CAST

(In Order of Appearance)

DavidNorris . . . . . . . . . . . . . . . . . . . . . . . .MATTDAMON Suburban Moms . . . . . . . . . . . . . . . . . . LISA THORESON FLORENCE KASTRINER Suburban Neighbors . . . . . . . . . . . . PHYLLIS MCBRYDE NATALIE E. CARTER Chuck Scarborough . . . . . . . . . . . . . . . . . . . AS HIMSELF Jon Stewart . . . . . . . . . . . . . . . . . . . . . . . . .AS HIMSELF

U.S. Coast Guard Officer . . CAPT. GREGORY P. HITCHEN Upstate Farmer . . . . . . . DARRELL JAMES LENORMAND Mayor Michael R. Bloomberg . . . . . . . . . . . AS HIMSELF Charlie Traynor . . . . . . . . . . . . . . . . . . .MICHAEL KELLY Political Consultants . . . . . . . . . . . . . . . . . . . . . . . . .KAR

R.J. KONNER Reporter . . . . . . . . . . . . . . . . . . . .SUSAN D. MICHAELS Harry Mitchell . . . . . . . . . . . . . . . . . .ANTHONY MACKIE Albert, Campaign Aide . . . . . . . . . . . . . . . GREGORY LAY Robyn, Campaign Aide . . . . . . . . . . . LAUREN HODGES James Carville . . . . . . . . . . . . . . . . . . . . . . .AS HIMSELF Mary Matalin . . . . . . . . . . . . . . . . . . . . . . . .AS HERSELF Richardson . . . . . . . . . . . . . . . . . . . . . .JOHN SLATTERY Senior Campaign Aide . . . . . AMANDA MASON WARREN Elise Sellas . . . . . . . . . . . . . . . . . . . . . . . . .EMILY BLUNT McCrady . . . . . . . . . . . . . . . . . . . . .ANTHONY RUIVIVAR Norris Supporters . . . . . . . . . . . . . . . . .SANDHI SANTINI

LAURIE DAWN Christine, Charlie’s Assistant . . . . . . CHRISTINE LUCAS Betty Liu  . . . . . . . . . . . . . . . . . . . . . . . . . .AS HERSELF Man in Madison Square Park . . . . JIM EDWARD GATELY Bus Driver . . . . . . . . . . . . . . . . . . . . . .DON HEWITT, SR. Bus Passengers . . . . . . . . . . . . . . . . . . .VENIDA EVANS

KYOKO BRUGUERA

DAVID GREGOIRE Susan, RSR Receptionist . . . . . . . . . . . . . . .JULIE HAYS Miller . . . . . . . . . . . . . . . . . . . . . . . . .FABRIZIO BRIENZA Burdensky . . . . . . . . . . . . . . . . . . . . . . . .DAVID BISHINS Junior Partners . . . . . . . . . . . . . . . . . . . . .KATE NOWLIN

ROB YANG Brooklyn Ice House Bartender . . . . . . . . JENNIFER EHLE Johnny from Red Hook . . . . . . . . . . . . .JOHNNY CICCO Maitre D’ Paul De Santo . . . . . . . . . . . .PEDRO PASCAL New Leaf Waiter . . . . . . . . . . . . . . . . . .MICHAEL BOYNE New Leaf Waitress . . . . . . . . . . . . . .SARAH BRADFORD Taxi Driver . . . . . . . . . . . . . . . . . . . . . . . . . PETE EPSTEIN Police Officer Maes . . . . . . . . . . . . . . . . . .BRIAN HALEY Police Sergeant . . . . . . . . . . . . . . . . . .KIRSTY MEARES Onieals Waitress . . . . . . . . . . . . . . . . . . . LAURA KENLEY Lauren, Elise’s Best Friend . . . . . . JESSICA LEE KELLER Donaldson . . . . . . . . . . . . . . . . . .DONNIE KESHAWARZ Donaldson’s Aide . . . . . . . . . . . . . . . .KIERAN CAMPION Thompson . . . . . . . . . . . . . . . . . . . . . .TERENCE STAMP

Orthopedic Surgeon . . . . . . . . . . . . . . .SANDI CARROLL Newscaster Daniel Bazile . . . . . . . . . . . . . .AS HIMSELF Adrian Troussant, Elise’s Fiancé . . . . . . . SHANE MCRAE Cedar Lake Receptionist . . . . . . . . MEGHAN ANDREWS Court Registrar . . . . . . . . . . . . . . . . .SANDRA BERRIOS Thompson’s Aides . . . . . . . . . . . . DAVID ALAN BASCHE JOEL DE LA FUENTE MIKE DISALVO DMV Clerk . . . . . . . . . . . . . . . . . . . . . . . . .DINA CATALDI Courthouse Security Officer . . . . . . . . . . PAUL DIPAOLA New Yorker in Courthouse Lobby . . . . . JASON KRAVITS County Clerk . . . . . . . . . . . . . . . PETER JAY FERNANDEZ Court Officer . . . . . . . . . . . . . . . . . . . LAWRENCE LERITZ Bureau Headquarters Staff . . . . . . . . . . PETER BENSON LEROY MCCLAIN BRIT WHITTLE WAYNE SCOTT MILLER LORENZO PISONI BART WILDER Stunt Coordinator . . . . . . . . . . . . . . . . . . .G.A. AGUILAR “David” Stunt Double . . . . . . . . . . . . . . .AARON VEXLER Stunt Performers . . . . . . . . . . . . . . . . . . . . .JILL BROWN ACQUI CARRERA OHN CENATIEMPO SE CORRIGAN IAM COTE KRUSCHWITZ HEN POPE Choreographer and Dance Coach for Ms. Blunt . . . . . . . . BENOIT-SWAN POUFFER “Elise” Dance Double . . . . . . . . . . . . ACACIA SCHACHTE Cedar Lake Dancers . . . . . . . . . . . . . . .JUBAL BATTISTI JON BOND SOOJIN CHOI NICKEMIL CONCEPCION GWYNENN TAYLOR JONES JASON KITTELBERGER ANA-MARIA LUCACIU OSCAR RAMOS MATTHEW RICH HARUMI TERAYAMA MANUEL VIGNOULLE EBONY WILLIAMS GOLAN YOSEF “David” Stand-in . . . . . . . . . . . . . . . . . .JOHNNY CICCO “Elise” Stand-in . . . . . . . . . . . . . GABRIELLE STERBENZ

CREW

Directed by . . . . . . . . . . . . . . . . . . . . . . .GEORGE NOLFI Screenplay by . . . . . . . . . . . . . . . . . . . . . GEORGE NOLFI Based Upon the Short Story “Adjustment Team” by . . . . .

PHILIP K. DICK Produced by . . . . . . . . . . . . . . . . . .MICHAEL HACKETT

GEORGE NOLFI BILL CARRARO CHRIS MOORE Executive Producers . . . . . . . . . . . . . ISA DICK HACKETT JONATHAN GORDON Director of Photography . . . . . . . . . . . . .JOHN TOLL ASC Production Designer . . . . . . . . . . . . . KEVIN THOMPSON Edited by . . . . . . . . . . . . . . . . . . .JAY RABINOWITZ ACE Music by . . . . . . . . . . . . . . . . . . . . . .THOMAS NEWMAN Co-Producer . . . . . . . . . . . . . . . . . . . . . . .JOEL VIERTEL Associate Producer . . . . . . . . . . . . . . . . . .ERIC KRIPKE Visual Effects Supervisor . . . . . . . . . . . . MARK RUSSELL Costume Designer . . . . . . . . KASIA WALICKA MAIMONE Casting by . . . . . . . . . . . . . . . . . . . . .AMANDA MACKEY & CATHY SANDRICH GELFOND Unit Production Manager/Co-Producer . . . . . . . . . . . . . . MICHAEL BEDERMAN Unit Production Manager . . . . . . . . . . . . BILL CARRARO First Assistant Director . . . . . . . . STEPHEN X. APICELLA            Second Assistant Director . . . . . . . . . . . JUSTIN RITSON Art Director . . . . . . . . . . . . . . . . . . . .STEPHEN CARTER Set Decorator . . . . . . . . . . . . . . . .SUSAN BODE TYSON Property Master . . . . . . . . . . . . . . . . . . . . . . ANN MILLER Assistant Art Directors . . . . . . . . . . . . . . . .DEB JENSEN KYUNG W. CHANG PAUL GELINAS NITHYA SHRINIVASAN Assistant Set Decorator . . . . . . JENNY ALEX NICKASON Assistant Property Master . . . . . . KATHLEEN M. DOLAN Props . . . . . . . . . . . . . . . . . . . . . . . .CATHERINE MILLER COURTNEY SCHMIDT Art Department Intern . . . . . . . . . . . . . . . . . . . JEN CRAM Leadman . . . . . . . . . . . . . . . . . . . . . . . . .BRUCE GROSS Second Set Dresser . . . . . . . . . . . . . .JASON A. BROWN On-Set Dresser . . . . . . . . . . . . . . . . . . . .ROBIN KOENIG Set Dressers . . . . . . . . . . . . . . . . . . . . . . .PETER ANSEL LOIS CIGANEK-BERNINI MATT GAMIELLO JAMES KENT JUSTIN LABREAK MICHAEL LEATHER ANTHONY O.H. NAVARRO ZACHARY SELTER BEN WEPMAN JAMES WHELAN Lead Greensman . . . . . . . . . . . . LAWRENCE AMANUEL Art Department Coordinator . . . . . . . . . LEANN MURPHY Graphic Designer . . . . . . . . . . . . . . . . . . . . KEVIN RAPER “A” Camera Operator . . . . . . . . . . BRUCE MACCALLUM “B” Camera/Steadicam Operator . . . . . . . . . . . . . . . . . . . STEPHEN CONSENTINO First Assistant “A” Camera . . . . . . . . . . . . .CHRIS TOLL First Assistant “B” Camera . . . . . . . . . . . . TIM METIVIER Second Assistant “A” Camera . . . . . . . . . JOHN OLIVERI Second Assistant “B” Camera . . . . . . . DENNY KORTZE Loader . . . . . . . . . . . . . . . . . . . .HAMILTON LONGYEAR Production Sound Mixer . . . . . . . DANNY MICHAEL CAS Boom Operator . . . . . . . . . . . . . . . . . . . . . . . KIRA SMITH Utility Sound . . . . . . . . . . . . . . . . . . . . .ADAM SANCHEZ Video Assist . . . . . . . . . . . . . . . . . . . . . .NILS JOHNSON Chief Lighting Technicians . . . . . . . . . . JIM PLANNETTE BILL ALMEIDA Best Boy Electrician . . . . . . . . . . . . . . .PETER RUSSELL Electrics . . . . . . . . . . . . . . . . . . . . . . . . .MIKE BICKNELL SAM FRIEDMAN JOHN O’MALLEY MICHAEL PAPADOPOULOS NOAH PRINCE JIM GALVIN DARRIN SMITH MARK VAN ROSSEN Rigging Gaffer . . . . . . . . . . . . . . . . . .CLAY LIVERSIDGE Rigging Best Boy Electrician . . . . . . . . JEFFREY EPLETT Rigging Electricians . . . . . . . . . . . . . . DAVID ANDERSON KELLY BEATON JOHN BILLECI RAYMOND FLYNN ABIGAIL IVERSON KURT LENNIG JOHN SCHWARTZ Shop Electricians . . . . . . . . . . . . . . .PETER MCENTYRE BILL MOORE

