谷大或洩氣，就會做成甲板不規則地升降，而急劇和猛烈的搖動就會形成類似氣流的效果。」試「玩」過的麗素都話：「離心力好勁！」
幕後陣容
荷里活新寵 麗素麥雅當絲
加拿大出身的金髮美女麗素麥雅當絲(Rachel McAdams) ，憑著一股青春氣色闖入荷里活，今年更以《長途嚇機》女主角身份迎戰暑假檔期，可見她是現時最受注目的新星之一。除本片之外，今年麗素的新作還包括：與奧雲韋遜(Owen Wilson)及雲斯漢(Vince Vaughn)合演的愛情爆笑劇《Wedding Crashers》，以及暫定於聖誕檔公映的家庭式喜劇《The Family Stone》，片中麗素將首次跟戴安姬頓(Diane Keaton)、嘉麗丹妮絲(Claire Danes)、路克韋遜(Luke Wilson)等多位紅人一起演出。
4歲起便學習溜冰的麗素，自小是比賽選手，善於表現動感和體態美；13歲時，她參加了暑期戲劇訓練營，並於營中主演莎翁的劇目。麗素自言從此對演戲產生興趣，長大後於約克大學(York University)攻讀戲劇，取得電影藝術學位。
初出道時，麗素參演了多個電視劇演出，包括迪士尼系列《The Famous Jett Jackson》；2002年初登銀幕，演出了《My Name is Tanino》及《Perfect Pie》。麗素憑《Perfect Pie》獲得有「加拿大奧斯卡」之稱的Genie Award最佳女配角提名，並贏得荷里活片商的垂青。她之後主演了青春片《戇男有２性》(The Hot Chick)、《辣妹過招》(Mean Girls)。
去年，麗素跳出了巴辣學生妹的框框，在名導尼克卡薩維蒂(Nick Cassavetes)執導的《忘了•忘不了》(The Notebook)中演繹了一段令人刻骨銘心的二戰苦戀，影片被譽為該年度「最美麗的愛情片」。麗素亦憑《忘了•忘不了》及同年推出的《辣妹過招》在 2005 ShoWest Convention（美國業內最有代表性的會議）上，被封為「該年度最佳女配角」；她又同時榮獲三項MTV電影獎，包括「最突出女演員」、最佳銀幕組合（《辣妹過招》），並與《忘了•忘不了》的賴恩高斯寧(Ryan Gosling)一起奪得最佳接吻獎。
愛爾蘭型男 施利安梅菲
語帶溫柔、皮膚白皙，加上一雙閃亮的藍眼睛，施利安梅菲(Cillian Murphy)憑丹尼保爾(Danny Boyle)執導的《28日後》(28 Days Later)一躍而成萬人迷，自此片約排山倒海而來。繼早前在《蝙蝠俠：俠影之謎》中扮演 Mr. Jonathan Crane/ Scarecrow 之後，施利安將於英國大導尼爾佐敦(Neil Jordan)執導的《Breakfast in Pluto》，演繹一個變性夜總會歌手。影片定於今年11月公映，被喻為是尼爾佐敦繼《哭泣的遊戲》後的震撼性話題作。
現時，施利安正準備投入拍攝丹尼保爾的科幻新作《Sunshine》，與女主角楊紫瓊及《神奇４俠》人氣新星基斯伊雲斯(Chris Evans)破天荒合演一個「重燃太陽」的太空故事，乃近來最矚目的大製作之一。施利安亦剛完成了英國大師堅盧治(Ken Loach)的新作《The Wind That Shakes the Barley》。以上兩片均暫定於2006年公映。
施利安1974年出生於愛爾蘭，大學時期一心攻讀法律，卻為興趣而主演了舞台劇《Disco Pigs》，誰知他的表現技驚四座，劇目大受歡迎，最後甚至要逃學作巡迴演出。《Disco Pigs》在都柏林戲劇節及愛丁堡節獲獎後，更由愛爾蘭巡迴至英格蘭、多倫多、澳洲等地，結果，施利安索性放棄法律投身演藝，他亦由舞台被發掘到影圈。2001年，《Disco Pigs》被搬上銀幕，男主角Pig依然由施利安擔綱。
入行以來，施利安演出了不少口碑之作，包括《亂世情天》(Cold Mountain)、《畫意私情》(Girl With a Pearl Earring)、《玩命911》(Intermission)等，相信這位愛爾蘭型男，魅力將繼續綻放影壇。
驚慄大師 韋斯奇里雲
有當代「驚慄大師」之稱的韋斯奇里雲(Wes Craven)過去三十多年創造了不少經典恐怖系列，以及深入民心的角色。從他1972年首部導演作《The Last House on the Left》已可見其取材大膽、拍攝技巧震慄人心。1984年，奇里雲憑自編自導的青春恐怖片《猛鬼街》(A Nightmare on Elm Street)震「驚」全球，奠定了奇里雲在恐怖片類型的經典地位。《猛鬼街》自此連續拍了五集，膾炙人口，縱然奇里雲只編不導，但於1991年，他再次出山，執導了《再見亦是猛鬼》(Wes Craven's New Nightmare)，為此系列劃上句號。
踏入90年代，奇里雲憑《奪命狂呼》系列再掀青春恐怖片熱潮，單是首集全球票房已收逾１億７千萬美元。《奪命狂呼》系列不但在商業上報捷，片中的骷髏人扮相更成為Cult Image。影片反轉及戲謔傳統恐怖片的敘事方法，亦獲評論界一致推祟。
1999年，奇里雲一改風格，毅然將一個社區女教師的故事搬上銀幕，拍成《弦動我心》(Music of the Heart)，感人肺腑的故事，配上梅麗史翠普的精湛演出，令影片傳頌一時，史翠普更憑此片獲提名奧斯卡影后。
奇里雲其他口碑驚嚇片還包括：《奪命咒》(Cursed)、《Vampire in Broolyn》、《殺人唔眨眼》(The Hills Have Eyes, Part II)等等。
| 主演﹕ | 麗素麥雅當絲 (Rachel McAdams) |
《忘了•忘不了》(The Notebook) 《辣妹過招》(Mean Girls) |
||
| 施利安梅菲 (Cillian Murphy) |
《蝙蝠俠：俠影之謎》(Batman Begins) 《亂世情天》(Cold Mountain) 《28日後》(28 Days Later) |
|||
| 導演﹕ | 韋斯奇里雲 (Wes Craven) |
《奪命狂呼》(Scream) 1-3集 《猛鬼街》(A Nightmare on Elm Street) 《奪命咒》(Cursed) 《弦動我心》(Music of the Heart) |
| 上映日期： | 8月25日 | |
| 發行﹕ | 泛亞影業有限公司 聯合國際影片公司 |
|
| 片長： | 86分鐘 | |
| 級別： | IIA | |
| 院線： | 嘉禾港威、嘉禾旺角、嘉禾荷里活、嘉禾青衣、UA金鐘、UA時代廣場、UA沙田、UA黃埔、UA德福、UA朗豪坊、UA太古城、UA東薈城、旺角百老匯、荃灣百老匯、葵芳百老匯、奧海城百老匯、九龍灣百老匯、元朗百老匯、數碼港百老匯、嘉湖銀座百老匯、Palace IFC、Palace apm、皇室、AMC、JP銅鑼灣、康怡、將軍澳、華懋、凱都及馬鞍山 |
From director Wes Craven (the "Scream" franchise) comes "Red Eye," a suspense thriller at 30,000 feet, starring Rachel McAdams ("The Notebook," "Wedding Crashers") and Cillian Murphy ("Batman Begins," "28 Days Later").
