Black Swan FINAL V2-intl - Central-Kino
Black Swan FINAL V2-intl - Central-Kino Black Swan FINAL V2-intl - Central-Kino
FOX SEARCHLIGHT PICTURES Presents In association with CROSS CREEK PICTURES A PRØTØZØA and PHOENIX PICTURES Production A film by DARREN ARONOFSKY NATALIE PORTMAN VINCENT CASSEL MILA KUNIS BLACK SWAN BARBARA HERSHEY and WINONA RYDER DIRECTED BY .............................................................. DARREN ARONOFSKY SCREENPLAY BY ........................................................ MARK HEYMAN and ......................................................................................... ANDRÉS HEINZ and ......................................................................................... JOHN McLAUGHLIN STORY BY ..................................................................... ANDRÉS HEINZ PRODUCED BY ............................................................. MIKE MEDAVOY ......................................................................................... ARNOLD W. MESSER ......................................................................................... BRIAN OLIVER ......................................................................................... SCOTT FRANKLIN EXECUTIVE PRODUCERS .......................................... BRADLEY J. FISCHER ......................................................................................... ARI HANDEL ......................................................................................... TYLER THOMPSON ......................................................................................... PETER FRUCHTMAN ......................................................................................... RICK SCHWARTZ ......................................................................................... JON AVNET DIRECTOR OF PHOTOGRAPHY ................................ MATTHEW LIBATIQUE, ASC PRODUCTION DESIGNER .......................................... THÉRÈSE DEPREZ FILM EDITOR................................................................ ANDREW WEISBLUM, A.C.E. COSTUME DESIGNER ................................................. AMY WESTCOTT ORIGINAL SCORE BY ................................................. CLINT MANSELL CASTING BY ................................................................. MARY VERNIEU, CSA MUSIC SUPERVISORS ................................................ JIM BLACK and ......................................................................................... GABE HILFER BALLET CHOREOGRAPHY BY ................................. BENJAMIN MILLEPIED VISUAL EFFECTS SUPERVISOR ............................... DAN SCHRECKER BALLET COSTUMES DESIGNED BY ........................ RODARTE Running time 110 minutes
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FOX SEARCHLIGHT PICTURES Presents<br />
In association with CROSS CREEK PICTURES<br />
A PRØTØZØA and PHOENIX PICTURES Production<br />
A film by DARREN ARONOFSKY<br />
NATALIE PORTMAN<br />
VINCENT CASSEL<br />
MILA KUNIS<br />
BLACK SWAN<br />
BARBARA HERSHEY<br />
and<br />
WINONA RYDER<br />
DIRECTED BY .............................................................. DARREN ARONOFSKY<br />
SCREENPLAY BY ........................................................ MARK HEYMAN and<br />
......................................................................................... ANDRÉS HEINZ and<br />
......................................................................................... JOHN McLAUGHLIN<br />
STORY BY ..................................................................... ANDRÉS HEINZ<br />
PRODUCED BY ............................................................. MIKE MEDAVOY<br />
......................................................................................... ARNOLD W. MESSER<br />
......................................................................................... BRIAN OLIVER<br />
......................................................................................... SCOTT FRANKLIN<br />
EXECUTIVE PRODUCERS .......................................... BRADLEY J. FISCHER<br />
......................................................................................... ARI HANDEL<br />
......................................................................................... TYLER THOMPSON<br />
......................................................................................... PETER FRUCHTMAN<br />
......................................................................................... RICK SCHWARTZ<br />
......................................................................................... JON AVNET<br />
DIRECTOR OF PHOTOGRAPHY ................................ MATTHEW LIBATIQUE, ASC<br />
PRODUCTION DESIGNER .......................................... THÉRÈSE DEPREZ<br />
FILM EDITOR................................................................ ANDREW WEISBLUM, A.C.E.<br />
COSTUME DESIGNER ................................................. AMY WESTCOTT<br />
ORIGINAL SCORE BY ................................................. CLINT MANSELL<br />
CASTING BY ................................................................. MARY VERNIEU, CSA<br />
MUSIC SUPERVISORS ................................................ JIM BLACK and<br />
......................................................................................... GABE HILFER<br />
BALLET CHOREOGRAPHY BY ................................. BENJAMIN MILLEPIED<br />
VISUAL EFFECTS SUPERVISOR ............................... DAN SCHRECKER<br />
BALLET COSTUMES DESIGNED BY ........................ RODARTE<br />
Running time 110 minutes
BLACK SWAN<br />
A psychological thriller set in the world of New York City ballet, BLACK SWAN stars Natalie<br />
Portman as Nina, a featured dancer who finds herself locked in a web of competitive intrigue with a<br />
new rival at the company (Mila Kunis). A Fox Searchlight Pictures release by visionary director<br />
Darren Aronofsky (THE WRESTLER), BLACK SWAN takes a thrilling and at times terrifying journey<br />
through the psyche of a young ballerina whose starring role as the <strong>Swan</strong> Queen turns out to be a part for<br />
which she becomes frighteningly perfect.<br />
BLACK SWAN follows the story of Nina (Portman), a ballerina in a New York City ballet<br />
company whose life, like all those in her profession, is completely consumed with dance. She lives<br />
with her retired ballerina mother Erica (Barbara Hershey) who zealously supports her daughter’s<br />
professional ambition. When artistic director Thomas Leroy (Vincent Cassel) decides to replace prima<br />
ballerina Beth Macintyre (Winona Ryder) for the opening production of their new season, “<strong>Swan</strong><br />
Lake,” Nina is his first choice. But Nina has competition: a new dancer, Lily (Kunis), who impresses<br />
Leroy as well. <strong>Swan</strong> Lake requires a dancer who can play both the White <strong>Swan</strong> with innocence and<br />
grace, and the <strong>Black</strong> <strong>Swan</strong>, who represents guile and sensuality. Nina fits the White <strong>Swan</strong> role<br />
perfectly but Lily is the personification of the <strong>Black</strong> <strong>Swan</strong>. As the two young dancers expand their<br />
rivalry into a twisted friendship, Nina begins to get more in touch with her dark side with a recklessness<br />
that threatens to destroy her.<br />
Presented by Fox Searchlight Pictures, in association with Cross Creek Pictures, a Prøtøzøa and<br />
Phoenix Pictures Production, BLACK SWAN is directed by Darren Aronofsky from a screenplay by Mark<br />
Heyman and Andrés Heinz and John McLaughlin, story by Andrés Heinz. The film is produced by Mike<br />
Medavoy, Arnold W. Messer, Brian Oliver and Scott Franklin and executive produced by Bradley J. Fischer,<br />
Ari Handel, Tyler Thompson, Peter Fruchtman, Rick Schwartz, Jon Avnet, David Thwaites and Jennifer<br />
Roth.<br />
The creative team includes director of photography Matthew Libatique, ASC (IRON MAN 2),<br />
production designer Thérèse DePrez (HOWL), film editor Andrew Weisblum, A.C.E. (FANTASTIC<br />
MR. FOX), music by Clint Mansell (THE FOUNTAIN), music supervisors Jim <strong>Black</strong> (THE<br />
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WACKNESS) and Gabe Hilfer (THE WRESTLER), ballet choreography by Benjamin Millepied and<br />
visual effects supervisor Dan Schrecker.<br />
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DANCING GOOD AND EVIL:<br />
THE STORY<br />
The daring and original director Darren Aronofsky (THE WRESTLER, THE FOUNTAIN, REQUIEM<br />
FOR A DREAM, π) lures audiences into a haunting, fractured world of delusions, doubles and paranoia in<br />
BLACK SWAN, his first psychological thriller. He spins a sensual and chilling tale of a prima ballerina locked<br />
in an obsessive battle with dark impulses that slowly engulf her.<br />
Academy Award® nominee Natalie Portman (CLOSER) stars as Nina, an ambitious young New York<br />
ballet dancer who is after the ultimate double role: the delicately innocent White <strong>Swan</strong> and the seductively evil<br />
<strong>Black</strong> <strong>Swan</strong> of the star-making classic “<strong>Swan</strong> Lake.” She gets the role but is unsure if she can let go enough to<br />
embody the dark side of the <strong>Swan</strong> Queen. As she ascends to new heights with her body, her most deeply buried<br />
fantasies, jealousies and nightmares begin to ensnare her mind into the blackest depths causing a dangerous<br />
clash with the provocative newcomer who is her greatest rival. Nina quickly becomes all too perfectly<br />
entwined with the bewitching and deadly <strong>Black</strong> <strong>Swan</strong>.<br />
Far from the typical thriller set in a world of crime or haunted houses, Aronofsky’s vividly intimate<br />
portrait of a woman unraveling at the very seams of her psyche takes place in the least expected of realms, the<br />
artistically electric and physically demanding world of professional ballet. For Aronofsky, it was the perfect<br />
place to unfold a visually explosive tale of the obsessive pressure to be perfect. As with THE WRESTLER, the<br />
film also gave him a chance to plunge into an unseen world and peel back what makes the people who are<br />
driven to sacrifice so much.<br />
Although he started thinking about this story fifteen years ago, Aronofsky notes that BLACK SWAN is<br />
intentionally a companion piece to his most recent film, THE WRESTLER. While wrestling and ballet might<br />
seem like they couldn’t possibly be more disparate worlds, BLACK SWAN dips into moments of sheer<br />
psychological horror unlike anything Aronofsky has done before. The two films are tied together by themes of<br />
bodily extremes, souls in turmoil and by a filmmaking style that pulls the audience inside the characters’<br />
fascinating inner worlds.<br />
“Some people call wrestling the lowest of art forms, and some call ballet the highest of art forms, yet<br />
there is something elementally the same. Mickey Rourke as a wrestler was going through something very<br />
similar to Natalie Portman as a ballerina,” Aronofsky explains. “They’re both artists who use their bodies to<br />
express themselves and they’re both threatened by physical injury, because their bodies are the only tool they<br />
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have for expression. What was interesting for me was to find these two connected stories in what might appear<br />
to be unconnected worlds.”<br />
The two films are also tied by a lead performance that dives well beneath the surface, says<br />
Aronofsky, who compares Portman’s commitment to that of Rourke. “The role of Nina is quite different from<br />
anything Natalie has done before,” notes Aronofsky, “and she took it to another level. Playing Nina was as<br />
much an athletic feat as a feat of acting.”<br />
The challenges of making BLACK SWAN were also similar to the notably intense production of THE<br />
WRESTLER, perhaps even harder. As secretive as the world of professional wrestling can be, Aronofsky<br />
found the ballet world even more insular and closed-off to outsiders.<br />
And then there was the training that Natalie Portman had to undertake in order to make the film’s ballet<br />
scenes as incandescently lyrical as they are full of mounting tension and foreboding. “Ballet is something most<br />
people start training for when they’re four or five years old and as they live it, it changes their bodies, it<br />
transforms them. To have an actress who hasn’t gone through all of that convincingly play a professional ballet<br />
dancer is the tallest of orders. Yet somehow, with her incredible will and discipline, Natalie became a dancer.<br />
It took ten months of vigorous work, but her body transformed and even the most serious dancers were<br />
impressed. I’m convinced that the physical work also connected her to the emotional work,” states Aronofsky.<br />
Aronofsky notes that he was gratified to find a cast who could take on this challenge. They, in turn,<br />
were attracted by a story that became a suspenseful, yet daring, odyssey into a dancer’s sudden rise and<br />
terrifying descent.<br />
Aronofsky finally got the chance to express his idea for BLACK SWAN ten years ago via a screenplay<br />
by Andrés Heinz – a dark drama that took place on Broadway, setting up a perilous rivalry between an actress<br />
and her mysterious understudy. Aronofsky was intrigued, but having grown up as a witness to his sister’s<br />
shockingly tough training as a ballet dancer, he wanted to switch the backdrop to that of a premiere New York<br />
ballet company. This change led to the creation of Nina and Lily, two competitive rising dance stars willing to<br />
sacrifice anything and everything for that one perfect performance.<br />
Even as he was engaged in other projects for many years, Aronofsky continued developing the project<br />
with Mark Heyman (co-producer of THE WRESTLER).<br />
It was Aronofsky’s idea to merge Heinz’s original concept with the story behind the world’s most<br />
popular ballet, “<strong>Swan</strong> Lake,” which tells the story of a dramatic duel between innocence and wickedness. All<br />
the while, he was also working with Heyman to create the macabre new twist which galvanized the tale. In the<br />
final draft, the key elements of “<strong>Swan</strong> Lake” – swans, demons, spells and doubles – became entwined with<br />