In Fond Memory of . . . . . . WILLIAM “KLANCY” LOUTHE

Key Grip . . . . . . . . . . . . . . . . . . . . . . . . . . MITCH LILLIAN Best Boy Grip . . . . . . . . . . . . . . . . . . . .PAUL CANDRILLI “A” Dolly Grip . . . . . . . . . . . .LUIS “RICK” MARROQUIN “B” Dolly Grip . . . . . . . . . . . . . . . . . . . . . .KEVIN LOWRY Grips . . . . . . . . . . . . . . . . . . . . . . . . .ANDREW CHEUNG DANA S. HOOK MARCEL CIUREA SHAHEN GUIRAGOSSIAN JOHN GATLAND SEAN O’BRIEN ERIC GEARITY ERIC ULRICH Key Rigging Grip . . . . . . . . . . . . . . . . . . . .JIM BONIECE Rigging Best Boy Grip . . . . . . . . . . MONIQUE MITCHELL Rigging Grip . . . . . . . . . . . . . . . . . . . .JOHN J. HERRON Key Stage Rigging Grip . . . . . . . . . . . .MIKE MCFADDEN Special Effects Coordinator . . . . . . . . STEVE KIRSHOFF Special Effects Foremen . . . . . . . . . . . . . . .MARK BERO WILFRED CABAN Special Effects Shop Technician . . . . . . . . FRANK OLIVA Special Effects Technicians . . . . . . . . . . DEVIN MAGGIO ROY SAVOY Assistant Costume Designer . . . . . . . . SUSANA GILBOE Costume Supervisor . . . . . . . . . . . . DAVID DAVENPORT Costume Shop Supervisor . . . . . . . . . . . .JONI M. HUTH Milliner . . . . . . . . . . . . . . . . . . . . . . . .SCOTT COPPOCK Key Set Costumer . . . . . . . . . . . .NICOLE GREENBAUM Set Costumers . . . . . . . . . . . . . . . . . . . .MEGAN ASBEE GERALD CRAWFORD Mr. Damon’s Costumer . . . . . . . . . . . . BARNABY SMITH Costume Coordinator . . . . . . . . . . . . . . .ALEX BOVAIRD Hair Department Head . . . . . . . . . . . . . .KAY GEORGIOU Key Hairstylist . . . . . . . . . . . . . . . .JASEN JOSEPH SICA Makeup Department Head . . . . . . . . . . EVELYNE NORAZ Key Makeup Artist . . . . . . . . . . . . . .LOUISE MCCARTHY Mr. Damon’s Makeup Artist . . . . . CHRISSIE BEVERIDGE Script Supervisor . . . . . . . . . . . . . . . . . . . . MARY BAILEY Post-Production Supervisor . . . . . . . . . JENNIFER LANE                     VFX Editor & First Assistant Editor . . . . . PERRI PIVOVAR Second Assistant Editor . . . . . . . . . . . . MIKE SELEMON Apprentice Editor . . . . . . . . . . . . . . . . .NICK ELLSBERG Post-Production Coordinator . . . . . . . LESLIE BAUTSCH Visual Effects Coordinator . . . . . . . . BRYAN WENGROFF Supervising Sound Editors . . . . . . . . . . . . ROBERT HEIN DAVE PATERSON Re-recording Mixers . . . . . . . . . ROBERTO FERNANDEZ DAVE PATERSON ROBERT HEIN Re-recorded at . . . . . . . . . . . . . . . . .SOUND ONE CORP. Dialogue Editor . . . . . . . . . . . . . . .MARY ELLEN PORTO ADR Editor . . . . . . . . . . . . . . . . . . . . . . .BRIAN BOWLES FX Editors . . . . . . . . . . . . . . . . . . . . . . . .DAMIAN VOLPE GLENFIELD PAYNE Foley Editor . . . . . . . . . . . . . . . . . . .RACHEL CHANCEY Supervising Sound Assistant Editor  . . . DAVID WAHNON Foley Mixer . . . . . . . . . . . . . . . . . . . . . .RYAN COLLISON Foley Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . .JAY PECK ADR Group Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . DANN FINK/LOOPERS UNLIMITED ADR Mixer . . . . . . . . . . . . . . . . . . . .BOBBY JOHANSON Additional ADR Editor . . . . . . . . . . . . ANNA MACKENZIE Re-recordist . . . . . . . . . . . . . KRISSOPHER CHEVANNES Music Editors . . . . . . . . . . . . . . . . . . . .BILL BERNSTEIN NIC RATNER Additional Music Editor . . . . . . . . . JORDAN CORNGOLD Assistant Music Editors . . . . . . . . . . . . . . .MIKE ZAINER KATHERINE MILLER Music Scoring Mixer . . . . . . . . . . . . . . . .TOMMY VICARI Orchestra Recorded by . . . . . . . . . . . . .ARMIN STEINER Orchestrations by . . . . . . . . . . . . . . . . .J.A.C. REDFORD Digital Audio . . . . . . . . . . . . . . . . . . . . . . . . .LARRY MAH Music Contractor . . . . . . . . . . . . . . . . . .LESLIE MORRIS Music Preparation . . . . . . . . REPRISE MUSIC SERVICES Audio Coordination . . . . . . . . . . . . . . GEORGE DOERING Digital Coordination . . . . . . . . . . . . . . . . . . .ERNEST LEE Assistant Engineers . . . . . . . . . . . . . . .SHIN MIYAZAWA TIM LAUBER Music Recorded at . . . . . . . . . . . . . . . . . . .THE VILLAGE Orchestra Recorded at . . . . . . . . . . . . . . . . . . . . . . . . . . . THE NEWMAN SCORING STAGE, 20TH CENTURY FOX Music Mixed at . . . . . . . . . . . . . . . . . . . . .MSR STUDIOS Instrumental Soloists . . . . . . . . . . . . GEORGE DOERING STEVE TAVAGLIONE RICK COX DAN GRECO MIKE FISHER ZACH DANZIGER Supervising Location Manager . . . . . . . . . . ROB STRIEM Location Manager . . . . . . . . . . . . . . . . DAMON GORDON Assistant Location Managers . . . . . . . . . . . . . HYO PARK PAUL SINGH Location Assistants . . . . . . . . . . . . . . VICTORIA CARTER PHILLIP SAXTON RICHARD BARTHOLOMAY TIM GOLDBERG Location Coordinator . . . . . . . . . . . JILLIAN DEMMERLE Location Scouts . . . . . . . . . . . . . . . .CESAR QUINONES DAN POLLACK SHANE HADEN Production Controller . . . . . . . . . . . . . GAVIN BEHRMAN First Assistant Accountant . . . . . . . THERESA L. MARSH Key Second Assistant Accountant . . . . . . . . . . . . . . . . . . KATHERINE DEJESUS Second Assistant Accountant . . . . . . ROB BUSCHGANS Payroll Accountant . . . . . . . . . . . . . . . . .D’DAN WALTON Construction Accountant . . . . . . . . . . . . . . .TARA GREY Accounting Assistant . . . . . . . . . . . . . . . .HALEY GRANT Post-Production Accountant . . . . . . . . . . . LIZ MODENA, TREVANNA POST, INC. Production Coordinator . . . . . . . . . . . . . . . .KATE KELLY Assistant Production Coordinator . . . . . . GARY MARTYN Production Secretary . . . . . . . . . . . . . . . .QUINCY GOW Second Second Assistant Director . . . . . . . . . . . . . . . . . . PATRICK McDONALD DGA Trainee . . . . . . . . . . . . . . . . . . .SARAH FAIRCHILD Casting Associate-NY . . . . . . . . . . . . . JANDIZ ESTRADA Casting Associate-LA . . . . . . . . . . . . . KATE CALDWELL Background Casting . . . . . . GRANT WILFLEY CASTING Background Casting Associate . . . . . . MELISSA BRAUN Background Casting Assistant . . . . . . . . SARA WILFLEY Unit Publicist . . . . . . . . . . . . . . . . . . . . . FRANCES FIORE Still Photographer . . . . . . . . . . . . . . .ANDY SCHWARTZ Assistants to Mr. Nolfi & Mr. Hackett . . . . . . . . . . . . . . . . . KATHARINE WERNER JENNIFER MONTGOMERY Executive Coordinator . . . . . . . . . . . . . . .ISABEL FREER Assistant to Mr. Carraro . . . . . . . . . . TANYA BARRINGER Assistant to Mr. Damon . . . . . . . . . . . . . .COLIN O’HARA Mr. Damon’s Chef . . . . . . . . . . . . . . . . . . . . .RYAN TOAL Cast Security . . . . . . . . . . . . . . . . . . . . . .VINNY MARRA Key Set Production Assistant . . . . . . . . . . . ALEX FINCH Production Assistants . . . . . . . . . . . . . . . . ALEX BERARD CRISTAL CALDERON NICK CARRARO ELLA ENGEL-SNOW JAKE FREEMAN KATE GIMBEL GOLDMAN SANDI GREENBERG DAVID “GUS” GUSTAFSON MICHELLE HYDE STEVEN LAFFERTY BRONSON LAMB IV NICOLE REAL DAVID SALES Construction Coordinator . . . . . . . . . . . JOSEPH ALFIERI Head Carpenter . . . . . . . . . . . . . HENRY ANTONACCHIO Shop Craftsmen . . . . . . . . . . . . . .JOSEPH ALFIERI, JR. DAVID FLAIZ MIKE RICH Key Construction Grip . . . . . . . . . . . . . .MIKE SCAROLA Best Boy Construction Grip . . . . . . . THOMAS J. CLARK Construction Grips . . . . . . . . . . . . . . . . . .RON ENGLER STEVEN FRATIANNI MARTIN LOWRY Scenic Charge . . . . . . . . . . . . . . . .ALEX GORODETSKY Scenic Foreman . . . . . . . . . . . . . . . . . . QUANG NGUYEN Camera Scenic . . . . . . . . . . . . . . . . . . . .GLEN ALDOUS Scenics . . . . . . . . . . . . . . . . . . . . . . . .CHARLES SUTER MARIA SUTER Shop Scenics . . . . . . . . . . . . . . . .MARIA GORODETSKY Transportation Captain . . . . . . . . . . . . . . MICHAEL HYDE Transportation Co-Captain . . . . . . . . BOBBY BUCKMAN Drivers . . . . . . . . . . . . . . . . . . . . . . . . ROBERT ALBREGA DANNY ALLEN FRANK J. APPEDU III DANIEL BUCKMAN GEORGE COLLINS NICK COVIELLO JUDE DONNELLY LOU FERRAOLILI RICHARD FIGUERA ANGELO GEREMIA JAMES GIBLIN KEVIN HARRIGAN FRED HERNDON NOEL LAWLOR STEVIE LEACH LEO LUIZZI ROBERT MAHER GARY MAHR BERNIE MARTIN ROBERT MORGAN

DANIEL PALMER GARY PALMER JOSEPH J. PARVIS LUIS RODRIGUEZ MIKE SALAMONE KURT SCHMIEDERER TIM SEEMAN TOMMY SHAW RONNIE TARTAGLIA GARY VLAOVICH ROBBIE WOODARD Set Medic . . . . . . . . . . . . . . . . . . . . . . . . . . .ADAM LEVY Craft Service . . . . . . . . . . . . . . . . . . . .JASON ACEVEDO PETER MARSHARK Craft Service Assistant . . . . . . . . . . . . . ROBERT BOYER Catering by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TONY KERUM/TONY’S FOOD SERVICE, INC. Chefs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .IVAN KERUM PHI “HERO” LAM Product Placement/Clearances . . . . . . WENDY COHEN,

PRODUCTION RESOURCES Clearances Provided by . . ACT ONE SCRIPT CLEARANCE Music Legal and Clearances JILL MEYERS, JILL

MEYERS MUSIC Storyboard Artists . . . . . . . . . . . . . PATRICK CAMPBELL JOHN F. DAVIS

VISUAL EFFECTS

Visual Effects and Titles by . . . . . . . . . . RHINO-GRAVITY               Visual Effects Supervisor . . . . . . . . . . . . . . . . . JIM RIDER Visual Effects Producer . . . . . . . . . . . . . CARA BUCKLEY Executive Producers . . . . . . . . . . . . . . KARIN LEVINSON & CAMILLE GEIER Digital Effects Supervisor . . . . . . . . . . . . . . YUVAL LEVY Lead Digital Modeler/Texture . . . . . . . . . BRIAN DI NOTO Senior Animators . . . . . . . . . . . . . GORAN OGNJANOVIÇ SEAN CURRAN R&D TD . . . . . . . . . . . . . . . . . . . . . . . . . . . .BOAZ LIVNY Lighting TDs . . . . . . . . . . . . . . . . . . . . . . . . .JIMMY SAN GILAD KENAN Lead Digital Match Mover . . . . . . BOGDAN MIHAJLOVIC Digital Compositors . . . . . . . . . . . . . . . . . . .KYLE CODY & DAVID W. REYNOLDS Flame Compositors . . . . . . . . . . MICHAEL GORENSTEIN MARK CASEY JOE VITALE Visual Effects Coordinator . . . . . . . . . . CYNTHIA ANGEL Senior Staff . . . . . . . . . . . . . . . . . . . . . . . .ZVIAH ELDAR

Visual Effects by . . . . . . . . . . . . . . . . .BIG FILM DESIGN Visual Effects Supervisor . . . . . . RANDALL BALSMEYER Lead Compositor . . . . . . . . . . . . . . . . . DAVID PIOMBINO Compositors . . . . . . . . . . . . . . . . . . . . . . . ELLA BOLIVER CHRISTINA MITROTTI

Visual Effects by . . . . . . . . . . . . . BRAINSTORM DIGITAL Visual Effects Producers . . . . . RICHARD FRIEDLANDER

GLENN ALLEN Visual Effects Supervisor . . . . . . . . . . . . . . .JUSTIN BALL Planbook Design and Senior Graphics Supervisor . . . . . . . . J. JOHN CORBETT Digital Compositors . . . . . . . . . . . . . . . . . . .JUN ZHANG

CHRIS WESSELMAN

MICHAEL QUEEN Senior Matte Painter . . . . . . . . . . . . MATTHEW CONNER Senior 3D Artist . . . . . . . . . . . . .BRENDAN FITZGERALD

Visual Effects by . . . . . . . . . . . . . . . . . . . . .PHOSPHENE Visual Effects Supervisor . . . . . . . . . . . . . . . .JOHN BAIR Visual Effects Producers . . . . . . . . . . VIVIAN CONNOLLY RENUKA BALLAL Compositing Supervisor . . . . . . . . . . . SCOTT WINSTON Digital Artists . . . . . . . . . . . . . . . . . . . . CONNIE CONRAD MARCI ICHIMURA VANCE MILLER THOMAS PANAYIOTOU AARON RAFF

Visual Effects by . . . . . . . . . WILDFIRE VISUAL EFFECTS Visual Effects Supervisor . . . . . . . . . . DOTTIE STARLING Visual Effects Producer . . . . . . . . . . . . LAUREN RITCHIE Senior Flame Artist . . . . . . . . . FORTUNATO FRATTASIO Compositors . . . . . . . . . . . . . . . . . . . . . .CALEB OWENS KYLE GRAY

TOM LAMB Visual Effects Coordinator . . . . . . . . . ELBERT IRVING IV

SECOND UNIT

Second Unit Director . . . . . . . . . . . . . . . . . G.A. AGUILAR Unit Production Manager . . . . . . . . . . . . . .DANA ROBIN First Assistant Director . . . . . . . . . . . . CHRIS SURGENT Second Assistant Director . . . . . . . . . . TAKA KAWAKAMI Second Second Assistant Director . . . . . . . SAL SUTERA Director of Photography/Operator . . . LUKASZ JOGALLA First Assistant Camera . . . . . . . . . . . . BOOTS SHELTON Second Assistant Camera . . . . . . . . . ANGELA BELLISIO Loader . . . . . . . . . . . . . . . . . . . . . . . . . . .HILARY BENAS Script Supervisors . . . . . . . . . . . . . . . . . .RENEE BURKE

SHEILA PAGE Sound Mixer . . . . . . . . . . . . . . . . . .MICHAEL BAROSKY Video Assists . . . . . . . . . . . . . . . . . . . .KEVIN MCKENNA

JULIAN TOWNSEND Production Assistant . . . . . . . . . . . JENNIFER ROBERTS

ADDITIONAL PHOTOGRAPHY

Unit Production Manager . . . . . . . . . . . . . . .CARLA RAIJ First Assistant Director . . . . . . . . . . . . . . .H. H. COOPER

Second Assistant Director . . . . . . JENNIFER TRUELOVE “A” Camera Operator . . . . . . . . . . . . .PATRICK CAPONE “B” Camera/Steadicam Operator . . . DAVE THOMPSON First Assistant “A” Camera . . . . . STANLEY FERNANDEZ First Assistant “B” Camera/Steadicam . . . . . . . . . . . . . . .