Lisa Reisert (Rachel McAdams) hates to fly, but the terror that awaits her on the night flight to Miami has nothing to do with a fear of flying.
Upon boarding the plane, Lisa is pleasantly surprised to find that she is seated next to Jackson (Cillian Murphy), the seemingly charming man with whom she had shared a drink-and perhaps even a brief flirtation-in the airport terminal. But moments after takeoff, Jackson drops his facade and menacingly reveals the real reason he's on board: he is an operative in a plot to kill the Deputy Secretary of Homeland Security…and Lisa is the key to its success. If she refuses to cooperate, her own father will be killed by an assassin awaiting a call from Jackson.
Trapped within the confines of a jet at 30,000 feet, Lisa has nowhere to run and no way to summon help without endangering her father, her fellow passengers and her own life. As the miles tick by, Lisa knows she is running out of time as she desperately looks for a way to thwart her ruthless captor and stop a terrible murder.
"Red Eye" is directed by Wes Craven and produced by Chris Bender and Marianne Maddalena. The executive producers are Bonnie Curtis, Jim Lemley, JC Spink and Mason Novick. The screenplay was written by Carl Ellsworth from a story by Ellsworth and Dan Foos.
ABOUT THE PRODUCTION
TAKEOFF
Director Wes Craven, who is best known for such classic horror films as "A Nightmare on Elm Street" and the "Scream" franchise, adopted a more subtle approach to keeping audiences on the edge of their seats in his new thriller, "Red Eye." "This is definitely not a horror film; it's a psychological thriller," he states. "There aren't people being chased by a maniac with a butcher knife, and nobody wears a mask-except in the sense of presenting himself as one thing and then turning out to be something totally different. After all," he smiles, "you never know who you are going to sit next to on a plane."
It was that central and almost universally shared experience that first sparked the imagination of screenwriter Carl Ellsworth. "All sorts of characters come on to airplanes. Sitting there, watching them come down the aisle, we've all had those thoughts like, 'What's that guy about?' or 'Oh, I don't want that person sitting next to me.' The story originated out of that."
Ellsworth offers that he also found inspiration in the movie "Phone Booth," whose protagonist spends virtually the entire film trapped in the title's set piece. "You could say that movie is a claustrophobic thriller in that there is a sniper holding a guy hostage in a phone booth." Nevertheless, he observes, "There is still a considerable amount of space between the good guy and the bad guy. I started to think about how I could condense that space even more. Could I have my protagonist and antagonist literally trapped together, side by side, and sustain the action and suspense? With 'Red Eye,' I think the answer is emphatically 'yes,' because the tension for me is generated out of this very compelling conversation between these two individuals, Lisa and Jackson, which starts out innocently enough, but then suddenly develops into something much more sinister. I'm hoping audiences will go along for the ride-a different type of ride because it hinges on the words that pass between these two people, but a ride just the same."
Most of that ride takes place within the confines of a plane at 30,000 feet, which executive producer Mason Novick says adds to the inherent tension. "If you're on a plane, there's truly nowhere to go. We didn't have to invent a scenario for why the doors are locked or why they can't get out for this reason or that… Lisa is stuck in that little seat with this guy who is threatening her with this horrific plot, and there is nowhere to run. It makes it very claustrophobic and 'in your face.'"
Ellsworth notes that he also had to find a way to keep Lisa and Jackson in a virtual vacuum, even as they are surrounded by 150 fellow travelers. "You might think that with a planeload of people around her, Lisa might be able to find some help during this ordeal, but Jackson has planned for those contingencies. So even though she could theoretically scream for help, it's just not going to happen."
Ellsworth's screenplay eventually came into the hands of producer Marianne Maddalena, who is a longtime associate of director Wes Craven. "I read it and I thought it was wonderful," she states. "It was exactly what I had been looking for-a nice, tight little thriller-but at that point in time, Wes was exhausted. We were filming 'Cursed,' and he was planning his marriage at the same time. He was overwhelmed, so when I told him about 'Red Eye,' he said, 'I can't; I'm too busy.' I said, 'Just read it. You're going to love it,' and, just as I said, he read it and loved it."
Craven confirms, "I am always most attracted to a project by the script, and the first time I read the script for 'Red Eye,' I felt it was a page-turner. It just compelled you to see what was going to happen next. You know, a director can do nothing if he doesn't have a good script, and this screenplay by Carl Ellsworth was remarkably well constructed and very original. I felt it was a great opportunity to show my stuff in something other than a horror movie, and yet the story had all the elements for suspense and the kinds of surprises I enjoy using to keep people on the edge of their seats."
"It was a great day when we got the phone call that Wes Craven was interested in the script," Novick recalls. "Everyone was excited, saying, 'This guy is a legend.' Most of us grew up watching his movies. As soon as we heard he wanted to do it, we knew we had to make it happen. From there, everything went ahead very smoothly."
Working on his first feature film, Ellsworth states that having Craven at the helm was "a privilege, a real dream come true. Wes brought so many things to the script that added to the scare factor. He's just the master."
Maddalena comments that, in addition to drawing on Craven's gift for generating fear, "Red Eye" also tapped another of the director's strong suits. "I thought this was a perfect movie for Wes to direct because, if you look at most of his movies, they are character-driven thrillers. They may happen to have Freddie Kruger or, say, the ghost from 'Scream,' but really they are about young people surviving these horrible situations and finding the strength to fight back against whatever is going on. He is really an actor's director, and this was such a good opportunity to work with great actors in a dramatic situation. For much of the movie, it's really just two characters together on a plane, so it was great for him to be able to concentrate on that…on performance."