Nina’s psyche as it shatters into a psychosexual kaleidoscope of shards, turning her from a naïve young girl into<br />
a dangerous, metamorphosed creature.<br />
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“Darren and I had talked for years about doing a ballet thriller,” recalls Heyman. “What I did was to<br />
take the initial drafts of the screenplay and adapt the plot of ‘<strong>Swan</strong> Lake’ right into the center of it. That<br />
changed everything and became the jumping off point for a modern New York story about duality, about<br />
doubles and about the fear of someone or something taking over your life.”<br />
“The story became about Nina’s fears of losing who she is,” continues Aronofsky. “That is something I<br />
think everyone can relate to, but Nina becomes completely overtaken by those fears until her reality becomes<br />
inseparable from the character she is playing.”<br />
As the final script became a world unto itself, Heyman says it was increasingly difficult to place it into<br />
a genre. Was the story a plunge into biological horror as a woman morphs into a demon swan or a riveting<br />
portrait of a driven artist losing control of her mind under extreme pressure? Heyman hopes the answer is both<br />
things at once.<br />
“My favorite films are always difficult to categorize,” says Heyman. “Our hope for BLACK SWAN<br />
is that it would be one of those films. That it would scare people but also get under the skin in a lasting way.”<br />
The project soon attracted a producing team that included Mike Medavoy, Arnold W. Messer, Brian<br />
Oliver and Scott Franklin. “This is both new ground and familiar territory for Darren. On the one hand, it is a<br />
departure for him into the psychological thriller element, which is something he’s never really attempted before<br />
and yet it evokes an intense realism with his attention to detail, camera style and the way he works with actors<br />
to get very real performances,” says Franklin.<br />
Adds Oliver, “If you’ve seen Darren’s films, you know he’s doesn’t do anything in a standard way.<br />
Just as THE WRESTLER made people really feel what it would be like to be an aging wrestler, he delves<br />
deeply into the world of a dancer, while building psychological suspense to fantastic levels.”<br />
Executive producer Jennifer Roth says of the film, “BLACK SWAN is not simply a thriller nor a movie<br />
about dance. It encompasses all these different aspects and crosses over to a dark but fascinating place.”<br />
WOMAN INTO SWAN:<br />
NATALIE PORTMAN AS NINA<br />
Even before the screenplay for BLACK SWAN was completed, Darren Aronofsky knew who would<br />
play Nina, the hopeful solo dancer overtaken by unsettling fantasies and eerie events as she prepares for the<br />
greatest role of her life. It had to be Natalie Portman, whose diversity of memorable roles ranges from Queen<br />
Amidala in the STAR WARS series to her Oscar®-nominated and Golden Globe®-winning role as a stripper in<br />
Mike Nichol’s adaptation of CLOSER. Not only had Portman studied ballet as a child, more importantly, she<br />
had the commitment and drive to plunge into the immense physical and psychological demands of a part that<br />
would have her leaping, spinning and losing touch with reality, all at the same time.<br />
Aronofsky approached her several years ago to talk about the film, then still in a fledgling state.<br />
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“Very soon after I first started thinking of the idea for BLACK SWAN, I met with Natalie for coffee in Times<br />
Square,” he recalls. “She had done a lot of ballet before she became an actress and had continued doing it over<br />
the years just to stay in shape. She told me straight away that one of the things she’d always wanted to do was<br />
play a dancer.”<br />
Though it would take almost ten years after their meeting before the BLACK SWAN screenplay was<br />
finished, when Portman read it, she was riveted by Nina’s twisting psychological journey.<br />
Nina starts out as what the ballet world calls a “bunhead,” a not-so-endearing term for a ballerina so<br />
devoted to dance that nothing else matters, who is sheltered by her equally driven, former-dancer mother and<br />
who never really developed an adult life of her own. But when she gets the role of the <strong>Swan</strong> Queen, it awakens<br />
something new in her, a need to explore her deepest, darkest feelings which begin to unhinge the fragile edges<br />
of her mind. Nina, like the <strong>Swan</strong> Queen she wants to embody, suddenly becomes embroiled in a story of<br />
enchantment, desire and danger.<br />
This pushed Portman to edges that she had never before explored on screen – and required her to peer<br />
into the abyss. “Nina is dedicated, hardworking but also obsessive,” the actress explains. “She doesn’t yet have<br />
her own voice as a dancer, as a young woman, but she progressively changes as she searches to find her<br />
sensuality and sense of freedom. At the same time, she also starts to come undone, and that was the challenge. “<br />
She continues: “What Nina wants is perfection, which is something that can only exist for a moment, a<br />
brief, fleeting moment -- but like all artists, she may have to destroy herself to find that. When she tries to<br />
become the <strong>Black</strong> <strong>Swan</strong>, something dark starts to bubble inside her. It becomes an identity crisis where she’s<br />
not only unsure of who she is but the lines become blurred between her and other people. She starts literally<br />
seeing herself everywhere.”<br />
Trapped in this dizzying world of doubles and deceptive appearances, of mysterious encounters and<br />
erupting wounds, Nina begins to lose control -- and Portman had to do so, also.<br />
“As Nina begins to rebel against all the structures around her,” she notes, “it comes with all this<br />
paranoia that takes her to a dark place, where she isn’t sure what other people want from her and whether or not<br />
she’s losing her mind.”<br />
Amidst the darkness, Portman was thrilled to have a chance to immerse herself in the ballet world she,<br />
like Nina, dreamed about as a young girl. “I loved the authenticity of all these very real dance world details in<br />
the screenplay,” she says, “and I especially loved how Nina’s story parallels ‘<strong>Swan</strong> Lake.’ I saw her as<br />
someone really trying to break free of a spell – trying to break free of everyone else defining who she is and<br />
trying to see through all of it who she really is as a person and an artist.”<br />
And yet, as Nina begins to lose the thread of reality, she cannot let anyone know what she’s going<br />
through, lest she lose the role of the <strong>Swan</strong> Queen to her most threatening rival, the sensuous, shameless Lily --<br />
who becomes Nina’s alternate, both literally and figuratively.<br />
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Portman was intrigued by Nina and Lily’s twisted, envy-driven relationship which operates on several<br />
levels. “I like how when they first meet, they size each other up the way that girls really do,” she says. “It’s a<br />
survival mechanism, to scope out who your biggest competition is and in this case, Nina sees right away that<br />
Lily is gorgeous, talented and a total threat to her position. But she also doesn’t yet know who Lily really is.”<br />
To reveal all this on screen, Portman put herself through both rigorous physical and psychological<br />
preparations. The physical training was beyond anything she ever imagined, as she began training intensively,<br />
with single-minded focus, for five hours a day, every day, some ten months before production even began. She<br />
did so under the tutelage of several pro-level teachers and trainers -- including Mary Helen Bowers, formerly of<br />
the New York City Ballet – who put her through a gruelingly complete dance education in record time.<br />
“I did a tremendous amount of dancing, and I also did a lot of swimming and weight training as well as<br />
cross training, so I wouldn’t get injured because dance is so hard on the body,” Portman explains. “It’s<br />
incredibly challenging, trying to pick ballet up at 28. Even if you’ve taken dance lessons before, you just don’t<br />
realize how much goes into it at the elite level. Every small gesture has to be so specific and so full of lightness<br />
and grace. I knew it would be a challenge, but I never expected just how physically tough it turned out to be.”<br />
In addition to having studied dance in her youth, Portman studied psychology at Harvard, which yielded<br />
further insights into Nina’s disintegrating psyche, allowing the actress deeper into Nina’s surreal inner<br />
experience. “I saw Nina as being caught in a cycle of obsession and compulsion,” she assesses. “The positive<br />
side of that for artists and dancers is that by focusing so hard you can become a virtuoso, but then there’s a<br />
much darker side, an unhealthy side, in which you can become completely lost. That’s where I had to take<br />
Nina.”<br />
Portman explored that darker side with fearlessness in each of Nina’s relationships: with the ballet<br />
company’s relentless artistic director, Thomas Leroy (Vincent Cassel) who pushes her to explore the unvisited,<br />
dark corners inside herself; with her over-involved, former dancer mother (Barbara Hershey), who keeps a<br />
constant close eye on Nina; and by the veteran dancer (Winona Ryder) whose career Nina once idolized and<br />
whose sudden downfall sends her reeling.<br />
SHADOWING THE SWAN:<br />
THE SUPPORTING CAST<br />
Surrounding Natalie Portman in BLACK SWAN is an accomplished supporting cast whose<br />
performances add to the film’s hypnotic mix of beauty, mystery and fear.<br />
To play Natalie Portman’s rival Lily, Aronofsky chose Mila Kunis, the Ukrainian born actress who has<br />
been rapidly rising with roles in BOOK OF ELI and FORGETTING SARAH MARSHALL, who brought the<br />
brashness and dark charm to her role as the overly ambitious newcomer.<br />
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“Mila plays Lily as someone who has exactly what Nina wants. She is much freer, more alive and more<br />
sexual than Nina,” says Aronofsky. “Lily has the freedom to express herself and that becomes the source of<br />
both great allure and intense friction for Nina.”<br />
Kunis was instantly drawn to her wildly uninhibited character and to the intriguing idea of playing a<br />
dancer though the brutal reality knocked her for a serious loop. “I had this idea in the beginning of grandeur, of<br />
feeling graceful and wearing a tutu, but you have no idea how physically demanding it is until you do it,” Kunis<br />
says. “It really takes a toll on your body!”<br />
Nevertheless, she threw herself into training and into exploring the upending effects Lily has on Nina.<br />
“The key to Lily is that she had to be exactly the opposite of Nina, her mirror opposite, in every way,” says<br />
Kunis. “Even their dance styles are opposite. Nina is a very technical, beautiful dancer while Lily is more raw,<br />
free and spontaneous. Nina’s whole life is ballet but Lily eats hamburgers, parties, has sex, does drugs and<br />
explores everything. She’s the complete antithesis of Nina and embodies the <strong>Black</strong> <strong>Swan</strong>.”<br />
Taking on Lily as both the ultimate impulsive woman and an apparition was a tightrope act, one Kunis<br />
says she could not have done without Darren Aronofsky providing a safety net. “I wouldn’t have done this<br />
movie if not for Darren,” she confesses. “This character could be very iffy in the wrong hands. There isn’t a<br />
right way to play Lily. I didn’t read the script saying, ‘Oh, I’ve got this character figured out; I know exactly<br />
how to play her,’ because in every scene she’s different. But I trusted that in Darren’s hands it would work. I<br />
don’t know if I would’ve felt like that in the hands of any other director.”<br />
If Lily represents all that Nina wants to access within herself, then the company’s brilliant<br />
choreographer and artistic director, Thomas Leroy, is the man who pushes her without mercy to do just that.<br />
Playing Thomas is Cesar-winning French actor Vincent Cassel, who is lauded in Europe but has also worked in<br />
a range of Hollywood films such as OCEANS TWELVE, SHREK, ELIZABETH and EASTERN PROMISES.<br />
“Vincent is one of my favorite actors on the planet,” says Aronofsky. “I’m a big fan of his work in both<br />
his French and American films. Here he plays a Machiavellian character – the artistic director who is all about<br />
the art, and doesn’t care about the victims he leaves along the way. He was wonderful to work with in the role,<br />
in part because he moves so beautifully.”<br />
Cassel says the role was impossible to resist. “First of all there was Darren, who I always wanted to<br />
work with. Then, there was Natalie, who I’ve admired for years. After that, came the idea of making a thriller<br />
set in the ballet world, which is so attractive. The ingredients were cool. I knew it would be dark but very sexy.<br />
Then, I discovered Mila and soon Winona Ryder got involved, and I was going to be in the middle of all these<br />
women like a circus master. So, honestly, how could I say no?” he laughs.<br />
Yet, Cassel also knew Thomas would not be an easy man to inhabit especially in his willingness to push<br />
the dancers to their limit. “He’s not exactly a womanizer,” he explains. “I don’t think he’s really interested in<br />
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women so much as he’s excited by going after the extremes of perfection, beauty and art. He wants to see the<br />
dancers he chooses blossom into the ultimate expression of himself, and he drives them very, very hard.”<br />
To play Thomas with an authentic air, Cassel dove into research, studying the lives and magnetic<br />
personalities of the world’s great choreographers, from Balanchine to Baryshnikov. He was further inspired by<br />
observing the film’s choreographer, renowned dancer Benjamin Millepied of the New York City Ballet.<br />
“Seeing the way Benjamin interacted with the dancers, and the way he carried himself, gave me a lot of<br />
interesting input,” notes Cassel.<br />
