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<ASK THE DUST - 問紅塵>
| 演員Casts ： | 哥連費路Colin Farrell、莎瑪希約Salma Hayek、當奴修打蘭Donald Sutherland's、愛蓮艾堅絲Dame Eileen Atkins、艾狄娜曼素 Idina Menzel、Justin Kirk | |
| 編導Director/Writer ： | 羅拔唐尼Robert Towne | |
| 劇本 Script ： | 改編自約翰芬特John Fante同名小說 | |
| 出品人Produced By ： | 湯告魯斯Tom Cruise、寶娜韋納Paula Wagner、Don Granger、Jonas McCord | |
| 監製Executive Producers ： | Redmond Morris、Mark Roemmich、David Selvan、Andreas Schmid、Andy Grosch、Chris Roberts | |
| 攝影Director of Photography ： | Caleb Deschanel, ASC | |
| 美術指導Production Design ： | Dennis Gassner | |
| 剪接Editor ： | Robert K. Lambert, A.C.E. | |
| 服裝Costume Designer ： | Albert Wolsky |
故事大綱
<問紅塵 - Ask the Dust >由金像獎得主羅拔唐尼（<唐人街>、<破曉時刻>）編劇及執導，故事改編自美國著名作家約翰芬特的同名著作，以美國經濟大蕭條的三十年代為背景，描述一個於洛杉磯發生的愛情故事。此戲反映洛杉磯的繁華與淪落，且焦點放在城市的異國風情──戲裏充滿入口物品如埃及棕櫚樹和由世界各地湧到洛杉磯掘金尋夢的人。哥連費路飾演意大利窮作家雅多路班迪尼，遇上莎瑪希約飾演的卡美拉羅?絲，一位為了得到較高社會地位而一心想嫁美國有錢人的墨西哥女侍應。相遇令二人的命運改變，他們一起在陌生的城市裏追尋夢想。
對羅拔唐尼來說，<問紅塵>代表一段累積長達三十年的愛。他為其奧斯卡得獎電影<唐人街>劇本搜集資料時發現約翰芬特這本小說，二人惺惺相惜並成為好友，直至約翰於1983年逝世。愛上這本小說二十年後，羅拔唐尼大膽地嘗試為<問紅塵>小說撰寫劇本，並讓約翰的遺孀喬絲芬特審閱──喬絲是<問紅塵>的編輯，她熟悉小說的每一顆字。喬絲看過劇本後說：「多麼可惜，約翰看不到這?本──否則，他一定十分滿意這劇本。」得到喬絲的認同後，羅拔唐尼再花長達十年，為拍攝此戲作準備及集資。
其後，<問紅塵>的拍攝工作，因兩位電影出品人變成更如火如荼──他們就是湯告魯斯和寶娜韋納。兩位出品人傾盡全力替羅拔唐尼籌備此戲。韋納說：「<問紅塵 >是我和湯告魯斯最早帶到C|W Productions電影公司的電影之一。我和羅拔是舊同事，羅拔曾替湯告魯斯寫劇本，我們三人更一起出品了<挑戰極限>。此戲能成功開拍，開心的不止是羅拔，湯告魯斯和我也為助他實現了多年夢想而感到十分滿足。」
羅拔唐尼表示，他熱愛<問紅塵>這小說，是因為故事情節正好表達出他對洛杉磯這城市的相同感覺，也說中他身為一位劇作家的辛酸。「故事充滿起伏、獨特、憤怒、肉慾，它寫盡每一位青少年都會遇上的挫折。小說中的洛杉磯是個還未成熟的城市，那時候的一切我已不復記憶──看這小說，就像回顧我的童年或已消逝但曾鍾愛的東西那樣叫我趣味盎然。男主角是一位被忽略、懷才不遇的作家，他時而自滿、時而自卑──世上有哪個作家沒經歷過這種心境？」
「洛杉磯是一個關於幻想和夢想的城市」羅拔說。「這套戲就是關於追逐夢想，他們熱切地向目標邁進，令身旁的人也被感動，繼而與他們一起努力向前衝。」
電影資料
約翰芬特撰寫的小說<問紅塵>，是一個關於不被認同的愛和激烈情感的故事。「如果要找一部最能代表洛杉磯的小說，非<問紅塵>莫屬。」在1989年美國電影雜誌《American Film》的一個訪問裏，導演羅拔唐尼說：「讀這小說，就像掀開了過去的面紗，昔日的一切活生生呈現你眼前。」
出品人寶娜韋納表示，小說描繪角色的手法亦靈動真實。「從字裏行間，我們能看到雅多路班迪尼的思想和靈魂。我們能體驗他的情緒、感受、他想實現美國夢的熱切──他想寫一部美國文學巨著，想有一位漂亮的金髮妻子和山上的一間大屋。但很快，他發現一切不如他所想像。」
事實上，羅拔唐尼把這小說拍成電影的心，跟男主角同樣熱切。由獲得作者約翰芬特簽了名的那本第一版小說起，羅拔花了三十年才實現這心願。
飾演雅多路班迪尼的哥連費路說：「<問紅塵>的中心思想，是人類怎樣於這個廣大的世界裏找回自己。它說的是人的渴望──那不止是想要得到些甚麼，而是動手去找尋和追求你渴望的東西。」
這種對生命的熱切，正好反映在男女主角之間由抗拒到難以分割的關係。「雅多路和卡美拉是同一類人，」哥連費路說。「他們在乎這個世界的人怎樣看他們，急切想找尋令自己滿足的東西。」
飾演卡美拉的莎瑪希約說，約翰芬特毫不避忌，把雅多路和卡美拉置於嚴重的社會和政治歧視之中：「在三十年代，美國人和墨西哥人的戀情是不被認同的。雅多路常想娶一名金髮藍眼的加州白人女子，而卡美拉則一心要嫁個有錢美國佬，這樣她的子女就不會活得像她自己那樣貧乏。而他倆根本不符合彼此的夢想。但命運偏偏安排他們相遇，還不能自控地深深愛上對方。」
對於演員的表現，導演羅拔唐尼說：「莎瑪希約令卡美拉這角色添上靈魂。她和卡美拉有?同樣活潑的個性。」
他又盛讚演維拉莉芙琦的艾狄娜曼素：「艾狄娜曼素是百老匯炙手可熱的大忙人，要她騰出時間拍攝此戲難之又難，但她一收到通知，便爭取時間飛到南非。她就像今次的所有演員那般全情投入，這種工作態度是無可比擬的。」
而羅拔唐尼本身，可謂唯一能把<問紅塵>搬上銀幕的導演。由於這個愛情故事發生於特定的時間、地點，只有經過精細搜集資料、對美國尤其是洛杉磯歷史瞭如指掌的導演，才有資格拍出三十年代洛杉磯的一動一靜。「我視這故事為洛杉磯賓架山的《咆哮山莊》。」羅拔唐尼說。「它像《羅密歐和茱麗葉》同樣動人，也像所有偉大的愛情故事一樣以悲劇收場。我們能看到愛的力量是多麼強大──這就是愛情故事能打動人的原因。我們能從這些故事裏看到希望。」
韋納強調說：「羅拔儼如洛杉磯專家，他能告訴你某幢大廈原本在甚麼地方，而站在賓架山俯瞰市中心又是何種景象等等。他也沒遺漏昔日生活的細節：例如在片頭，班迪尼開?收音機聽水果結霜報告──這種電台報道是他本身很熟悉的東西。他本人十分了解洛杉磯的獨特文化。」而在衰退年代的洛杉磯人，在羅拔唐尼鏡頭下均執著於自己的外表。「譬如說，一個男人可能已經捉襟見肘，但他依然穿上自己最好的西服、把頭髮梳得貼貼服服；一名女侍應腳上可能只有一雙破鞋，但她的制服是漿得挺身雪白的──人人都努力抗衡大衰退的氣氛，要把經濟、文化甚至內心的陰霾統統踢走。」
JOHN FANTE約翰芬特…
…和 ARTURO BANDINI雅多路班迪尼
<問紅塵>的作者是約翰芬特。儘管他在生時未被表揚，但今天，他已被公認為美國文學的巨擘，其對二十世紀美國小說的貢獻被廣為認同及褒獎，忠實讀者遍布全球。
約翰芬特於1909 年生於美國科羅拉多州，是一名移居到當地的意大利泥水匠的兒子。他的童年在貧困和對意大利人的歧視中度過。1929年，他搬到加州，並開始替H. L. 孟堅的《The American Mercury》寫稿。1936年，他創造了「雅多路班迪尼」這個把自己投射進去的角色，這個時而聰明、時而衝動、時而成熟慷慨、時而年輕刻薄的角色出現於四部小說內，實現作家本身的夢想。他的首本小說《Wait Until Spring, Bandini》於1938年面世（並於1989年被拍成電影)，其後的作品有<問紅塵>、《Dreams from Bunker Hill》(賓架山之夢)和《The Road to Los Angeles》（於他死後出版)。約翰芬特的故事也紀錄了他的成長：他對自己工人階級身分的坦然、他的個人藝術特色逐漸形成、他慢慢接受了自己意美混血的血統和渴望融入社會的想法。
「很多作家都會把自己寫進故事裏，但我父親真的把自己初來洛杉磯的日常生活一點一滴都紀錄下來。」慧琪芬特高漢，約翰芬特的其中一名女兒說。「他就像班迪尼一樣有?強烈的性格和堅強的內心。事實上，我相信父親那堅定的態度，是令他的小說，以至他本人成功的最大原動力。」
本身也是作家的丹芬特說：「我想，羅拔唐尼能拍出父親那顆躍動、熾熱的心。<問紅塵>是本關於三十年代洛杉磯的經典。我父在生時未能成名，我希望這齣戲能讓觀眾留意到他充滿熱誠的作品，為他帶來他應得的認同。」
約翰芬特的作品曾斷貨數十年。後來，作家Charles Bukowski於洛杉磯公共圖書館發現了<問紅塵>，並於1980年要求他的出版商翻印這本書，否則他不再出版自己的著作。這才令約翰芬特的小說重見天日。
韋納表示，今次這套戲將力求忠於原著，而這一點相信無人能比羅拔唐尼做得更好，因為「羅拔認識約翰芬特本人」。她說：「雖然第三幕跟原著略有出入，但這改動已經由芬特家人審視並准許。」
演員的話
<問紅塵>的焦點，放於意美混血窮作家雅多路班迪尼和墨西哥女侍應卡美拉羅?絲之間的一段激盪的愛情。這段愛情，其實反映了美國人和墨西哥人於事實中的分歧。話說早於二十世紀初，便有大量墨西哥人湧到加州掘金。於1930年，洛杉磯每六人便有一人擁有墨西哥血統。當地政府於該年起遣返墨西哥人回國，但種族問題一直存在。除了報紙常形容墨西哥青年為無所事事的流氓之外，當地還發生過「睡礁湖」冤獄和「禮服暴動」等歧視、打壓和不公平對待墨西哥人的事件。因此，兩位主角的愛情衝突，實為美、墨種族衝突的縮影。
導演羅拔唐尼說：「班迪尼是一個本性善良但患躁狂抑鬱症的男人。大部分作家都是躁鬱症的，班迪尼根本就是天生的作家。而哥連費路成功地捕捉到班迪尼那大起大落的情緒──他的敏銳、風度、勇敢、平和、驕傲，統統在哥連費路的演繹下栩栩如生。」