BOARDING PASSES
"The story of 'Red Eye' is built entirely around two principal characters," Craven remarks. "Lisa is a young businesswoman who appears very much in control of her job, but she starts to reveal, in small increments, that she has a terrible secret that makes her especially vulnerable to what's happening to her on that airplane. She hides it very well, but the man in the next seat, Jackson, is an astute judge of character. Jackson is a very interesting character because everything is cut and dried to him. If you give him a job, he'll do it and move on without looking at the moral repercussions. He actually considers himself to be extremely honest. He just lays it out the way it is. You may not like it, but that's how it is."
One of today's fastest-rising leading ladies, Rachel McAdams stars in the role of Lisa Reisert. She says that the close-quartered interplay between Lisa and Jackson was what immediately drew her to the project. "The psychological mind play between these two characters in that confined space was the element I was most attracted to in the script. It struck me as an incredible acting challenge to have to sit in one spot and be held hostage without letting anyone else know what is going on. It's a pretty dire situation: her father's life is at stake, her life is at stake, and if she helps Jackson carry out his plot, she is as much a murderer as he is. She has to think her way through this incredible scenario and figure out a way to save the people she loves and herself."
McAdams notes that when we first meet Lisa, the only thing on her mind is work. "She is focused on one aspect of her life right now, which is her job. Because of the nature of her work in the hotel world, Lisa is a troubleshooter and very resourceful; she's used to handling all kinds of problems. But in her personal life, she's a little closed off, a little suspicious of intimacy. She is dealing with the death of her grandmother, who was kind of her mentor, and there are problems in her past that she's still trying to come to grips with. I think she has cut herself off from the world a little bit; she's cast her personal relationships and even her relationship with her father aside, and her work has become her life."
That said, McAdams adds, "Her arc was very interesting to me-where Lisa starts and where she ends are two very different places, and the journey in-between is quite gripping."
Maddalena reveals that McAdams was the only actress the filmmakers met for the role of Lisa. "She has a wonderful quality. She's very beautiful but, at the same time, very accessible."
Craven attests, "I had seen Rachel in 'The Notebook' and 'Mean Girls,' and knew she was actor of enormous range and great charisma-not to mention a fantastic beauty-and working with her was an enormous pleasure. She always came in totally prepared and was able to convey the deep and powerful emotions of this complex character very quickly. From the moment you see her on the screen, your eyes are just riveted on her. She's funny, she's vulnerable, she's smart…she has a combination of beauty and wisdom and talent that is quite remarkable."
Cast opposite McAdams, Irish actor Cillian Murphy adopted a flawless American accent to play an operative in a murder plot with the unfortunate name of Jackson Rippner. "There are obvious connotations about his name," Murphy admits, "although I never really conceived of the character entirely as a good guy or a bad guy. He is very much a professional; he has been paid to get a job done. But over the course of the movie, circumstances keep changing and we see the situation slipping further out of his control. I tend to be drawn to characters who are in extreme situations where the scope of the drama is heightened, and this is definitely one of those roles. It was such an actor's script-almost like a chamber piece with everything so contained within these two seats on a plane. I was instantly taken by it."
Interestingly, planes were very much involved in the rather extraordinary lengths to which Murphy went to land the role of Jackson. Two days before his wedding, he flew from London to Los Angeles to meet with Wes Craven and Marianne Maddalena about the role. Appropriately enough, he read the script on the plane and the meeting took place at the airport-at Encounter, the instantly recognizable landmark restaurant at the center of LAX.
Maddalena says, "His wife-to-be was very nervous that he wouldn't make it back in time, but it all worked out. We talked to him for about half an hour, he flew back to London and got married two days later. He was the first and last actor we met for the role. We just knew this was the guy, and he was fantastic."
Wes Craven was also duly impressed, saying, "He had immense enthusiasm. He was bright, he was funny, and he had those blinding blue eyes. I got a sense of intelligence and intensity…and it was clear he very much wanted the part. I mean, if someone comes 5,000 miles to meet on a role, you know he's really committed."
Murphy offers that his commitment to the role was fostered by the opportunity to work with Wes Craven. "The script was so strong, and when you have someone like Wes Craven on board, you know you're in good hands. He is so articulate in the language of film, particularly when it comes to building suspense. I totally trusted his judgment, especially with a character like Jackson, because you have to be careful not to give anything away too soon. At the start of the movie, he has to come across as charming and approachable; the challenge is to have that shift without attracting the attention of 150 other passengers. Wes understands the power of a look to notch things up just slightly."
Rachel McAdams agrees. "When you have two people in one space for such a long period of time, you really have to heighten the drama. Wes can find moments-a look here, a glance there-that as an actor, you wouldn't necessarily think are adding to the suspense. But when you get to know him, you can see his wheels turning and you know he's using all those looks and glances to create a more intense scene."
Despite Jackson and Lisa's adversarial relationship, with much of "Red Eye" being a two-person drama, Craven needed his two central characters to have, what he calls, "a very complex chemistry. Jackson has to totally win Lisa over in a few short scenes. He's charming, he's caring and sympathetic; he makes wry, funny comments…he starts out as this great guy. Then he reveals himself to be part of this terrible plot that he's put her in the center of."
Rachel McAdams observes that there was a similar juxtaposition between the actor Cillian Murphy and his role. "At first glance you wouldn't think Cillian would make a good Jackson because he's so nice and cheerful and accommodating, but when the camera is on, he can really turn on a dime. He was very intense and focused, which was exhilarating, and a little frightening, too," she laughs. "He was so great to work with."
Murphy had equal praise for his co-star, saying, "Rachel is the sweetest, most generous actress I've ever worked with. I think she was the perfect actress to play Lisa because she is obviously talented and stunningly beautiful, but, more importantly, she's somebody that audience members can immediately connect with. It's so important that the audience be invested in her character, because it's Lisa's journey and they have to be right there with her the whole time. The range of emotions she goes through in this movie pretty much runs the gamut, and Rachel was phenomenal. She can do anything."
The battle of wills between Lisa and Jackson is a matter of life or death to two people on the ground who have no idea of the drama mounting in the skies above them. If Lisa refuses to cooperate, her own father's life is on the line. If she does as Jackson demands, she will be facilitating another man's murder.