Rounding out the main cast are two Academy Award-nominated and Golden Globe®-winning<br />
actresses: Winona Ryder as Beth, the company’s legendary star dancer who finds herself rapidly falling from<br />
grace and Barbara Hershey as Nina’s mother, Erica, who both shields and smothers her daughter.<br />
For Ryder’s character, Beth is key to Nina’s story as a prophesy of what awaits her in the future. “Beth<br />
has been the star for awhile but now she’s at an age where, in one swoop, she gets fired and dumped by her<br />
lover, the ballet’s Artistic Director,” explains Ryder. “It brings up the whole question of what dancers have to<br />
endure, the tragedy and unfairness of how short their careers are.”<br />
She continues, “I think it also deals more generally with the quest for perfection, because what dancers<br />
have to go through to perfect their performances is beyond anything an audience ever sees. Beth has worked on<br />
her art since she was a child and suddenly, she comes to a place where everything she’s worked so hard to<br />
develop has just broken her down. And she doesn’t handle it well.”<br />
Aronofsky says of Ryder, “Winona was fantastic for the role because she is such a superstar herself. I<br />
think the audience will really connect to her as the famous prima ballerina who is being pushed out as Nina<br />
steps in to replace her.”<br />
Hershey, too, was entranced by BLACK SWAN and her unusual role. “I’m sure some people will look<br />
at Erica as the mother from hell but I see her as a mother in hell, which is a big difference,” says Hershey. “I<br />
think she’s pretty tortured. For everything she does, there’s this opposite thing happening at the same time. She<br />
loves her daughter yet there’s an obsession to it. She wants her to succeed but at the same time she knows her<br />
fragile mental state. She’s terribly jealous of her daughter, yet she wants the world for her. She wants Nina to<br />
fly -- but she doesn’t want her to leave.”<br />
Both women were captivated by Aronofsky’s techniques for working with actors. “I wasn’t available<br />
for rehearsal because I was working on another film in England at the time,” recalls Hershey, “so Darren had<br />
me do something I thought was so brilliant. He asked me to write two letters to Nina as my character. So,<br />
while I was working on this other project, I was already thinking of the relationship between Nina and her<br />
mother. I started writing and the character just started speaking. Then Darren took these letters and gave them<br />
to Natalie at strategic moments.”<br />
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POINTE AND PUNISHMENT:<br />
THE TRAINING AND CHOREOGRAPHY<br />
Just as he had penetrated the starkly human yet hidden world of professional wrestlers in THE<br />
WRESTLER, amidst the psychological thrills of BLACK SWAN, Darren Aronofsky submerses the audience<br />
into the gritty, sweat-and-anxiety filled backstage reality of dance that few people ever see. While ballet has<br />
long been a part of cinematic history, from Michael Powell’s classic THE RED SHOES to Herbert Ross’ 70s hit<br />
THE TURNING POINT, Aronofsky’s film looks like no other dance movie before it.<br />
To shoot ballet from the inside looking out would take a combination of personal research, intensive<br />
actor training and visceral camera techniques. “As a filmmaker, Darren is obsessed with details,” says co-writer<br />
Mark Heyman. “So despite the fantastical elements of the story – seeing your double and the transformation of<br />
Nina – it was very important to him to ground the film in a lot of authenticity.”<br />
As production neared, Aronofsky began to hone in on how he was going to create the film’s dynamic<br />
stage performances which he wanted to have all the first-person intensity of the fight scenes in THE<br />
WRESTLER, yet also capture the grace and lyricism that makes ballet a kind of poetry of the body…and do<br />
justice to the legacy of “<strong>Swan</strong> Lake.”<br />
To start, he recruited a ballet team headed by choreographer Benjamin Millepied, himself a star dancer<br />
with The New York City Ballet and a globally acclaimed creator of new ballets. Though it was his first time<br />
choreographing for film, Millepied took to it immediately. “I got really into the whole process, and I was<br />
blown away by the actors,” he says. Millepied also had fun stepping in front of the camera to play the role of<br />
David, the company’s lead dancer.<br />
His task was to take key moments from “<strong>Swan</strong> Lake” and choreograph them so they would perfectly<br />
integrate with both Aronofsky’s screen vision of Thomas Leroy’s idea of a fresh, “stripped down” production<br />
and at the same time be performable by the two actresses who, devoted as they were, were not life-long<br />
ballerinas.<br />
“It was really important to Darren to keep true to a real “<strong>Swan</strong> Lake,’” explains Millepied. “But we<br />
both knew that you can’t train someone to be a lead ballerina in six months, so we worked very hard on<br />
choosing specific movements for Natalie and Mila that would work on film. Natalie had already started taking<br />
dance classes before I was introduced to her and she had done some training in her childhood, but Mila had no<br />
training whatsoever. So my role was to really refine their movements and to use the choreography to bring out<br />
exactly what was needed. Fortunately, Darren has a great understanding of what good dancing looks like, so<br />
that made my job a lot easier.”<br />
For Portman and Kunis, it would be an intense education. To help train them further, Millepied brought<br />
in a crew of ballet coaches, including the legendary Georgina Parkinson, a principal dancer with the Royal<br />
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Ballet and mistress of the American Ballet Theatre for 30 years, who sadly passed away just two weeks before<br />
filming was completed. Also working with the actresses were the ballet mistresses Marina Stavitskaya, director<br />
of classical repertoire for the Manhattan Youth Ballet, and Olga Kostritzky, whose past students included<br />
Mikhail Baryshnikov and Jock Soto.<br />
They pushed Portman and Kunis to do things with their bodies they never know possible – and both<br />
paid a physical price. “I love dancing so much, I thought it was going to be so much fun to dance at work,”<br />
Portman recalls. “I had no idea how grueling it would be.”<br />
Grueling wasn’t even the half of it. Both she and Kunis would battle injuries and overtraining fatigue<br />
as they raced the clock to be ready for the shoot. “Two torn ligaments and a dislocated shoulder later, I was<br />
asking myself, ‘What am I doing?’” laughs Kunis.<br />
She continues: “The pointe shoes are especially brutal. I could probably have them on for a maximum<br />
20 minutes. You don’t even have to get up en pointe for them to hurt. All you have to do is walk around. Your<br />
feet can’t go forward because there’s this wooden box at the tip. You trip over yourself. To have them on all<br />
day, your feet swell and turn black and blue.”<br />
Portman, who danced more than 90% of her scenes on screen, also suffered an agonizing rib injury<br />
while training. “It was pretty intense because I had to deal with it for about half of the shoot,” she admits. “But<br />
it’s hard to complain when you see what the professional dancers dance through all the time. They’re<br />
constantly dancing with very serious injuries, like sprained ankles. They are accustomed to dancing through<br />
pain.”<br />
Despite all the difficulties, the two women were guided so expertly, they grew ever stronger and more<br />
confident as dancers. “It was one of the hardest things I think I’ll ever do in my life,” admits Kunis. “I also<br />
think ballet isn’t given enough credit as one of the hardest sports in the world. But the really amazing part<br />
comes when you realize how all that hard work and suffering can produce an art that looks so effortless.”<br />
That effortlessness, which characterizes the most powerful dancing, is what Millepied was after on the<br />
screen, a stark contrast with Nina’s nightmarish personal journey. “It was amazing to watch Natalie and Mila<br />
progress. We set the bar very high and they were able to pull it off,” he comments.<br />
To accompany Portman and Kunis on stage, Millepied and executive producer Ari Handel brought in a<br />
corps of professional dancers from the Pennsylvania Ballet – including male lead Sergio Torrado, who plays<br />
Von Rothbart in the film’s “<strong>Swan</strong> Lake.” Due to the timing, it turned out to be far more difficult to find the<br />
right ballet company than it was to find the starring actors.<br />
“We found out that a lot of companies, like the New York City Ballet and ABT, were in season, so they<br />
couldn’t spare any dancers for us,” says producer Franklin. “Fortunately, the Pennsylvania Ballet was on<br />
hiatus. They agreed to work with us only a few weeks before shooting.”<br />
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“We were thrilled to be able to make this work,” says Roy Kaiser, Artistic Director of the Pennsylvania<br />
Ballet. “It’s a fantastic project and was a great experience for my dancers. They’ve had a chance to help show<br />
ballet in a realistic light and were so excited to work with this phenomenal cast.”<br />
HALL OF MIRRORS:<br />
THE VISUAL DESIGN<br />
Production of BLACK SWAN began outside Lincoln Center, home of the New York City Ballet, and<br />
continued for several weeks, entirely on location in New York, mainly in Manhattan but also shooting at the<br />
Performing Arts Center at the State University of New York Purchase, the versatile stage where Bob Fosse shot<br />
portions of the cinematic dance classic, ALL THAT JAZZ.<br />
Aronofsky worked with his talented design team to entwine two visual ideas: a visceral view of ballet<br />
featuring raw, handheld camera work and a more surreal and frightening but equally gritty, series of images<br />
filled with refractive mirrors and eerie sightings of doppelgangers that blur the edges of reality. The alwaysmoving<br />
camera seems to both dance and descend with the main character.<br />
The team included many Aronofsky regulars, headed by cinematographer Matthew Libatique, ASC<br />
(THE FOUNTAIN), production designer Thérèse DePrez (HOWL), costume designer Amy Westcott (THE<br />
WRESTLER), editor Andrew Weisblum, A.C.E. (THE WRESTLER) and visual effects supervisor Dan<br />
Schrecker (REQUIEM FOR A DREAM).<br />
Bypassing a century of both dance-on-film and psychological thriller techniques, Aronofsky and<br />
Libatique instead brought their own trademark style to a world rarely seen in this kind of raw intimacy. Most of<br />
the film’s scenes rely on a single hand-held camera that moves continuously, sinuously, with no resetting for<br />
masters or close-ups.<br />
“I was excited to shoot a psychological thriller mostly hand-held because I couldn’t think of a time<br />
when it had been done before,” says Aronofsky. “There are sometimes a few scenes in thrillers where you see<br />
from the monster’s POV with a hand-held camera, but to do the whole thing hand-held in a documentary style<br />
felt unique.”<br />
He continues, “I also felt that bringing a handheld camera into the ballet world would help to get inside<br />
it, as we had done with the wrestling ring in THE WRESTLER. The camera is dancing and spinning with the<br />
dancers. It captures the energy, the sweat, the pain and the artistry close up.”<br />
And then there are the mirrors, which play a major role in the film’s visual architecture. “In the world<br />
of ballet there are mirrors everywhere,” explains Aronofsky. “Dancers are always looking at themselves, so<br />
their relationship with their reflection is a huge part of who they are. Filmmakers are also fascinated by mirrors,<br />
and it’s been played with before, but I wanted to take it to a new level. Visually, we really pushed that idea of<br />
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what it means to look in a mirror. Mirrors become a big part of looking into Nina’s character, which is all about<br />
doubles and reflection.”<br />
The task of forging the physical world of BLACK SWAN fell to production designer Thérèse DePrez.<br />
Here, she faced the double challenge of designing both a Manhattan-based psychological thriller and an onscreen<br />
production of “<strong>Swan</strong> Lake” meshing them together in every detail. “I’ve wanted to work with Thérèse<br />
for a long time,” says Aronofsky. “She created a really big canvas for us on a very tight budget. She created a<br />
world that is not the real world, but feels like it is real, which is a very hard thing to pull off.”<br />
“Darren is very organic in the way he approaches his films,” says DePrez, “so I started by looking at the<br />
palette, which was inspired both by ‘<strong>Swan</strong> Lake’ and by what Nina sees everyday – the rehearsal spaces that are<br />
both Old World and modern New York. We wanted something very minimalist so it is mostly shades of black,<br />
white, grey and the pinks of ballet, which were divided into the innocent pinks of Nina’s character and Beth’s<br />
pinks which are a little more worn. Then there are some greens, which come from Rothbart and also the nature<br />
settings of ‘<strong>Swan</strong> Lake.’ But that’s really it. We kept the colors very limited.”<br />
Many of the film’s sets would quietly presage what is later seen on stage in “<strong>Swan</strong> Lake” during the<br />
explosive climax of the film including Thomas Leroy’s stark, black-and-white apartment, where he gives Nina<br />
an unusual homework assignment as well as Nina’s pink, childlike bedroom, which offers her fewer and fewer<br />
comforts as the story builds. “It’s all very subtle, but there are common visual threads that keep weaving<br />
throughout,” points out DePrez. “One thing about Darren is that he doesn’t like to over-stylize anything. So a<br />
lot of the design was about grounding Natalie’s character in reality.”<br />
It all built up to DePrez’s most massive challenge: designing sets for a new take on “<strong>Swan</strong> Lake,” one<br />
that would be dark, modern, edgy and, most of all, highly cinematic.<br />