CHRIS REYNOLDS Second Assistant “A” Camera . . . . . . . ETHAN BORSUK Second Assistant “B” Camera . . . . . . . KEVIN KASARDA MoSys Head Technician . . . . . . GUILLAUME RENBERG Loader . . . . . . . . . . . . . . . . . . . . . . .GAVIN FERNANDEZ Shop Electrician . . . . . . . . . . . . . . .GREGORY QUINLAN Additional Shop Electrician . . . . . . . . . . COLIN QUINLAN Assistant Costume Designer . . . . . . . . . . . . .AMY ROTH Wardrobe Supervisor . . . . . . . . . . . CARMIA MARSHALL Script Supervisor . . . . . . . . . . . . . THOMAS JOHNSTON Assistant Location Manager . . . . . . . . RYAN FERGUSON Location Assistant . . . . . . . . . . . . . . .ERIN HALLBAUER Production Coordinator . . . . . . . . . . LINDSAY FELDMAN Assistant Production Coordinator . . . . . JODI ARNESON Production Secretary . . . . . . . . . . . . . MORGAN NEWELL Second Second Assistant Director . . . BRAD ROBINSON Still Photographer . . . . . . . . . . . . . . . . .MACALL POLAY Key Production Assistant . . . . . . . . . . BOBBY KENNEDY Transportation Captain . . . . . . . . . . . . . JIMMY WHALEN Transportation Co-Captain . . . . . . . JOEY BUONOCORE Craft Service . . . . . . . . . . . . . . . . . . . . . .WILSON RIVAS Catering by . . . . . . HENRY’S INTERNATIONAL CUISINE Digital Intermediate by . . . . . . . . . TECHNICOLOR NY/LA DI Colorist . . . . . . . . . . . . . . . . . . . . . . MICHAEL HATZER Senior Colorist Assist . . . . . . . . . . . . . . .CHRIS JENSEN               DI Producers . . . . . . . . . . . . . . . . . . . . . .DANA BLODER

ESTHER LEE DI Conform Editor . . . . . . . . . . . . . . . . . .JESSICA ELVIN Color Timer . . . . . . . . . . . . . . . . . . . . . .TERRY HAGGAR Dailies Advisor . . . . . . . . . . . . . . . . . . . .JOEY VIOLANTE Video Dailies Colorist . . . . . . . . . . . CHRIS GENNARELLI Project Manager—Technicolor . . . . . PATRICK MCGUINN Editorial Rooms and Equipment . . . . . . . . . . SIXTEEN19 Dolby Sound Consultant . . . . . . . . . . STEVE F.B. SMITH

SONGS

“FUTURE’S BRIGHT”

Written by Richard Ashcroft and Thomas Newman Performed by Richard Ashcroft

“LET YOUR BODY LOOSE”

Written by Ali Theodore and Jason Gleed Performed by Gleedsville Courtesy of DeeTown Entertainment

GROOVE ENSEMBLE”

Written by Ali Theodore and Joseph Katsaros Performed by Joey K. Courtesy of DeeTown Entertainment

“MR. CORRECT”

Written and performed by They Might Be Giants Courtesy of They Might Be Giants and Idlewild Recordings

“FEVER (ADAM FREELAND EXTENDED REMIX)”

Written by John Davenport and Eddie Cooley Performed by Sarah Vaughan Courtesy of the Verve Music Group Under license from Universal Music Enterprises

“ARE YOU READY?”

Words and music by Richard Ashcroft and Maurice Ernest Gibb Performed by Richard Ashcroft and the United Nations of Sound License courtesy of Virgin Records Ltd./Richard Ashcroft Contains a sample of “OUR TIME” Performed by Bee Gees Courtesy of Reprise Records By arrangement with Warner Music Group Film & TV Licensing

ACKNOWLEDGEMENTS

CEDAR LAKE CONTEMPORARY BALLET Founder NANCY LAURIE Executive Director GREG MUDD Director of Operations BARBARA MYERS Ballet Master ALEXANDRA DAMIANI Company Manager PAMELA VACHON Production Manager ANITA SHAH Production Electrician/Asst. Production Manager ERIC SCHOENBERGER Technical Director ANDY CAPPELLI Audio/Video Supervisor DAVE ROGGE Building Supervisor JORGE CASTILLO Installation Table created by ALEXANDER DODGE

DAISY CRADDOCK ARTWORK COURTESY OF FISCHBACH GALLERY, NEW YORK

MATT KARAS PHOTOGRAPHY, NEW YORK

SCULPTURES BY MEL KENDRICK COURTESY OF THE ARTIST AND THE DAVID NOLAN GALLERY, NEW YORK

KENNETH SNELSON ARTWORK COURTESY OF LAURENCE MILLER GALLERY, NEW YORK

DANCE PHOTOGRAPHY © CHAD BATKA

MATT DAMON PHOTOGRAPH COURTESY OF UNIVERSAL STUDIOS LICENSING LLLP

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SPECIAL THANKS

THE CHAIRMAN THE PEOPLE OF NEW YORK BILTMORE HATS BRONER HATS BROOKS BROTHERS CHARLES TRYWHITT CLINTON GLOBAL INITIATIVE GERRY CARDINALE KOHLER MICHELLE SULLIVAN AND JON LONDON,

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Credits as of November 22, 2010.

MATT DAMON and EMILY BLUNT star in the romantic thriller The Adjustment Bureau.

Are we in charge of our lives, or are decisions made for us long before we consider them? Do we control our destiny, or do unseen forces manipulate it? Oscar^® winner MATT DAMON (the Bourne series, True Grit) and EMILY BLUNT (The Devil Wears Prada, The Wolfman) star in the romantic thriller The Adjustment Bureau. In the film, Damon plays a man who glimpses the future planned for him and realizes he wants something else. To get it, he must pursue the only woman he’s ever loved (Blunt) and defy the agents of Fate—a mysterious group of men exerting control over their lives.

On the brink of winning a seat in the U.S. Senate, charismatic politician David Norris (Damon) meets beautiful, contemporary ballet dancer Elise Sellas (Blunt)—a woman unlike any he’s ever known. But just as he realizes he’s falling madly in love with her, strangers conspire to keep the two apart.

Congressman David Norris (MATT DAMON) greets his enthusiastic supporters.

David learns he is up against Fate itself—the men of The Adjustment Bureau—who will do everything in their considerable power to prevent David and Elise from sharing their lives together. In the face of over­whelming odds, he must either let her go and accept his predetermined path…or risk everything to defy Fate and be with her.

Damon and Blunt are joined in the romantic thriller by an all-star cast that includes ANTHONY MACKIE (The Hurt Locker, Eagle Eye) as Harry, the sympathetic Bureau representative assigned to David’s case; JOHN SLATTERY (television’s Mad Men, Iron Man 2) as Richardson, Harry’s agitated and highly driven supervisor; MICHAEL KELLY (Changeling, Dawn of the Dead) as Charlie Traynor, David’s campaign manager and lifelong best friend; and TERENCE STAMP (Wanted, Valkyrie) as Thompson, the head Bureau agent who is called in to resolve the Norris problem once and for all.

The Adjustment Bureau is written and directed for the screen by GEORGE NOLFI (writer of Ocean’s Twelve, co-writer of The Bourne Ultimatum) and is based upon the short story “Adjustment Team” by PHILIP K. DICK (“Total Recall,” “Minority Report” and “Blade Runner”).

The accomplished and talented behind-the-scenes crew includes two-time Oscar^®-winning director of photography JOHN TOLL (Legends of the Fall, Brave ­heart), production designer KEVIN THOMPSON (Dupli ­city, Michael Clayton), editor JAY RABINOWITZ (8 Mile, upcoming The Tree of Life), costume designer KASIA WALICKA MAIMONE (Ame ­lia, Capote), visual effects supervisor MARK RUSSELL

(Hellboy, Minority Report) and Grammy-winning composer THOMAS NEWMAN (WALL·E, Revo ­lutionary Road).

The Adjustment Bureau is produced by MICHAEL HACKETT (Paycheck), George Nolfi, BILL CARRARO (The Golden Compass) and CHRIS MOORE (Good Will Hunting). The executive producers for the film are ISA DICK HACKETT and JONATHAN GORDON (Good Will Hunting).

ABOUT THE PRODUCTION

Course Correction:

The Adjustment Begins

George Nolfi was working on another script when his longtime friend and producing partner, Michael Hackett, brought up Philip K. Dick’s short story “Adjustment Team” during a phone call. Though he had not yet secured the rights to the story, Hackett had a solid working relationship with Dick’s estate and wanted to pursue optioning and developing the project. When the producer pitched Nolfi the concept of “Fate personified” trying to prevent a man from being with the woman he loves, Nolfi was intrigued. “He got very interested very quickly,” recounts Hackett. “In fact, he requested that we meet that day to talk more.”

Though Dick’s work can be both prescient and dystopian, the central conceit of “Adjustment Team”—that Fate is a group of people among us— melded with a love story, struck Nolfi as an original concept for a film that could dig into some of life’s “big questions” in a thrilling and compelling way.

Flash forward to Nolfi’s work with Matt Damon on Ocean’s Twelve; during this time, he and Hackett pursued the adaptation of what would become The Adjustment Bureau. They were certain that they wanted Damon as their lead, and Nolfi began to write the part of his protagonist with Damon in mind. Observes the writer/director: “Matt’s the best everyman that we’ve got, and because of that he’s extremely believable in a love story.”

Damon’s interest was piqued by this tale of a man who stumbles on a vast, powerful and unseen world that exists on the periphery of our own. He told the filmmakers that if future drafts looked as good, he would be ready to join. “George has been a friend and collaborator for a long time,” notes Damon. “He brought this script to me that he’d written on spec…because he wanted to direct it. I was a big believer in him and felt he could do it.”

Nolfi took the opportunity to polish the idea before revisiting the project with Damon during The Bourne Ultimatum, which Nolfi also co-wrote. “I got the script to a place where I thought it was ready for Matt,” Nolfi says. “Once he said he was interested in being involved formally…it was a back and forth collaborative process.” Together, the colleagues had many philosophical conversations about the material; from these discussions came ideas that Nolfi used to improve the arc and build out his story.

Damon was impressed with the manner in which Nolfi expanded Dick’s work and made it particularly relevant for a modern audience. The performer com ­mends: “George was specific about everything—from the look of it to the types of people that he wanted to cast. He saw what he wanted to do with this piece.”

Since Damon and Nolfi had both worked previously with producer Chris Moore, they agreed that he would be a great partner with whom they could navigate the development of this ambitious project. Of his inter est in joining the team, the producer comments: “I was inter­ested in George’s take on what control we have over our own lives. I also loved that the material crosses a number of genres. There are thriller elements, action and a great love story—as well as a personal crisis about what you believe in and who are you going to be. All that, plus a huge action movie about trying to outrun your Fate…that’s what popcorn movies are supposed to be.”

Contemporary ballet dancer Elise Sellas (EMILY BLUNT) performs with her company.

– 11 –

For Elise and David, it is love at first sight.

Rounding out the producing team was notable New York City filmmaker Bill Carraro, whose experi­ence both in development and in physical production would prove invaluable. The producer, who first part­nered with Nolfi on The Sentinel, worked with the director for more than a year and mapped out how to physically shoot the numerous set pieces and loca­tions written into the script as the production navi­gated across Manhattan.

Carraro, with his extensive experience in visual effects, understood that Nolfi required the effects be seamless in order to work. He says: “We track the men of The Adjustment Bureau from one environment into another every time they open a door. That’s apt to throw you into a lot of different locations.” With the core team in place, the project soon secured funding with Media Rights Capital and production was set in motion.

The original character from Dick’s short story is an insurance salesman, but for his protagonist, Nolfi felt strongly that David Norris should be a politician. For his main character, Nolfi imagined a charismatic and popular Democratic congressman from the rough-and-tumble streets of Brooklyn. Producer Hackett explains this logic: “Picking a poli tician allowed us a character whose decision can matter to people beyond himself. If he chooses to stay on his career path, he can actually, under the right circumstances, do great things for millions of people. This weighs against his own happiness and what’s best for him as a person.”

Adds producer Moore, whose partnership with Damon extends back to the Oscar^®-winning Good Will Hunting: “David Norris and Matt Damon…that is hard to sep ­arate. To some extent, it’s because George wrote the script for Matt.

He is one of the few guys out there who literally becomes the character.”

At the beginning of Nolfi’s story, Congressman David Norris boasts a double-digit lead in the polls during his senatorial campaign. Explains Nolfi of David’s rock-star appeal: “He’s the youngest con gress ­man ever elected to the House of Represen tatives. He’s got an outsized reputation because he’s a big personality.”

Although David’s affable nature and straight-shooting demeanor have made him a clear public favorite, he is, after all, only human. “He has a tendency to mess things up for himself,” Damon reflects. “He’s a little too honest sometimes…he’s not quite political enough.” It is just this shortcoming that causes David an embarrassing incident that costs him his first run for the United States Senate.

“Due to his youthful exuberance, he makes a mistake,” says Hackett. “Dig a little deeper, and someone examining the character might say that he had a subconscious desire to derail the path he was on so that he could find his real self.” David’s misstep, which is picked up by the press at the height of his campaign, costs him his lead in the polls and, eventu­ally, the election. Though the Bourne and Ocean’s films have women in strong but supporting roles, this is one of the first projects in which Damon has been cast as the romantic lead and played someone who is specifi­cally, and fatefully, linked to a lover. As written, David’s love interest needed to be a woman for whom he would move mountains.

On the eve of the election, before David is to give his concession speech at The Waldorf Astoria hotel, he takes a moment to collect himself in the men’s room. Explains Nolfi: “He’s devastated that he’s lost the election. Not just for himself, but he feels like he brought all these people along for the ride and let them down.”

It is in the washroom that he encounters stunning dancer Elise Sellas, hiding from hotel security after she was found crashing a wedding. David finds her charming and irresistible, while she recognizes him as the popular politico who is about to lose the election. He is instantly, and fatefully, drawn to her and starts to fall head over heels in love…something The Adjustment Bureau never intended. For the next several years, David will chase the elusive Elise and try and outwit what the men controlled by Fate have planned for him. And it could cost him, and her, everything.