Veteran actor Brian Cox plays the role of Lisa's father, Joe Reisert, which, Craven says, "could have been one of those thankless parts where you just see him on the telephone, but I choreographed it so that most of the time they were moving with each other-he's kind of a mirror of Lisa, and you get an idea of where this young woman got her strength and her drive. I had seen Brian Cox's work and knew exactly who he was and what he was capable of. He is an actor of great depth, and he gave the whole character of Joe meaning and substance."
"My character is very much in the Hitchcockian mode because he's so unaware of what's going on and that there is danger all around him," says Cox. "He might suspect that something is going on with his daughter because of losing contact with her, but he can't really get to the bottom of it. It's something of a departure from anything I've done before, but it wouldn't have mattered what the role was like because the prime motive for me was to work with Wes Craven. Being directed by somebody of the caliber of Wes Craven allows you to do your best work. He is a great craftsman, and when you are on the set with him, you realize why he is a legend in this particular art form. It was just a delight."
Joe Reisert could not possibly imagine that he has become the pawn in a plot to kill the powerful Deputy Director of Homeland Security, Charles Keefe. Jack Scalia, who plays Keefe, notes, "He is a high-powered, influential person, but his power goes beyond money or politics. The level of security surrounding him gives you an indication that he knows he is a target, but he doesn't know that circumstances have put both him and his family in a very dangerous situation."
Television fans might also recognize "Survivor" veteran Colby Donaldson, who plays Keefe's head of security.
If Lisa agrees to Jackson's terms to save her father's life, she will be making her fledgling assistant manager, Cynthia, an unwitting participant in the plot to kill Keefe. Jayma Mays, who makes her feature film debut in the role of Cynthia, comments, "Cynthia goes through a pretty rough night at the hotel while Lisa is gone. She's not stupid, but she has trouble juggling things, especially when everything is going wrong. But she sticks with it and tries to keep everything in order, and I think she surprises even herself in the end."
Craven reveals that the character of Cynthia was tailor-made for Mays. "The role of the person manning the hotel in Lisa's absence was only sketched out; we weren't sure how it should be played. Then Jayma came in to read, and she had this energy and an air of innocence that made you want to hug her. She was so down-to-earth and real, just a breath of fresh air, so we cast her as Cynthia. Cynthia ends up being the point person at the hotel in Lisa's absence and, of course, all hell breaks loose and Cynthia is right in the middle of it. She is a little bit of comic relief, but she also comes of age through it all and demonstrates her own kind of valor and grit."
THE PLANE FACTS
Principal photography on "Red Eye" began at Ontario International Airport, located about 60 miles east of Los Angeles. Production designer Bruce Alan Miller and his team redressed the main terminal to resemble Dallas International Airport. Given the current conditions surrounding airport security, it was almost impossible for any large airport to accommodate an entire production team for any length of time. Miller comments, "We couldn't shoot past security checkpoints at most airports, so the logistics of dealing with this massive film company were complicated, but Ontario was able to give us the access we needed to film."
In addition to Ontario, some filming was accomplished at the Tom Bradley Terminal at Los Angeles International Airport. The company also traveled to Miami, where "Red Eye's" climactic chase scene was filmed at Miami International Airport.
A beautiful older house in the Hancock Park section of Los Angeles became the Reisert home, where Jackson and Lisa engage in a nail-biting game of cat and mouse. Charles Keefe's hotel room-which underwent a rather extreme makeover, courtesy of special effects supervisor Ron Bolanowski and his department-was constructed on a soundstage at Los Angeles' Raleigh Studios.
Another soundstage at Raleigh Studios became the home of Fresh Air Flight 1019 from Dallas to Miami, where much of the drama of "Red Eye" unfolds in the close quarters of the coach section. Obviously, space constraints made it impossible to shoot on an actual plane, so Miller and his team reconfigured a rented aircraft to fit the specifications of a Boeing 767. "We looked at various airplane designs-wide bodies, long bodies, seating patterns-and decided to go with a two-three-two seating section, which is a 767. There wasn't a 767 available to rent for this purpose, so we took pieces from different airplanes and put them together. Everything from the overhead baggage compartments to the lighting, the seats, and the galleys was refitted to look like a 767."
The airplane mock-up could be taken apart in sections to facilitate filming. Wes Craven and his cinematographer, Robert Yeoman, employed different camera angles to intensify Lisa's sense of entrapment. Craven expounds, "I had a crane gantry constructed along the top of the plane set so we could pull out panels and have a camera swoop down aisles and come up over people and back down. There are occasional uses of sweeping camera moves, mostly for transitional purposes, but for the most part, everything is compressed within those two seats, which contributes to the claustrophobic feeling…the pressure-cooker closeness of this man, sitting on the aisle, who has this young woman absolutely trapped against the bulkhead, both physically and psychologically."
Executive producer Mason Novick notes, "There are several challenges that come with shooting on a plane. A four-hour flight can start to feel claustrophobic, so you can imagine what it must be like after six weeks of being in this confined space. Another big issue was, because it is on an airplane, no one is coming and going, so, in addition to the cast, we had to keep a group of about 80 extras who wore the same clothes and sat in the same seats day in and day out."
"We all got to know one another very, very well," Craven attests. "There were some close friendships formed: we had a group of poker buddies in one section, and there was even a couple who celebrated their 25th wedding anniversary while we were shooting. It became sort of familial in a way."
Belying the often ominous nature of his movies, Wes Craven has a reputation for keeping the atmosphere on his sets light and fun. Producer Marianne Maddalena offers, "We've been told that our sets are the most fun, and I think it's because Wes treats everybody the same. There's no screaming or yelling, so people like him and want to do their best for him. Our philosophy is that, when we're making a movie, we're at work more than we are at home, and we want everyone to have a good time."
That being said, "fun" might not have been the first word that came to mind as the cast and crew were experiencing some very realistic turbulence at the hands of Bolanowski's special effects department. To shake up the plane and its passengers, the effects group built a hydraulic deck measuring 105-feet long and 24-feet wide. The mock-up of the 767 was built on the deck, which in turn rested on a cushion of 50 specialized air bags, each capable of lifting 8,000 pounds. Bolanowski explains, "By inflating and deflating the airbags, we could raise and lower the deck, and we had hydraulic rams connected to the sides of the platform, which could shake it to simulate turbulence."
"Anytime I wanted to have turbulence hit the plane, they were able to rock that set from a mild bump to a wild rollercoaster ride. It was a great combination of production design and mechanical design," Craven states.
The simulated turbulence had the desired effect on the cast. "They did a remarkable job with the hydraulics, but it could get pretty rough," Rachel McAdams acknowledges. "It was really moving and shaking; it felt so real at times that you could feel a sense of motion sickness. But it was great because it really helped inform the character and the anxiety and terror of the situation."