“One of the things that was very important to Darren and me was to have movement in all of the set<br />
pieces on the stage. We didn’t want anything stagnant or still,” she explains. “So, you’ll see in every act of the<br />
ballet there are stage elements that move. There are tree scrims that spread apart, there’s a moon that is backlit,<br />
there’s a cliff with a moving ramp. Everything also has a touch of photorealism to make it more modern and<br />
unexpected. It all had to be very intricately composed.”<br />
Her designs even extended to the wings of the stage. “The wings were almost as important as the stage<br />
itself,” she says. “We made sure there were ballet bars where the dancers are stretching, and of course, mirrors.<br />
Everything is there for the camera to capture.”<br />
That same attention to Nina’s reality with the visual elements of “<strong>Swan</strong> Lake” intertwined throughout<br />
can be found in the work of costume designer Amy Westcott, who started by throwing herself into the ballet<br />
world. “I sat in on classes, went to performances at ABT and New York City Ballet, and then began to put lots<br />
of idea together,” she explains.<br />
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Having collaborated with Aronofsky before on THE WRESTLER, Westcott knew what to expect.<br />
“Darren likes to dive into a world and get it right, and it’s our job to dive in right after him,” she says.<br />
Key to getting BLACK SWAN right was finding a look for Natalie Portman as Nina, one that shifts as<br />
her reality lurches. “I wanted to get across that, at first, Nina’s mother has a big influence on how she dresses,”<br />
says Westcott. “Her mother wants to keep her in a childlike state, so Nina wears mostly three girlish colors:<br />
white, grey and pink. We start out heavy on the pink. But, by the end, she wears mostly black. Once you start<br />
to see her in black tights instead of pink, you know something’s snapped and she’s on the other side of the<br />
fence.”<br />
Westcott used each of the character’s core personalities to influence their look. “Lily is about sexy<br />
confidence so she wears a lot of black with flashes of silver. There’s also a dream-like quality to her that we<br />
tried to convey. Thomas Leroy is very strong and so Vincent wears black, grey and white.”<br />
Then there was the extraordinary task of coming up with costumes for a New York ballet company's<br />
new spin on the classic "<strong>Swan</strong> Lake." To do this, Aronofsky spoke to two exciting fashion stars, Kate<br />
and Laura Mulleavy, sisters known collectively to the fashion world as Rodarte,. Aronofsky felt that<br />
Rodarte's gothic, romantic, yet rough-edged designs could update the ballet's traditional look in<br />
unpredictable ways. "Visually it's a very different take on '<strong>Swan</strong> Lake,'" he says. "Rodarte's ballet<br />
costumes take it to another plane, they're both classic and cutting-edge at the same time".<br />
The Mulleavy sisters were intrigued and excited by the concept of a new take on "<strong>Swan</strong> Lake."<br />
"The aesthetics of ballet are compelling to us as designers and we have always loved Tchaikovsky's<br />
'<strong>Swan</strong> Lake.' Reading the script, we were immediately drawn in to the story and began to envision<br />
Natalie as a ballerina and the world that Darren would create with her character. Darren is a true auteur<br />
and we were excited by the concept of bringing our visions together. We met with Darren in New York<br />
and Natalie in Los Angeles and instantly knew the vision for the movie was an aesthetic we wanted to<br />
help bring to life."<br />
They continue, "<strong>Black</strong> <strong>Swan</strong> is a story of beauty contrasted with a dark transfiguration. We<br />
developed the costumes with the characters' dual identities in mind, always trying to find the balance<br />
between their delicate and brutal natures and actions. We used colors (cool grey, pale pink, white,<br />
black, and dark green) and textures (wool and angora, feather, tulle, metal, and embroideries) to<br />
illustrate their on-stage and off-stage personas."<br />
Another key component in building the mood, suspense and emotions of BLACK SWAN is the<br />
music composed by Darren Aronofsky’s long-time collaborator Clint Mansell. Mansell began by going<br />
straight to the source of Nina’s obsession – “<strong>Swan</strong> Lake” – and wove strands of Pyotr Ilyich<br />
Tchaikovsky’s iconic music for the classic ballet throughout the fabric of the film’s score.<br />
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When Aronofsky approached him about the film, Mansell had just seen a production of the<br />
ballet in London. “I was knocked out by it as a live, visceral experience, and I thought, ‘this is going to<br />
be cool,’” he recalls.<br />
In creating the score, Mansell was faced with an intriguing challenge with how to be true to<br />
Tchaikovsky’s timeless legacy while creating a distinctive sonic environment for Nina’s dark, modern<br />
journey. “It was a tremendous privilege to work with Tchaikovsky’s fantastic piece of music. I had the<br />
deepest respect for it, but I also felt I had to have no boundaries, that I had to really go for it,” the<br />
composer says. “I really hope that in the end, people won’t think ‘oh that part is Tchaikovsky and that<br />
other part isn’t.’ I hope it’s a journey of the two woven together to become a new take on ‘<strong>Swan</strong><br />
Lake.’”<br />
Mansell’s idea was that Tchaikovsky’s lyrical masterpiece would, in a sense, haunt Nina,<br />
following her, altering and shifting into something stranger and stormier, as she becomes more and<br />
more overtaken by her role as the <strong>Swan</strong> Queen.<br />
“The music is always referencing Tchaikovsky or echoing it in some way,” Mansell explains.<br />
“Tchaikovsky was always the foundation, but then I started experimenting.”<br />
The process grew more personal as it intensified. “Tchaikovsky’s score is so wonderfully<br />
complex and there’s so much going on in it, it tells the story in every note,” Mansell observes. “But<br />
modern film scores are more subdued, more minimalist if you will, so I had to almost deconstruct the<br />
ballet. I broke it down into certain rhythms, progressions and melodies, and then rebuilt those into the<br />
score for the film. As I continued writing, the score took in more of the way I hear music with more<br />
atonal and discordant elements that bring out the suspense and turmoil.”<br />
Mansell also worked with the music’s organic elements to mirror Nina’s subconscious and her<br />
passage into corridors of paranoia, overwhelming desire and fear. “It wasn’t hard to dial in that element<br />
of terror,” he notes, “because Tchaikovsky’s music is already so powerful and expressive. Ballets back<br />
then were like films today, they were written to take people on an imaginative trip.”<br />
Before production even began, Mansell wrote portions of the score so that the film’s ballet<br />
sequences could be shot to the music then later, he began writing to picture as dailies started coming in,<br />
providing fresh inspiration. At last, he traveled to London for the final recording sessions, where he<br />
heard the score performed for the first time by a 77-piece orchestra. “When the music takes on a life of<br />
its own in the hands of great musicians, that’s breathtaking,” says Mansell.<br />
Aronofsky was exhilarated by what Mansell created. “This is some of the most extraordinary<br />
work I’ve heard from Clint,” says the director. “You feel Tchaikovsky everywhere but it also feels<br />
new. It’s eerie, mesmerizing and beautiful.”<br />
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“From the music, costumes and sets, to the melding of choreography with camerawork, every aspect of<br />
shooting the “<strong>Swan</strong> Lake” scenes was a major learning experience but each paid off,” Aronofsky notes. “We<br />
started out knowing very little about ballet, about how to shoot it and how to get people excited by it, but I think<br />
the film really works to connect people to the art form, to make it accessible,” he says.<br />
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ABOUT THE CAST<br />
NATALIE PORTMAN (Nina) made her debut in Luc Besson's THE PROFESSIONAL, in 1994. She<br />
won a Golden Globe Award for Best Supporting Actress and received an Academy Award nomination for her<br />
performance in Mike Nichol's CLOSER.<br />
She will next be seen in Ivan Reitman’s untitled romantic-comedy opposite Ashton Kutcher, about two<br />
long-term friends who share a casual sexual relationship without falling in love and ruining everything. The<br />
Paramount film is slated for release on January 21, 2011. Also upcoming, Portman has David Gordon Green's<br />
YOUR HIGHNESS, co-starring with Danny McBride, James Franco and Zooey Deschanel. The story focuses<br />
on an arrogant, lazy prince who must complete a quest to save his father's kingdom, with Portman as his love<br />
interest. The Universal Pictures film is slated for release April 8, 2011. Following that, this summer, she will<br />
appear in Kenneth Branagh's THOR, portraying Jane Foster, love interest of Thor. The Paramount film is slated<br />
for release on May 20, 2011.<br />
Additionally, Portman is set to topline and produce road-trip comedy BEST BUDS through her<br />
handsomecharlie banner, with Vendome Pictures CEO Philippe Rousselet. The film, based on Jamie Denbo's<br />
script, centers on a woman who is on the verge of a complete nervous breakdown on the eve of her wedding. To<br />
save herself, she goes on a road trip to San Diego with two best friends, relying on a combo of marijuana and<br />
the bonds of their decades-long friendship.<br />
On screen, Portman has starred in over twenty-five films, including HEAT, BEAUTIFUL GIRLS,<br />
EVERYONE SAYS I LOVE YOU, MARS ATTACKS!, ANYWHERE BUT HERE (GOLDEN GLOBE<br />
NOMINATION), WHERE THE HEART IS, COLD MOUNTAIN, GARDEN STATE, FREE ZONE, V FOR<br />
VENDETTA, PARIS JE T'AIME, GOYA'S GHOSTS, MY BLUEBERRY NIGHTS, MR. MAGORIUM'S<br />
WONDER EMPORIUM, THE OTHER BOLEYN GIRL, NEW YORK, I LOVE YOU and BROTHERS.<br />
Additionally, she starred in George Lucas' STAR WARS: EPISODE I THE PHANTOM MENACE, STAR<br />
WARS: EPISODE II ATTACK OF THE CLONES, and STAR WARS: EPISODE III REVENGE OF THE<br />
SITH. The prequels to the wildly popular STAR WARS trilogy of the 70's and 80's rank among the topgrossing<br />
films ever produced worldwide. On stage, Portman starred in Mike Nichol's Shakespeare in the Park<br />
production of The Seagull, opposite Meryl Streep, Kevin Kline and Philip Seymour Hoffman; as well as James<br />
Lapine's Broadway production of The Diary of Anne Frank.<br />
Behind the lens, Portman has taken turns writing, directing and producing. Her credits include EVE<br />
which she wrote and directed. The film debuted at the 2008 Venice Film Festival and stars Lauren Bacall, Ben<br />
Gazzara, and Olivia Thirlby. She also wrote and directed a short film for NEW YORK, I LOVE YOU, about a<br />
day in the life of a father and daughter in <strong>Central</strong> Park. The film, released in October 2009, showcases twelve<br />
filmmakers who each directed a vignette illustrating the universal theme of love within the five boroughs of<br />
New York City. Additionally, she executive produced and starred in Don Roos' adaptation of Ayelet Waldman's<br />
novel LOVE AND OTHER IMPOSSIBLE PURSUITS, opposite Scott Cohen and Charlie Tahan. The film,<br />
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which premiered at the 2009 Toronto International Film Festival, revolves around a young woman who tries to<br />
recover her marriage through her relationship with her stepson.<br />
Portman is currently developing film projects through her production company, handsomecharlie films,<br />
which has an overhead deal with Participant Media. Together with Producer Annette Savitch, the company is<br />
focused on finding intelligent, accessible films across varied genres, as well as female-driven comedies.<br />
handsomecharlie films recently set up PRIDE AND PREJUDICE AND ZOMBIES with Darko Entertainment at<br />
Lionsgate, BOOKSMART at Fox, BEST BUDS at Vendome Pictures with Portman attached to star, and they<br />
are partnered with Plan B at Paramount to produce IMPORTANT ARTIFACTS, based on the book by Leanne<br />
Shapton, with Brad Pitt and Portman attached to star. Their first produced film, HESHER, was recently bought<br />
for distribution by Newmarket at the Sundance Film Festival and is slated for release in 2011. The film is<br />
directed by Spencer Susser and stars Joseph Gordon Levitt.<br />
Portman became the first Ambassador of Hope for FINCA, an international village banking<br />
microfinance program providing small loans and savings programs to the world's poorest families so they may<br />
create their own jobs, raise household incomes, and improve their standard of living thereby reducing poverty<br />
worldwide. As the Ambassador of Hope, Portman has proved to be a globally aware and dedicated individual<br />
who supports the work of FINCA through her advocacy and visits to FINCA International programs in<br />
countries such as Guatemala, Ecuador and Uganda. She has also met with high-level United States Members of<br />
Congress to lobby for support of international microfinance funding.<br />
A Harvard graduate with a degree in psychology, Portman has also studied at Hebrew University in<br />
Jerusalem where she learned Arabic and Hebrew, and studied the Anthropology of Violence and Israeli history.<br />
VINCENT CASSEL (Thomas Leroy) is a prolific and prominent actor who's known for his bold<br />
choice of roles and fearless inhabitance of his characters.<br />
Earlier this year, Cassel was seen starring in Jean-Francois Richet's MESRINE: PUBLIC ENEMY #1<br />
and MESRINE: KILLER INSTINCT. The two-part films tell the true story of Jacques Mesrine, who became<br />
France's most notorious felon throughout the 1970's. Arch-fiend to some and folk hero to others, Mesrine's<br />
illegal career spanned nearly two decades of brazen bank robberies, prison breaks, and ingenious identity<br />
changes. Critically acclaimed worldwide, the film was a commercial success in France, garnering the country's<br />
highest honor in film, ten César Award nominations and winning the awards for Best Actor and Best Director.<br />