哥連費路說：「班迪尼來到洛杉磯，決意要寫一本偉大的美國小說，一本關於人們夢想、令諾貝爾獎作家史坦貝克也自嘆弗如的巨著。但一切不如他想像那麼順利，遇見卡美拉之際，他一貧如洗，住在一間窘迫狹小的酒店房間裏。而她正好喚醒了他的恐懼：他不是徹頭徹尾的美國人，更沒法好好發揮自己的才能。因此就算他愛上了她，他也只能用刻薄的態度去對待她。」
他亦十分欣賞原著作者約翰芬特對角色和現實世界的描摹：「小說裏的每個角色都性格分明，對白精警。」為了演活男主角，他不單細讀原著無數遍，還仔細研究John Garfield和William Holden的電影，務求捕捉到那個年代的說話速度與神髓。原本帶愛爾蘭口音的他說：「Holden的語調充滿感情，成為我極力模仿的對象。」
出品人韋納對哥連費路讚不絕口：「羅拔和我都被哥連那鮮明的性格深深吸引?──他根本就是班迪尼！我們最初接觸他時，他還未大紅，但我們已對他的潛質深信不疑。其後他冒起為荷里活炙手可熱的男演員，但他的態度並沒有因此改變，依然全心全意的演出這個角色。我十分欣賞和尊敬他那份謙厚、踏實。」
而班迪尼這個角色，也因為女主角──莎瑪希約而大放異彩。「莎瑪是位出色的演員，跟她是件美事──我們擦出火花，就像班迪尼和卡美拉那樣。」哥連費路說。「莎瑪就像她的角色那樣聰明、堅定而敏感，我相信約翰芬特一定會喜歡由她去演卡美拉。」
莎瑪希約也盛讚她的好拍檔：「導演給了我們充分的空間去盡情發揮，因此哥連和我都能盡情發揮、投入角色之中。哥連充滿朝氣、靈活敏捷，和他演對手戲，總能牽動出情節裏更深層次的情感。」
韋納說：「莎瑪希約就像所有出眾的女演員一樣全情投入她自己的角色裏，因此為卡美拉這人物帶來更人性的特色。但同時，她也知道怎樣平衡，更整套戲看上去有和諧感。她真的十分聰明伶俐，而且熱愛演戲。」
卡美拉這角色最吸引莎瑪希約的，是她那深邃複雜的性格。to the project。「這是我演過的角色中最勇敢的一個女孩子。這套戲內，每一個角色都有很深刻的性格，但以卡美拉和雅多路的最為強烈，他們的悲痛會如火山洪水般爆發。」 而二人的關係，也充滿?種族衝突的仇恨。「卡美拉是個女侍應──那是她能找?的最好的工作，因為只有白人才能得到真正的好工作。所以卡美拉一心要嫁個美國佬，讓她的子女能有更好的機會和生活。班迪尼根本不是她想要的男人。同樣地，班迪尼最初也沒想過要愛上一名墨西哥女侍應──他倆的民族特色令彼此間磨擦不斷，但他倆都不知道，這是他們對對方有興趣的表現。」
當奴修打蘭飾演海濤，一名患砲彈休克症的第一次世界大戰退伍人。在戲內，看似微不足道的他永遠只穿?一件破舊的浴衣，常常敲班迪尼的門，問他借東借西，言談間卻藏?對生活的希冀和夢想。
愛蓮艾堅絲飾演夏基里太太，即 海濤和班迪尼和房東。她表示自己是為與導演和其他演員合作才接拍此戲。對於自己的角色，曾經也是一位房東的她笑道：「夏基里太太是那種不讓人在晚上十一時前沖水的刻薄女人。試想想，她是個寡婦，而她有錢經營一間酒店，酒店的住客大部分是男人。在那個年代，這樣自食其力的女人是很罕見的。她是個很堅毅的女人。」
艾狄娜曼素飾演身體、情緒和心理都受傷的 維拉莉芙琦。身為著名百老匯歌劇演員的她說：「維拉是一個絕對難演的角色，她的心情好壞變得毫無來由，時喜時悲。我喜歡她那受傷和脆弱的心境。最重要是，她是啟發班迪尼發奮的那個人。」
製作資料
今次的製作班底，盡攬電影界的精英：獲五度提名金像獎的攝影師Caleb Deschanel、獲獎剪接師Robert K. Lambert、奧斯卡得獎美指Dennis Gassner，還有兩奪奧斯卡的服裝設計師Albert Wolsky。出品人韋納說：「每一位幕後人員都了解導演羅拔想為這部戲營造的觀感和格調。對羅拔本身來說，這套戲卻是一個挑戰：他既要令所有東西都顯得真實可信，但同時亦要充滿美感和浪漫的氣氛。」
由於現實中的洛杉磯已跟昔日截然不同，而<問紅塵>發生於特定的地點和時空，建築物也必須具備該年代的特色，所以今次羅拔選擇於南非取景。「這齣戲所描述的背景、賓架山和特質都已隨年月改變、消逝。」出品人Don Granger說。「因此我們必須製造布景。而南非正正是最適合的地方，她有充足廣闊的空間，我們不需擔心拍到現代的高樓大廈。」
美術指導Gassner依照舊相片重建戲內主要場景：洛杉磯市中心的第三街。「我們在開普敦（南非首都）一間中學的足球場上築起我們的『第三街』，而銀幕上的效果比我們想像還要真實呢。」他們特別製造揉合維多利亞和現代風格的建築物，以表現三十年代那逐步衰落的洛杉磯。
其中，戲內有一幕發生於1933年3月10日的黎克特制6.5級地震， Gassner選擇於開普敦外一個小鎮的遊樂場搭景。「哥連費路腳下地板震動那幕其實只是一幅油彩布。我們另外用特技效果摧毀一段木製的通道。」
而攝影師Caleb Deschanel則為此戲挑選了溫暖的顏色主調。「跟其他發生於特定年代的電影一樣，我們力求捕捉該年代的神態，尤其是當年加州的天氣。」事實上，陽光幾乎是此戲的一大特色。「我們想營造陽光總是充沛的感覺，意味班迪尼雖然去了他以為是天堂的地方，但他依然在掙扎求存。」他們找到陽光度跟昔日極相似的乾旱地帶，惟一的問題是那兒的太陽日落前會向北移──而非像加州那樣向南。於是他們巧妙地把場景搬向北面，令班迪尼的房間竟日敞亮。
服裝當然也要配合故事背景。服裝設計師Albert Wolsky挑選了啞調和粉彩顏色。「在三十年代，人們只會有三數套好衣服，而這些衣服能代表他們的個性。例如卡美拉總穿?侍應制服和廉價涼鞋，那代表她的社會地位。班迪尼雖然愛美，但他只夠錢買一套──用來炫耀自己的──貴價軋別丁料西裝。其實三十年代的人大都很窮，所以一套衣服穿上一個星期也是常事。」
演員資料
哥連費路 Colin Farrell（雅多路班迪尼）
愛爾蘭出生的哥連費路最近的作品有米高曼執導的大熱電視劇<邁亞密風雲>電影版，以及泰倫斯馬力的<美麗新世界>。而他現時正拍攝Gavin O'Conner的<Pride and Glory>，與愛德華諾頓演繹一個關於紐約市警察貪污醜聞的故事。
他早前的作品包括奧利華史東的<亞歷山大帝>、與阿爾柏仙奴合演的<驚天殺局>、<夜魔俠>（演「暴煞」）、改編自Michael Cunningham小說的獨立電影<Home at the End of the World>、祖舒麥查的<來電險事>和<虎陣戰地>、<未來報告>、<美國流氓>、<特警雄風>和<Intermission>。
哥連費路的父親艾文費路和湯美費路均為六十年代愛爾蘭沙姆洛克流浪足球隊的球員，但他成為足球員的志向很快便因熱愛演戲而改變。他於都柏林修讀戲劇，並迅即於Dierde Purcell的短篇電視劇<Falling for a Dancer>、BBC連續劇<Ballykissangel>及添羅夫的<The War Zone>中擔綱演出。
莎瑪希約Salma Hayek（卡美拉羅?絲）
不單是位出色的女演員，她更染指出品和執導電影及電視劇。才華洋溢的她憑?茱莉泰摩的<筆姬別戀>獲金像獎、金球獎、美國演員工會大獎（SAG）、英國電影及電視藝術學院獎（BAFTA）提名最佳女主角。
她最近的作品為與皮雅斯布士南及活地夏里臣合演的<合盜偷天>，並於為Prince今月一月發行的單碟<Te Amo Corazon>音樂錄影帶首執導演筒。而她正拍攝與彭妮露古絲演對手戲的<Bandidas>及與尊特拉華達和占士簡東費尼合作的新片<Lonely Hearts>；她快將投入Robert Altman電影<Paint>的拍攝，與 占士法蘭高大鬥演技。
她的處女作為於2003年辛丹斯電影節首映的<The Maldonado Miracle>，其他演員包括彼德方達、Mare Winnigham和雷賓彼利斯。其後她的作品有<革命蝴蝶>（獲美國廣播影評家協會獎提名）、米克費格斯的<Hotel>、<Timecode>、奇雲史密夫的<Dogma>、巴利辛尼菲的<超智特務顯神通>（奇雲格連、韋史密夫、簡尼夫班納）、<橫衝直接闖情關>（馬菲貝利）、<54 今夜星光誘惑>（米克邁亞斯、賴恩菲臘）、<殺出個黎明>、Robert Rodriguez的<三步殺人曲>和其續集<殺手攻略>（尊尼特普、安東尼奧班達拉斯）、<離合戀人派>（羅素高爾）及<非常小特務 3>。
生於墨西哥夸察夸爾科斯的莎瑪希約是一名國際關係及戲劇系畢業生。
當奴修打蘭Donald Sutherland (海濤）
資深演員當奴修打蘭拍片逾百，憑<52人兇殺案>及<越戰追擊>勇奪艾美獎和兩項金球獎。他最近的作品為舉世矚目的文學巨著電影<傲慢與偏見>。除此之外，他亦於ABC全新電視連續劇<Commander-in-Chief>中扮演美國眾議院議長。
他參與的經典電影包括羅拔奧爾德呂奇的<十二金剛>、羅拔阿特曼的<風流軍醫俏護士>、艾倫J伯吉拿的<Klute>（與珍芳達合作）、Nicolas Roeg的<Don't Look Now>（茱莉姬絲蒂）、John Schlesinger的<淑女．蕩婦．情人>、貝爾多貝托魯奇的<1900>、費里尼的<Casanova>、John Landis的 <動物屋>、羅拔烈福的<普通人>（瑪莉泰勒摩爾、鐵摩侯頓）、奧利華史東的<驚天大刺殺>、保羅馬祖斯基的<Alex in Wonderland>、菲臘哥夫曼的<天外奪命花>、Bob Clark的<午夜追殺>、Richard Marquand的<刀鋒冷>、李察派雅絲的<Threshold>、Euzhan Palcy的<血染的季節>、Fred Schepisi的<Six Degrees of Separation>、Barry Levinson的<叛逆性騷擾>、祖舒麥查的<殺戮時刻>、羅拔唐尼的<挑戰極限>、奇連依士活的<征空救星>、加里基雷的<天羅盜網>、和安東尼明格拉的<亂世情天>。
他將會於格芬鄧恩的<Fierce People>與戴安蓮大演對手戲，並於Robert Edwards的<Land of the Blind>（賴夫芬尼斯）、Aric Avelino的<American Gun>（茜絲史治）及James C. E. Burke的<Aurora Borealis>（露易斯弗萊切、茱麗葉莉維絲）中亮相。