Cillian Murphy says that the terror of "Red Eye" is amplified by the fact that it touches on concerns that many of us share. "Fear of flying is such a common thing, especially in the climate in which we live now, and most people hate sitting beside strangers on a plane. I think this film taps into all those fears and anxieties…and when you have Wes Craven directing, you know you're definitely in for something scary."
The director, who has scared more than his share of audiences, relates, "My feeling about audiences wanting to experience fear is not that they will go to a movie to be made afraid, but that they will go to have the fears they hold inside them all the time put into a narrative that gives them some order and resolution. There is actually a lifting of fears in a scary movie. The audience may be temporarily afraid in the film, but they know in the back of their minds that it's safe and they are surrounded by other people that are going through the same thing, so there's a communal thing happening. 'Red Eye' takes these deep-set fears about traveling, about our fellow human beings, about all those types of things, and puts them into a story that gives them a resolution…an ending we can all live with."
ABOUT THE CAST
RACHEL McADAMS (Lisa Reisert) is currently co-starring with Vince Vaughn and Owen Wilson in the comedy hit "Wedding Crashers." Later this year, McAdams stars in the holiday comedy "The Family Stone," joining an ensemble cast that also includes Diane Keaton, Sarah Jessica Parker, Claire Danes and Luke Wilson. The film is slated for release in November 2005.
In 2004, McAdams starred in back-to-back hit films, beginning with Mark Waters' comedy smash "Mean Girls," written by Tina Fey. McAdams played Regina, the beautiful leader of a high school girls' clique, who goes to war with the new girl in town, played by Lindsay Lohan. Immediately following "Mean Girls," McAdams took a dramatic turn in the romantic film "The Notebook," starring alongside Ryan Gosling, Sam Shepard, Joan Allen, Gena Rowlands and James Garner, under the direction of Nick Cassavetes. McAdams captured the hearts of audiences and won critical acclaim for her performance as a young girl forced to give up the love of her life.
On the heels of both "Mean Girls" and "The Notebook," McAdams was named the Supporting Actress of the Year at the 2005 ShoWest Convention. She also won three MTV Movie Awards in the categories of Breakthrough Female; Best On-Screen Team, shared with her "Mean Girls" castmates; and Best Kiss, shared with Ryan Gosling, for "The Notebook."
Born in Canada, McAdams was raised in a small town just outside of Toronto. She went on to graduate with honors with a BFA degree in Theater from York University, where she performed in numerous student films and stage productions.
McAdams began her professional acting career in Canada and made her feature film debut in "My Name is Tanino," directed by award-winning filmmaker Paolo Virzi, which premiered at the 2003 Venice Film Festival. She also co-starred in the film "Perfect Pie," for which she earned a Genie Award nomination for Best Supporting Actress. The following year, she won a Gemini Award for Best Supporting Actress in a Drama Series for her work on the Canadian series "Slings and Arrows."
McAdams first came to the attention of American audiences with her role in the outrageous comedy "The Hot Chick," in which she starred opposite Rob Schneider.
CILLIAN MURPHY (Jackson) first garnered international attention for his performance as Jim, the reluctant survivor in Danny Boyle's "28 Days Later," a sleeper hit thriller set in post-apocalyptic London.
Currently, he can be seen as Dr. Jonathan Crane/The Scarecrow in Christopher Nolan's "Batman Begins," in which he co-stars with Christian Bale, Michael Caine, Morgan Freeman, Liam Neeson and Katie Holmes. Following "Red Eye," Murphy stars in Neil Jordan's "Breakfast on Pluto," playing Patrick "Kitten" Brady, an endearing but deceptively tough young man in 1960's and '70's London. Based on the novel by Patrick McCabe, the film opens on November 18.
Murphy just finished production on "The Wind That Shakes the Barley," directed by Ken Loach. Later this summer, Murphy will begin filming Danny Boyle's sci-fi thriller "Sunshine," alongside Chris Evans and Michelle Yeoh.
Murphy's filmography also includes John Crowley's dark comedy "Intermission"; Peter Webber's "Girl With a Pearl Earring," in which he played the young butcher boy vying for the attention of the title character, played by Scarlett Johansson; Anthony Minghella's "Cold Mountain"; Goran Paskaljevic's "How Harry Became a Tree"; John Carney's "On the Edge"; Stephen Bradley's "Sweety Barrett"; William Boyd's "The Trench"; and Nelson Hume's "Sunburn," which screened at Galway Film Fleadh.
Murphy first made his mark with his stunning performance in the award-winning stage version of "Disco Pigs." After receiving commendations for Best Fringe Show at the 1996 Dublin Theatre Festival and the Fringe First Award at the Edinburgh Festival 1997, "Disco Pigs" went on to tour extensively in Ireland, the UK, Toronto and Australia. Murphy later starred in the film version directed by Kirsten Sheridan.
On stage, Murphy's collaborations with Tony Award-winning director Garry Hynes include "The Country Boy," "Juno and the Paycock" and, most recently, "The Playboy of the Western World" at the Gaity Theatre in Dublin. He also starred as Konstantin in the Edinburgh Fest production of "The Seagull," directed by Peter Stein; as Adam in Neil LaBute's "The Shape of Things" at the Gate Theatre in Dublin; and as Claudio in "Much Ado About Nothing."
His major television credits include the lead role of Paul Montague in David Yeats' BBC drama "The Way We Live Now."
In addition, Murphy's short film, "The Watchman," which he co-wrote with Paloma Beaza, was short-listed for the Turner Classic Movie Short Film Award.
BRIAN COX (Joe Reisert) is an award-winning actor of the stage, screen and television. A veteran of more than 50 feature films, he stars in Woody Allen's new drama "Match Point," which premiered to critical and audience acclaim at the 2005 Cannes Film Festival and opens in the U.S. later this year. He also recently co-starred in the hit action thriller sequel "The Bourne Supremacy," reprising the role he first played in the 2002 blockbuster "The Bourne Identity." Cox just wrapped production on Ryan Murphy's "Running With Scissors," in which he joined an ensemble cast, including Gwyneth Paltrow, Annette Bening, Joseph Fiennes, Vanessa Redgrave and Alec Baldwin.