For his performance, Cassel went on to receive Best Actor honors at the Lumiere Awards, the Etoile D'Or and<br />
the Tokyo International Film Festvial.<br />
Cassel has completed production on Dominik Moll's THE MONK, toplining an 18th century-set story<br />
based on Matthew Lewis' Gothic novel depicting the rise and tragic downfall of Capucin Ambrosio, a respected<br />
Spanish monk. He has also recently finished filming David Cronenberg's A DANGEROUS METHOD,<br />
alongside Viggo Mortensen, Michael Fassbender and Keira Knightley. The film revolves around a love triangle<br />
that develops between psychiatry pioneers Sigmund Freud and Carl Jung who both fall in love with Jung’s<br />
patient.<br />
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Currently in production, Cassel has Romain Gavras' first feature, OUR DAY WILL COME (aka<br />
NOTRE JOUR VIENDRA) starring opposite Olivier Bartélémy. The film, which Cassel also produced, focuses<br />
on two rage-fueled outcasts who set off on a roadtrip of hate, violence and self-destruction. In addition to this,<br />
Cassel is simultaneously in development on an untitled romantic comedy set in Brazil with Kim Chapiron set to<br />
direct and Cassel writing, producing and starring in the film.<br />
Cassel began his career in France in 1988 starting out with small roles on television and in film. In<br />
1995, he made his mark in Mathieu Kassovitz's critically acclaimed film LA HAINE, where he played a<br />
troubled youth from the deprived outskirts of Paris. For his performance, Cassel received his first César Award<br />
nominations - for Best Actor and Most Promising Newcomer.<br />
Following this breakthrough performance, Cassel has appeared in over twenty-five films in both France<br />
and the United States. Notable film credits in France include Gilles Mimouni's L'APPARTEMENT, Gaspar<br />
Noe's IRRÉVERSIBLE, Jan Kounen's DOBERMANN, and Jacques Audiard's SUR MES LÈVRES, for which<br />
he received his third César Award nomination.<br />
Cassel has appeared in various English-language films such as James Ivory's JEFFERSON IN PARIS,<br />
Shekhar Kapur's ELIZABETH, Luc Besson's THE MESSENGER: THE STORY OF JOAN OF ARC, Mathieu<br />
Kassovitz's THE CRIMSON RIVERS, Christophe Gans' THE BROTHERHOOD OF THE WOLF, Paul<br />
McGuigan's THE RECKONING, Andrew Adamson's SHREK, Jan Kounen's RENEGADE, Mikael Håfström's<br />
DERAILED and David Cronenberg's EASTERN PROMISES. Cassel also co-starred in Stephen Soderbergh's<br />
OCEAN'S TWELVE for which he later reprised the role in OCEAN'S THIRTEEN.<br />
Behind the lens, Cassel also heads a production company, 120 Films. Formed in 1997, the banner has<br />
developed and produced SHABBAT NIGHT FEVER, IRRÉVERSIBLE, RENEGADE, SECRET AGENTS,<br />
SHEITAN, MESRINE: PUBLIC ENEMY NO. 1 and MESRINE: KILLER INSTINCT.<br />
Currently, Cassel is the face of Yves Saint Laurent men's fragrance, La Nuit de l'Homme, which was<br />
launched worldwide in March 2009. The advertising campaign was shot by fashion photographers Mert Alas &<br />
Marcus Piggot.<br />
Cassel and his family split their time between Paris, London, Rome and Rio de Janeiro.<br />
Russian-born MILA KUNIS (Lily) has emerged as one of Hollywood’s most sought-after and<br />
engaging young actresses. She most recently starred opposite Denzel Washington in the box office hit THE<br />
BOOK OF ELI, directed by the Hughes Brothers.<br />
In 2008 she starred in Judd Apatow’s hit comedy, FORGETTING SARAH MARSHALL, in which she<br />
played Rachel opposite Jason Segel, Kirsten Bell, and Jonah Hill. She also starred in 20 th Century Fox’s MAX<br />
PAYNE opposite Mark Wahlberg.<br />
Kunis began her acting career in television commercials, then became known for her roles on two of<br />
Fox’s most successful series: THAT ‘70S SHOW, playing Jackie Burkhardt, which earned her two Young Star<br />
Awards for best actress in a television series and the voice of Meg on FAMILY GUY.<br />
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In September 2009, Kunis starred with Jason Bateman in the Miramax film EXTRACT. She was most<br />
recently seen in the comedy DATE NIGHT with Tina Fey and Steve Carrell as one of the characters the couple<br />
encounter on a date gone awry. Currently, Kunis is filming FRIENDS WITH BENEFITS opposite Justin<br />
Timberlake. The film is about the relationship between two friends (Timberlake and Kunis) that gets<br />
complicated when they decide to get romantic.<br />
Multi-award-winning actress BARBARA HERSHEY (Erica) has showcased her talent in some of<br />
Hollywood's most memorable films, television movies, miniseries and series. Hershey won an Emmy® and<br />
Golden Globe Award for Outstanding Lead Actress in a Miniseries or Special for A KILLING IN A SMALL<br />
TOWN and also garnered unprecedented back-to-back Best Actress Awards at the Cannes Film Festival for her<br />
performances in SHY PEOPLE and A WORLD APART, as well as an Academy Award nomination for THE<br />
PORTRAIT OF A LADY.<br />
The Hollywood native made her feature film debut in WITH SIX YOU GET EGGROLL. With<br />
title roles in THE BABY MAKER and BOXCAR BERTHA Hershey quickly became one of<br />
Hollywood’s most popular young actresses.<br />
In the 1980's Hershey starred in THE STUNT MAN with Peter O'Toole, THE RIGHT STUFF<br />
with Ed Harris, Sam Shepard and Scott Glenn, THE NATURAL with Robert Redford and Robert<br />
Duvall, HANNAH AND HER SISTERS with Woody Allen, Mia Farrow, Dianne Wiest and Michael<br />
Caine, HOOSIERS with Gene Hackman and Dennis Hopper, TIN MEN with Richard Dreyfuss and<br />
Danny DeVito, SHY PEOPLE with Jill Clayburgh, THE LAST TEMPTATION OF CHRIST with<br />
Willem Dafoe and Harvey Keitel, BEACHES with Bette Midler and John Heard and A WORLD<br />
APART with Tim Roth.<br />
Hershey returned to television in 1990 with her award-winning performance as Candy<br />
Morrison in A KILLING IN A SMALL TOWN, co-starring Brian Dennehy and Hal Holbrook. She<br />
followed with a string of television successes, including her portrayal of Clara Allen in the miniseries<br />
RETURN TO LONESOME DOVE with Jon Voight and Louis Gossett, Jr. and the role of Dr.<br />
Francesca Alberghetti in David E. Kelly's series CHICAGO HOPE on CBS.<br />
During this period, Hershey remained active in feature films. She was nominated for an Oscar<br />
and Golden Globe for her performance in THE PORTRAIT OF A LADY with Nicole Kidman and<br />
John Malkovich and also starred in Merchant-Ivory's A SOLDIER’S DAUGHTER NEVER CRIES, as<br />
well as the award-winning LANTANA from Australian director Ray Lawrence.<br />
In 2007 Hershey starred in both THE BIRD CAN’T FLY directed by Threes Anna and LOVE<br />
COMES LATELY directed by Jan Schutte. Both premiered to critical acclaim at the San Sebastian and<br />
Toronto Film Festivals, respectively.<br />
Following these, Hershey returned to television to star with Shirley MacLaine in Kevin<br />
Sullivan’s ANNE OF GREEN GABLES: A NEW BEGINNING for PBS, for which she received a<br />
Gemini Award for Best Performance by an Actress in a Featured Supporting Role in a Dramatic<br />
Program or Mini-Series.<br />
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Next, Hershey co-starred opposite Jeroen Krabbé as ‘Helene’ in SCHWEITZER, Gavin<br />
Millar’s biopic of Nobel Peace-Prize winning physician, philosopher and theologian Albert<br />
Schweitzer. In December 2009, Hershey co-starred as the iconic Mrs. Hubbard in the new film<br />
adaptation of Agatha Christie’s MURDER ON THE ORIENT EXPRESS, part of the new POIROT film<br />
series for ITV with David Suchet.<br />
Earlier this year, she co-starred opposite Rose Byrne and Patrick Wilson in James Wan’s<br />
INSIDIOUS, the story of a family who is beset by vengeful spirits from another realm. The film will<br />
have its premiere during this year’s Midnight Madness at the Toronto Film Festival.<br />
Hershey resides in Los Angeles.<br />
With two Oscar® nominations and a Golden Globe award to her credit, WINONA RYDER (Beth)<br />
hails as one of Hollywood's most sought after talents and classic beauties.<br />
Ryder will next be seen in the Universal comedy THE DILEMMA for director Ron Howard.<br />
Vince Vaughn, Kevin James and Jennifer Connelly also star. The film will be released January 14 th ,<br />
2011<br />
Previously, she was seen in Rebecca Miller's THE PRIVATE LIVES OF PIPPA LEE opposite<br />
Robin Wright Penn, Alan Arkin, Keanu Reeves and Julianne Moore, and in JJ Abrams' STAR TREK<br />
starring Chris Pine, Simon Pegg, Karl Urban and Eric Bana.<br />
As "Jo" in Gillian Armstrong's highly acclaimed version of the Louisa May Alcott classic,<br />
LITTLE WOMEN, Ryder received an Academy Award nomination for Best Actress. The previous year<br />
she was Oscar® nominated, and won the Golden Globe and National Board of Review Awards for Best<br />
Supporting Actress, for her performance in Martin Scorsese's THE AGE OF INNOCENCE. Ryder also<br />
received a Golden Globe nomination for Best Supporting Actress for Richard Benjamin's MERMAIDS.<br />
In 1999, Ryder starred in and served as Executive Producer on the critically acclaimed GIRL,<br />
INTERRUPTED, based on the bestselling memoir and directed by James Mangold. While the film<br />
marked Ryder's first feature as Executive Producer, she previously produced the documentary THE<br />
DAY MY GOD DIED, which depicted the human story behind the modern tragedy of child sex<br />
trafficking in India.<br />
Noted for constantly challenging herself with each project, Ryder has worked with some of the<br />
most acclaimed directors in film today including Jean Pierre Jeunet's ALIEN: RESURRECTION,<br />
Woody Allen's CELEBRITY, Nicholas Hytner's THE CRUCIBLE, Billie August's THE HOUSE OF<br />
THE SPIRITS, Francis Ford Coppola's BRAM STOKER'S DRACULA, Jim Jarmusch's NIGHT ON<br />
EARTH, Tim Burton's EDWARD SCISSORHANDS and BEETLEJUICE, Michael Lehman's<br />
HEATHERS, Ben Stiller's REALITY BITES, Al Pacino's LOOKING FOR RICHARD, Joan Chen's<br />
AUTUMN IN NEW YORK, Janusz Kaminski's LOST SOULS, Jocelyn Moorehouse's HOW TO<br />
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MAKE AN AMERICAN QUILT, David Wain's THE TEN and Richard Linklater's A SCANNER<br />
DARKLY.<br />
On television, Ryder lent her voice to both “The Simpsons” and “Dr. Katz.” She also narrated a<br />
Grammy-nominated album, Anne Frank: The Diary of A Young Girl. Additionally, Ryder appeared in<br />
the season finale episode of “Strangers With Candy” and on an episode of “Friends.”<br />
In 1997, Ryder was honored with Showest's Female Star of the Year, the Motion Picture Club's<br />
Female Star of the Year, as well as receiving an honorary degree from San Francisco's American<br />
Conservatory Theater. She served as a juror for the 51st Annual Cannes International Film Festival<br />
under Martin Scorsese and received the Peter J. Owens Award for "brilliance, independence and<br />
integrity" at the 2000 San Francisco Film Festival. Ryder was also honored with a star on the<br />
Hollywood Walk of Fame.<br />
Ryder served on the Board of Trustees to the American Indian College Fund, which helps<br />
Native Americans preserve and protect their culture through education. She has been very involved<br />
with the Klaas Kids Foundation since the organization's inception in 1994.<br />
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ABOUT THE FILMMAKERS<br />
Director, Writer, Producer DARREN ARONOFSKY (Director) was born and raised in Brooklyn, New<br />
York. His last film THE WRESTLER premiered at the Venice Film Festival where it won the esteemed Golden<br />
Lion making it only the third American film in history to win this grand prize. One day later it was acquired by<br />
Fox Searchlight hours after its gala screening at the Toronto Film Festival. THE WRESTLER won ‘Best<br />
Feature’ at the Independent Spirit Awards and garnered Academy Award nominations for both Mickey Rourke<br />
and Marisa Tomei.<br />
Aronofsky’s previous feature, THE FOUNTAIN, a science-fiction romance which he wrote and<br />
directed, starred Hugh Jackman and Rachel Weisz. MTV’s Kurt Loder called the film “a classic; dazzling and<br />
visually intoxicating” and Glenn Kenny from Premiere stated that THE FOUNTAIN, “may well restore your<br />
faith in the idea that a movie can take you out of the mundane and into a place of wonderment.”<br />
In 2000, Aronofsky premiered REQUIEM FOR A DREAM at the Cannes Film Festival. The film was<br />
named to over 150 Top Ten lists including the New York Times, Rolling Stone, Entertainment Weekly and the<br />
American Film Institute. The accolades continued with five Independent Spirit Award nominations, including<br />
one for Best Director and a win for Best Actress Ellen Burstyn. Burstyn also received Golden Globe and<br />
Academy Award nominations for her stunning performance.<br />
Aronofsky’s first feature, π, won the Director’s Award at the 1998 Sundance Film Festival and an<br />
Independent Spirit Award for Best First Screenplay.<br />
Among his honors, the American Film Institute gave Aronofsky the prestigious Franklin J. Schaffner<br />
Alumni Medal and the Stockholm Film Festival presented him the Golden Horse Visionary Award.<br />
MARK HEYMAN (Written By) was born and raised in New Mexico and graduated from Brown<br />
University in 2002. After attending NYU's graduate film program, Heyman began working as director of<br />
development for Darren Aronofsky’s production company Prøtøzøa Pictures. He was a co-producer on THE<br />
WRESTLER, starring Mickey Rourke, Marisa Tomei and Evan Rachel Wood.<br />
Following that movie, Heyman decided to turn his focus back to writing, and began working on<br />
BLACK SWAN with Aronofsky. The film marks his first produced screenplay.<br />
ANDRÉS HEINZ (Screenplay By/Story By) attended UCLA and NYU film school where he<br />
completed his B.F.A with the highest honors; his thesis film GROUND LEVEL B was the winner of the 1st<br />
Place Mobil Award.<br />
After graduation, Andrés worked in film and television production, including Production Coordinator<br />
for the film unit at “Saturday Night Live.” He went on to direct his first feature, ORIGIN OF THE SPECIES,<br />
starring Amanda Peet, Jonathan LaPaglia and Michael Kelly.<br />
Since then, Andrés has dedicated himself to writing and has sold several screenplays. BLACK SWAN<br />