愛蓮艾堅絲 Dame Eileen Atkins（夏基里太太）
生於倫敦，並接受倫敦基賀爾音樂及戲劇學院的專業訓練。她勇奪過無數英國及荷里活獎項，包括1965年標準晚報獎最佳女主角（<The Killing of Sister George>）、英國奧立佛戲劇獎最佳女配角（<The Winter's Tale>）、1989年紐約劇評人獎最佳個人表現獎及紐約劇評特別嘉獎 （一人劇<A Room of One's Own>中扮演Virginia Woolf）、2003年奧立佛獎最佳女主角（Colin Redgrave的<Honour>）
此外，她獲提名東尼獎的電影有<Sister George>、<Vivat! Vivat! Regina!>、<Indiscretions>、<The Retreat from Moscow>。她亦憑<The Night of the Iguana>獲奧立佛獎提名。其他電影作品有<The Dresser>、<Equus>、<Let Him Have It>、<Wolf>、<Jack and Sarah>、<Granada>、<The Avengers>、<此時．此刻>、<高斯福大宅謀殺案>、<American Girl>和<亂世情天>。
她亦演出無數莎士比亞劇，包括<空愛一場>、<理查二世>、<暴風雨>、<第十二夜>和<如願>。電視演出則有<The Three Sisters>、<The Heiress>、<Olive>、<The Letter>、<Major Barbara>、<The Duchess of Malfi>、<Electra>、<The Lady from the Sea>和<The Jean Rhys Woman>。
艾狄娜曼素 Idina Menzel（維拉莉芙琦）
身為舞台及電影演員兼作曲家的艾狄娜曼素以感染力極強的演技打動觀眾。最近她於普立茲得獎音樂劇<Rent>（獲提名東尼獎）、<Summer of Sam>、<Still a Kiss>、<眾裏尋他遇上她>、<Tollbooth>和<Water>中演出，並將投入拍攝Kevin Lima執導的迪士尼特技愛情片<Enchanted>，與蘇珊莎朗頓、占士馬斯頓和Amy Adams大鬥演技。
她亦參演百老匯賣座音樂劇<Wicked>，並憑扮演「Elphaba」巫婆獲東尼獎最佳女主角。此外，原創音樂劇<The Wild Party>「Kate」一角亦為她帶來紐約劇評人獎的提名。其他舞台劇包括<Summer of 42>、<Hair>、<Aida>和<The Vagina Monologues>。
在1998年，她於「莉莉絲」女性搖滾音樂節中表演，並推出首張唱片<Still I Can't Be Still>。她最新一輯唱片名為<Here>。
Justin Kirk（森美）
注目新星Justin Kirk憑?HBO 獲獎無數的短篇電視劇<美國天使>中「Prior Walter」一角迅速冒起，除了跟巨星阿爾柏仙奴、梅麗史翠普、愛瑪湯遜和Mary-Louise Parker切磋演技外，他更憑出色表現獲艾美獎和SAG獎提名。在2006年辛丹斯電影節，Kirk於<Puccini for Beginners>和<Flannel Pajamas>中的演中亦大獲好評。現時，Kirk正參演去年八月首映並獲金球獎最佳電視音樂劇或喜劇提名的<單身毒媽>。該劇將於今年春天開拍第二輯。
電影以外，Kirk亦是一名出色的舞台劇演員。他憑<Love! Valour! Compassion!>贏得奧比戲劇獎傑出表現獎，並會繼續於該劇的電影版擔綱。在2001年，他與Julianna Margulies和當奴修打蘭參演<Ten Unknowns>，並獲露西爾羅泰爾獎、紐約劇評人獎及紐約外圍評圈獎提名。其他舞台演出有<The World Over>、<Old Wicked Songs>（獲Backstage West Garland Award傑出表現獎）、<Any Given Day>和<June Moon>。
幕後人員
羅拔唐尼Robert Towne（編導）
四度獲金像獎提名，其中以奧斯卡得獎經典電影<唐人街>最廣為人知。出生於洛杉磯的他曾任職漁夫，及後修讀哲學。他曾為<職業特工隊1及2>、<糖衣陷阱>、<Greystoke>、<洗頭>、<雷霆壯志>和<The Last Detail>編劇，而由他秘密協助的<教父>、<雌雄大盜>、<紅潮風暴>、<絕世天劫>等大作，更令他成為荷里活最炙手可熱的編劇。
羅拔唐尼親自執導的劇本有四齣：<問紅塵>、<最佳個人獎>、<破曉時刻>和關於七十年代美國著名長跑手史提夫普方坦的<挑戰極限>。
湯告魯斯Tom Cruise（出品人）
從影二十年，三度獲金像獎提名的他，其主演電影於全球票房超過六十億美元。湯告魯斯早前與羅拔唐尼合作出品<挑戰極限>，更曾於四齣羅拔唐尼編劇的電影中擔綱：<職業特工隊>一、二集、<雷霆壯志>和<糖衣陷阱>。
在1993年，湯告魯斯與寶娜韋納合夥成立「Cruise/Wagner Productions」電影公司，並出品<職業特工隊>系列、<玻璃真相>、<忠奸道>、<鬼驅人>，以及金馬倫高爾執導的<魂離情外天>和<下一站…伊莉莎伯鎮>。他們獲1997年Nova Award的「最有潛質出品人」獎及2004年《Daily Variety》的「十億美元出品人」獎。最近，二人齊獲頒「UCLA/Producers Guild of America Vision Award」大獎。
湯告魯斯本身參演的大熱電影包括<強戰世界>、<職業特工隊>一及二集、<同行殺機>、<最後武士>、<未來報告>、<魂離情外天>、<人生交叉剔>、<大開眼戒>、<甜心先生>、<吸血迷情>、<糖衣陷阱>、<義海雄風>、<大地雄心>、<雷霆壯志>、<生於七月四日>、<手足情未了>、<The Color of Money>、<壯志凌雲>、<詭秘怪談>、<奮鬥年華>、<乖仔也瘋狂>、<Losin' It>、<局外人>、<Taps>和<Endless Love>。今個暑假，他將會以特務Ethan Hunt的身分，與觀眾於<職業特工隊 III>再次見面。
湯告魯斯曾獲的致敬獎項包括BAFTA的「Stanley Kubrick Britannia傑出成就獎」、「MTV Generation Award」、意大利David di Donatello「終生成就獎」、兩項全美觀眾選擇大獎、哈佛大學Hasty Pudding戲劇學會的「年度男星大獎」、美國藝人權益基金會的「John Huston獎」、美國電影獎的「傑出電影成就大獎」及美國電影藝術獎。
| 上映日期Release Date : | September 7, 2006 | |
| 級別Category : | IIB | |
| 片長Running time : | 117 minutes | |
| 上映戲院Cinemas : | GH Mongkok (嘉禾旺角) / UA Windsor (皇室) / UA Cityplaza Taikoo (UA太古城中心) | |
| 官方網站 Official Website : | http://www.askthedust-movie.com/enter.html# | |
| 發行Distributed By : | Golden Scene Co. Ltd. |
<Ask the Dust>
PRODUCTION INFORMATION
Academy AwardR-winner Robert Towne (<Chinatown>, <Tequila Sunrise>) writes and directs <Ask the Dust>, set under the brutally sunny skies of Depression-era Los Angeles. Based on novelist John Fante's masterpiece, Towne's interpretation of <Ask the Dust> focuses on a city exotic and vulgar, glamorous and raunchy - a place of heat and dust. Full of imports - palm trees from Egypt and people from everywhere in search of health and wealth, fame and fortune - L. A. is the city of first and last resort, where all dreams are supposed to come true. So it is for Arturo Bandini (Colin Farrell), a son of Italian immigrants who dreams of becoming a famous novelist and marrying a beautiful blonde, and Camilla Lopez (Salma Hayek), a Mexican who longs to marry a WASP and shed her last name. In a time when relations between Anglos and people of Mexican descent hang by tattered threads, Bandini and Camilla collide with one another, fighting the city and themselves to make their dreams come true.