Cox earned AFI and Independent Spirit Award nominations for his work in the independent film "L.I.E.," and also shared in a Screen Actors Guild (SAG) Award nomination received by the cast of Spike Jonze's "Adaptation." His long list of film credits goes on to include "Troy," "X2," "25th Hour," "The Ring," "The Rookie," "The Affair of the Necklace," "For Love of the Game," "Rushmore," "Desperate Measures," "The Boxer," "Kiss the Girls," "Braveheart," "Rob Roy," "Hidden Agenda" and "Nicholas and Alexandra." He was also the first to play Dr. Hannibal Lecter onscreen in Michael Mann's "Manhunter."
On television, Cox delivered a chilling portrayal of Hermann Goering in the miniseries "Nuremberg," for which he won an Emmy Award and was nominated for Golden Globe and SAG Awards. He also earned an Emmy Award nomination for his guest appearance on the comedy series "Frasier." In addition, Cox has starred in a variety of notable television projects, both in the United States and Great Britain, including "Longitude," "Witness Against Hitler," "Grushko," "Sharpe's Eagle," "Sharpe's Rifles," "Six Characters in Search of an Author," "The Cloning of Joanna May," "The Lost Language of Cranes," "Murder by Moonlight," "Florence Nightingale" and "King Lear," to name only a few.
Born in Scotland, Cox trained at the London Academy of Music and Dramatic Arts and has appeared in dozens of plays on the stages of London, New York and Scotland. Repeatedly honored for his work in the theatre, Cox won Olivier Awards for his performances in "Rat in the Skull" and "Titus Andronicus"; British Theatre Association Drama Awards for Best Actor for his work in "The Taming of the Shrew" and "Strange Interlude"; and the Lucille Lortel Award, as well as Drama Desk and Outer Critics Circle nominations, for "St. Nicholas."
In addition, Cox has helmed stage productions of "I Love My Life," "Mrs. Warren's Profession," "The Philanderer," "The Master Builder" and "Richard III." He made his television directorial debut on the critically acclaimed HBO prison drama "Oz."
A prolific writer, Cox has authored two non-fiction books: The Lear Diaries and Salem to Moscow: An Actor's Odyssey. He is also a regular contributor to The New York Times' Arts & Leisure section, and has written articles for a number of other publications.
At the beginning of 2003, Cox's contributions to the arts were honored by Queen Elizabeth II, who named him a Commander of the British Empire.
JAYMA MAYS (Cynthia) makes her feature film debut in "Red Eye." Later this year, she co-stars in the independent romantic comedy "Blind Guy," for director James Keach.
On television, Mays was most recently seen on the new Lisa Kudrow series "The Comeback" and in a guest role on "Six Feet Under," both on HBO. In addition, she has a recurring role on the hit HBO series "Entourage," and has guest starred on the NBC sitcom "Joey."
Born and raised in Virginia, Mays majored in Performing Arts at Radford University, where she had roles in a number of plays. She spent one summer in Sacramento as an apprentice at Timothy Busfield's B Street Theatre. Following graduation, Mays moved to Los Angeles to pursue her acting career. She has appeared on the Los Angeles stage in several plays, including a production of "The Rocky Horror Picture Show," in which she played the lead role of Janet.
JACK SCALIA (Charles Keefe) next appears in the independent drama "R.I.P.," and he will play the President of the United States in the thriller "End Game," which is currently in production, starring Cuba Gooding, Jr. and James Woods.
Scalia is best known for his work on television in both series and longform projects. He first gained fame starring opposite the legendary Rock Hudson in the series "The Devlin Connection." He more recently earned a Daytime Emmy Award nomination for his work on the popular drama "All My Children." He was also nominated for a Critic's Choice Award for Best Actor in a Miniseries for his work in "Lady Boss."
His extensive television credits go on to include such telefilms and miniseries as "Hollywood Wives: The New Generation," "Silent Predators," "Sweet Deception," "Everything to Gain," "Shattered Image," "Torch Song," "Casualties of Love: The Long Island Lolita Story" and "Runaway Father," among many others. Scalia has also had starring roles in thirteen series, including "Dallas," "Wolf" and "Tequila and Bonetti."
ABOUT THE FILMMAKERS
WES CRAVEN (Director) has been challenging audiences with his bold and often spine-tingling visions since the release of his first feature film, "The Last House on the Left," which he wrote, directed and edited in 1972. In the more than three decades since that controversial film's arrival on the big screen, Craven has demonstrated his craft as a filmmaker with an unbridled imagination and the ability to both terrify and touch audiences.
Craven's career has been marked by both creative and commercial milestones. He virtually reinvented the youth horror genre in 1984 with the classic "A Nightmare on Elm Street," which he wrote and directed. Although he did not direct any of its next five sequels, Craven deconstructed the genre a decade later with the hit "Wes Craven's New Nightmare," which he wrote and directed. That film became one of the rare horror movies to receive a nomination for Best Feature at the Independent Spirit Awards.
Craven scared up a new generation of young horror fans and reached a new level of success with the irreverent, genre-bending "Scream" franchise. The first "Scream," released in 1996, grossed more than $170 million at the worldwide box office and won the MTV Movie Award for Best Feature. Craven followed up on the original with two hit sequels: 1997's "Scream 2," and "Scream 3," released in 2000.
In 1999, Craven broke his own mold as a master of the horror genre when he directed the moving, true-life drama "Music of the Heart," based on the OscarR-nominated documentary "Small Wonders." Meryl Streep earned an Academy AwardR nomination for her performance as a violin teacher who changes the lives of her inner-city pupils through music education.
Craven's credits as a director also include "Cursed," "Vampire in Brooklyn," "The Serpent and the Rainbow" and "Deadly Friend." In addition, he wrote and directed "The People Under the Stairs," "Shocker," "Swamp Thing," "The Hills Have Eyes" and "The Hills Have Eyes, Part II." He is currently producing a remake of "The Hills Have Eyes."
For television, Craven co-created and executive produced the series "Nightmare Cafe" for NBC. He also directed the telefilms "Night Visions," "Casebusters," "Chiller," "Invitation to Hell" and "Stranger in our House," as well as seven episodes of the 1980's revival of the classic series "The Twilight Zone," which are available on DVD.
Apart from his film work, Craven is also an author. His first novel, The Fountain Society, was published in 1999. Born in Cleveland, Ohio, Craven holds a Masters Degree in Writing and Philosophy from Johns Hopkins University in Baltimore, MD.
CARL ELLSWORTH (Screenwriter/Story) counts "Red Eye" as his first produced feature film screenplay, although he has written for a number of television series. His television credits include episodes of the hit series "Buffy the Vampire Slayer" and "Xena: Warrior Princess."