So who exactly is this group who manipulates us from a position of unseen, immutable power? Who are its agents that seem to be no­where and everywhere all at once? “They have a bureau­cratic system that allows them to manipulate things in such a way that our lives are subtly adjusted, nudged, bumped, moved, encouraged, coaxed and cajoled in the direction that they have determined we should be going in,” sums Hackett. “The Bureau repre­sents a cipher of all interpreta­tions people may have for ‘the other.’ That other power, that thing outside yourself that guides your choices. It’s certainly not accidental that The Adjustment Bureau, distilled to its purest form, echoes a number of the great belief systems around the world, religious or otherwise.”

Nolfi extrapolates upon his concept of the organi­zation that drives his tale: “They’re an expression of a higher power, so it’s not like a government agency that doesn’t want you to do something. They have powers that go way beyond what the earthly powers of an intelligence organization would be. They set us on the course that we are supposed to be set onto so we will follow the grand scheme, or the grand plan. To them they just work at a bureau. They might as well work in the IRS; they’re just doing their jobs.”

Tempted by Fate:

Cast of the Thriller

The role of Elise was a far less obvious casting choice than that of the film’s male lead. Nolfi wanted the character to be a dancer so she could provide a balance to David’s structured, political world. “For many reasons, a dancer has a different life than a politician, far less calculating,” the writer/director elaborates. “You can argue that dance is about the purest expression of free will. Although alternately, you could say if you’re following a routine or a chore­ographed piece, then you don’t have any free will at all. There’s a complexity in this character that I like.”

(L to R) Bureau agents Richardson (JOHN SLATTERY) and Harry (ANTHONY MACKIE) warn David to stay away from Elise.

– 13 –

Harry explains to David how The Adjustment Bureau works.

Because Elise is a world-class contemporary balle­rina, it was integral to her character, as well as the plot of the film, that she be an experienced professional. “I had envisioned the role to be played by somebody who was a professional dancer or an actress who had many years of ballet training,” offers Nolfi. But as it turns out, finding the right actress with the appropriate training, as well as the right chemistry with Damon, was a trickier feat than originally considered.

The production auditioned hundreds of dancers from around the world, with Nolfi being present for dozens of the auditions. “We put on tape eight or nine hundred women, and we found a few good possibili­ties who were professional dancers,” he remembers. “But at the end of that process, I went to established actresses to see how they played the scenes.” When acclaimed performer Emily Blunt read the script, she instinctively knew a professional actress was needed for the part. “I called my agent and said this is tricky stuff and an actor should do it,” says Blunt. “If that love and that relationship doesn’t work, you don’t have a movie. That’s what I said to George, rather boldly, and he agreed.”

“In one meeting, Emily com ­pletely derailed my plans for casting the role,” admits Nolfi. “She came in and read with Matt. We filmed the whole thing, and you could just tell.” After she won the role, Blunt dedi­cated several months to vigorous

dance training for the part. She knew portraying Elise Sellas would be immensely tough.

Once her training brought her character’s physi­cality up to snuff, Blunt found that bringing the romance to the role of Elise was the fun part. “I thought, ‘Thank God. Nolfi has written a feisty, strong, layered, complicated girl who can hold her own. She’s tough, but she’s vulnerable,” Blunt says. “There was a lot to play with; the dialogue was witty, and the connection they have and how they fell in love didn’t seem contrived.”

“David and Elise’s first encounter is unusual. The romance and the spark of the scene is fought against the backdrop of sinks and toilets,” the performer laughs. “It sets us up with the situation that you can’t help whom you’re attracted to, and you certainly can’t help the situations or environments in which you find yourself attracted to this person.”

David informs Elise that he has just lost the elec­tion, and she unexpectedly inspires him with genuine words of encouragement. “David’s just about to go make his concession speech and he’s at a point where he feels like he’s lost it all,” says Blunt. “My character pumps him up and reinvigorates this passion for what he does. She encourages a frankness in him, because that’s what she has.”

Damon adds his take on the encounter: “He’s basi­cally in love with her after a five-minute conversation. She gives him the idea to be himself in this conces­sion speech, which he does. And the speech is so popular that he immediately becomes the odds-on favorite to be the next senator from New York.”

Unbeknownst to Elise or David, it was not chance that caused their rendezvous that night. It was a planned meeting, orchestrated by the agents of The Adjustment Bureau in a cunning, structured move. But they were only intended to meet once. Producer Moore elaborates on who these men are: “Fate has agents in the world, and Fate is this force. The idea behind The Bureau is that humans need a little bit of guidance throughout life to not self-destruct or blow ourselves up.”

For every human, there is an Adjustment Bureau case officer. David’s case officer, Harry, has been with David since he was born, helping him reach his poten­tial. Elise was only needed to come into David’s life at the precise moment when he was at his lowest to bolster him up to greatness. After that, they were never meant to meet again. However, when Harry misses a crucial “adjustment” for David, this sets off a course of events that pits David at odds with his own Fate.

After watching his performance opposite Jeremy Renner in The Hurt Locker, Nolfi pursued actor Anthony Mackie to take the part of David’s guardian angel. Recounts Moore: “Anthony is a great story because we were having trouble casting the part of Harry. George went to the movies one day to see The Hurt Locker. I got a text from him that night in the theater that read, ‘We’ve got to cast Anthony.’”

The feeling was mutual. “My manager sent the script to me, and he said, ‘I have something; you’re never going to believe it,’” remem ­bers Mackie. “I was surprised by the depth and clarity of the characters and the way they were written. I said, ‘If I have to fly to L.A. and meet with George…I don’t care. Whatever I have to do, I have to play this role.’” Of the character, he adds: “Harry is a consummate professional, but he has a conscience. That gives you a great opportunity when it comes to a character.”

John Slattery was brought onto the production to play Richardson, Harry’s supervisor at The Adjustment Bureau, who tries to right the chaos that Harry has inadvertently allowed David to create. “Richardson has been doing this job for a long time, and this is his red-letter case,” explains Slattery. “A person in his position wants to establish himself and then move up the line. But then it starts going badly for Richardson.”

Slattery, best known for his portrayal of Roger Sterling in AMC’s Mad Men, was cast after a chance encounter with Nolfi in Los Angeles. Nolfi, whom Slattery knew through a mutual friend, asked him to come in and read a few scenes on film as a favor. A few months later, Nolfi had edited them together and showed Slattery, who thought it looked fantastic. Once he read the script, he wanted to join the project.

Defying the plan, David and Elise fall deeper in love.

– 15 –

Richardson threatens David to stay away from Elise.

When David arrives at his office to share the happy news of reconnecting with Elise with his former campaign manager (and current business partner), Charlie Traynor, he stumbles upon Adjustment Bureau agents who are in the middle of “adjusting” Charlie and fiddling with his memories. David has now become one of the very few people who have ever seen the way these men operate.

Damon recounts the pivotal moment: “The Adjustment Bureau is forced to abduct me and pull me into this bizarre place. Richardson tells me: ‘You’re seeing behind the curtain right now. You were never supposed to see this, but you have and we’re going to have to ask you to not ever tell anybody about this…or we’re going to erase your brain.’”

Once Richardson discovers that David wasn’t delayed, but actually ran into Elise again on his way into work, he warns David that if he divulges their secret to anyone, or pursues Elise any further, David will invite the wrath of The Bureau. And Richardson gives David no more answers, despite David’s protes­tations that he’s fallen for Elise. To play the part of David’s childhood best friend, Charlie, Nolfi tasked actor Michael Kelly, whose pivotal turn in Dawn of the Dead launched his film career. “After I read the script, I called my manager and said, ‘I’ve got to do this movie,’” says Kelly. “At the audi­tion, I told George, ‘I want to be a part of this film. I don’t care what part I play.’” For Kelly, the appeal of the story was its originality. “The fact that you can take a true, beautiful, romantic story and combine it with all this action and elements of other-worldliness is just amazing.”

To provide the film’s on-screen campaign partners with an introduc­tion to a political mindset, Nolfi had

Damon and Kelly meet with former congressman Harold Ford to discuss politics at the start of production.

Recalls Kelly of the day: “We chatted about poli­tics and what my position was, and Ford gave us reading material and films to watch, including The War Room, about James Carville and Bill Clinton’s campaign. He also had me read ‘Counselor,’ written by Ted Sorensen, who was a big part of Kennedy’s rise.”

Ironically, much of Charlie’s job is to keep tabs on David and ensure he stays on script. “As his best friend and political advisor, it’s a difficult job for Charlie,” explains Kelly. “Because they get so close so often, and over and over, David does something to derail the campaign.”

To round out The Adjustment Bureau’s principal cast, Nolfi cast the legendary Terence Stamp as Thompson—the last resort in the hierarchy of agents to “adjust” the Norris situation and quash insubordi­nation. Shares Nolfi: “Thompson has an enormous latitude to change the physical realities and mess up other people’s lives in order to put David back on track. Putting David back on track means he cannot have a relationship with Elise. You look at Terence Stamp, and there’s a certain amount of gravitas that comes with him.”

Similar to the other performers, it was Nolfi’s intri­cate story that attracted Stamp to the project. “Most actors are suckers for good writing,” remarks Stamp. “If you send an actor a wonderful script, that’s always a great hook. It was going to be directed by the writer, which, to me, is always a wonderful thing. Great writers have a vision of the script, and who better than the writer to direct it and to manifest that vision?”

Playing a mystical agent offered a great appeal to the actor. “The members of The Bureau have been around for a few thousand years,” he shares. “That was unusual for me to try and give an impression of somebody who has a timeless aspect about him.”

It would prove impossible to the cast to work on a romantic thriller about the powerful forces of destiny and Fate without some reflection upon these factors in their own lives. Stamp sums what many on the project felt with a touching story. He reflects: “There was something that my mother said to me very late in her life. I was talking to her once about my dad—about how she met him and what it was like. She said to me, ‘Well, he wasn’t what I would have chosen. He wasn’t what I wanted at all, but I couldn’t help myself.’ I’ve thought about that a lot. Because that’s the destiny, isn’t it? Where your mind doesn’t want something, but you have to do it anyway.”

The Art of Politics:

Damon as Norris

The production was able to leverage Matt Damon’s celebrity to further the authenticity of David Norris’ life in The Adjustment Bureau. During the shoot, Damon was asked to take part in President Clinton’s Global Initiative. Recounts Hackett: “We had the idea, and the Clinton people thought it was fine, that Matt would go in wardrobe as David Norris, who would logically be at this type of an event. We could get him interacting with President Clinton and other heads of state.” A skeleton crew, led by cinematog­rapher John Toll, was granted the security clearances necessary to follow Damon around the event docu­mentary-style, while producer Moore worked to persuade other world leaders and politicians to appear in the film as well.

The key crew even had a fortuitous encounter with President Obama’s advance team at The Waldorf Astoria hotel during the first week of shooting, and it secured some bonus technical advice as it prepared to shoot the concession speech scene. Key learning? Lose a Lucite podium in favor of a more traditional one.

Damon’s publicity tour stops to promote The Informant! also benefited The Adjustment Bureau. The Informant! was being released just as production began, and so Damon’s appearance on The Daily Show With Jon Stewart became another opportunity to shoot a campaign-stumping scene for David.

David and Elise run from the agents of The Bureau.

– 17 –

The Bureau’s head agent, Thompson (TERENCE STAMP), offers David a terrible choice.

“The way people react to Matt Damon is not unlike how they would react to a celebrity politician,” says Hackett. “We used that overlap to our advantage. He can walk down the streets of New York and people recognize him and camera phones come out. But that was value for the movie because, again, they are reacting to Matt Damon, not dissimilar to how we would like them to be reacting to the character of David Norris.”

Another aspect of this character that plays well into Damon’s filmic experience is the physicality of stunts. Much like the tireless athlete Jason Bourne, David Norris finds himself literally outrunning Fate. “There are a number of corridors and stairwells, lobbies and elevator banks in this film,” states production designer Kevin Thompson. As David navi­gates Manhattan, eluding agents and eventually making a final dash into the heart of The Bureau itself, he is running for his life. As an actor who enjoys performing his own stunts, Damon had athletic ability to spare while playing Norris. But that was occasionally frustrating to the Ginger Rogers to his Fred Astaire. “Matt’s a good runner. He’s fast, annoyingly fast,” laughs Emily Blunt, who was forced to keep up with him while she wore flats for many of her character’s chase scenes with David.

Perhaps the only element in the film that seems to be a departure from Damon’s prior acting roles is the love story. “This is the most romantic lead I’ve ever had,” admits Damon. “It was definitely new territory.”

The Art of Dance:

Training Blunt

From the beginning of principal photography, Blunt was upfront about her lack of formal dance training. “I was honest. I’ve never danced in my life,” she says. “I met George, and I said, ‘I’ll work my ass off for you if you let me do this.’”

The performer immediately asked to meet with the film’s choreographer, BENOIT-SWAN POUFFER, from Cedar Lake Contemporary Ballet, which would become the actual company that Nolfi wrote into the film’s script.

Founded in 2003 by Nancy Laurie and artistically directed by Pouffer, Cedar Lake Contemporary Ballet of New York City has a core group of 16 dancers, and it emphasizes acquiring and commissioning new works by the world’s most sought-after, emerging choreographers. With performances often incorpo­rating multimedia presentations, Cedar Lake is known for its daring, athletic movements and its integration of ballet into contemporary and popular forms.

When Nolfi approached Pouffer to have his company involved in the film, Nolfi discussed a female dancer in the role of Elise. Remembers Pouffer of his earlier conversations with Nolfi: “I said, ‘Okay, but make sure that it is a dancer because I’ve seen many movies fail because it’s difficult to show how a dancer is.’ Then a month later they said, ‘We found the actress: Emily Blunt.’ I said, ‘She’s not a dancer. What are we going to do?’ But it’s been such a pleasure. Emily came in full-force, and I felt that she wanted to get the style and the behaviors; she’s done an amazing job.”

Pouffer’s objective was never to make Blunt a trained dancer. He felt the best way to approach teaching a non-dancer to perform would be to draw the parallel to her acting skills. “I was here to explain to her that some dancing is not necessarily done by dancers. It’s movement and understanding phrasing and theatricality when you dance,” the choreographer explains. “It’s like learning dialogue, learning a script.”