For Towne, <Ask the Dust> represents the culmination of a 30-year labor of love. After discovering the novel when researching his OscarR-winning screenplay for <Chinatown>, Towne began a friendship with Fante that would last until the author's death in 1983. The two writers often discussed the form that a film adaptation would take. In the mid-1990s, twenty years after he first fell in love with the novel, Towne wrote a screenplay on spec - unheard of for a screenwriter of his stature - that represented Fante's story. Towne presented the screenplay to Fante's widow and editor, Joyce Fante, who, in Towne's words, "had been there from the very beginning: she edited the original novel, line by line." Joyce Fante's response to Towne was overwhelming: "I'm so sorry that John isn't here to see this; I think he would have been proud of it," she said. The adaptation was just the beginning; Towne spent the next ten years trying to set up the project and arrange financing.
Towne's drive to make <Ask the Dust> became irresistible as producers Tom Cruise and Paula Wagner embarked on their own decade-long journey to help Towne realize his dream. "<Ask the Dust> was one of the first pictures Tom and I brought into C|W Productions," says Wagner. "We had both worked with Robert before - in fact, I was his agent at CAA prior to becoming a producer. He has written a number of movies for Tom and we produced 'Without Limits.' Robert has fulfilled his dream of making this movie and it gives Tom and me great satisfaction to know that we were able to help him achieve that dream. It's been a fascinating road that got us to this moment; sometimes, worthy things take a long time to come to fruition."
Towne says that the reason the novel became a passion project for him is that it taps into strong feelings he has for this city and his work as a writer. "This story has volatility, it has an edge, it has anger, it has sexuality, it has all of the frustrating things that an adolescent has in coming to terms with his life and his future. The novel is about Los Angeles when it was an adolescent, a city just barely beyond my memory - which was tantalizing, because it was like reading about my own childhood and things I love that no longer existed. Secondly, it's about a writer who feels neglected, unappreciated, silly; sometimes like he's the greatest thing in the world, and others like he's talentless. What writer doesn't feel that way? How could I not identify with that?
"Los Angeles is a city of illusions and dreams," continues Towne. "All writers are dreamers; they have a vision and they try to bring it into being. A movie itself is nothing more than a dream that somebody feels strongly and obsessively enough to cause others to share that vision and try to make that dream come true."
"The words in this film are Robert Towne's poetry. It's his ode to L.A.," says Wagner.
Paramount Classics presents in association with Capitol Films, a Cruise|Wagner production, a VIP Medienfonds 3 production, an Ascendant production, "Ask the Dust." The film stars Colin Farrell, Salma Hayek, Donald Sutherland, Eileen Atkins, Idina Menzel, and Justin Kirk. Written for the screen and directed by Robert Towne, based on the novel by John Fante, the film is produced by Tom Cruise and Paula Wagner and also produced by Don Granger and Jonas McCord. Executive producers are Redmond Morris, Mark Roemmich, David Selvan, Andreas Schmid, Andy Grosch, and Chris Roberts. The film is Rated R for some sexuality, nudity and language.
ABOUT THE FILM
"If there's a better piece of fiction written about L.A., I don't know about it," says Towne of Ask the Dust, a novel by John Fante. The story of a forbidden love and an unbridled passion, Towne says that the novel captures the story of the city he knows so well in a unique way. In a 1989 American Film interview, Towne recalled how he was struck by the immediacy of Fante's book: "It was as if you were able to tear a veil off the past and stare at it exactly as it was."
According to producer Paula Wagner, Fante's book is also a fascinating character study. "It's an inner monologue that takes us through the mind and the soul of Arturo Bandini," she says. "We experience his emotional state, his sense of the world, his fears, his obsession with achieving the American dream - to write the Great American Novel and have a beautiful, blonde wife and a mansion on a hill. But the American dream that he discovers is nothing that he expected."
Intrigued by Fante's language, the depth of his protagonists, and the way he made Depression-era downtown Los Angeles a character itself, Towne became determined to bring the novel to the screen. A 30-year journey that became a consuming passion began with an inscription in Towne's first edition of the novel: Fante wrote the screenwriter, "In the hope that you will take this to far places." Indeed, achieving the dream would be a long journey, spanning the years and continents and drawing in some of the most vital talents working in the film industry.
Colin Farrell brings Arturo Bandini - John Fante's alter ego - to life. One of the sought-after actors with an extraordinary on-screen magnetism, Farrell brings his innate charisma to the role. "Colin has a magnetic effect on both women and men," says Towne. "In fact, a girlfriend of my wife who was at the house when I first met with him said, 'I don't know who he is, but whatever he wants, give it to him!'" laughs Towne.
"<Ask the Dust> is all about finding yourself somewhere in this world," says Farrell. "It's about passion - not just dreaming about what you want, but going out and finding it."
That passion for life - a relentless, fearsome attack on apathy - is exemplified by the initial repulsion (and, later, attraction) between Arturo and Camilla, a Mexican waitress determined to marry into the American dream. "Arturo and Camilla are very similar creatures," says Farrell. "They're both desperate to find a place of contentment within themselves while looking outside themselves at how the world perceives them."
Salma Hayek, who plays Camilla, adds that Fante placed Arturo and Camilla in the middle of a very difficult social and political fissure; Fante does not shy away from presenting Anglo-Latino relations in Los Angeles as a kettle boiling over. "It was very tough in the 1930s for people like Arturo and Camilla," she says. "He has dreams of a blonde-haired, blue-eyed, Caucasian Californian on his arm, and all she wants is to marry a rich American so that her children can have the opportunities she didn't. Arturo and Camilla don't fit into those idyllic dreams, but when they meet, their attraction for each other gets out of control."
"Salma truly breathes fire into Camilla. She's got the same lively spirit as the character," says Towne.
The director notes that the stars' palpable connection on-screen was mirrored by their off-screen relationship. "Salma and Colin came to know each other very well; they were working on something that meant something to both of them and they were sharing it together. A real friendship developed: you would often see them walking alone together, holding hands and talking about the film or the next shot."
The film's supporting cast includes Donald Sutherland as Bandini's shell-shocked neighbor, Hellfrick; Dame Eileen Atkins as his landlady, Mrs. Hargraves; Broadway's Idina Menzel (a Tony winner for "Wicked") as the tortured Vera Rifkin; and Justin Kirk ("Angels in America").
Towne says that the commitment shown by Menzel was representative of all the actors' determination to be involved with this film. "Idina was part of a major success on Broadway and really fought hard to be allowed time off to be in this film. She got the time at the last minute and flew down to South Africa at a moment's notice. She sacrificed in order to do the movie - everyone did. They were as dedicated as you could ask for."
Towne is, perhaps, the only man who could bring <Ask the Dust> to the screen. A love story that is very much a part of a particular time and place, "Ask the Dust" could only be told by the filmmaker who, through his research for his many films set in L.A., has become an expert in the city's history.
"I saw the story as a sort of Wuthering Heights in Bunker Hill," says Towne. "In its way, it's as old a story as Romeo and Juliet; it ends, as all great love stories do, tragically. We sense that the love is so powerful that it will endure beyond the individuals who are the receptacles of that passion. It makes us believe that there is such a thing as love. That's why love stories move people and we go to see them; romances are fun, but love stories give us hope."
"Robert Towne has an encyclopedic knowledge of American history - in particular, the history of Los Angeles, from its origins as a dustbowl to today," says Farrell. "He knows it intellectually, but he feels it, too - he's lived it."
Wagner stresses that Towne's wide breadth of knowledge was essential to presenting L.A. as it was. "He has so thoroughly and carefully researched Los Angeles in this era," she says. "He can tell you where all the buildings were and what they looked like; what it was like to stand on Bunker Hill and look down over the city. But Robert also pays attention to the little details of life in that era: for example, at the beginning of the film, Bandini hears the fruit frost report - those kinds of radio programs are something Robert knows very well. He absorbs the richness of the very specific culture of Los Angeles."
Wagner also notes that Towne presents Depression-era people as proud men and women determined to look their best. "A man might have been down to his last nickel, but he would put on his finest suit of clothes and comb his hair. A waitress would wear a very starched, white uniform even though she has on a very worn pair of shoes. Her hair had to be in place. Everyone worked against this concept of the depression - not only the economic depression, the depression of the culture, but an inner depression as well."
ABOUT JOHN FANTE…AND ARTURO BANDINI
<Ask the Dust> was written by John Fante. Though the author did not receive recognition for his contributions to American literature during his lifetime, today he has a loyal following and is one of the most highly regarded American novelists of the 20th Century.
Fante was born in 1909 in Colorado, the son of an Italian immigrant bricklayer. After a childhood spent in poverty and enduring anti-Italian prejudice, Fante developed his skills as a writer and a need to use them. In 1929, he moved to California and began writing stories for H. L . Mencken's The American Mercury magazine. By 1936, he had created Arturo Bandini, the character who would become his alter ego in four novels that would encompass the saga of the writer's own life. His first novel, Wait Until Spring, Bandini, was published in 1938 (and made into a film in 1989); continuing the saga through Ask the Dust, Dreams from Bunker Hill, and The Road to Los Angeles (published posthumously), Fante told the story of his life through a character who was by turns brilliant and impulsive, young and mature, generous and mean-spirited. The saga chronicles the writer's coming of age: his acceptance of his working-class heritage, his forming of his artistic individualism, and his finding compromise in the dichotomy between his Italian-American background and his longing for assimilation.
"A lot of writers identify with their characters, but my father was practically recording his day-to-day experiences when he first came to Los Angeles," observes Vicki Fante Cohen, one of three surviving children of the late author. "Like Bandini, he had a very strong personality and a healthy ego. You had to believe in yourself during the Depression era, especially if you wanted to make it as a writer. In fact, I think my father's unshakeable drive is not only the force behind his novels, but also the reason for his ultimate success."