A native of Louisville, Kentucky, Ellsworth attended film school at Southern Illinois University. In 1994, he moved to Los Angeles and began his career as a production assistant. A short time later, he landed staff writing jobs on such television series as "The New Adventures of A.R.K.," "Animorphs" and "Cleopatra 2525."
DAN FOOS (Story) met screenwriter Carl Ellsworth while attending the film school at Southern Illinois University. Together, they worked out the original story for "Red Eye," which marks Foos' first screen credit.
MARIANNE MADDALENA (Producer) is President of Craven/Maddalena Films and has been collaborating with director Wes Craven for many years. As a producer on "Wes Craven's New Nightmare," she earned a 1995 Independent Spirit Award nomination for Best Feature. Together with Craven, she is currently producing the remake of "The Hills Have Eyes." Maddalena also recently produced the upcoming film "The Breed," for director Nicholas Mastandrea, which shot in Cape Town, South Africa. She will next be executive producing "Paranoia," based on the French film "With a Friend Like Harry," to be directed by Jonathan Jakubowicz in England later this year.
For Craven, Maddalena produced the "Scream" trilogy, serving as an executive producer on "Scream," and as a producer on "Scream 2" and "Scream 3." Combined, the three films grossed more than $500 million worldwide, and brought together some of the hottest and then-up-and-coming young stars in Hollywood, including Drew Barrymore, Neve Campbell, Courteney Cox, David Arquette, Omar Epps, Sarah Michelle Gellar, Matthew Lillard, Rose McGowan and Jada Pinkett Smith.
Switching gears, Maddalena produced the acclaimed film "Music of the Heart," starring Meryl Streep, Angela Bassett, Aidan Quinn, and Gloria Estefan in her screen debut. The film, which dramatized the efforts of violin teacher Roberta Guaspari to help inner-city children through music, gained widespread critical and audience praise as it showcased the importance of music education. There was also a special screening of the film at the White House for President Bill Clinton. In addition, the theme song, "Music of My Heart," written by Diane Warren and recorded by Gloria Estefan and 'N Sync, won a Critics' Choice Award and received an Academy AwardR nomination for Best Original Song. It also garnered two Grammy nominations and topped the charts as the number one single in the country.
Maddalena more recently produced Wes Craven's "Cursed," starring Christina Ricci. Her other producing credits include "Vampire in Brooklyn," starring Eddie Murphy and Angela Bassett; "The People Under the Stairs," with Ving Rhames; and "Shocker," starring Peter Berg, which marked Maddalena's first producing credit. Under the Wes Craven Presents banner, she executive produced "Dracula 2000." In addition, she was a producer on the Craven-created television series "Nightmare Cafe."
CHRIS BENDER (Producer) and JC SPINK (Executive Producer) are partners in Benderspink, a diversified management/production company that opened its doors in November 1998 with 15 screenwriting clients. In just over a year, they had sold 24 client spec scripts, convinced studio executives to take a chance on first-time director Mike Mitchell for "Deuce Bigalow: Male Gigolo," and scored their first major hit with the comedy smash "American Pie," which Bender co-produced. On the heels of that success, New Line Cinema signed Benderspink to a first-look deal.
While retaining its deal with New Line, Benderspink continues to produce diverse feature films under a variety of studio banners, including the recent comedy "Monster-in-Law," starring Jennifer Lopez and Jane Fonda; the groundbreaking horror hit "The Ring," and its sequel, "The Ring Two," both starring Naomi Watts; the comedy "Cats & Dogs"; the hit thriller "The Butterfly Effect," with Ashton Kutcher; and the "American Pie" sequels, "American Pie 2" and "American Wedding."
Together, Bender and Spink most recently produced the thriller "A History of Violence," directed by David Cronenberg and starring Viggo Mortensen, Maria Bello, William Hurt and Ed Harris, which premiered to critical and audience acclaim at the 2005 Cannes Film Festival. Their upcoming projects also include the romantic comedy "Just Friends," the action adventure "Skeleton Coast," the dramatic thriller "By Virtue Fall," the thriller "Mile Zero," the drama "Street," the horror thriller "Ghosts of Girlfriends Past," and "The Butterfly Effect 2," the sequel their earlier hit.
In addition, Benderspink has expanded its literary and talent management divisions and moved into television by inking a first-look deal with Fox 21.
BONNIE CURTIS (Executive Producer) recently produced Steven Spielberg's science fiction thriller "Minority Report," starring Tom Cruise. She had earlier produced Spielberg's "A.I. Artificial Intelligence," which marked Curtis' first film as a full producer.
Born and raised in Texas, Curtis graduated from Abilene Christian University before moving to Los Angeles. She started out working on the physical production side of the films "Dead Poets Society" and "Arachnophobia." The turning point in her career came in 1990 when she was hired by Steven Spielberg as his assistant. She went on to work with the director through the production of the films "Hook" and Jurassic Park."
Curtis moved up to the position of production associate on Spielberg's Academy AwardR-winning drama "Schindler's List." She made her producing debut as an associate producer on the director's blockbuster "The Lost World: Jurassic Park," and served in the same capacity on the historical drama "Amistad." In 1998, Curtis co-produced Spielberg's award-winning World War II drama "Saving Private Ryan," for which she shared in a Producers Guild of America Golden Laurel Award for Motion Picture Producers of the Year.
Curtis most recently produced the offbeat comedy/drama "The Chumscrubber," which premiered at the 2005 Sundance Film Festival. She is currently producing the drama "Slanted and Enchanted" with fellow "Red Eye" executive producer Jim Lemley, for director Chris Columbus; and "Mark Twain Remembers," written by OscarR winner Ronald Harwood. Curtis is also prepping "The White Lion," the next feature from "The Chumscrubber" director Arie Posin.
JIM LEMLEY (Executive Producer) spent 11 years working at Mel Gibson's Icon Productions, most recently serving as the chief executive of London-based Icon Entertainment International. During his tenure, he executive produced the Vietnam War drama "We Were Soldiers" and was an associate producer on "Anna Karenina." In addition, Lemley worked on the productions of "Payback," "187," "Immortal Beloved," "Maverick" and "Airborne." While at Icon, Lemley also held the post of president of the television division in Los Angeles, where he produced the television biopic "The Three Stooges" and the telefilm "Invincible."
Upon leaving Icon, Lemley executive produced Kevin Reynolds' "Tristan & Isolde," for Ridley and Tony Scott's Scott Free Productions. The film is slated for release in early 2006. His other upcoming feature film projects include "Slanted and Enchanted," for director Chris Columbus, and "The Diving Bell and the Butterfly," based on the bestselling novel. Lemley is producing the latter with Kathleen Kennedy and Frank Marshall from a screenplay adapted by Ronald Harwood, with Julian Schnabel directing and Johnny Depp starring.