In fact, he used the emotional tones of the screen­play to inform his choreography for Elise’s numbers. “The solo scene was interesting to work with Emily because it’s a moment where she’s asking herself some questions,” he says. “She’s going through some­thing. So we had to, movement-wise, express the step of anxiety.” Throughout all the training, Blunt was game for the ideas her instructor aimed to execute through her movements. “Emily’s special,” Pouffer comments. “She’s strong. She’s not scared.”

Producer Carraro, who had recently worked with Blunt in London on The Wolfman, was confident that she had the work ethic and athletic ability to take on the challenge. Still, the prospect of training to become Elise was ini ­tially intimidating for Blunt, who not only had to achieve the pre ­cision and form of a professional dancer on screen, but also didn’t want to disappoint the Cedar Lake professionals whom she would be re pre senting. With Pouffer in struct  ­ing her on dance and a personal trainer working her out for hours a day, six days a week, Blunt began an entire lifestyle overhaul that transformed her body into that of a dancer’s.

“The training was unreal. I hurt every day. It’s one thing to say, ‘I’ll do it for you,’ but it’s another thing to actually do it,” Blunt says of her promise to Nolfi. “It was hell to learn at first, and then it became invigor­ating, and one of the biggest, life-expanding experi­ences I’ve ever had.”

Moore notes that since Blunt was cast in late July 2009 and the film began shooting in New York in September, she didn’t have many months to train. Though the performer did work with body doubles, and films have the luxury of shooting at specific angles and cutting around talent in postproduction, many of the cast and crew admit that Blunt rarely relied on visual crutches to express her character in motion.

Remembers Nolfi: “Emily came out here a couple months before production and she was dancing five or six days a week and working out, taking it seriously on the physical performance level.” The director also stresses that Blunt was not learning simply standard ballet techniques. “It’s ballet-based contemporary dance, so it doesn’t look like your mother’s or father’s ballet. It looks like modern dance, and it is set to modern music; you couldn’t possibly do this dance without a lot of ballet training.”

David is taught by Harry how to navigate The Bureau’s world.

– 19 –

David consults his best friend/campaign manager, Charlie Traynor (MICHAEL KELLY).

Her co-star agrees with his director’s assessment. “I’m normally the actor who ends up having to do a boatload of training for things,” says Damon. “On this one, I just sat back and watched Emily; she was just so great and utterly believable.”

Bureau Headquarters:

On Location in Manhattan

Aside from the fact that David Norris is a congressman from the area, New York City represented much within the context of the film. “New York is central to my vision of the story for a number of reasons,” Nolfi says. “If there is an American city that stands for the most powerful city—the city where the headquarters of Fate would be—it’s got to be New York.

“Aside from filmmaking, my favorite art forms are architecture and dance,” he continues. “So by setting it in New York and constructing in my head an Adjustment Bureau that was a big, massive, tall building—that allowed me to play out my interests in architecture. Then, Elise allowed me to get into the dance world. Both of those things are centered, at least in the U.S., in New York City.”

To build the visual style of The Adjustment Bureau head­quarters—a timeless structure that exudes power—the team leaned on production designer Thompson and location manager ROB STRIEM to create a pastiche of rooms, roofs, stairwells and façades from some of New York’s most stylized buildings. Reflects producer Carraro: “The richness of these practical locations are particularly hard to duplicate, and

we needed to access some of New York’s toughest places to gain permission to film.”

“When I first met with George, he had only a half dozen reference pictures, but they were all strong imagery of a particular era in New York—moody and graphic,” says Thompson. “Those images, along with the script, immediately gave me a lot of information about where he was coming from.”

Specifically, Nolfi drew inspiration from notable structures throughout history that implied spiritual weight. “If you think about the history of architecture, Greek temples or the Vatican, or large-scale buildings in which human beings feel small, they are suggestive of otherworldly power,” Nolfi explains. “I went out of my way to pick the most beautiful spaces I could find to suggest that if they controlled things…this is what that world would look like.”

“The Adjustment Bureau itself is an amalgama­tion of different locations,” says Striem. “I worked with Kevin to piece together rooms and spaces, inte­riors and exteriors that are architecturally appropriate but might be on opposite ends of New York. In the movie they comprise this singular office building. It’s been a challenge to make it all look correct to the period of architecture and the nature of the location.”

As he was quite familiar with New York, Nolfi already had many of the locations in mind, whereas other locales he happened upon while walking to lunch around the city. If a structure struck him as beautiful and of a similar style or era to the other buildings he was considering for his Adjustment Bureau palette, it was marked for scouting.

So what exactly makes up the palette of the firm? “It’s a lot of white or tan marble, with dark wood similar to 1910, 1915 New York,” Nolfi clarifies. “It’s not quite Art Deco, because Art Deco announces itself, like the Chrysler building. It’s not these heavy baronial giant columns. It’s got this soaring feel that Art Deco has. But then it has some of the heavier features…Beaux Arts is what that would be called. We just found a way to mix them.”

“The physical structure of The Adjustment Bureau is a made-up building that exists in the middle of Manhattan, and it is a composite of six different great locations in the city that we cobbled together,” explains Thompson. “We took the base of a building in Madison Square Park. We took the roof of a building in Midtown. We took the lower sections of the New York Public Library. We were in the U.S. Custom House downtown for some of the hallways and stairwells. We took pieces that all represented the grandness and perfection that was found in a certain period of archi­tecture in the city, and we married them together.”

Thompson elaborates on creating the world of The Bureau from existing loca­tions: “Quite often in the spaces and rooms, we took out the details such as exit signs or light switches. We wanted to represent the space in its purest form without the sort of things that have been added in the last few years.”

Based on the sheer number of locations, shooting in the city proved to be a bit of a behemoth. Says Striem, who has worked on such recent location-heavy New York projects as Across the Universe, The Interpreter and The Brave One: “There are probably more locations on this film than any that I have ever done in New York. We had about 85 locations during a 70-day shooting schedule. We were rarely in one place for any length of time, so this was a para ­military operation.”

Some of the locations used for pivotal scenes include the roof of 30 Rockefeller Center, also known as Top of the Rock; the New York Public Library; the historical Custom House in lower Manhattan (home to a Native American museum and offices of Homeland Security); the Waldorf Astoria hotel; 60 Centre Street courthouse; Fort Tryon Park and its New Leaf Restaurant & Bar; the South Street Seaport neighborhood; the Fulton Ferry Landing in Brooklyn; the field at Yankee Stadium; the performance and rehearsal space of the actual Cedar Lake dance company in Chelsea; Madison Square Park; and the streets of the West Village. Scenes were even filmed on the Hudson River on a Circle Line ferry that moved up and down alongside Manhattan’s west side.

David and Elise make their way into the deepest levels of The Bureau.

– 21 –

Thompson leads his men into action.

Hackett appreciated the unfettered access the team was given to some of New York’s most spectac­ular landmarks. In fact, for a pinnacle moment in which Elise and David find themselves on a huge, expansive roof of The Adjustment Bureau, the production had yet to find a viable location. Nolfi and Hackett happened to be sightseeing on the roof of 30 Rock with family when they realized they had found the perfect locale.

“Initially we were looking for size,” Hackett ex­plains of 30 Rock’s modest roof space. “By doing the opposite of what we tried to do initially, we found something more useful and dramatic. The location that we found suggested something that we weren’t thinking of when we first went through the movie and blocked it out.” Because so many locations were put together to represent singular areas, much attention had to be paid to continuity. “George has been diligent about wanting to be geographically correct,” Striem observes. “Even though the agents are moving through doors and crossing town, he’s been conscious not to make it incorrect. We’re not going downtown when we’re supposed to be progressing up ­town in pursuit.”

Accomplished cinematogra­pher John Toll was integral to capturing this unseen magic of the city. “Toll was a crucial piece of the puzzle for how the film looks,” stresses Moore. “The movie has multiple balls that are in the air, and the audi­ence is going to need to seam­lessly move in between the action and the love story.”

Beyond the singular beauty of New York City, however, the story of The Adjustment Bureau called for locations and rooms that could not possibly exist in the real world. Though Nolfi aimed to keep the look as realistic as possible, and rely on actual footage when he could, there was a point when the production needed to bring in the special effects. Remarks Hackett: “It’s the forward edge of film­making in terms of what’s done and how. Whether it’s visual effects or real shoots, miniatures or a combina­tion or composite…there are 15 ways to skin a cat.”

To create the seemingly impossible Escher-like stairs, hallways and rooms of The Adjustment Bureau’s main offices, Nolfi relied on Thompson to build new sets, as well as on visual effects supervisor Mark Russell to create the unimaginable and add on where needed. Russell’s previous work on another Philip K. Dick-inspired film, Minority Report, assured that he was familiar with the author’s unique sensibilities. Because the agents travel through doorways throughout the city, the art direction crew had to make sure that how the men moved made sense. “A lot of our concentration and our construction involved door-ways—like combining this side of this door with that side of that door,” Russell explains. “Which way does it swing? Which door exists in reality, and which door do we have to create on a location so that it will match up with what’s supposed to be on the other side?

“My favorite thing was weaving it all together and making sure that it feels seamless,” Russell continues. “There are other locations that we built to look like they’ve always been there. Those are the things I’m most proud of…when they disappear into the tapestry of the movie.”

Many times the perfect visual location had layout issues that would impede the narrative of the scene. For example, though the roof of 30 Rock provided the perfect expanse for the climatic scene with David and Elise, reaching the top of this building after a stair­well chase could not be done at 30 Rock.

“We built a stairway that’s on top of The Adjustment Bureau,” Thompson explains, “with a big green screen around it. Then we took sections of that and put it on the roof of our building on which we shot the climatic scene. So, a lot of the construction we did was to tie in different locations to one another, supported by visual effects.”

Perhaps the greatest feat for both Thompson and Russell was creating the Plan Room, the library of The Adjustment Bureau. In the story, this library exists on the 90^th floor of the fictional New York building. But a room in The Adjustment Bureau head ­quarters cannot be understood logically through the lens of a human eye. Much like the roof-staircase trick, Russell and Thompson needed to create an infi­nite library. This needed to be comprised from only one shot of an empty room at 20 Exchange Place in New York that was chosen for inspiration. It also needed to work within the context of a chase scene in which Elise and David are running from agents.

The intended effect of playing visual tricks on the characters, as well as on the audience, is to build the scope of The Adjustment Bureau beyond human comprehension. “The idea is that this is one section of a large room. We only had one section to actually shoot,” explains Russell of the book-filled space that the crew replicated ad infinitum. “It’s 13 setups essen ­tially, from different angles and different pieces that ultimately come together to make the Plan Room,” he continues. “This is a fast sequence, but it seems much more elaborate than it is.”

The Suit Makes the Man:

Wardrobe of the Film

To complement the carefully selected architecture within the world of The Adjustment Bureau, Nolfi knew that the agents’ wardrobe should also visually set them apart from humans…without drawing too much attention to their presence. The director decided to express this mystical notion with the most unas­suming of apparel: timeless suits and hats.

Elise and David try to escape the agents on their heels.

– 23 –

Writer/director/producer GEORGE NOLFI on the set of The Adjustment Bureau.

In theory, agents of The Adjustment Bureau dress in clothing similar to the outfits worn by the humans that they shadow. Because David Norris is a well-heeled politician, the agents in his life mirror his more formal attire.

“The idea was to have great-looking suits and hats, but not to have them indicate any one specific time period,” says Hackett. “It could be ’40s, it could be ’30s and it could be today. There’s something retro but also modern about them. It’s evocative and adds to their otherworldly element without having them be exaggerated angels or demons with nonanthropo ­morphic bodies.”

The powers of The Adjustment Bureau are a clever function that Nolfi instilled into his visual symbols: the ability of agents to travel through the fabric of the city under the radar and to adjust humans. “In order to use their higher powers, agents have to have a hat on,” Nolfi says. “Inside all the hats there is a power ranking; the higher-up executives have hats that allow them to use more power to influ­ence humans.

“It also fits nicely with the archi­tectural palette of the movie because there’s this morphed combination of early 1900s New York architecture,” Nolfi adds. “In that period in men’s dress, all men wore hats.”

To bring the director’s vision of crisp, timeless suits and stylish, yet unassuming hats to life, costume designer Kasia Walicka Maimone was tapped to cull the looks from a much more dapper time. As Walicka Maimone remembers, few words were spoken between her and Nolfi

when they first met, as they simply browsed and selected images from her inspiration boards, coming together on a vision for the costumes.

“I had plenty of photographs, so we could both find our visual language just by responding to those images. That’s how we started building the vocabu­lary for the film,” she explains. “George was inter­ested in portraying reality as it is—close to reality. All the characters were not completely real, but they had to be rooted in reality.”

For a timeless look that could be pulled off in the modern day, they began looking at 20^th-century styles. “We looked at a lot of references from period clothing, beginning at about 1910, when men’s contemporary clothing language was invented. All the suits are trim in fit, and we created this quiet palette of grays and dark greens, with streamlined silhouettes. We felt that for The Adjustment Bureau, all the guys needed to have that function of being able to blend in among the street crowd.” For the suits to conform with the hats’ nod to a higher power, Nolfi and Walicka Maimone consid­ered what touches they could add. “We kept thinking, ‘What is the color that calls for all the powers that The Bureau is supposed to represent?’ Intuitively, I thought it needed to be green, and that green needs to trickle down all through The Adjustment Bureau. It needed to stay within that quiet palette.”

However, the look of the agents also has an ominous and militaristic feel. Just as when one visits the inside of The Bureau, there is a clear, regimented order to how they operate. “The leading vocabulary for us was that The Adjustment Bureau has a military elegance: it’s a streamlined, clean-lined; everything is pressed and strict,” Walicka Maimone explains. “As George referred many times, there is an underlying military-like structure in The Adjustment Bureau, and the ranks are clear.”

The costume team spent weeks researching uniforms of military forces from throughout history to find subtle inspiration for the agents’ outfits, as well as for the more intimidating Intervention Team of The Bureau. “We knew that we were not going to be in the world of suits with the Intervention Team, because it would take us out of the vocabulary of the film of what needed to feel immediate and instanta­neously threatening,” Walicka Maimone elaborates.

To customize each agent’s suit, she used material details such as scarves and handkerchiefs. The team also took care to distress each individual agent’s hat to give the appearance of a well-worn fedora that has withstood the test of time. The designer reflects: “There is the humanity factor that comes into each of the characters. So each character has slightly different versions of the outfit.”