is his first original screenplay to be made into a major motion picture.<br />
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JOHN McLAUGHLIN (Screenplay By) lives in NYC and writes for film and television. His<br />
latest film projects include ALFRED HITCHCOCK AND THE MAKING OF PSYCHO at<br />
Paramount; THE MAN WHO KILLED HOUDINI; a movie based on the Donald Westlake<br />
underworld character Parker with Brian de Palma attached to direct and KILL YOURSELF BRIDGE<br />
with John Carpenter attached to direct.<br />
He is currently working on a mini-series remake of Coma for Scott Free and A&E and a pilot<br />
for Syfy, “Blue Trace.” He’s previously written for the shows “Touching Evil,” “It’s Me,” “Gerald”<br />
and “Carnivale,” and was co-creator of “Point Pleasant.”<br />
BLACK SWAN is the third project he’s worked on with Darren Aronofsky’s company.<br />
MIKE MEDAVOY (Producer) was born in Shanghai, China in 1941 and graduated from UCLA with a<br />
B.A. in History in mid 1963. He began his film career at Universal Studios in 1964 where he rose from the<br />
mailroom to become a casting director. Mike became a talent agent and VP of Creative Management Agency in<br />
1965 and then head of International Famous Agency’s motion pictures department in 1971.<br />
In 1974, he was brought on as the senior vice president of production for United Artists. There, he was<br />
part of the team responsible for ONE FLEW OVER THE CUCKOO’S NEST, ROCKY and ANNIE HALL,<br />
each winning Best Picture Oscars in the mid 1970’s. In 1978, Medavoy co-founded Orion Pictures where films<br />
such as PLATOON, AMADEUS, ROBOCOP, THE TERMINATOR and DANCES WITH WOLVES were<br />
created.<br />
After twelve successful years at Orion Pictures, Medavoy became chairman of TriStar Pictures were he<br />
oversaw critically-acclaimed box office hits such as PHILADELPHIA, TERMINATOR 2: JUDGMENT DAY,<br />
SLEEPLESS IN SEATTLE, THE FISHER KING, LEGENDS OF THE FALL and HOOK.<br />
Today, as chairman and co-founder of Phoenix Pictures, Medavoy has brought such films as THE<br />
PEOPLE VS. LARRY FLYNT, THE MIRROR HAS TWO FACES, APT PUPIL, THE THIN RED LINE,<br />
THE 6 TH DAY, BASIC, HOLES, ALL THE KING’S MEN, ZODIAC, MISS POTTER and SHUTTER<br />
ISLAND, among others, to the silver screen. These films have received numerous awards and nominations<br />
including Oscar nominations for THE THIN RED LINE and THE PEOPLE VS. LARRY FLYNT.<br />
Medavoy has received numerous personal awards including the Motion Picture Pioneer of the Year<br />
Award and the Cannes Film Festival Lifetime Achievement Award. He was inducted into the Hollywood Walk<br />
of Fame in 2005. He was also awarded the Legion of Honor by the government of France in 2009 and the<br />
Bernardo O’Higgins award by the Chilean government in 2010.<br />
Throughout his career, Medavoy has also been active in politics. In 1984 he was the Co-Finance Chair<br />
of the Gary Hart Campaign. He actively participated in President Clinton’s campaigns in 1992 and 1996 and<br />
President Obama’s campaign in 2008. His wife, Irena, was Obama’s Co-Finance Chair.<br />
Medavoy has also written several books, now published in Chinese and Spanish. In 2002, he published<br />
his best-selling book You’re Only As Good As Your Next One: 100 Great Films as well as 100 Good Films and<br />
100 For Which I Should Be Shot with Josh Young. In 2009, Medavoy published American Idol After Iraq;<br />
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Competing for Hearts and Minds in the Global Media Age with Nathan Gardels. He has two sons, Brian and<br />
Nicky Medavoy.<br />
ARNOLD MESSER (Producer) is a native of Lincoln, Nebraska and a graduate of Harvard Law<br />
School. He launched his career in the entertainment business as senior counsel at Columbia Pictures Television<br />
in 1979. After a stint as vice president of business affairs at Viacom International, Messer returned to Columbia<br />
Pictures where he served first as senior vice president and later as executive vice president of worldwide<br />
business affairs. In 1983, he was named senior executive vice president of TriStar Pictures and president of its<br />
telecommunications group, where he oversaw the business of theatrical production as well as all ancillary<br />
marketing and television activities for the company.<br />
In 1987, Messer returned again to Columbia Pictures as executive vice president. He supervised<br />
worldwide television production and distribution activities and negotiated major international television<br />
agreements for the company. In 1989, Messer was named president of the international releasing group for<br />
Sony Pictures Entertainment where he was responsible for all international activities and ancillary market<br />
operations.<br />
In 1992, he led this division to well over $1 billion in gross revenues worldwide. That year Messer was<br />
promoted to executive vice president of Sony Pictures Entertainment, taking charge of long-term global strategy<br />
and overseeing international production.<br />
In 1994, Messer teamed with his friend and colleague, Mike Medavoy, to launch Phoenix Pictures.<br />
Under that banner, they have produced such films as Oscar nominees THE PEOPLE VS. LARRY FLYNT and<br />
THE THIN RED LINE, as well as APT PUPIL, HOLES, ALL THE KING’S MEN, ZODIAC (which Messer<br />
also produced) and Martin Scorsese’s hit thriller SHUTTER ISLAND.<br />
BRIAN OLIVER (Producer) is President of Cross Creek Pictures and a member of the investment<br />
committee of Cross Creek Partners, a film fund formed by the Thompson family and a consortium of private<br />
business investors from Louisiana and Texas. Mr. Oliver is involved in all aspects of Cross Creek’s film<br />
development, acquisitions, financing, and production. A veteran feature film executive and producer, Mr. Oliver<br />
brings a tremendous amount of feature film production and financing expertise to Cross Creek Pictures.<br />
Mr. Oliver started his entertainment career at Paramount Pictures and has been working in the<br />
entertainment industry as either an executive or a producer for over 12 years. He has also been involved in the<br />
development, financing, production, and distribution of over 20 films. Prior to forming Arthaus Pictures, Mr.<br />
Oliver was the V.P. of Production at Propaganda Films, after working in the Motion Picture Department at the<br />
William Morris Agency.<br />
Mr. Oliver has been involved in numerous high profile films while serving as executive at Propaganda.<br />
Mr. Oliver has developed and produced the Paul Schrader directed AUTO FOCUS starring Greg Kinnear,<br />
Willem Dafoe, THE BADGE starring Billy Bob Thornton and Patricia Arquette, and GIVE’EM HELL<br />
MALONE starring Thomas Jane and Ving Rhames. Mr. Oliver founded Arthaus Pictures to develop and<br />
produce feature length films and acquired and developed a diverse slate of 12 feature films that he has brought<br />
with him to Cross Creek Pictures to produce.<br />
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Mr. Oliver received his J.D. with Honors specializing in Entertainment Law from Whittier College<br />
School of Law. Prior to attending law school he also studied at the University of California at Berkeley and has<br />
a B.A. in Political Science.<br />
SCOTT FRANKLIN (Producer) was born and raised in New York where he has established himself as<br />
a well-respected veteran of the NYC filmmaking community. Franklin’s last film, THE WRESTLER,<br />
starred Mickey Rourke, Marisa Tomei, and Evan Rachel Wood. THE WRESTLER was the recipient of the<br />
Golden Lion award at the 2008 Venice Film Festival. Other awards included Best Picture, Best Actor (Mickey<br />
Rourke), and Best Cinematography (Maryse Alberti) at the Independent Spirit Awards 2009. Rourke and<br />
Tomei also received Academy Award nominations for their performances as well as a win for Rourke at the<br />
Golden Globes along with Bruce Springsteen for Best Song (The Wrestler).<br />
His previous film HOUNDDOG, starring Dakota Fanning, Robin Wright-Penn, and David Morse<br />
premiered at the 2007 Sundance Film Festival where it was a finalist for the Grand Jury Prize.<br />
Before that, Franklin served as a co-producer on Aronofsky’s REQUIEM FOR A DREAM, which<br />
premiered at the 1999 Cannes Film Festival and was named in over 150 Top Ten Lists of 2000. It received<br />
many international awards, five Independent Spirit Award nominations, and star Ellen Burstyn received Golden<br />
Globe and Academy Award Best Actress nominations.<br />
As the Associate Producer, his collaboration on Aronofsky’s debut, π, premiered at the 1998 Sundance<br />
Film Festival where it won the festivals Best Director’s Award. It went on to win several international awards<br />
including Independent Spirit Award for Best Screenplay and the Open Palm Gotham Award.<br />
BRADLEY J. FISCHER (Executive Producer) Brad Fischer began his career at Phoenix Pictures in<br />
1998, rising through the ranks to Co-President of Production in 2007, reporting directly to Phoenix Pictures<br />
Chairman and CEO Mike Medavoy.<br />
During his tenure at Phoenix, Fischer has been instrumental in discovering, developing, packaging and<br />
producing many high-profile motion picture projects, producing a total of seven films over the last seven years.<br />
Most recently, Fischer produced Martin Scorsese’s latest film SHUTTER ISLAND, based on the New York<br />
Times bestseller by Dennis Lehane, acclaimed author of MYSTIC RIVER and GONE BABY GONE. After<br />
securing film rights to the book, Fischer sent it to screenwriter Laeta Kalogridis with whom he developed the<br />
project. Scorsese and DiCaprio quickly signed on and the fully packaged project was set up on a productioncommitment<br />
basis at Paramount Pictures shortly thereafter.<br />
Following its world premiere Gala Screening at the Berlin International Film Festival, SHUTTER<br />
ISLAND was released on February 19, 2010 and debuted to a $41 million dollar opening weekend, ranking at<br />
that time as the biggest opener for Scorsese and star Leonardo DiCaprio in their individual careers. It has since<br />
gone on to gross almost $300 million dollars worldwide, making it Scorsese’s highest grossing movie ever.<br />
Among Fischer’s other recent credits is the critically acclaimed David Fincher film ZODIAC, which he<br />
produced. An Official Selection of the 2007 Cannes Film Festival, ZODIAC stars Jake Gyllenhaal, Mark<br />
Ruffalo and Robert Downey Jr. It was released by Paramount Pictures and Warner Bros. Pictures to massive<br />
worldwide critical acclaim, and was one of the best-reviewed films of 2007. In 2010, ZODIAC was named one<br />
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of the 10 best films of the decade by Entertainment Weekly, Time Out New York, The Chicago Tribune and<br />
The New York Post, among many other critics and journalists around the world.<br />
Among the upcoming projects Fischer is attached to produce are a reboot of ROBOCOP, which he is<br />
developing with Darren Aronofsky, science-fiction epic ANVIL OF STARS, based on the novel by Greg Bear,<br />
KOKO by Peter Straub, which Ken Nolan (BLACK HAWK DOWN) will adapt, and an upcoming slate that<br />
includes projects with directors Alex Proyas (I, ROBOT) and Frank Darabont (THE SHAWSHANK<br />
REDEMPTION).<br />
In 2006, Fischer was selected by the Hollywood Reporter for their 13 th annual “Next Generation”<br />
special issue as one of Hollywood’s top 35 executives under 35 years of age. And in the Spring 2008 issue of<br />
Los Angeles Confidential magazine, Fischer was profiled as a “Power Producer” and recognized as “one of<br />
Hollywood’s most promising producers of sophisticated, challenging films.”<br />
In addition to his work at Phoenix Pictures, Fischer serves on the board of directors of the Stella Adler<br />
Studio of Acting in Los Angeles.<br />
Fischer graduated from Columbia University in 1998 with a BA in Film Studies and Psychology and is<br />
a native of New York. He resides in Los Angeles with his wife Karen, their baby girl, Olivia, and three dogs,<br />
Katie, Chloe and Bentley.<br />
ARI HANDEL (Executive Producer) is president of Prøtøzøa Pictures, a post he assumed in 2004. He<br />
co-wrote the story for Darren Aronofsky’s THE FOUNTAIN, the 2006 fantasy-romance starring Hugh Jackman<br />
and Rachel Weisz, and served as associate producer on the film. He was also associate producer on<br />
Aronofsky’s award-winning THE WRESTLER in 2008. Handel received a<br />
PhD in Neuroscience from New York University before his interest in storytelling led him away from science<br />
and into film. In addition to his work at Prøtøzøa, he is vice-chairman of the board and storyteller for The<br />
Moth, a non-profit whose live shows, podcasts and radio hour are dedicated to the art of the raconteur.<br />
TYLER THOMPSON (Executive Producer) is co-founder of Cross Creek Pictures. His first film as<br />
executive producer under the aegis of Cross Creek was BURNING PALMS, written and directed by<br />
Christopher Landon, starring Zöe Saldana, Dylan McDermott, Paz Vega, Rosamund Pike, Shannen Doherty and<br />
Lake Bell.<br />
Thompson’s family has been in the oil and gas business for four generations. From 2006-2008, he<br />
developed and helped run Highland Transportation, a family owned business based in Louisiana.<br />
In 2008,Thompson decided to branch out of the family business to pursue a career in the film industry.<br />
Following a trip to Los Angeles during which he found the script for BURNING PALMS, Thompson pulled<br />
together the financing and served as Executive Producer on the film. While the film was in production, he<br />
founded Cross Creek Pictures, a production company based in Los Angeles, with offices in Memphis, Houston<br />
and Louisiana. In addition to forming Cross Creek Pictures, Mr. Thompson assisted in raising a private equity<br />
fund, which would be used to finance all of Cross Creek Pictures movies.<br />
BLACK SWAN will be the premier release under Cross Creek’s newly financed production banner.<br />
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PETER FRUCHTMAN (Executive Producer) majored in Business at Ohio State University and<br />
worked for seven years at Scott Jordan International, a manufacturer's sales rep company for commercial and<br />