Cohen's younger brother, Jim Fante, remembers his father explaining just how much his life and Bandini's paralleled. "When I was just a small boy, my father decided to show me where he had lived and shopped, so we drove fifty miles, from Point Dume to Bunker Hill in downtown Los Angeles," recalls Fante. "We walked around the neighborhood, and he showed me the Alta Loma Hotel where he had lived and which ultimately became the setting for Ask the Dust. We saw the Grand Central market, where he bought the day-old fruit he survived on. It was fascinating watching Bandini in the film, eating his overripe oranges, because that's all he could afford. It was just like how my father described his life when he first came to L.A."
"I think my father's seething heart is well represented by Towne's version of Ask the Dust," says Dan Fante, himself the author of three novels: Chump Change, Mooch, and Spitting Off Tall Buildings. "It was a brilliant '30s novel and it set the bar for books about Los Angeles. Unfortunately, my father died virtually unknown, so it's my hope that this film will draw people back to the bookstores to discover the passion he had and give him the recognition he deserves."
Fante's work was out of print for decades until Charles Bukowski found Ask the Dust on the shelves of the Los Angeles Public Library. In 1980, Bukowski demanded that his publisher, Black Sparrow Press, republish the novel as a condition of further publication of Bukowski's own work; Bukowski provided a preface that led to a rediscovery, and reappreciation, of Fante's work.
"One had to go back to the pre-Revolution writers of Russia to find any gamble, any passion… here, at last, was a man who was not afraid of emotion," wrote Bukowski in 1980. "I stood for a moment reading. Then like a man who had found gold in the city dump, I carried the book to a table… It was a story of terrible luck and a terrible fate and a rare and natural courage… written of and from the gut and the heart."
In 2001, Gentlemen's Quarterly would write that Fante is "one of L.A.'s retro pleasures… [Fante] did for 1930s Los Angeles what Joseph Mitchell did for low-life Manhattan and what John Cheever did for Westchester County."
"I tried to tell John's story, based on the book, and also based on John and his life, as I saw him and knew him, as I loved him and was infuriated by him," says Towne. "Fante was Bandini: impossible and curmudgeonly. He was as likely to roast you as to toast you - and usually, he'd do both in the same breath."
"John himself had a real love affair," says Towne. "Her name was Maria; he had her name tattooed on his shoulder. It used to drive his wife, Joyce, nuts. Joyce was a graduate of Stanford and a poetess and quite a fine writer on her own; she was the editor of the original book and very responsible for John's work. She was so kind about the script; she said John would have loved it."
Wagner says that the film is a true adaptation - one that differs from the printed page but stays true to the spirit of the novel. What's more, the adaptation results from Towne's special relationship with the author. "Robert was the only person who could write and adapt the book," says Wagner. "He has a real relationship with the Fantes. Even though the third act takes the story to another place, it's a place very much sanctioned and embraced by the family."
ABOUT THE CHARACTERS
At the center of "Ask the Dust" is the explosive relationship between the aspiring Italian-American writer Arturo Bandini and the passionate Mexican waitress Camilla Lopez. It is a relationship that stands as a microcosm of the issues facing 1930s Angelenos: the immigrant experience, underlying racial tension, and abject poverty living side-by-side with unimaginable wealth.
"Bandini is good-natured, but manic-depressive," says Towne. "Most writers are manic-depressive, and Bandini is nothing if not a writer. With his intensity, Colin is capable of both the great highs and the deep lows. He has the wit, the gentleness, the grit, and the cockiness that encompass all sides of Bandini's character. He is Bandini."
"Bandini comes to Los Angeles determined to write the great American novel, a book about people and their dreams, to put Steinbeck to shame," says Farrell. "But he's not cutting the mustard: he's stuck in his hotel room and out of money when he meets Camilla. She reminds him of everything he fears about himself: that he's not really American, that he's not going to make anything of himself. Because of that, even though he's fallen in love with her, he can only express that love through being cruel."
Farrell was attracted to the role by the artfully created character and the world he inhabits. "Each character is so well-defined and drawn out; Fante is such a great writer, both of characters and dialogue. Of course, I read Ask the Dust - numerous times - and I also went back and read the entire Arturo Bandini saga. I like to research, but the screenplay is always your blueprint."
To prepare for his character, who he describes as "insane and wicked at times." Farrell says he studied John Garfield and William Holden movies to get the tone and speed of the speech of the era. "Holden had such a beautiful rich voice," recalls Farrell, who shows no trace of his own distinctly Irish accent in the film. "It was Holden's persona that I tried to emulate the most."
Wagner notes that Farrell joined the project even before his first American film had been released. "Robert and I met him and we were struck by his presence and how strong an actor he was - we had seen 'Tigerland,' right before it came out. Robert said, 'Colin IS Bandini! There's something amazingly authentic about him.' There was no question. At the time, he wasn't known, but Robert and I were devoted to Colin. Later, after he became a highly sought-after actor and movie star, Colin's commitment was still unwavering. He remained passionate about this role. I so admire and respect him for that tenacity."
Farrell says that his portrayal of Bandini developed even further because of his co-star, Salma Hayek. "She is just amazing and a blast to work with because we could bounce things off of each other, kind of like Bandini and Camilla did," observes Farrell. "Salma is a smart, tough cookie, just like her character, and she brings a real fragility to the role. Working with Salma was a dream and I think Fante would appreciate the work she does on this film."
Salma Hayek felt the same way about her co-star. "Colin and I really got into our characters; Robert gave us the space to let us do a lot of role playing. I bounced off of Colin's energy and vibrancy and I think he made me reach into deeper layers of my character."
Wagner notes Hayek, too, showed unusual commitment to the filmmaking process and became a vocal believer in Towne's dream. "Salma, like all great actresses, embraces the role fully, immerses herself in her character, and brings an extraordinary vitality to Camilla," says the producer. "But Salma also cares greatly about the movie as a whole. She's a very smart, articulate, and passionate advocate for the films she makes."
It was the complexity of Camilla's character that attracted Hayek to the project. After rising to fame with her performances in such films as "Desperado," "From Dusk Till Dawn," "54," "Dogma," and "Wild, Wild West," Hayek received widespread acclaim and an OscarR nomination for her portrayal of artist Frida Kahlo in "Frida." "This is one of the most courageous parts I have ever played," says the actress. "All of the characters in this film have a very strong internal life to them, but Camilla and Arturo in particular are especially hurt, which often manifests itself in rage."
Hayek notes that the relationship between Camilla and Bandini is marked by a racial hatred that boils to the surface. "Camilla is a waitress - it's the best job she can get. Opportunities were not open to people who were not Caucasian. All Camilla wants to do is to marry an American man so that her children can have better opportunities and a better life. Bandini does not qualify. The situation for Bandini is the same. At the beginning of their relationship, their racial stereotypes for each other ignite sparks - it's a expression of a very strong attraction that they don't understand."
Taking supporting roles in "Ask the Dust" are three highly regarded, award-winning actors, all veterans of the stage and screen: Donald Sutherland, Dame Eileen Atkins, and Idina Menzel.
Sutherland plays Hellfrick, a shell-shocked veteran of World War I. Wearing nothing but a tattered bathrobe, Hellfrick is always knocking at Bandini's door, borrowing a dime here, a nickel there, hinting at the dreams and fantasies that haunt their lives. "He's the personification of W.B. Yeats's line in 'Sailing to Byzantium': 'an aged man is but a paltry thing, a tattered coat upon a stick,'" says Sutherland, who had wanted to work with Towne again after collaborating with the director on "Without Limits." Sutherland revisits the period after creating an iconic role in "The Day of the Locust."
Atkins, who portrays Mrs. Hargraves, the landlady to both Hellfrick and Bandini, was attracted to the project by the chance to work with the director and co-stars. "Robert is such a talented writer-director, and Colin is not just a movie star, he's a true actor and a wicked delight," observes Atkins, who once had a landlady not unlike her character. "She wouldn't let anyone flush the toilet after 11 p.m.," laughs Atkins. "She was a hard woman, just like my character. Imagine being left widowed with enough money to run a hotel where the guests are mostly men. For a woman to do anything on her own was pretty extraordinary in those times, especially with everybody looking into everybody's business."
Idina Menzel takes on the role of the physically, emotionally, and psychologically scarred Vera Rifkin. Menzel, who created the role of Maureen in the Broadway production of "Rent" (which she reprised in last year's feature film) and recently completed a Tony Award-winning run as the Wicked Witch of the West in the Broadway production of "Wicked," says that Vera was an extremely challenging character. "Her mood swings can turn on a dime, from elation to desperation, and those swings can come from nowhere. I love her vulnerability and wounded spirit. Most importantly, she helps Bandini evolve into the man he strives to be."
Admitting that she was somewhat starstruck by Colin Farrell, Menzel says she used her awe of the actor to help her develop the character. "It worked perfectly, because Vera is infatuated with Bandini and follows him around like a puppy looking for love. I love the twist the plot takes and how she ends up being the one in charge and helps him to become more of a man."
TROUBLED LOVE AS A METAPHOR FOR RACE RELATIONS
Towne notes that the relationship between Arturo and Camilla, as written by Fante, represents the larger relationship between Anglos and Mexicans in Los Angeles. "Bandini becomes obsessed with Camilla, and then, cannot square his obsession with his own prejudice. That's where this story's conflict comes in. These people want something out of life at a time when the promise of doing that - in America in general and in L. A. in particular - they believed would be fulfilled," says the director.
Though it is impossible to give a full history of this complex topic in a few paragraphs, it is necessary to have some understanding of the underlying relationship.
The early years of the 20th Century saw a steady influx to California of Mexicans seeking a better life. By 1930, one in six residents of Los Angeles was of Mexican heritage: 200,000 out of a total population of 1.2 million.
In 1930, the state began to deport thousands to Mexico. As many as a half-million would be deported from California during the 1930s, with population not rising again until the 1940s. Newspapers at the time portrayed Mexican-American youths as barely civilized gangsters. In 1942, 12 young Mexican-Americans were convicted of the "Sleepy Lagoon murder" - despite a lack of evidence of their guilt and suspicions that the dead man had not even been murdered. (A federal judge would later overturn the conviction.)