For the characters of David and Elise, Walicka Maimone developed wardrobes inspired by their profes­sions. In her mind, American poli ti ­cians have their own uniform: “It was a clear vocabulary that we created for the world of David and the politicians around him: a dark navy suit with a solid tie, a  con ser­vative and classic suit. Navy blues, blues and khakis—that became the world of David.”

Elise, however, comes from the opposite end of movement and expression. “She needed to have this dramatic contrast to the word of the politicians, of their super-structured uniform look,” the designer explains. To accentuate Elise’s fun and free attitude, Walicka Maimone relied on vintage dresses with modern touches and added additional expression through color.

To create Elise’s costumes for her dance pieces, Walicka Maimone worked directly with the Cedar Lake company. The opportunity was exciting for the designer, who views Cedar Lake as “rebels of the ballet world,” with an urban, street sensibility to their style. “That process was fun because we knew that we wanted to acknowledge the vocabulary of that con ­temporary dance company,” says Walicka Maimone. “We collaborated with Swan and with George to create this flow, but at the same time, hard-edge, modern, sculptural look for the company.”

**** Universal Pictures and Media Rights Capital Present A Gambit Pictures Production—In Asso cia ­

(L to R) Writer/director/producer GEORGE NOLFI, MATT DAMON as David Norris and EMILY BLUNT as Elise Sellas on set.

– 25 –

tion with Electric Shepherd Productions—A Film by George Nolfi: Matt Damon in The Adjustment Bureau, starring Emily Blunt, Anthony Mackie, John Slattery, Michael Kelly and Terence Stamp. Casting is by Amanda Mackey & Cathy Sandrich Gelfond. The visual effects supervisor is Mark Russell, and the costume designer is Kasia Walicka Maimone. The Adjustment Bureau’s associate producer is Eric Kripke, and its co-producer is Joel Viertel. The romantic thriller’s music is by Thomas Newman, and its editor is Jay Rabinowitz, ACE. The production designer is Kevin Thompson, and the director of photography is John Toll, ASC. The Adjustment Bureau’s executive producers are Isa Dick Hackett, Jonathan Gordon. The producers are Michael Hackett, George Nolfi, Bill Carraro, Chris Moore. It is based upon the short story “Adjustment Team” by Philip K. Dick. The film’s screenplay is by George Nolfi, and it is directed by George Nolfi. ©2010 Universal Studios. www.theadjustmentbureau.com

ABOUT THE CAST

MATT DAMON (David Norris) has been honored for his work on both sides of the camera, most recently earning Academy Award^®, Screen Actors Guild Award and Critics’ Choice Movie Award nominations for Best Supporting Actor for his portrayal of South African rugby hero François Pienaar, in Clint Eastwood’s true-life drama Invictus. In addition, he garnered dual Golden Globe Award nominations last year: one for Best Supporting Actor for his performance in Invictus, and one for Best Actor (Comedy or Musical) for his star­ring role in Stephen Soderbergh’s The Informant! Earlier in his career, Damon won an Academy Award^® for Best Original Screenplay and received an Oscar^® nomination for Best Actor, both for his breakthrough feature Good Will Hunting.

Damon is currently starring in the Coen brothers’ remake of the classic Western True Grit and has a number of upcoming projects this year. He lends his voice to Happy Feet 2 and reunites with Soderbergh to join the ensemble cast of the thriller Contagion. He is currently filming We Bought a Zoo, for director Cameron Crowe.

In 2002, Damon originated the role of Jason Bourne in the blockbuster actioner The Bourne Identity. He went on to reprise his role in the two hit sequels, The Bourne Supremacy and The Bourne Ultimatum, both directed by Paul Greengrass. He also repeatedly teamed with Soderbergh as part of the all-star casts in the Ocean’s trilogy, and in a cameo role in the second part of the director’s two-part biopic Che.

Damon’s other recent film credits include the drama Hereafter, which reunited him with director Clint Eastwood; the action-thriller Green Zone, directed by Paul Greengrass; Martin Scorsese’s Oscar^®-winning Best Picture The Departed, with Leonardo DiCaprio, Jack Nicholson and Mark Wahlberg; Robert DeNiro’s dramatic thriller The Good Shepherd, with DeNiro and Angelina Jolie; and Stephen Gaghan’s geopolitical thriller Syriana, with George Clooney.

For the small screen, Damon both executive produced and appeared in the History Channel’s The People Speak, based on a book co-written by famed historian Howard Zinn, which featured dramatic read­ings and performances from some of the most famous names in the entertainment industry.

Hailing from Boston, Damon attended Harvard University and gained his first acting experience with the American Repertory Theater. He made his feature film debut in Mystic Pizza, followed by roles in School Ties, Walter Hill’s Geronimo: An American Legend and the cable projects Rising Son and Tommy Lee Jones’ The Good Old Boys. He first gained atten­tion in 1996 with his portrayal of a guilt-ridden Gulf War veteran tormented by memories of a battlefield incident in Courage Under Fire.

Together with his lifelong friend Ben Affleck, Damon co-wrote the acclaimed 1997 drama Good Will Hunting, for which they won an Academy Award^® and a Golden Globe Award, as well as several critics’ groups awards, for Best Original Screenplay. Damon also garnered Oscar^®, Golden Globe and Screen Actors Guild nominations for Best Actor. Also in 1997, Damon starred as an idealistic young attorney in Francis Ford Coppola’s The Rainmaker and made a cameo appearance in Kevin Smith’s Chasing Amy.

The following year, Damon played the title role in Steven Spielberg’s award-winning World War II-drama Saving Private Ryan and also starred in John Dahl’s drama Rounders, with Edward Norton. In 1999, Damon earned his third Golden Globe nomina­tion for his performance in The Talented Mr. Ripley, under the direction of Anthony Minghella. He also reunited with Ben Affleck and director Kevin Smith to star in the controversial comedy Dogma.

Damon’s subsequent film credits include starring roles in Robert Redford’s The Legend of Bagger Vance; Billy Bob Thornton’s All the Pretty Horses; the Farrelly brothers’ comedy Stuck on You, opposite Greg Kinnear; and Terry Gilliam’s The Brothers Grimm, with Heath Ledger; and a cameo appearance in George Clooney’s Confessions of a Dangerous Mind.

Damon and Affleck formed the production company LivePlanet to produce film, television and new-media projects. LivePlanet produced three Emmy­nominated seasons of Project Greenlight, chronicling the making of independent films by first-time writers and directors. The Project Greenlight films produced to date are Stolen Summer, The Battle of Shaker Heights and Feast. LivePlanet also produced the documentary Running the Sahara, directed by Oscar^® winner James Moll.

In addition, Damon cofounded H20 Africa, now known as Water.org, and is an ambassador for the children’s foundation ONEXONE.

EMILY BLUNT (Elise Sellas) shot to international prominence with her lead role in the multi-award-winning British movie My Summer of Love, filmed in the summer of 2003. Blunt played the myste­rious and privileged Tamsin, who becomes the obsession of a local girl, in this intoxi ­cating romance from Pawel Pawlikowski. The Independent praised her “genuine grace and predatory charisma.” Blunt won the Most Promising Newcomer award at the

2005 Evening Standard British Film Awards and was nominated in the Best Newcomer category at the 2004 British Independent Film Awards.

The critically acclaimed Gideon’s Daughter, in which Blunt starred alongside Bill Nighy and Miranda Richardson, was shot in October 2004. The film was first broadcast on BBC One in February 2006 and appeared on BBC America in April of the same year. Blunt won a Golden Globe for Best Performance by an Actress in a Supporting Role, Miniseries or Motion Picture Made for Television for her performance.

In 2005, Blunt flew to New York to start work on The Devil Wears Prada. An adaptation of the hugely popular Lauren Weisberger novel, the film features Blunt as the intensely neurotic Emily Chalton, senior assistant at Runway Magazine, who is permanently on the verge of a nervous breakdown. Directed by David Frankel and co-starring Anne Hathaway, Meryl Streep and Stanley Tucci, the film opened to great acclaim in the U.S. in June 2006 and made more than $125 million at the U.S. box office.

The critics shared the audience’s love for The Devil Wears Prada and for Blunt: The Los Angeles Times called her “scene-stealing” while the Telegraph praised her performance as “terrific” and “a catty delight.” Blunt was nominated in the Breakout Female category at the 2006 Teen Choice Awards for her performance and was also nominated in the Best Supporting Actress category at the Golden Globes and the BAFTAs for the role. The movie was released worldwide in October 2006 and made more than $320 million at the box office. Blunt went on to be nomi­nated for the Rising Star Award at the 2007 BAFTAs.

In August 2006, Blunt started work on The Great Buck Howard, written and directed by Sean McGinly and co-starring Tom Hanks, John Malkovich and Colin Hanks. Blunt plays Valerie, a self-assured publicist hired by a luckless magician trying to rein­vigorate his career. The film premiered at the 2008 Sundance Film Festival and was released in the U.S.

in March 2009. Following this, Blunt filmed Dan in Real Life, with Steve Carell, Juliette Binoche and Dane Cook. It was released in the U.S. on October 26, 2007, and in the U.K. on January 11, 2008.

Blunt went on to make The Jane Austen Book Club. She starred alongside Maria Bello, Kevin Zegers and Hugh Dancy. The film was released in the

U.S. on September 21, 2007, followed by a U.K. release on November 16, 2007.

Blunt next spent two months in Albuquerque, New Mexico, filming Sunshine Cleaning. The film was directed by Christine Jeffs and tells the story of two sisters (Blunt and Amy Adams) who start up a successful business cleaning up crime scenes. It was released in the U.S. in March 2009. Blunt was nomi­nated for a Critics’ Choice Movie Award for Best Supporting Actress for the role.

In late 2007, Blunt was seen in Mike Nichols’ Charlie Wilson’s War, with Tom Hanks, Julia Roberts and Philip Seymour Hoffman. The film was released in the U.S. in December 2007.

Blunt next filmed the Martin Scorsese-produced biopic The Young Victoria. She plays Britain’s Queen Victoria in the early stages of her life, and the film is written by Julian Fellowes and directed by Jean-Marc Vallée. The cast also includes Miranda Richardson, Jim Broadbent and Rupert Friend. The film was released in the U.K. in March 2009, earning Blunt high praise from

U.K. film critics. Wendy Ide at The Times wrote, “Rising star Emily Blunt plays the cloistered young monarch with a playfulness and a lively spirit.” Blunt received Golden Globe Award and Critics’ Choice Movie Award nominations for Best Actress for her performance.

In February 2010, Blunt was seen in the much-anticipated period thriller The Wolfman. Directed by Joe Johnston, Blunt starred opposite Benicio Del Toro and Anthony Hopkins, and played the female lead role, Gwen Conliffe, a woman mourning the death of her husband who becomes close to his brother as they hunt the werewolf that killed him.

Next, Blunt voiced the female lead role of Juliet in Disney’s 3D animation Gnomeo & Juliet, with James McAvoy voicing Gnomeo. The film is an animated retelling of William Shakespeare’s “Romeo and Juliet,” using gnomes. Directed by Kelly Asbury, the film’s soundtrack is written and produced by Elton John. It will be released internationally by E1 Entertainment and is scheduled for release in the U.K. and U.S. on February 11, 2011.

In December 2010, Blunt was seen playing Princess Mary in a retelling of Jonathan Swift’s iconic novel, “Gulliver’s Travels.” Blunt starred along side Jack Black and Jason Segel in the film, which follows the modern-day adventures of travel writer Lemuel Gulliver.

In early 2010, Blunt filmed Salmon Fishing in the Yemen in London, Scotland and Morocco. She co­stars, opposite Kristin Scott Thomas, Ewan McGregor and Amr Waked, in this remake of Paul Torday’s best­selling novel, telling the story of Dr. Alfred Jones (McGregor), a fisheries scientist, who finds himself reluctantly involved in a project to bring salmon fishing to the Highlands of the Yemen. Blunt plays Harriet Chetwode-Talbot, the representative of fly­fishing-obsessed sheikh (Waked). The film is directed by Lasse Hallström and slated for release in 2012.

In October 2010, Blunt was cast in Lynn Shelton’s as-yet-untitled project. The cast also includes Rachel Weisz and Mark Duplass. Blunt and Weisz play sisters who fight over Duplass. The film is being shot in Washington and will be released in 2011.

Also in October 2010, Blunt was cast as the female lead in the time-travel thriller Looper. The film is centered on a group of killers who send bodies of their victims back in time. Blunt will play a single mother forced to go to great lengths to protect her son. Her co-stars are Bruce Willis and Joseph Gordon-Levitt, with Rian Johnson directing. It is sched uled to begin production in Louisiana in January and slated for a late 2011 release.

Blunt recently joined the cast of Disney’s The Muppets. Ricky Gervais, Alan Arkin, Jack Black, Billy Crystal, Zach Galifianakis and Jean-Claude Van Damme, are also lending their voices to the latest installment, which sees the Muppets reunite to put on a show in order to save their movie studio from a developer. James Bobin is directing and the script was written by Jason Segel and Nicholas Stoller. The film is due for release in the U.S. in December 2011 and the U.K. in February 2012.

ANTHONY MACKIE (Harry), who was classi­

 cally trained at the Juilliard School of Drama, is a great

and talented young actor who

is able to capture a plethora

of characters.

Mackie was discovered

after receiving rave reviews

while playing Tupac Shakur in

the off-Broadway show Up

Against the Wind. Immed ­iately following that show, Mackie made an auspicious film debut as Eminem’s nemesis, Papa Doc, in Curtis Hanson’s 8 Mile. His performance caught the attention of Spike Lee, who subsequently cast Mackie in the 2004 Toronto International Film Festival Masters Program selection Sucker Free City and She Hate Me. He also appeared in Clint Eastwood’s Academy Award^®-winning Million Dollar Baby, opposite Hilary Swank, Morgan Freeman and Eastwood; in Jonathan Demme’s The Manchurian Candidate, alongside Denzel Washington and Liev Schreiber; and in the comedy The Man, starring Samuel L. Jackson.