hospitality furnishings. As senior vice president of sales, his responsibilities included overseeing key national<br />
accounts such as Marriott International and Starwood Hotels.<br />
Fruchtman left Scott Jordan in 2008 to form Dro Entertainment, an entertainment production &<br />
financing company, where he serves as president and CEO. Since its inception, Dro Entertainment has financed<br />
and produced several television shows, including the comedy series PAULY SHORE AND FRIENDS and<br />
RUSSELL PETERS PRESENTS in association with Showtime Networks. He also produced the highly rated<br />
THE DOG WHO SAVED CHRISTMAS starring Dean Cain and Mario Lopez for ABC Family. The company<br />
just completed production on the second season of the LOL COMEDY FESTIVAL, a national comedy tour<br />
which they created and financed with Showtime.<br />
Fruchtman's film credits include KING OF THE AVENUE, a thriller directed by Ryan Combs and<br />
starring Ving Rhames and Esai Morales, to be released in the fall of 2010. Another 2010 release that Fruchtman<br />
has executive produced, is the urban drama DOWN FOR LIFE, directed by Alan Jacobs and starring Danny<br />
Glover, Snoop Dogg and Laz Alonso, produced in association with Dro Entertainment. He also helped finance<br />
and is a co-executive producer on the upcoming action thriller MACHETE, now in post-production, co-directed<br />
by Robert Rodriguez and Ethan Maniquis and starring Robert DeNiro, Jessica Alba, Michelle Rodriguez,<br />
Lindsay Lohan, Steven Seagal, Don Johnson and Danny Trejo.<br />
Fruchtman has also executive produced the Indy film HESHER, produced in a association with Dro<br />
Entertainment, directed by Spencer Susser and starring Natalie Portman, Joseph Gordon-Levitt and Rainn<br />
Wilson. The film premiered in the domestic competition at The Sundance Film Festival in January 2010, where<br />
it acquired domestic distribution. Fruchtman also served as executive producer on the 2010 film<br />
ABANDONED, starring Brittany Murphy, Dean Cain and Mimi Rogers. He is also a co-executive producer<br />
and equity investor for the dark comedy EVERYTHING MUST GO, directed by Dan Rush and starring Will<br />
Ferrell and Rebecca Hall. Fruchtman and Dro Entertainment are presently in development on several high<br />
profile television and film projects.<br />
RICK SCHWARTZ (Executive Producer) is the principal and founder of Overnight Productions, a<br />
fully integrated New York based independent film development, production and financing company that<br />
generates smart and commercially viable projects across various genres both within the studio system and<br />
independently.<br />
Since its inception in 2007, Overnight Productions has completed production on a number of films<br />
including the Lionsgate released feature, THE LUCKY ONES, directed by Neil Burger, starring Rachel<br />
McAdams, Tim Robbins and Michael Pena; the ABC Family comedy LABOR PAINS, starring Lindsay Lohan,<br />
Cheryl Hines and Chris Parnell; a remake of the French thriller 13 TZAMETI starring Jason Statham, Mickey<br />
Rourke, Curtis “50 Cent' Jackson and Sam Riley; and the Robert Rodriguez thriller MACHETE starring Robert<br />
DeNiro, Jessica Alba, Michelle Rodriguez, Lindsay Lohan and Danny Trejo, released by 20th Century Fox.<br />
Upcoming projects include an untitled romantic adventure, starring Selena Gomez and Leighton<br />
Meester; SOUTHBOUND, a thriller set on the Mexican border, starring Matthew McConaughey and Eva<br />
28
Mendes; and GOREE GIRLS, a musical drama, starring and co-produced by Jennifer Aniston. Projects in<br />
development include the supernatural horror film ESPECTRE starring Nicole Kidman, and an adaptation of the<br />
Korean thriller DIE BAD being written by Brad Ingelsby and to be directed by Marc Forster, both for Universal<br />
Studios; Warner Bros. BENIGHTED, a fantasy adventure, to be directed by Andrew Adamson (SHREK);<br />
TATUA, an action packed graphic novel based story about a man driven by revenge, starring Sam Worthington;<br />
and LA BANDA, a Spanish language musical comedy about a formerly rich divorcee who is forced to sing in a<br />
cheesy wedding band to make ends meet, being co-produced with Salma Hayek.<br />
Prior to founding Overnight, Schwartz joined forces with Initial Entertainment Group’s Graham King<br />
and Colin Cotter to form the independent production company, Blueprint Films, and helped produce Martin<br />
Scorsese’s Oscar-winning films THE AVIATOR and THE DEPARTED.<br />
From 1996 to 2004, Schwartz worked at Miramax Films, eventually rising to Senior Vice President of<br />
Production at Miramax Films, where he simultaneously developed numerous projects, discovered and nurtured<br />
relationships with emerging actors, writers and directors, and identified and exploited potential new revenue<br />
streams. While at Miramax, Mr. Schwartz was entrusted with the company’s most important relationships, and<br />
was responsible for the largest budgeted film in the company’s 25-year history, Martin Scorsese’s GANGS OF<br />
NEW YORK. Other films under his supervision included Alejandro Amenabar’s international success THE<br />
OTHERS, starring Nicole Kidman; Giuseppe Tornatore’s, MALENA, starring Monica Bellucci; Jerry<br />
Seinfeld’s documentary COMEDIAN; and Robert Benton’s THE HUMAN STAIN, starring Anthony Hopkins,<br />
Nicole Kidman and Ed Harris.<br />
Films in which Mr. Schwartz has been involved have been nominated for numerous accolades,<br />
including 24 Academy Awards, and have amassed a collective worldwide box office of approximately $1<br />
billion.<br />
JON AVNET (Executive Producer) has been producing and directing movies and television for over<br />
30 years. He most recently produced and directed the crime drama RIGHTEOUS KILL starring Robert DeNiro<br />
and Al Pacino and 88 MINUTES with Pacino and Alicia Witt.<br />
Avnet’s other films as producer-director include RED CORNER starring Richard Gere, UP CLOSE<br />
AND PERSONAL with Robert Redford and Michelle Pfeiffer, THE WAR with Elijah Wood, Kevin Costner<br />
and Mare Winningham, and the comedy-drama FRIED GREEN TOMATOES based on the novel by Fannie<br />
Flagg.<br />
As a producer, Avnet has made the films LAND OF THE BLIND, SKY CAPTAIN AND THE<br />
WORLD OF TOMORROW, THINGS YOU CAN TELL JUST BY LOOKING AT HER, GEORGE OF THE<br />
JUNGLE, LESS THAN ZERO, RISKY BUSINESS staring Tom Cruise and the hit hockey features THE<br />
MIGHTY DUCKS, D2: THE MIGHTY DUCKS and D3: THE MIGHTY DUCKS. He has also executive<br />
produced STEAL THIS MOVIE, INSPECTOR GADGET, MIAMI RHAPSODY, THE THREE<br />
MUSKETEERS and DEAL OF THE CENTURY, among others.<br />
On television, Avnet has received Emmy nominations for executive producing and directing the miniseries<br />
THE STARTER WIFE and executive producing the drama THE BURNING BED, which also earned an<br />
Emmy nomination for star Farah Fawcett. His other TV credits as producer or director include the series<br />
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BOOMTOWN and the features UPRISING, A HOUSE DIVIDED, MAMA FLORA’S FAMILY, POODLE<br />
SPRINGS, HEAT WAVE, DO YOU KNOW THE MUFFIN MAN, NAOMI & WINONA: LOVE CAN<br />
BUILD A BRIDGE and the mini-series PARTING THE WATERS.<br />
In 1995, Avnet received the Franklin J. Schaffner Award from the American Film Institute. He also<br />
won the National Board of Review’s Freedom of Expression Award for RED CORNER, sharing the honor with<br />
the movie’s star Richard Gere.<br />
MATTHEW LIBATIQUE, ASC, (Cinematographer) studied at the prestigious American Film<br />
Institute where he earned a MFA in Cinematography. BLACK SWAN marks Libatique’s fourth feature<br />
collaboration with director Darren Aronofsky, following π, REQUIEM FOR A DREAM and THE<br />
FOUNTAIN. They began their careers together collaborating on the short film, PROTOZOA .<br />
Most recently, Libatique shot director Jon Favreau’s IRON MAN 2, the sequel to the box office hit<br />
IRON MAN on which he also served as cinematographer. Last year, he was director of photography on MY<br />
OWN LOVE SONG, a comedy-drama with Forest Whitaker and Renee Zellweger. He is currently shooting<br />
Favreau’s COWBOYS AND ALIENS.<br />
The Independent Spirit Awards honored Libatique with a nomination for Best Cinematography for his<br />
work on π and awarded him their Best Cinematography trophy for REQUIEM FOR A DREAM. The latter<br />
film also brought him nominations for the BSFC and OFSC Awards.<br />
Libatique’s career began in 1995 as a cinematographer in the music video industry. His work has<br />
appeared on MTV for artists such as The Cure, Usher, Death in Vegas, Erykah Badu, Incubus, Tupac, Moby,<br />
Snoop Dog, Jay-Z, and The Fray. Libatique earned the MVPA award for Best Cinematography in 2002 for<br />
Matchbox 20’s Mad Season. Working in the commercial and music video industry, he has combined forces<br />
with talented directors such as Floria Sigismondi, Dante Ariola, Brian Beletic, Phil Harder, Terry Richardson,<br />
Mark Pellington, Traktor, Kinka Usher, Stylewar, and Noam Murro.<br />
His other feature film credits include, Joel Schumacher's TIGERLAND and PHONE BOOTH;<br />
GOTHIKA for Mathieu Kassovitz, ABANDON for Stephen Gaghan and EVERYTHING IS ILLUMINATED<br />
directed by Liev Schreiber. He has also collaborated with director Spike Lee on three films: MIRACLE AT ST.<br />
ANNA, SHE HATE ME and INSIDE MAN.<br />
Libatique is a member of the Academy of Motion Picture Arts and Sciences and The American Society<br />
of Cinematographers.<br />
THÉRÈSE DEPREZ (Production Designer) has spent well over a decade contributing her<br />
talents to a diverse list of award-winning feature films as well as short films, commercials, theater and music<br />
videos. Her film work includes both studio and independent projects with over 15 films in past Sundance Film<br />
Festivals.<br />
Among her most prominent films are John Cameron Mitchell’s HEDWIG AND THE ANGRY INCH,<br />
Spike Lee’s SUMMER OF SAM, Mark Pellington’s ARLINGTON ROAD and GOING ALL THE WAY, Tom<br />
DiCillio’s LIVING IN OBLIVION and BOX OF MOONLIGHT; Todd Solondz’s HAPPINESS, Stephen<br />
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Frears’ HIGH FIDELITY, Walter Salles’ DARK WATER, Kip William’s DOOR IN THE FLOOR and the<br />
Oscar nominated AMERICAN SPLENDOR, which also received the Grand Jury Prize at the 2003 Sundance<br />
Festival and the international critic’s Award at both Cannes and Dueville Film festivals.<br />
Other DePrez-designed films include, Zach Helm’s magical MR. MAGORIUM’S WONDER<br />
EMPORIUM with Dustin Hoffman and Natalie Portman, PHOEBE IN WONDERLAND by writer/director<br />
Daniel Barnz, Dito Montiel’s second feature, FIGHTING, for Focus Features and Antoine Fuqua’s<br />
BROOKLYN’S FINEST with Don Cheadle, Ethan Hawke, Wesley Snipes, and Richard Gere. She also<br />
designed such popular features as I SHOT ANDY WARHOL, THE RETURN, STONEWALL, HOW TO<br />
LOSE A GUY IN 10 DAYS, NO LOOKING BACK, MARCI X, THE DOOM GENERATION, POSTCARDS<br />
FROM AMERICA and SWOON.<br />
Most recently DePrez designed the 2010 Sundance opening night film, HOWL, based on the obscenity<br />
trial of poet Allen Ginsberg, directed by Oscar winning documentary filmmakers Jeffrey Friedman and Rob<br />
Epstein. She also recently designed Philip Seymour Hoffman’s directorial debut, JACK GOES BOATING,<br />
which also premiered at Sundance in 2010 and David Koepp's action film PREMIUM RUSH for Columbia<br />
Pictures starring Joseph Gordon Levitt.<br />
DePrez has designed numerous music films and videos for such artists as Laurie Anderson, Bob Dylan,<br />
and David Bowie.<br />
She also did the stage design for Bowie’s 2003/2004 Reality World Tour.<br />
DePrez has been recognized for her talent by such prestigious organizations as the Sundance Festival,<br />
which gave her a special Jury Award for Production Design in 1997. The Gijon International Film festival<br />
awarded her Best Art Direction for I SHOT ANDY WARHOL and Theater Crafts International awarded her<br />
Outstanding Achievement for Production Design.<br />
ANDREW WEISBLUM, A.C.E. (Editor) previously collaborated with Darren Aronofsky on THE<br />
WRESTLER. Most recently, he edited the Oscar® nominated FANTASTIC MR. FOX for Wes Anderson for<br />
which he earned a Best Edited Animated Feature ACE Eddie nomination. Weisblum also edited THE<br />
DARJEELING LIMITED with Anderson and BROKEN ENGLISH for Zoe Cassavetes.<br />
Weisblum was an additional editor on Nora Ephron’s BEWITCHED as well as John Waters' A DIRTY<br />
SHAME. He served as the Visual Effects Editor on Aronofsky’s THE FOUNTAIN and Rob<br />
Marshall’s CHICAGO, which earned Academy Awards® for Best Editing and Best Picture, as well as the 2003<br />
Eddie Award for Best Edited Musical/Comedy. He also cut the independent films UNDERMIND and CONEY<br />
ISLAND BABY.<br />
As an assistant editor for more than a decade, Weisblum worked on a wide variety of films ranging<br />
from independent features, including John Waters' CECIL B. DEMENTED and Allison Anders' GRACE OF<br />
MY HEART, to larger scale productions such as Brian De Palma's SNAKE EYES and FEMME FATALE, and<br />
Richard Linklater's School Of Rock.<br />
AMY WESTCOTT (Costume Designer) previously collaborated with director Darren Aronofsky on<br />
the award-winning THE WRESTLER. She most recently completed work on WHAT’S YOUR NUMBER?<br />
31
starring Chris Evans and Anna Faris for director Mark Mylod. Other recent films include THE<br />
ASSASSINATION OF A HIGH SCHOOL PRESIDENT directed by Brett Simon, and 13 by director Gela<br />
Babluani.<br />
In addition to her film work, Westcott was the costume designer on HBO’s long-running hit series,<br />
ENTOURAGE, for 5 seasons. She was nominated for three Costume Designers Guild awards for her work on<br />
the show.<br />
Among her feature credits are Noah Baumbach's THE SQUID AND THE WHALE, which won 2005<br />
Sundance Film Festival awards for Best Director and Best Narrative Screenplay, and Dylan Kidd’s ROGER<br />
DODGER starring Campbell Scott, which won the 2002 Tribeca film festival award for Best Narrative Feature.<br />
She worked again with Kidd on his next feature, P.S., which starred Laura Linney and Gabriel Byrne.<br />
Westcott’s other credits include THE SECRET LIVES OF DENTISTS for director Alan Rudolph, OFF<br />
THE MAP for director Campbell Scott and SMART PEOPLE for director Noam Murro.<br />