In 1943, tensions that had built for decades erupted as the city witnessed one of the worst race riots in its history: the Zoot Suit Riots, clashes between U.S. servicemen stationed in Los Angeles and local youths. Hundreds of beaten-up Mexican-Americans were arrested for "disturbing the peace"; many died in jail when their wounds did not receive medical attention and many more were convicted of crimes that they did not commit. Only nine U.S. sailors were arrested, eight of whom were released without charge. The riots continued until the military declared L.A. "off limits" to personnel.
Tensions would continue throughout the century, not easing until the 1990s and the election of the city's first Latino government representatives in decades.
ABOUT THE PRODUCTION
For this project - the fulfillment of a long-held dream - Robert Towne surrounded himself with a crew of some of the brightest lights in the industry: five-time Academy AwardR-nominated Director of Photography Caleb Deschanel, award-winning Editor Robert K. Lambert, OscarR-winning Production Designer Dennis Gassner, and two-time OscarR-winner Albert Wolsky as costume designer.
"Each and every member of the crew shared Robert's commitment to the look and style of this film," says Wagner. "For Robert, it was walking a fine line; there's something very authentic and gritty about the film, but at the same time, he wanted there to be something beautiful and romantic about it."
With all of the real-life L.A. locations long gone, the crew recreated Depression-era Los Angeles under the sunny skies of South Africa. "The Bunker Hill section of Los Angeles - the primary location for the film and an incredibly important character in the film - doesn't exist anymore," notes producer Don Granger. "In fact, the architecture of that period doesn't exist in the way we needed it; we knew we'd be building a set. South Africa provided us with the ability to build such a huge re-creation in an area where we didn't have to worry about anything encroaching on the skyline."
Granger was gratified to watch that re-creation come to life. "It was amazing to watch once more the funicular, Angel's Flight, which took people up Bunker Hill, being rebuilt and re-created. It's the magic of moviemaking; we can remember how things were and bring back things that were forgotten or lost."
"We definitely wouldn't have found our Main Street set, which was L.A.'s downtown Third Street, anywhere in California," says Gassner, who referenced old photographs of the time period to inspire him. "Because there would be modern buildings in the backdrop, we decided to build our Main Street from scratch on a soccer field of a high school in Cape Town. The end result was actually more realistic on-screen."
Because <Ask the Dust> takes place in a very specific time and location, Gassner's choices for building architecture was also very specific. "The architecture of the buildings we designed is a combination of Victorian and contemporary," recalls Gassner. "Los Angeles in the 1930s was in its decline, and we wanted to show the uniqueness of that time period."
As for the scene in which the city of Long Beach is rocked by an earthquake - an event that actually happened on March 10, 1933; the quake measured 6.5 on the Richter scale and claimed 120 lives - Towne chose a small town outside of Cape Town. Gassner recreated the boardwalk along the city's once-famous amusement park… but responsibility for the amusement park itself fell to another department.
"Actually, there's no real physical structure - no amusement park - behind Colin as he experiences the boardwalk undulating under his feet," says Gassner. "That was a matte painting. All the special effects department really had to destroy was the wooden walkway we built that ran down to the Atlantic."
The director of photography, Caleb Deschanel, worked with Towne to create a look for the film that would place the audience in the 1930s. "We chose warm tones, consistent with the era and with California climate," remembers Deschanel. "In fact, Camilla's red flower is pretty much the brightest color in the movie. Like any period film, we tried to capture the spirit of the time, but probably the most important thing was the sunlight."
Deschanel explains that the quality of light on the Karoo, a desert-like region 4 to 5 miles north of Cape Town, was amazingly similar to that of Los Angeles. In fact, the only real challenge in lighting that he and his crew encountered was how differently the sun travels across the sky in that part of the world.
"The sun rises in the east like it does everywhere, but in South Africa, it moves to the north - not the south - before it sets in the west," observes Deschanel. "We solved the issue by essentially flipping the set so that it faced north, to give Bandini's apartment sunlight all day long. In fact, the sun is almost a character in the movie; we wanted to make it seem that it was always present. It serves as a constant reminder to Bandini that even though he's in what seems to be paradise, he's still struggling."
Costume designer Albert Wolsky worked with Deschanel and Gassner, choosing muted and pastel colors for his costumes. "The rise of the fashion trend has been a recent phenomenon," observes Wolsky. "Back then, people only had three or four good outfits, which usually defined them. For example, Camilla's waitress uniform and her ragged huaraches established her station in life. As for Bandini, even though he likes to wear clothes, he can only afford one expensive gabardine suit, which he wears to portray his success. Nobody had any money in the thirties, so it wasn't unusual for people to wear the same clothes all week."
Wolsky adds that he was surprised at how Colin Farrell could wear period clothing so well. "When I first met him, he had long hair and was wearing those grungy jeans. After they took him into hair and makeup, and he put on the suit I'd made, he was transformed into a young man living in the thirties."
"Without any exaggeration, I've been blessed with the best crew and best cast on any movie I've ever worked on in any capacity," says Towne. "They all read the script and liked it; they knew how I felt and came aboard. They all did it for the same reason I did it: for the love of doing it."
ABOUT THE CAST
COLIN FARRELL (Arturo Bandini)
A native of Ireland, COLIN FARRELL (Arturo Bandini) continues to turn heads in Hollywood. He will next be seen in the Michael Mann feature "Miami Vice" for Universal Pictures, which is a modern version of the hit TV series. He can be seen in Terrence Malick's "The New World." He is currently in production on "Pride and Glory," opposite Ed Norton, for director Gavin O'Conner, which is a story about a family of New York city police officers who are torn apart by corruption and scandal.
He was previously seen in Oliver Stone's "Alexander"; opposite Al Pacino in "The Recruit"; as Bullseye in the Twentieth Century Fox feature "Daredevil"; "Home at the End of the World" for Warner Independent, based on the Michael Cunningham novel; and two roles in Joel Schumacher films, "Phone Booth" and "Tigerland." Other film credits include "Minority Report," "American Outlaws," "Tigerland," "SWAT," and "Intermission."
Born and raised in Castleknock in the Republic of Ireland, Colin is the son of former football player Eamon Farrell and nephew of Tommy Farrell. Both Tommy and Eamonn Farrell played for the Irish Football Club Shamrock Rovers in the 1960s.
It was Colin's early teenage ambition to follow in his father and uncle's footsteps; however, his interest soon turned towards acting and he joined the Gaity School of Drama in Dublin. Before completing his course, Colin landed a starring role in Dierde Purcell's miniseries "Falling for a Dancer," a starring role in the BBC series "Ballykissangel," and a featured role in Tim Roth's directorial debut, "The War Zone," followed soon after. He currently lives in Dublin, Ireland.
SALMA HAYEK (Camilla Lopez)
SALMA HAYEK (Camilla Lopez) has proven herself as a prolific actress, producer, and director, in both film and television. Hayek received an Academy AwardR nomination, a Golden Globe Award Nomination, a SAG Nomination, and a BAFTA Nomination for Best Actress for the title role in Julie Taymor's "Frida."
Hayek was most recently seen in Brett Ratner's "After the Sunset" with Pierce Brosnan and Woody Harrelson. She will soon be seen in "Bandidas" opposite Penelope Cruz. The actress recently wrapped production on Todd Robinson's "Lonely Hearts," opposite John Travolta and James Gandolfini.
Hayek's directorial debut, "The Maldonado Miracle," premiered at the 2003 Sundance Film Festival and was aired on Showtime last fall starring Peter Fonda, Mare Winnigham, and Ruben Blades. She also starred and co-produced Showtime's "In the Time of the Butterflies," for which she was nominated for a Broadcast Film Critics Association's Award. Her most recent directorial project was a music video for Prince's single "Te Amo Corazon," which premiered in January 2006.
Her other film credits include: Mike Figgis' "Hotel," "Timecode," Kevin Smith's "Dogma," Barry Sonnenfeld's "Wild Wild West," opposite Kevin Kline, Will Smith, and Kenneth Branagh, the comedy "Fools Rush In," opposite Mathew Perry, "54" co-starring Mike Myers and Ryan Phillippe, "From Dusk Till Dawn," directed by Robert Rodriguez and written by Quentin Tarantino, Robert Rodriguez's "Desperado," "Breaking Up" opposite Russell Crowe, "Spy Kids 3," and "Once Upon a Time in Mexico," the sequel to "Desperado," in which she stars opposite Antonio Banderas and Johnny Depp.
Born and raised in Coatzacoalcos, Mexico, Hayek studied International Relations and Drama in college in Mexico. She began, as well as maintained, a successful career in television. She will soon begin production on Robert Altman's film "Paint," opposite James Franco.
DONALD SUTHERLAND (Hellfrick)
DONALD SUTHERLAND's (Hellfrick) career as an actor encompasses over 100 films, including, most recently, a critically acclaimed turn in Joe Wright's "Pride & Prejudice." He is currently at work on the new ABC dramatic series "Commander-in-Chief," in which he stars as the Speaker of the House, opposite Geena Davis as the first female U.S. President.
These include such classics as Robert Aldrich's "The Dirty Dozen"; Robert Altman's "MASH"; Alan J. Pakula's "Klute" (opposite Jane Fonda); Nicolas Roeg's "Don't Look Now" (opposite Julie Christie); John Schlesinger's "The Day of the Locust"; Bernardo Bertolucci's "1900"; Federico Fellini's "Casanova"; John Landis' "National Lampoon's Animal House"; Robert Redford's "Ordinary People" (opposite Mary Tyler Moore and Timothy Hutton); and Oliver Stone's "JFK."
Sutherland's many other films include Paul Mazursky's "Alex in Wonderland"; Philip Kaufman's "Invasion of the Body Snatchers"; Bob Clark's "Murder by Decree"; Richard Marquand's "Eye of the Needle"; Richard Pearce's "Threshold"; Euzhan Palcy's "A Dry White Season"; Fred Schepisi's "Six Degrees of Separation"; Barry Levinson's "Disclosure"; Joel Schumacher's "A Time to Kill"; Robert Towne's "Without Limits"; Clint Eastwood's "Space Cowboys"; F. Gary Gray's "The Italian Job"; and Anthony Minghella's "Cold Mountain."