MASON NOVICK (Executive Producer) previously produced "The Hollow," a modern take on the classic story "The Legend of Sleepy Hollow." He currently has several projects in various stages of development and pre-production, including: "Solstice," to be directed by Dan Myrick ("The Blair Witch Project"); "Juno"; "Y: The Last Man," based on the DC comic book; "My Velouria"; and an untitled Len Wiseman project.
Novick graduated from the University of Arizona in 1997 and moved to Los Angeles to pursue a career in the film industry. Starting out as an assistant at the powerful talent agency ICM, he was eventually promoted to an agent in the motion picture literary department. During his tenure, some of his clients included OscarR nominee Adrian Lyne, OscarR nominee Steve Shagan, John Heffernan, William Brent Bell & Matthew Peterman, Hans Rodionoff, Danny McBride, Len Wiseman, John Kesselman, and Dan Madigan.
ROBERT YEOMAN (Director of Photography) has served as the cinematographer on all of director Wes Anderson's films, beginning with "Bottle Rocket," and continuing through "Rushmore," "The Royal Tennenbaums" and "The Life Aquatic with Steve Zissou." Earlier in his career, Yeoman won an Independent Spirit Award for Best Cinematography for his work on Gus Van Sant's acclaimed drama "Drugstore Cowboy."
He more recently lensed the independent film "The Squid and the Whale," for director Noah Baumbach, which premiered at the 2005 Sundance Film Festival. Yeoman also just completed work on "The Martian Child," starring John Cusack. His other film credits include "CQ," "Double Whammy," "Beautiful," "Down to You," "Dogma," "Somebody to Love," "Past Midnight," "The Wizard" and "Johnny Be Good." For television, he was the director of photography on such longform projects as "The Pentagon Wars," "Double Deception" and "Perfect Harmony."
BRUCE ALAN MILLER (Production Designer) counts "Red Eye" as his fifth collaboration with director Wes Craven, having previously worked as the production designer on "Scream," "Scream 3," "Music of the Heart" and "Cursed." Miller's additional credits as a production designer include "Bobby Jones: Stroke of Genius" and the television series "Leap of Faith."
He has also served as an art director on a wide variety of films, including Ron Howard's fact-based drama "Apollo 13," for which Miller shared in an OscarR nomination for Best Art Direction. His work as an art director also includes such films as "Coyote Ugly," "U.S. Marshals," "Phenomenon," "Up Close & Personal," "Striking Distance," "Wayne's World," "Shattered" and "George A. Romero's Day of the Dead."
PATRICK LUSSIER (Editor) has been Wes Craven's editor of choice for more then ten years. Lussier has teamed with the director to edit all three of the "Scream" features, as well as "Wes Craven's New Nightmare," "Vampire in Brooklyn," "Music of the Heart" and "Cursed." He also edited the television series "Nightmare Cafe."
Lussier has also worked with other directors on such films as David Zucker's "My Boss's Daughter," Guillermo del Toro's "Mimic" and Robert Lieberman's "D3: The Mighty Ducks."
In addition to his editing work, Lussier has written and directed several films, including the independent horror films "Dracula 2000," which Craven executive produced, "Dracula II: Ascension" and "Dracula III: Legacy."
STUART LEVY (Editor) most recently edited the comedy "Taxi," starring Queen Latifah and Jimmy Fallon under the direction of Tim Story. His film credits also include "Catch That Kid," "Confidence," "Driven," "Jesus' Son" and Oliver Stone's "Any Given Sunday."
Levy has also worked extensively as a sound editor, foley artist and music editor. He served as the supervising sound editor on such films as "Living Out Loud," "Madeline," "Julian Po," "Kama Sutra: A Tale of Love," "Beautiful Girls" and "The Ref." Levy's sound work also includes the films "Mighty Aphrodite," "Age of Innocence," "The Secret of Roan Inish" and "The Pelican Brief," among others.
MARY CLAIRE HANNAN (Costume Designer) has designed costumes for some of today's biggest stars, including Gwyneth Paltrow, John Travolta, Robert De Niro, Bruce Willis, Jude Law, Samuel L. Jackson, Sean Penn, Sandra Bullock, Kevin Spacey, and Sarah Jessica Parker.
Hannan has worked with director Quentin Tarantino four times on the films "Reservoir Dogs," "Pulp Fiction," "Four Rooms" and "Jackie Brown." Her film credits also include "Hurlyburly," "Duets," "Gun Shy," "No Good Deed," "Serendipity," "Life Without Dick," "How to Kill Your Neighbor's Dog," "Urban Legend" and "Suspect Zero," among others. Her most recent film was "The Chumscrubber," which screened at the 2005 Sundance Film Festival. In addition, Hannan has designed the costumes for two television pilots and for more than 20 commercials.
Fluent in French, Hannan studied at the Universite de La Sorbonne in Paris, and earned an Associate of Fine Arts degree at the Fashion Institute of Design and Merchandising in New York.
MARCO BELTRAMI (Composer) most recently composed the score for Lee Tamahori's actioner "xXx: State of the Union." "Red Eye" marks his fifth collaboration with director Wes Craven, following "Cursed" and all three installments of the successful "Scream" franchise.
Hailing from Italy, Beltrami completed undergraduate study at Brown University and entered the Yale School of Music on a scholarship. He returned to Italy to study with the Italian master Luigi Nono, and then came to Los Angeles to accept a fellowship with the legendary composer Jerry Goldsmith. Not long after arriving in L.A., Beltrami landed his first major film composing job on Craven's "Scream."
He followed with another horror film, "Mimic," for director Guillermo del Toro, and has since reunited with del Toro on "Blade II" and "Hellboy." His film composing work also includes Robert Rodriguez's "The Faculty," Luis Mandoki's "Angel Eyes," Keenen Ivory Wayans' "Scary Movie 2," John Dahl's "Joy Ride," the Jodie Foster-produced "The Dangerous Lives of Altar Boys," the cult hit "Resident Evil," Jonathan Mostow's "Terminator 3: Rise of the Machines," Alex Proyas' "I, Robot," John Moore's "Flight of the Phoenix," and Tommy Lee Jones' "The Three Burials of Melquiades Estrada."
For television, Beltrami has scored two acclaimed Oprah Winfrey Presentations: "Tuesdays With Morrie" and "David and Lisa," earning an Emmy Award nomination for the latter. In addition, he has composed for such television series as "The Practice" and "Glory Days."
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