Mackie earned Independent Spirit Award and Gotham Award nominations for his performance in Rodney Evans’ Brother to Brother, which won the 2004 Special Dramatic Jury Prize at the Sundance Film Festival and was nominated for Best First Feature at the Independent Spirit Awards. In 2005, he appeared opposite David Strathairn, Timothy Hutton and Leelee Sobieski in Heavens Fall, an independent feature based on the historic Scottsboro Boys trials, which premiered at the 2006 SXSW Film Festival in Austin.

In 2006, Mackie had five features on movie screens. In addition to We Are Marshall, he starred in Half Nelson, with Ryan Gosling, which was adapted from director Ryan Fleck’s Sundance-winning short Gowanus, Brooklyn; in Preston A. Whitmore’s Crossover; in Frank E. Flowers ensemble crime drama Haven, opposite Orlando Bloom and Bill Paxton; and in the film adaptation of Richard Price’s “Freedomland,” starring Samuel L. Jackson. 

Throughout his film career, Mackie has been seen in several theatrical performances both on and off-Broadway. Mackie made his Broadway debut as the stuttering nephew, Sylvester, alongside Whoopi Goldberg, in August Wilson’s Ma Rainey’s Black Bottom. He was next seen as the lead in Regina King’s modern retelling of Anton Chekov’s The Seagull; starred in Stephen Belber’s McReele, for the Roundabout Theatre Company; and starred in the Pulitzer Prize-winning A Soldier’s Play in a role made famous by Denzel Washington 20 years prior. In 2008, Mackie was part of the production of August Wilson’s 20^th Century: The Kennedy Center, in which the cast performed stage readings of all 10 plays in August Wilson’s cycle. Mackie participated in three of the 10 shows.

In 2009, Mackie was seen as Sgt. JT Sanborn in Kathryn Bigelow’s The Hurt Locker, a film that not only earned Mackie a Film Independent Spirit Award nomination but also earned Academy Awards^® for Best Motion Picture of the Year, Best Achievement in Directing, Best Writing (Original Screenplay) and three other nods. The year 2009 also saw Mackie revisit the role of Tupac Shakur in Fox Searchlight’s Notorious B.I.G. biopic Notorious, and he also starred as Maj. William Bowman in the DreamWorks film Eagle Eye.

In 2010, Mackie returned to Broadway and starred in Martin McDonagh’s latest creation, A Behanding in Spokane. He also reunited with Kerry Washington in the drama Night Catches Us, which was released by Magnolia Pictures on December 3, 2010.

Mackie recently wrapped filming the Disney/ DreamWorks production Real Steel, with Hugh Jackman. The film is set for release on November 18, 2011. Mackie is currently filming the Summit Entertainment feature Man on a Ledge, with Sam Worthington and Elizabeth Banks, in New York City.

JOHN SLATTERY (Richardson) is a respected actor in the Hollywood com ­munity and a veteran of tele­vision, film and stage.

In 2010, Slattery was nom ­i nated for his third Emmy Award for Outstanding Sup ­porting Actor in a Drama Series for his portrayal of Roger Sterling in the critically acclaimed AMC series Mad Men. In 2009, the show was nominated for a Television Critics Association (TCA) Award for Program of the Year and won the TCA Award for Outstanding Achieve ment in Drama. The show was also nominated for the latter award in 2010. It was also the first basic-cable program to win Outstanding Drama Series at the 2008 Primetime Emmy Awards, and was nominated for a 2010 Golden Globe for Best Television Series—Drama.

Slattery recently completed production on Liza Johnson’s Return, in which he stars as a war veteran who befriends a mother and wife after returning from combat. Linda Cardellini and Michael Shannon also star in the film produced by 2.1 Films and Meredith Vieira Productions.

Slattery has previously appeared in numerous films including Jon Favreau’s Iron Man 2, Clint Eastwood’s

Flags of Our Fathers, Mike Nichols’ Charlie Wilson’s War and Terry George’s Reservation Road.

His additional film credits include Mona Lisa Smile, opposite Julia Roberts for director Mike Newell, Thomas McCarthy’s The Station Agent, Joel Schumacher’s Bad Company and Steven Soderbergh’s Traffic.

Slattery is instantly recognizable from his roles on television as well. Most recently, in addition to co­starring for four seasons on Mad Men, he had a substantial story arc as Victor Lang on the hit ABC series Desperate Housewives. In 2007, Slattery was nominated as part of both shows’ ensemble cast for the Screen Actors Guild Award for Outstanding Performance by an Ensemble.

His additional television credits include the ABC series Homefront, the comedy series Ed, HBO’s K Street and the drama Jack & Bobby. He has also been seen in highly memorable guest appearances on Sex and the City and Will & Grace.

In theater, Slattery has appeared on Broadway in the Pulitzer Prize-winning Rabbit Hole, for which he was nominated for a Drama League Award; in the Broadway revival of Betrayal; and opposite Nathan Lane in Neil Simon’s Laughter on the 23rd Floor. His off-Broadway credits include the original production of Three Days of Rain, which earned him a Los Angeles Drama Critics Circle Award and a Drama Desk nomination.

Slattery is a Boston native who currently resides in New York City with his wife and son.

MICHAEL KELLY (Charlie Traynor) has an expansive list of film, televi­sion and theater credits span­ning over 10 years. Kelly is currently wrapping production on CBS’ new Criminal Minds spin off, Criminal Minds: Suspect Behavior. Kelly stars as Jonathan “Prophet” Simms, a former prisoner who served seven years for drug traf­ficking. With an all-star cast that includes Forest Whitaker and Janeane Garofalo, Criminal Minds: Suspect Behavior premieres on CBS at 10 p.m. begin­ning February 16, 2011.

Kelly was most recently seen in Fair Game, directed by Doug Liman and starring Naomi Watts and Sean Penn. The film was released on November 5, 2010, and has garnered critical acclaim. Kelly portrays Jack McAllister, a CIA agent who works closely alongside Watt’s character in the true story of Joe Wilson and his wife, Valerie Plame.

In 2010, Kelly was seen in F. Gary Gray’s Law Abiding Citizen, alongside Gerard Butler and Jamie Foxx, as well as the Marc Lawrence film Did You Hear About the Morgans?, starring opposite Hugh Grant and Sarah Jessica Parker. Kelly previously starred as Detective Lester Ybarra, opposite Angelina Jolie and John Malkovich, in Clint Eastwood’s Changeling, which premiered at the Cannes Film Festival and was distributed by Universal Pictures and Imagine Entertainment. For his performance, Kelly received a coveted spot as one of Variety’s “10 Actors to Watch.”

Kelly’s other feature film credits include Invincible, opposite Mark Wahlberg; the Universal blockbuster Dawn of the Dead, directed by Zack Snyder; Tenderness, starring Russell Crowe; The Narrows, directed by François Velle; Broken English, written and directed by Zoe R. Cassavetes and nomi­nated for the Grand Jury Prize at the 2007 Sundance Film Festival; and Loggerheads, nominated for the Grand Jury Prize at the 2005 Sundance Film Festival. Kelly also appeared in M. Night Shyamalan’s Unbreakable, Milos Forman’s Man on the Moon and River Red (Sundance Film Festival).

On television, Kelly most recently played John Mosley on Fringe. In 2008, Kelly starred in the HBO miniseries Generation Kill, which chronicled one marine’s journey in the American-led assault on Baghdad in 2003. Kelly also had the recurring role of FBI Agent Ron Goddard on The Sopranos and was a series regular on the USA Network television series Kojak, with Ving Rhames and Chazz Palminteri, and the UPN action-drama Level 9. He has also guest-starred on numerous hit television shows including Law & Order: Special Victims Unit, Law & Order, CSI: Miami, The Shield, Judging Amy, The Jury and Third Watch.

A lifetime member of The Actors Studio, Kelly has performed in such plays as Arthur Penn’s produc­tion of Major Crimes, Theatre Studio’s Miss Julie and a production of In Search of Strindberg staged in Stockholm, Sweden.

TERENCE STAMP (Thompson) was born in Bow, London. His motion picture debut was the title role in Peter Ustinov’s 1962 film adaptation of Herman Melville’s “Billy Budd,” which brought him an Academy Award^® nomination and international attention. After his success in Billy Budd, Stamp collaborated with some of cinema’s most revered filmmakers. He starred in William Wyler’s adaptation of John Fowles’ “The Collector,” opposite Samantha Eggar, and in Modesty Blaise, for director Joseph Losey and

producer Joseph Janni. Stamp reteamed with producer Janni for two more projects: John Schlesinger’s adaptation of Thomas Hardy’s “Far From the Madding Crowd,” starring Julie Christie, and Ken Loach’s first feature film, Poor Cow.

Stamp then journeyed to Italy to star in Federico Fellini’s Toby Dammit, a 50-minute portion of Spirits of the Dead, an anthology of Edgar Allan Poe stories. Stamp made Italy his home for several years, during which time his film work included Pier Paolo Pasolini’s Teorema, opposite Silvana Mangano. His subsequent credits include Alan Cooke’s The Mind of Mr. Soames, Richard Donner’s Superman and Richard Lester’s Superman II (as Kryptonian supervillain General Zod), Peter Brook’s Meetings With Remark­able Men, Stephen Frears’ The Hit, Richard Franklin’s Link, Ivan Reitman’s Legal Eagles, Michael Cimino’s The Sicilian and Oliver Stone’s Wall Street. The film Prince of Shadows, in which the actor starred for director Pilar Miró, was awarded the Silver Berlin Bear at the Berlin International Film Festival.

Stamp began his fourth decade as an actor, wearing some of the choicest of Lizzy Gardiner’s Academy Award^®-winning costumes for the comedy The Adventures of Priscilla, Queen of the Desert, for director Stephan Elliott, starring with Guy Pearce and Hugo Weaving. In 1999, it was Stamp’s lead role in Steven Soderbergh’s The Limey—which debuted that year to widespread critical acclaim at the Cannes Film Festival—that once again made him popular with a whole new generation of moviegoers. For his performance, Stamp received nominations for Best Male Lead at the 2000 Independent Spirit Awards and for Best British Actor of the Year at the London Film Critic Circle Awards.

Stamp can also be seen in Frank Oz’s Bowfinger, Red Planet, the French romantic-comedy My Wife Is an Actress, Disney’s The Haunted Mansion and Elektra. In 2008, Stamp was seen in the remake of the famous television series Get Smart, opposite Steve Carell and

Anne Hathaway; starred opposite Angelina Jolie and James McAvoy in the film Wanted; played opposite

ABOUT THE Jim Carrey in the comedy Yes Man; and starred oppo­site Tom Cruise in the historical thriller Valkyrie.

FILMMAKERS

In addition to his acting career, Stamp is an accomplished writer and author. He has published three volumes of his memoirs, which includes “Stamp Album” (written in tribute to his late mother), a novel titled “The Night” and a cookbook co-written with Elizabeth Buxton to provide alternatives to those who are wheat and dairy intolerant.

GEORGE NOLFI (Directed by/Screenplay by/

 Pro duced by) marks his directo­rial debut with The Adjustment

Bureau. Previously, Nolfi wrote

The Sentinel, for Michael

Douglas, and Ocean’s Twelve,

for Steven Soderbergh, and co­

wrote The Bourne Ultimatum,

for Paul Greengrass.

Nolfi was raised in Boston,

Chicago and Wash ing ton. He attended Princeton as an undergraduate and did grad­uate study in philosophy at Oxford and political science at UCLA.

PHILIP K. DICK’s (Based Upon the Short Story “Adjustment Team” by) prolific career as a writer produced 36 science-fiction novels and more than 120 short stories. In addition to his well-known science-fiction books, Dick also penned 10 realist novels, numerous outlines for unfinished novels and a series of nonfiction essays. He won the Hugo Award for Best Science Fiction Novel in 1962 for “The Man in the High Castle” and the John W. Campbell Memorial Award for Best Science Fiction Novel of the Year in 1974 for “Flow My Tears, the Policeman Said.” The Philip K. Dick Award is presented annually for distinguished science-fiction books published for the first time in the United States as a paperback original.

Including the science-fiction masterpiece Blade Runner, Ridley Scott’s classic adaptation of “Do Androids Dream of Electric Sheep?,” nearly a dozen adaptations of Philip K. Dick’s novels and short stories have made their way to the big screen, including Total Recall, Minority Report and A Scanner Darkly. To date, these films have generated more than $1 billion in worldwide box-office and ancillary revenue. This astounding success is the result of combining visionary stories with the world’s finest film direc­tors, studios and actors.

MICHAEL HACKETT (Produced by) grew up in Fairbanks, Alaska, and currently lives in Los Angeles. The Adjustment Bureau is the first produc­tion under his Gambit Pictures partnership with director George Nolfi.

Prior to that, Hackett was a production executive at Mario Kassar and Andrew Vajna’s C-2 Pictures, where he oversaw development and production of Terminator 3: Rise of the Machines and developed Termi nator Salvation. Before that, he produced Paycheck at Paramount Pictures, also based on a Philip K. Dick short story.

Hackett began as a production executive at Paramount Pictures, working on such films as Mission: Impossible, Mission: Impossible II, Braveheart, several Star Trek chapters, Face/Off, Deep Impact, Clear and Present Danger, The Truman Show and Runaway Bride, among others.

He graduated from Princeton University and Phillips Exeter Academy.

BILL CARRARO (Produced by) most recently served as the executive producer on Joe Johnston’s The Wolfman, starring Benicio Del Toro, Anthony Hopkins, Emily Blunt and Hugo Weaving. He is currently in production on the Universal Pictures/ Imagine Entertainment comedy caper Tower Heist, directed by Brett Ratner and starring Ben Stiller and Eddie Murphy.

Previously, Carraro produced Chris Weitz’s The Golden Compass, which starred Nicole Kidman, Sam Elliott, Eva Green and Daniel Craig and won the Oscar^® for Best Achievement in Visual Effects.

Carraro’s other feature film credits as producer or executive producer include The Sentinel, starring Michael Douglas, Kiefer Sutherland, Eva Longoria and Kim Basinger; My Super Ex-Girlfriend, starring Uma Thurman and Luke Wilson; Stay, starring Ewan McGregor, Naomi Watts and Ryan Gosling; The Best Man, starring Taye Diggs and Nia Long; Frequency, starring Dennis Quaid and Jim Caviezel; Undercover Brother; and American History X, starring Edward Norton, who received an Academy Award^® nomina­tion for his powerful performance.