He will shortly be seen starring in Griffin Dunne's "Fierce People" (opposite Diane Lane); Robert Edwards' "Land of the Blind" (opposite Ralph Fiennes); Aric Avelino's "American Gun" (opposite Sissy Spacek); and James C.E. Burke's "Aurora Borealis" (opposite Louise Fletcher and Juliette Lewis).
Sutherland won Emmy and Golden Globe Awards for his performance in Chris Gerolmo's "Citizen X," and won a second Golden Globe Award for his performance in John Frankenheimer's "Path to War."
DAME EILEEN ATKINS (Mrs. Hargraves)
DAME EILEEN ATKINS (Mrs. Hargraves) was born in London and studied at the Guildhall School of Music and Drama. A legend of the West End and Broadway, Atkins's many honors and awards include the 1965 Evening Standard Award for Best Actress for her performance as Childie in "The Killing of Sister George"
(a role for which she would be nominated for a Tony Award two years later) and the Olivier Award for Best Supporting Actress in Peter Hall's production of "The Winter's Tale." In 1989, she received the Drama Desk Award for Best Solo Performance and a special Citation from the New York Drama Critics Circle for her performance as Virginia Woolf in the one-woman show, "A Room of One's Own." In 2003, Atkins appeared with Colin Redgrave in "Honour," for which she won the Olivier Award for Best Actress. In addition to "Sister George," Atkins has also been nominated for Tonys for her performances in "Vivat! Vivat! Regina!," "Indiscretions," and, most recently, "The Retreat from Moscow." She was also nominated for an Olivier for her performance in "The Night of the Iguana."
Atkins's dozens of credits in London and New York include "The Cocktail Party," "The Sleepers Den," "Heartbreak House," "John Gabriel Borkman," "Semi Detached" with Laurence Olivier, "Exit the Kin" with Alec Guinness, "The Restoration of Arnold Middleton," "The Promise," "Mountain Language," "Vita and Virginia," "The Duchess of Malfi," "Mary Barnes," "Prin," and "A Delicate Balance," among others. During stints with the RSC and at the Old Vic, she has taken roles in many Shakespeare plays, including "Love's Labour Lost," "Richard II," "The Tempest," "Twelfth Night," and "As You Like It."
Eileen's television credits include leading roles in "The Three Sisters," "The Heiress," "Olive," and "The Letter," as well as the title roles in "Major Barbara," "The Duchess of Malfi," "Electra," "The Lady from the Sea," and "The Jean Rhys Woman."
Her film appearances include "The Dresser," "Equus," "Let Him Have It," "Wolf," "Jack and Sarah," "Granada," "The Avengers," "The Hours," "Gosford Park," "American Girl," and "Cold Mountain."
IDINA MENZEL (Vera Rifkin)
A talented stage and screen actress and songwriter, IDINA MENZEL (Vera Rifkin) brings great courage and presence to the stage - a powerhouse of talent, wowing audiences with her strong, emotional performances. Most recently, she is enjoying the success of her starring role in the musical film, "Rent," and her other film work has includes "Summer of Sam," "Still a Kiss," "Kissing Jessica Stein," "Tollbooth," and "Water." Menzel will soon begin shooting Kevin Lima's "Enchanted," opposite Susan Sarandon, James Marsden, and Amy Adams for Disney. "Enchanted" is a romantic fable, mixing live action with CGI animation.
On Broadway, Menzel starred as Elphaba, the Wicked Witch of the West, in Stephen Schwartz's hit Broadway musical "Wicked," based on the darkly comic novel by Gregory Maguire. She won the Tony Award for Best Actress for her performance.
Menzel received a Tony nomination for her Broadway debut as Maureen in the original cast of the Pulitzer Prize-winning hit "Rent." She also earned a Drama Desk nomination for her performance as Kate in Manhattan Theater Club's Off-Broadway original musical "The Wild Party."
Menzel's other theater credits include "Summer of '42" "Hair," "Aida," and the original Off-Broadway production of "The Vagina Monologues."
In 1998, Menzel performed in the Lilith Fair summer concert festival and released her debut album, "Still I Can't Be Still" on Hollywood Records. Her latest album, "Here," was independently released on her Zel Records label.
Menzel holds a Bachelor of Fine Arts in Drama from NYU's Tisch School of the Arts. She resides in Manhattan with her husband, actor Taye Diggs.
JUSTIN KIRK (Sammy)
A striking and compelling presence on screen, JUSTIN KIRK (Sammy) earned high praise for his role as Prior Walter in Mike Nichols' award-winning HBO miniseries "Angels in America." Starring alongside Al Pacino, Meryl Streep, Emma Thompson and Mary-Louise Parker, Kirk was nominated for Emmy and SAG awards for his performance.
At the 2006 Sundance Film Festival, Kirk received excellent reviews for his performances in two films that both premiered in competition: Maria Maggenti's "Puccini for Beginners," opposite Elizabeth Reaser and Gretchen Mol, and "Flannel Pajamas," written and directed by Jeff Lipsky.
Kirk currently appears on the critically acclaimed Showtime series "Weeds," which debuted in August 2005 and was recently nominated for a Golden Globe for Best Television Series - Music or Comedy. "Weeds" will begin shooting its second season in Spring 2006.
Also a highly accomplished stage actor, Kirk won the Obie Award for Distinguished Performance in the Ensemble for his portrayal of Bobby in "Love! Valour! Compassion!"; he went on to star in the feature film adaptation. In 2001, he co-starred with Julianna Margulies and Donald Sutherland in Jon Robin Baitz's "Ten Unknowns" at Lincoln Center. The role won him a Lucille Lortel Award, as well as Drama Desk and Outer Critics Circle nominations.
Additional stage work includes "The World Over" at Playwrights Horizons and "Old Wicked Songs" at New York's Promenade Theatre and Los Angeles' Geffen Playhouse, winning a Backstage West Garland Award for Outstanding Performance. He also appeared in "Any Given Day" at the Longacre Theatre and "June Moon" with the Drama Department, a theater company of which he is a founding member.
Born in Salem, Oregon, Kirk spent his childhood in Union, Washington where he attended grade school on an Indian reservation. Kirk knew from three years old that he wanted to perform, and made his acting debut at seven in a college play. At twelve, he moved with his mother to Minneapolis, Minnesota and attended the Children's Theater School throughout high school. After graduation, he moved to New York and enrolled at Circle in the Square, where he completed a two-year conservation acting program. Afterwards, he soon landed his first role on Broadway and has been working steadily ever since. Kirk currently resides in Los Angeles.
ABOUT THE FILMMAKERS
ROBERT TOWNE (Director/Writer) is a four-time Academy AwardR nominee best known for his OscarR-winning classic, "Chinatown." Towne was born in Los Angeles and raised in San Pedro, where he worked as a tuna fisherman and went on to study philosophy at Pomona College in Claremont. His many screenwriting credits include "Mission: Impossible 1 & 2," "The Firm," "Greystoke," "Shampoo," "Days of Thunder" and "The Last Detail." His uncredited contributions include such notable films as "The Godfather" and "Bonnie & Clyde" as well as the blockbuster hits "Crimson Tide" and "Armageddon" have made him one of the most sought-after script doctors in Hollywood.
Towne has directed four of his own scripts; in addition to "Ask the Dust," Towne wrote and directed "Personal Best," "Tequila Sunrise," and "Without Limits," his critically acclaimed feature film about the great Oregon distance runner Steve Prefontaine.
TOM CRUISE (producer) has achieved unprecedented success as an actor and producer in a career spanning two decades. A three-time Academy AwardR nominee, Cruise's films have earned in excess of six billion dollars worldwide.
With <Ask the Dust>, Cruise re-teams with writer-director Robert Towne after serving as producer of "Without Limits" and acting in four films Towne wrote: the first two "Mission: Impossible" films, "Days of Thunder," and "The Firm."
Through Cruise/Wagner Productions, which he founded in 1993 with his partner, Paula Wagner, Cruise has produced the "Mission: Impossible" franchise, "Shattered Glass," "Narc," "The Others," and two films from Cameron Crowe: "Vanilla Sky" and last fall's "Elizabethtown." In 1997, the producing team was awarded the Nova Award for Most Promising Producers in Theatrical Motion Pictures, and in January 2004, Daily Variety honored them as "Billion-Dollar Producers." Most recently, they were presented with the UCLA /Producers Guild of America Vision Award.
As an actor, Cruise has starred in such box-office landmarks and critical favorites as "War of the Worlds," two "Mission: Impossible" films, "Collateral," "The Last Samurai," "Minority Report," "Vanilla Sky," "Magnolia," "Eyes Wide Shut," "Jerry Maguire," "Interview with the Vampire," "The Firm," "A Few Good Men," "Far and Away," "Days of Thunder," "Born of the Fourth of July," "Rain Man," "The Color of Money," "Top Gun," "Legend," "All the Right Moves," "Risky Business," "Losin' It," "The Outsiders," "Taps," and "Endless Love." This summer, Cruise returns as Special Agent Ethan Hunt, who faces the mission of his life in "Mission: Impossible III."
Cruise's awards, honors, and tributes include, among many others, the Stanley Kubrick Britannia Award for excellence in film from BAFTA, the MTV Generation Award, a David di Donatello for lifetime achievement, two People's Choice Awards, Harvard's Hasty Pudding Man of the Year Award, the John Huston Award from the Artists Rights Foundation, The American Cinema Award for Distinguished Achievement in Film, and the American Cinematheque Award.
PAULA WAGNER (producer) and Tom Cruise partnered to form C/W Productions in 1993, and have been based at Paramount Pictures for the past 12 years. The company has released eight diverse, groundbreaking films -- earning multiple awards, widespread critical praise and international box office success. Together Cruise and Wagner have produced films that range in scope from the action blockbusters "Mission: Impossible" and "M:I-2" to Cameron Crowe's films "Vanilla Sky" and "Elizabethtown," Alejandro Amenabar's chilling supernatural thriller "The Others," as well as Robert Towne's critically acclaimed portrait of the late runner Steve Prefontaine, "Without Limits." Wagner also served as executive producer of last summer's box-office phenomenon, "War of the Worlds."
Wagner and Cruise were also producers on Ed Zwick's "The Last Samurai," starring Tom Cruise, and Billy Ray's directorial debut "Shattered Glass," starring Hayden Christensen and Peter Sarsgaard. Wagner and Cruise will next release the third installment of the "Mission: Impossible" series, a franchise that has earned over a billion dollars to date.
Prior to producing, Wagner spent nearly 15 years at CAA as one of the industry's top talent agents. Before becoming an agent, Wagner was an accomplished stage actress, appearing at the Yale Repertory Theater as well as on and off-Broadway. Also a published playwright, she co-authored "Out of Our Father's House."
In 2001, Wagner was honored by Premiere magazine with the Women in Hollywood Icon Award, and was featured the following year in Bravo's "Women on Top," a documentary profiling top women in entertainment. In 2004, she returned as co-chair to the Hollywood Film Festival for the second year in a row and is a member of the American Cinematheque's Board of Directors. Wagner and Cruise have been the recipients of two awards from the Producers Guild: the Nova Award in 1997 and the Vision Award in 2004. Also in 2004, Daily Variety honored the producing team as "Billion-Dollar Producers." Additionally, Wagner is on the Board of Trustees of Carnegie Mellon University and serves on the Executive Committee of the UCLA School of Theater, Film and Television.
In the eighteen years DON GRANGER (producer) has been involved in the motion picture business, he has rapidly established himself as one of the industry's consummate creative forces.
From 1987 to 1988, Granger was a Creative Executive at Weintraub Entertainment Group. He then joined Touchstone Pictures, where as Creative Executive and later Director of Motion Picture Production, he worked on such films as "Pretty Woman," "Three Men and a Little Lady," and "The Doctor."
As Executive Vice President of Motion Picture Production at Paramount Pictures from 1996 until 2001, Granger was responsible for bringing most of the large budget action-adventure movies made at the studio during this period to the screen and some of today's most powerful filmmakers to the fore.
Granger was the supervising studio executive on the "Mission Impossible" and "Star Trek" franchises, "Patriot Games," "Sliver," "Clear and Present Danger," "The Saint," "Kiss the Girls," "Sum of All Fears," and "Saving Private Ryan" (which was nominated for 11 Academy AwardsR and the winner of five). As an independent producer, Granger's first film was "Timeline." He is now serving as producer of the upcoming film "Snakes on a Plane."
Granger grew up in Woodbridge, Connecticut. He received a BA in Political Science and Film from Yale University in 1985. Before moving to Los Angeles and entering the motion picture business, Granger worked on Wall Street as a financial analyst.
Granger lives in Los Angeles with his wife and young son and daughter.
JONAS McCORD (producer) is a dual Emmy, Peabody, and special Academy AwardR-winning director/writer/producer with over twenty years experience in the theatre, film and television industry. As executive producer/wWriter of the TV series "The Young Riders," "Earth: Final Conflict," and "The Dirty Dozen," as well as the award-winning movies "Women Of Valor," starring Susan Sarandon, and Stephen Spielberg's "Class Of '61," McCord has supervised the production of over 100 hours of television. McCord's feature writing debut, "Malice," starring Alec Baldwin and Nicole Kidman, opened No. 1 domestically in the late nineties. His most recent writing/directing effort, "The Body," starring Antonio Banderas, was awarded the prestigious Movie Guide award as the most spiritually uplifting film of 2001. In 2003, McCord executive produced Robert Altman's "The Company," starring Nev Campbell, "Havoc;" and "Eulogy," starring Ray Romano.
REDMOND MORRIS (executive producer) was born in Ireland. After leaving Trinity College, Dublin, he entered the film industry, initially in Ireland and then in London. His interest in film had been fuelled by a family connection with John Ford. After a spell as an assistant director, he moved on to become a location manager, working on many productions, such as "Yanks," "Agatha," and Warren Beatty's "Reds." He served as production manager on "Gorky Park," directed by Michael Apted, and then worked with Norma Heyman on two projects, including the Phil Collins film "Buster."
"Scandal" was the beginning of a collaboration with Stephen Woolley and Palace Pictures, which continued with "The Big Man (Crossing the Line)," shot in Glasgow, and starring Liam Neeson.
An association with Neil Jordan began when Morris produced, with Stephen Woolley, "The Miracle," shot in Dublin. Following a role as associate producer on the Vincent Ward film "Map of the Human Heart," he again worked with Jordan as assistant director on "The Crying Game," and then as co-producer on both "Interview with the Vampire" and "Michael Collins." After producing "The Butcher Boy" for Jordan, Morris re-teamed with him on "In Dreams."
After "The Affair of the Necklace," directed by Charles Shyer, Morris produced "The Actors," starring Michael Caine.
CALEB DESCHANEL, ASC (Director of Photography) is a five-time Academy AwardR nominee, for his work on "The Passion of the Christ," "The Patriot," "Fly Away Home," "The Natural," and "The Right Stuff." His photography for "The Black Stallion," stunned audiences with its visual beauty, and brought Deschanel a British Academy Award nomination. In addition, Deschanel received the National Society of Film Critics Award for cinematography in 1979 for his work on both "The Black Stallion" and "Being There."
Deschanel's other credits include "Anna and the King," "The Hunted," "Message in a Bottle," "Hope Floats," "More American Graffiti," "Let's Spend the Night Together," "The Slugger's Wife" and "It Could Happen to You."
Deschanel's credits as a director include "The Escape Artist," "Crusoe" and a number of short films. His short film "Trains" won the Silver Bear award at the Berlin Film Festival, and the short "Valley Forge" has been shown around the world by the United States Information Agency. He also directed several episodes of the series "Twin Peaks."
Deschanel graduated from John Hopkins University, then studied at the U.S.C. Film School and the American Film Institute before interning with cinematographer Gordon Willis. He began his career in commercials, short subjects and documentaries.
DENNIS GASSNER (Production Designer) won an Academy AwardR for his production designs for Barry Levinson's "Bugsy." He earned dual OscarR nominations that year, also receiving one for the Coen brothers' "Barton Fink." He was also nominated for the Academy AwardR in 2003 for his work on Sam Mendes's "Road to Perdition." He has been nominated for four BAFTA awards, winning two - nominations for Tim Burton's "Big Fish" and the Coens' "O Brother, Where Art Thou?," and wins for "Road to Perdition" and Peter Weir's "The Truman Show"
Gassner's other collaborations with the Coens include "The Ladykillers," "The Man Who Wasn't There," "The Hudsucker Proxy," and "Miller's Crossing." Additional projects include "Waterworld," "Hero," "The Grifters," "Field of Dreams," "Earth Girls Are Easy," "Like Father, Like Son," "Wisdom," and "The Hitcher."
ROBERT K. LAMBERT, A.C.E. (Editor) has worked on more than 20 films, including Robert Towne's "Without Limits." He is a four-time collaborator with directors William Friedken ("Blue Chips," "The Exorcist," "The Brinks Job" and "Sorcerer") and Tony Richardson ("Blue Sky," "Tom Jones," "The Hotel New Hampshire" and "The Border"). Most recently, Lambert edited "I ? Huckabees" for director David O. Russell.
Lambert's other credits include "Last Action Hero," for director John McTiernan; Russell's "Three Kings"; "Red Planet," for director Antony Hoffman; "Bulletproof Monk," for Paul Hunter; "House of 1000 Corpses"; and "Rush Hour 2."
In addition to his feature film work, Lambert is an award-winning editor for television and documentary features, including "Sting: Bring on the Night," which won the Grammy for Best Long Form Video, and "Life Goes to the Movies," a David L. Wolper/CBS production that won the Eddy Award. Lambert also edited "The Making of the President" and "The Secret Life of Plants."
ALBERT WOLSKY (Costume Designer) is a two-time Academy AwardR winner, having received the coveted prize for his designs for "All That Jazz" and "Bugsy." In a career that encompasses more than 65 films, Wolsky also received Academy AwardR nominations for his work on "Sophie's Choice," "Toys" and "The Journey of Natty Gann." Wolsky's recent films include "Jarhead," "The Manchurian Candidate," "Road to Perdition," "Maid in Manhattan," "Runaway Bride," "Galaxy Quest," "You've Got Mail," "Red Corner," "Lucky Numbers," "The Jackal" and "The Grass Harp."
Wolsky's first project with Paul Mazursky, "Harry and Tonto," led to a prolific relationship through eleven films, including "Next Stop, Greenwich Village," "An Unmarried Woman," "Moscow on the Hudson," "Down and Out in Beverly Hills" and "Enemies, A Love Story." Wolsky first worked with Bob Fosse on "Lenny," starring Dustin Hoffman, later designing the costumes for Fosse's "All That Jazz" and "Star 80," Fosse's last film. Wolsky's other film credits include "Grease," "Manhattan," "The Turning Point," "The Pelican Brief," "The Heart Is a Lonely Hunter," "Little Murders," "The Jazz Singer," "The Falcon and the Snowman" and "Crimes of the Heart."
Born in Paris, Wolsky immigrated to the United States at the age of 10. Living in New York City, he graduated from the City College of New York and began his career in New York theater, receiving his first solo Broadway design credit for the play "Generation," starring Henry Fonda. Other theater credits include "Sly Fox," with George C. Scott, "The Sunshine Boys," Joseph Papp's production of "Hamlet" in Central Park and Tennessee Williams' "27 Wagons Full of Cotton," with Meryl Streep.
Wolsky was honored by the Costume Designers Guild with a Career Achievement Award, the first such honor bestowed by the Guild. Wolsky recently completed his third term on the Board of Governors of the Academy of Motion Picture Arts & Sciences.
Release Date : September 7, 2006
Category : IIB
Running time : 117 minutes
Cinemas : GH Mongkok (嘉禾旺角) / UA Windsor (皇室) / UA Cityplaza (UA太古城中心)
Official Website : http://www.askthedust-movie.com/enter.html#
Distributed By : Golden Scene Co. Ltd.
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