Additionally, Carraro has collaborated with direc­tors such as Ivan Reitman, Woody Allen, Brian De Palma, Malcolm Lee, Gregory Hoblit, Joan Micklin Silver, Marc Forster and James Foley.

Carraro was the producer of the Emmy-winning and Golden Globe-nominated HBO film The Tuskegee Airmen, which starred Laurence Fishburne and Cuba Gooding, Jr. This highly acclaimed project garnered him the Directors Guild Award for Outstanding Achievement. Carraro was also a recipient of the NAACP Image Award for Outstanding Motion Picture for producing The Best Man. In addition, Carraro received a Saturn Award for producing Frequency.

Carraro also served as president of production at Aaron Russo Films, supervising independently and co-financed projects that included a first-look deal at Orion Pictures.

A native New Yorker born in Brooklyn and a graduate of Ithaca College, with a degree in film and photography, Carraro began his career in the com ­mercial film industry before moving on to feature film production.

Carraro is a member of both the Producers Guild of America and the Directors Guild of America and, in addition to his various producer credits, has worked as a second unit director.

CHRIS MOORE (Produced by) recently co­directed and executive produced the Howard Zinn docu­mentary The People Speak. His filmography includes the highly successful series of American Pie films, Reindeer Games, Joy Ride, the documentary Pop & Me and the Academy Award^®-winning Good Will Hunting. Moore was co-creator of HBO’s Project Greenlight, and in 2008, he directed his first feature film, Kill Theory.

Moore received a B.A. in American History from Harvard University.

ISA DICK HACKETT (Executive Producer), daughter of Philip K. Dick, is founder and CEO of Electric Shepherd Productions, LLC, which is dedi­cated to the stewardship and adaptation of the Philip

K. Dick library, which Dick Hackett jointly owns with her two siblings.

Dick Hackett is credited for her work on Richard Linklater’s adaptation of “A Scanner Darkly,” starring Keanu Reeves. Dick Hackett is credited for her guid­ance on and participation in DVD special features for Blade Runner: The Final Cut, Minority Report and A Scanner Darkly. Dick Hackett spearheaded and oversaw a graphic-novel project based on the Philip

K. Dick novel “Do Androids Dream of Electric Sheep?,” the source novel for the film Blade Runner. She also produced a graphic novel adaptation of “The Electric Ant,” with Marvel comics.

Dick Hackett is currently serving as a consultant on the Disney animation adaptation of “The King of the Elves.” Her other projects for which she’s currently serving as producer include adaptations of “Flow My Tears, the Policeman Said” and a limited series co-production with Ridley Scott’s Scott Free Productions of “The Man in the High Castle.”

JONATHAN GORDON (Executive Producer) is an independent producer who, through his Jon Gordon Productions, is also producing (with Peter Guber’s Mandalay Pictures and Michael Bay’s Platinum Dunes) a remake of Alfred Hitchcock’s The Birds. He recently produced Kevin Smith’s Red State.

Prior to setting up Jon Gordon Productions, Gordon was president of production at Universal Pictures, where he oversaw the development and production of The Kingdom, starring Jamie Foxx and Jennifer Garner, and The Bourne Ultimatum, starring Matt Damon. He moved to Universal after a 16-year career at Miramax Films, where he began as an assis­tant to Harvey Weinstein and ultimately served as co­president of production.

During his tenure at Miramax, Gordon oversaw the development and production of more than 50 films. He served as executive producer on more than a dozen Miramax movies including multiple Oscar^® winner Good Will Hunting; Flirting With Disaster, directed by David O. Russell and starring Ben Stiller; Derailed, directed by Oscar^® nominee Mikael Håfström and star­ring Clive Owen and Jennifer Aniston; Confessions of a Dangerous Mind, George Clooney’s directorial debut starring Sam Rockwell, Julia Roberts and Drew Barrymore; The Yards (Official Competition, 2000 Cannes Film Festival), starring Mark Wahlberg, Joaquin Phoenix and Charlize Theron; and several films by writer/director Kevin Smith including Chasing Amy and Dogma.

Some of Gordon’s current projects in development include Side Effects, a thriller written and to be directed by Scott Burns (Ocean’s 12, The Bourne Ultimatum) and produced with Lorenzo di Bonaventura (Transformers) at Miramax; an untitled comedy starring Jennifer Aniston, who will also co-produce; Killing Ground, a Deliverance-style thriller to be directed by Håfström and produced with Nick Wechsler; Turbulence and Columbian Gold, both in collaboration with Mirage Productions; The State Within, a film adaptation of the Golden Globe-nominated BBC miniseries; The Brigade, based on Howard Blum’s best-selling nonfic­tion book; and Exoneration, a drama in the vein of Erin Brockovich, based on the true story of a woman who spent eight years trying to overturn her husband’s life sentence for the murder of her mother.

Gordon is a graduate of Northwestern University and sits on the National Advisory Council for Northwestern’s School of Communications. He is also the founder of the Kenny Gordon Foundation, a charity that raises money for the prevention of sudden cardiac arrhythmias, as well as for full four-year schol­arships to Skidmore College for economically and educationally disadvantaged young men and women who desire to attend college, and to provide inner-city children the opportunity to attend summer camp.

JOHN TOLL, ASC (Director of Photography) is one of only two cinematographers to win consecutive Oscars^®—one for Legends of the Fall (1994) and the other for Braveheart (1995). He was also nominated for an Oscar^® for The Thin Red Line in 1998. Toll has been nominated for five American Society of Cinematographers Awards and has won two. He is also the recipient of a BAFTA and a New York Film Critics Circle Award.

Born in Cleveland, Ohio, Toll began his career as a camera operator on such films as The Last Waltz, Norma Rae and Urban Cowboy. His additional credits as director of photography include The Rainmaker, Almost Famous, Captain Corelli’s Mandolin, Vanilla Sky, The Last Samurai, Elizabethtown, Seraphim Falls, Rise, Gone Baby Gone, Tropic Thunder and The Burning Plain. He was also DP on the pilot episode of the acclaimed AMC television series Breaking Bad, for which he received an Emmy nomination.

Toll recently lensed the feature It’s Complicated, starring Meryl Streep, Alec Baldwin and Steve Martin.

KEVIN THOMPSON (Production Designer) served as production designer on Tony Gilroy’s Oscar^®-nominated Michael Clayton, starring George Clooney. For his work on the film, the Art Directors Guild nominated Thompson for Excellence in Production Design for a Contemporary Feature Film. Thompson also designed Marc Forster’s acclaimed fantasy-drama Stranger Than Fiction, starring Will Ferrell, Emma Thompson, Maggie Gyllenhaal, Queen Latifah and Dustin Hoffman. He previously collabo­rated with Forster on the 2005 thriller Stay, starring Ewan McGregor and Naomi Watts.

Thompson recently designed Jason Reitman’s Young Adult, starring Charlize Theron and Patrick Wilson. Thompson’s other film credits include Did You Hear About the Morgans?, starring Sarah Jessica Parker and Hugh Grant; Duplicity, starring Julia Roberts and Clive Owen; the 2007 remake of Michael Haneke’s Funny Games; the sleeper hit Igby Goes Down, starring Kieran Culkin, Claire Danes and Jeff Goldblum; Bart Freundlich’s Trust the Man and World Traveler; Birth, starring Nicole Kidman; The Yards, starring Mark Wahlberg and Joaquin Phoenix; 54, starring Ryan Phillippe and Salma Hayek; Down to You, starring Julia Stiles and Freddie Prinze, Jr.; Kicked in the Head, with Kevin Corrigan and Linda Fiorentino; James Toback’s Two Girls and a Guy, with Heather Graham and Robert Downey, Jr.; Cindy Sherman’s Office Killer; Ismail Merchant’s The Proprietor; Larry Clark’s controversial film Kids; Little Odessa, with Tim Roth and Vanessa Redgrave; Party Girl, starring Parker Posey; and David O. Russell’s Flirting With Disaster.

Prior to his work in feature films, Thompson began his career as an architect and went on to design sets for short films, commercials, theater and music videos. His short film credits include Spike Jonze’s Dog Boy, Tom Kalin’s Urban Legends and Tamara Jenkins’ Family Remains.

JAY RABINOWITZ, ACE (Edited by) has enjoyed a long creative collaboration with Jim Jarmusch. Their work together includes The Limits of Control, Broken Flowers, Coffee and Cigarettes, Ghost Dog: The Way of the Samurai, Year of the Horse (for which Rabinowitz received an American Cinema Editors [ACE] Award nomination), Dead Man, Night on Earth and the Int. Trailer Night segment of the Ten Minutes Older: The Trumpet series of short films.

His other credits as film editor include Terrence Malick’s The Tree of Life, Todd Haynes’ I’m Not There, Curtis Hanson’s Academy Award^®-winning 8 Mile, Paul Schrader’s Academy Award^®-winning Affliction, Keith Gordon’s Mother Night, Lodge Kerrigan’s Clean, Shaven and Sara Driver’s When Pigs Fly.

The Phoenix Film Critics Society and the Online Film Critics Society cited Rabinowitz’s editing for Darren Aronofsky’s Requiem for a Dream as the year’s best; subsequently, the latter group cited his editing for Aronofsky’s The Fountain as the year’s best.

Rabinowitz also functioned as music editor on Explicit Ills, Bomb the System, Weapons, Big Bad Love, Requiem for a Dream, When Pigs Fly, The Limits of Control, Broken Flowers, Coffee and Cigarettes and Ghost Dog: The Way of the Samurai.

For Barry Levinson and Tom Fontana, Rabinowitz edited numerous episodes of the television series Oz and Homicide: Life on the Street. He worked with legendary photographer Robert Frank on Frank’s film Last Supper.

He is currently at work editing Rampart, the new film from writer/director Oren Moverman.

THOMAS NEWMAN (Music by) is widely acclaimed as one of today’s most prominent composers for film. He has composed music for more than 50 motion pictures and television series and has earned 10 Academy Award^® nominations and five Grammy Awards.

He is the youngest son of Alfred Newman (1900–1970), the longtime musical director of 20th Century Fox and the composer of scores for such films as Wuthering Heights, The Hunchback of Notre Dame, The Diary of Anne Frank and All About Eve. As a child, Thomas Newman pursued basic music and piano studies. However, it was not until after his father’s death that the younger Newman, then age 14, felt charged with the desire to write.

Newman studied composition and orchestration at the University of Southern California with Professor Frederick Lesemann and noted film composer David Raksin, and privately with composer George Tremblay. He completed his academic work at Yale University, studying with Jacob Druckman, Bruce MacCombie and Robert Moore. Newman also grate­fully acknowledges the early influence of another prominent musician, the legendary Broadway composer Stephen Sondheim, who served as a great mentor and champion.

A turning point in Newman’s career took place while he was working as a musical assistant on the 1984 film Reckless, for which he soon was promoted to the position of composer. And so, at the age of 27, Newman successfully composed his first film score. Since then, he has contributed distinctive and evocative scores to dozens of notable films including Desperately Seeking Susan, The Lost Boys, The Rapture, Fried Green Tomatoes, The Player, Scent of a Woman, Flesh and Bone, The Shawshank Redemption, Little Women, American Buffalo, The People vs. Larry Flynt, Oscar and Lucinda, The Horse Whisperer, Meet Joe Black, American Beauty, The Green Mile, Erin Brockovich, In the Bedroom, Road to Perdition, Finding Nemo, Lemony Snicket’s A Series of Unfortunate Events, Cinderella Man, Jarhead, Little Children, The Good German, Revolutionary Road and WALL·E. Newman also composed the music for HBO’s acclaimed six-hour miniseries Angels in America, directed by Mike Nichols. He received an Emmy Award for his theme for the HBO original series Six Feet Under.

In addition to his work in film and television, Newman has composed several works for the concert stage including the symphonic work Reach Forth Our Hands, commissioned in 1996 by the Cleveland Orchestra to commemorate the city’s bicentennial, as well as At Ward’s Ferry, Length 180 Ft., a concerto for double bass and orchestra commissioned in 2001 by the Pittsburgh Symphony. His latest concert piece was a chamber work entitled It Got Dark, commissioned by the acclaimed Kronos Quartet in 2009. As part of a separate commission by the Los Angeles Philharmonic, the work was expanded and adapted for symphony orchestra and string quartet, and premiered at Walt Disney Concert Hall in December of 2009.

KASIA WALICKA MAIMONE’s (Costume Designer) recent film credits include The Switch, with Jason Bateman and Jennifer Aniston, and Bennett Miller’s acclaimed Capote.

Her other credits include Little Manhattan; Jesus’ Son; The Opportunists; HBO’s Hysterical Blindness; Mira Nair’s segment, India, from September 11; and Songcatcher. She also designed the costumes for Ang Lee’s BMW short, Chosen.

Her opera projects include Philip Glass’ Les Enfants Terribles and The Sound of a Voice. Walicka Maimone has also participated in elaborate experi­mental theater pieces by Robert Woodruff (Oedipus Rex) and Richard Foreman (Maria del Bosco and King Cowboy Rufus Rules the Universe). She has also collaborated with choreographers Susan Marshall, Twyla Tharp, Donald Byrd and David Dorfman.

After graduating from the University of Southern California with a degree in acting, MARK RUSSELL (Visual Effects Supervisor) began his career in film production at DreamWorks in Los Angeles, working on groundbreaking films such as Saving Private Ryan, Minority Report and A.I. Artificial Intelligence. Since then, he has applied his breadth of experience to visual effects in other major films such as Hellboy and The Italian Job, as well as independent projects like Incident at Loch Ness, with Werner Herzog, and several major national commercials.

Russell supervised the visual effects on the Para ­mount Vantage film Carriers and the independents Sleep Dealer and Please Give, as well as the critically acclaimed Synecdoche, New York from writer/ director Charlie Kaufman.

Russell also directs commercials including a series of viral spots for WebVet that was featured on TNT’s America’s Funniest Commercials in 2009. He is currently in production on Universal Pictures’ Tower Heist, directed by Brett Ratner and starring Ben Stiller and Eddie Murphy, scheduled for release in fall 2011.

—the adjustment bureau—

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