A resident of both coasts, Westcott is a Philadelphia area native and a graduate of Syracuse University where<br />
she earned a Bachelor's Degree in Fashion Design. Her first foray into film was as a wardrobe assistant on<br />
James Mangold's COPLAND. Thereafter, she ventured into independent films, receiving her first design credit<br />
on the graphic novel-inspired horror film, CAMPFIRE STORIES.<br />
CLINT MANSELL (Music by) has worked with director Darren Aronofsky on every movie<br />
he’s made – from his first film, π, to the most recent THE WRESTLER.<br />
Mansell received a Golden Globe nomination for his score on THE FOUNTAIN, which also earned<br />
him a nomination from the Broadcast Critics Association and the Public Choice Award from the World<br />
Soundtrack Awards.<br />
Among Mansell’s more recent scoring credits were the romantic drama LAST NIGHT, the French<br />
thriller FAREWELL, the Catherine Zeta-Jones comedy THE REBOUND and the critically acclaimed sci-fi<br />
indie MOON starring Sam Rockwell, which brought him a British Independent Film Awards nomination.<br />
Mansell’s other feature scoring credits include, DEFINITELY, MAYBE for director Adam Brooks and<br />
Michael Moore’s SICKO, as well as SMOKIN’ ACES, DOOM, SAHARA, SUSPECT ZERO, TRUST THE<br />
MAN, MURDER BY NUMBERS, ABANDON, RAIN, KNOCKAROUND GUYS and WORLD TRAVELER.<br />
JIM BLACK (Music Supervisor) founded Clearsongs in 1998, and has since worked on some<br />
of the most critically celebrated films of the last decade. His passion, love, and training in music have<br />
all played a role in his career as a music supervisor. His creative ear, coupled with his unparalleled<br />
understanding of the music business have made him a valuable resource on both selecting and clearing<br />
music in all genres and for all budgets. His résumé speaks for itself, and with over 40 feature films to<br />
his credit Jim is one of the most respected Music Supervisors in New York today.<br />
GABE HILFER (Music Supervisor) began his professional career in music working as a DJ<br />
and host of a radio show while in college. From there he went to work for several record labels in New<br />
York City, and eventually moved into artist management. In 2003, Gabe was asked to help creatively<br />
32
guide, and efficiently license the music for several New York based television and advertising projects,<br />
opening his eyes to the realm of music supervision. Gabe joined Clearsongs in 2005 and moved to Los<br />
Angeles, where he heads up the Clearsongs LA office and has most recently worked on a variety of<br />
award winning film and television projects.<br />
BENJAMIN MILLEPIED (David/Choreography) makes his film acting debut in BLACK SWAN.<br />
Born in Bordeaux, France, he began his dance training at the age of eight with his mother, a former modern<br />
dancer. Millepied entered the Conservatoire National in Lyon, France, at age 13, where he studied ballet with<br />
Michel Rahn until the age of sixteen.<br />
In the summer of 1992 he went to New York to study at the School of American Ballet, the official<br />
school of New York City Ballet, and returned with a scholarship from the French Ministry (Bourse Lavoisier)<br />
to study full-time in the fall of 1993. Millepied originated a principal role in Jerome Robbins’ world premiere<br />
of 2 & 3 Part Inventions set to music by Bach at SAB’s 1994 Spring Workshop.<br />
In 1994 he received the Prix de Lausanne Award and, in 1995, he was the recipient of the Mae L. Wien<br />
Award for Outstanding Promise and was invited to become a member of New York City Ballet’s corps de<br />
ballet. Millepied was made a Principal Dancer in the spring of 2001. In 2004 and 2005, Millepied directed the<br />
Morriss Center dance workshop in Bridgehampton, NY. The following year, he was choreographer in<br />
residence to the Baryshnikov Arts Center, New York. In 2007, Millepied received the United States Artists<br />
Wynn fellowship and, in 2010, was made Chevalier in the order of Arts and Letters by the minister of culture in<br />
France.<br />
Millepied has danced featured roles in George Balanchine’s Agon, Ballo Della Regina, Coppélia,<br />
Divertimento from Le Baiser De La Fée, The Nutcracker, Harlequinade, Rubies, A Midsummer Night’s Dream,<br />
Raymond Variations, La Source, Stars and Stripes, Symphony in C, Tarantella, Tschaikovsky Pas De Deux,<br />
Theme and Variations, Valse-Fantasie; Jerome Robbins’ 2& 3 Part Inventions, Dances at a Gathering, Fancy<br />
Free, A Suite of Dances, In The Night, The Four Seasons, Dybbuk, Interplay, Piano Pieces and West Side Story<br />
Suite; Susan Stroman’s Double Feature and Christopher Wheeldon’s Carousel (A Dance) and Mercurial<br />
Manoeuvres, Peter Martins’ <strong>Swan</strong> Lake and Sleeping Beauty. Additionally, Mr. Millepied originated roles in<br />
many works, including Jerome Robbins’ Brandenburg, Les Noces (revival) and Dybbuk (revival), Peter<br />
Martins’ Hallelujah Junction; Angelin Preljocaj’s La Stravaganza; Mauro Bigonzetti’s Vespro, and In Vento,<br />
and Alexei Ratmanski’s Concerto DSCH.<br />
In 1999 and 2002 Millepied appeared in featured roles with the New York City Ballet for the nationally<br />
televised Live From Lincoln Center broadcast. In 2002, Millepied started presenting his own performances<br />
under the name Danses Concertantes. Since then, Danses Concertantes has given more than 100 performances<br />
in countries including France, England and the U.S.<br />
In addition to his success as a dancer, Millepied has been acclaimed as a choreographer. His<br />
choreographic works include Passages for the Conservatoire National de Lyon (2001), Triple Duet for Danses<br />
Concertantes performed at Sadler’s Wells, London (2002) and Circular Motion also for Danses Concertantes<br />
premiered in London (2004); Chaconne, a dance film, co-directed by film-maker Olivier Simola (2003), On The<br />
Other Side for Danses Concertantes performed at Maison de la Danse, Lyon (2004), Double Aria danced by the<br />
33
New York City Ballet to original music by Daniel Ott (2005), 28 Variations on a Theme By Paganini for the<br />
School of American Ballet (2005), an original full-length Casse-Noisette for the Grand Théâtre de Genève with<br />
set designs and costumes by artist Paul Cox (2005), Closer as part of Benjamin Millepied and Company season<br />
at the Joyce Theater New York with live accompaniment by Philip Glass (2006), Capriccio for American<br />
Ballet Theatre’s Studio Company (2006), Years Later, a solo work for Mikhail Baryshnikov in collaboration<br />
with Mr. Simola (2006), Amoveo for the Paris Opera Ballet with set design by Paul Cox and costumes by Marc<br />
Jacobs (2006), From Here On Out for American Ballet Theatre with an original score by Nico Muhly (2007),<br />
Petrouchka for the Ballet de Genève with set design and costumes by Paul Cox (2007), Triade for the Paris<br />
Opera Ballet with an original score by Nico Muhly (2008), 3 Movements for Pacific Northwest Ballet ( 2008),<br />
Without for Danses Concertantes (2008), Quasi una fantasia for the New York City Ballet (2009), Everything<br />
Doesn’t Happen at Once for American Ballet theatre (2009) and Sarabande for Danses Concertantes, which<br />
premiered in Lyon (2009).<br />
DAN SCHRECKER (Visual Effects Supervisor) heads LOOK Effects’ East Coast operations<br />
in New York. Schrecker was introduced to LOOK’s vfx capabilities when, as an independent visual<br />
effects supervisor, he contracted the company to create effects for FRIDA. That successful<br />
collaboration led to a string of shared credits including THE BOUNTY HUNTER, PRECIOUS:<br />
BASED ON THE NOVEL PUSH BY SAPPHIRE, THE FOUNTAIN, THE PRODUCERS, THE<br />
WRESTLER, REQUIEM FOR A DREAM and the ABC series “Life on Mars,” which he supervised<br />
on location in New York City.<br />
After earning degrees from Harvard and New York University’s Interactive<br />
Telecommunications program, Schrecker began supervising and creating visual effects, titles and<br />
motion graphics, adding to his expertise in multimedia and interactive formats, traditional cel animation<br />
and claymation. He has earned Visual Effects Society Nominations for FRIDA (Best Supporting<br />
Visual Effects in a Motion Picture, 2002) and THE FOUNTAIN (Outstanding Visual Effects in a<br />
Visual Effects Driven Motion Picture, 2006).<br />
34
Unit Production Manager<br />
First Assistant Director<br />
Second Assistant Director<br />
JENNIFER ROTH<br />
JOSEPH REIDY<br />
AMY LAURITSEN<br />
Made in association with<br />
DUNE ENTERTAINMENT<br />
Executive Producers<br />
DAVID THWAITES<br />
JENNIFER ROTH<br />
Ballet Costumes Designed by<br />
RODARTE<br />
Co-Producers<br />
JOSEPH REIDY<br />
GERALD FRUCHTMAN<br />
Club Images Manipulated<br />
and Designed by<br />
Visual Effects Producer<br />
Associate Producer<br />
RAY LEWIS<br />
COLLEEN BACHMAN<br />
ROSE GARNETT<br />
CAST<br />
Nina Sayers / The <strong>Swan</strong> Queen<br />
Lily / The <strong>Black</strong> <strong>Swan</strong><br />
Thomas Leroy / The Gentleman<br />
NATALIE PORTMAN<br />
MILA KUNIS<br />
VINCENT CASSEL<br />
35
Erica Sayers / The Queen<br />
Beth Macintyre / The Dying <strong>Swan</strong><br />
David / The Prince<br />
Veronica / Little <strong>Swan</strong><br />
Galina / Little <strong>Swan</strong><br />
Madeline / Little <strong>Swan</strong><br />
Andrew / Suitor<br />
Tom / Suitor<br />
Sergio / Rothbart<br />
BARBARA HERSHEY<br />
WINONA RYDER<br />
BENJAMIN MILLEPIED<br />
KSENIA SOLO<br />
KRISTINA ANAPAU<br />
JANET MONTGOMERY<br />
SEBASTIAN STAN<br />
TOBY HEMINGWAY<br />
SERGIO TORRADO<br />
Mr. Fithian / Patron<br />
Mrs. Fithian / Patron<br />
Mr. Stein / Patron<br />
Mrs. Stein / Patron<br />
Costumer Georgina<br />
Stage Manager Sebastian<br />
Sexy Waiter Scott<br />
Administrator Susie<br />
Uncle Hank<br />
Physical Therapist<br />
Understudy for Siegfried<br />
MARK MARGOLIS<br />
TINA SLOAN<br />
ABE ARONOFSKY<br />
CHARLOTTE ARONOFSKY<br />
MARCIA JEAN KURTZ<br />
SHAUN O’HAGAN<br />
CHRISTOPHER GARTIN<br />
DEBORAH OFFNER<br />
STANLEY B. HERMAN<br />
MICHELLE RODRIGUEZ NOUEL<br />
KURT FROMAN<br />
36
Conductor<br />
Nurse<br />
Jaded Piano Player<br />
Piano Player<br />
Violin Player<br />
Lady in the Lane<br />
Man in Stall<br />
Rich Gent<br />
Ballet Mistresses<br />
Corps De Ballet<br />
MARTY KRZYWONOS<br />
LESLIE LYLES<br />
JOHN EPPERSON<br />
ARKADIY FIGLIN<br />
TIMOTHY FAIN<br />
SARAH LANE<br />
LIAM FLAHERTY<br />
PATRICK HEUSINGER<br />
MARINA STAVITSKAYA<br />
OLGA KOSTRITZKY<br />
REBECCA AZENBERG<br />
LAURA BOWMAN<br />
HOLLY L. FUSCO<br />
ABIGAIL MENTZER<br />
BARETTE VANCE<br />
LILLIAN DI PIAZZA<br />
MEGAN DICKINSON<br />
JESSY HENDRICKSON<br />
GENEVIÈVE LEBEAN<br />
GINA ARTESE<br />
CHRISTINE REDPATH<br />
ALEXANDRA DAMIANI<br />
RACHEL JAMBOIS<br />
RYOKO SADOSHIMA<br />
KAIA A. TACK<br />
LAUREN FADELEY<br />
SARAH HAY<br />
ADRIANNA DE SVASTICH<br />
JAMIE WOLF<br />
CARRIE LEE RIGGINS<br />
Stunt Coordinator<br />
Assistant Stunt Coordinators<br />
Stunts<br />
DOUGLAS CROSBY<br />
JARED BURKE<br />
JEN WEISSENBERG<br />
ABBY NELSON<br />
KIMBERLY PROSA<br />
SARAH LANE<br />
LISA ANN MURPHY<br />
BARBARA CHRISTIE<br />
MARIA RICCETTO<br />
Music from "<strong>Swan</strong> Lake" Composed by<br />
PYOTR ILYICH TCHAIKOVSKY<br />
Adapted and Arranged by<br />
CLINT MANSELL & MATT DUNKLEY<br />
37
Production Supervisor<br />
GABRIELLE MAHON<br />
Art Director<br />
Set Decorator<br />
Leadman<br />
DAVID STEIN<br />
TORA PETERSON<br />
SCOTT GAGNON<br />
Second Second Assistant Director<br />
Location Manager<br />
TRAVIS REHWALDT<br />
RONNIE KUPFERWASSER<br />
Camera Operators<br />
First Assistant Camera<br />
Second Assistant Camera<br />
Camera Loader<br />
Still Photographer<br />
Video Assist<br />
Additional Video Assist<br />
Production Sound Mixer<br />
Boom Person<br />
Additional Boom Persons<br />
Cable Person<br />
STEPHEN CONSENTINO<br />
JOSEPH CICIO<br />
AURELIA J. WINBORN<br />
KRIS ENOS<br />
EVE STRICKMAN<br />
NIKO TAVERNISE<br />
DEVIN DONEGAN<br />
ANDREW SCHMETTERLING<br />
KEN ISHII, CAS<br />
ANGUIBE GUINDO<br />
BRENDAN O’BRIEN<br />
SETH TALLMAN<br />
JOE ORIGLIERI<br />
38
Property Master<br />
Assistant Property Masters<br />
Script Supervisor<br />
DANIEL FISHER<br />
MAX SHERWOOD<br />
JASMINE BALLOU<br />
ANTHONY PETTINE<br />
Post Production Supervisor<br />
JEFF ROBINSON<br />
1 st Assistant Editor KENT BLOCHER<br />
Assistant Editor<br />
Apprentice Editors<br />
Post Production Assistant<br />
IRENE KASSOW<br />
ZANA BOCHAR<br />
ANDREAS FEHRLE<br />
ERIC GLATT<br />
Supervising Sound Editor<br />
Re-Recording Mixers<br />
CRAIG HENIGHAN<br />
DOMINICK TAVELLA<br />
CRAIG HENIGHAN<br />
Gaffers<br />
Best Boy Electric<br />
Company Electrics<br />
JOHN G. VELEZ<br />
MO FLAM<br />
KUMAE R. SANDY<br />
DUANE CHAN-SHUE<br />
FRIDA MARZOUK<br />
KABKEO “OZZIE”<br />
PHOTHIVONGSA<br />
SAMUEL GONZALEZ JR.<br />
RYAN A. RODRIGUEZ<br />
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Dimmer Board Operator<br />
Generator Operators<br />
Construction Electric<br />
Rigging Gaffer<br />
Best Boy Rigging Electric<br />
JIM GALVIN<br />
MICHAEL A. LEO<br />
NICHOLAS CUPKOVIC<br />
JOE SCIRETTA<br />
GAVIN CURRAN<br />
LOUIS PETRAGLIA<br />
Key Grip<br />
Best Boy Grip<br />
Dolly Grip<br />
Company Grips<br />
Rigging Key Grip<br />
Rigging Best Boy Grip<br />
LAMONT CRAWFORD<br />
TONY ARNAUD<br />
BENJAMIN D’ANDREA<br />
DAVID MCALLISTER<br />
SHAKA BROOKES<br />
NICK VACCARO<br />
BRENT HIRN<br />
JONATHAN DAHAN<br />
RASHAD CLINTON<br />
Assistant Costume Designer<br />
Costume Supervisor<br />
Set Costumers<br />
Additional Set Costumers<br />
Wardrobe Production Assistant<br />
REBECCA HOFHERR<br />
JENNIFER INGRAM<br />
NICCI SCHINMAN<br />
NINA CINELLI<br />
ANGELA MIRABELLA<br />
DAVID TURK<br />
AMANDA SROKA<br />
AURORA ANDREWS<br />
Make-Up Design<br />
JUDY CHIN<br />
40
Make-Up Department Head<br />
Key Make-Up<br />
Additional Make-Up<br />
Prosthetic Make-Up Design<br />
Silicone Specialist<br />
Special FX Make-Up Assistant<br />
Special FX Make-Up Technician<br />
Hair Design<br />
Hair Department Head<br />
Key Hair Stylist<br />
Additional Hair Stylists<br />
MARGIE DURAND<br />
TODD KLEITSCH<br />
ANGELA L. JOHNSON<br />
CARLA WHITE<br />
MIKE MARINO<br />
HAYES VILANDRY<br />
EMMA JACOBS<br />
CHRIS KELLY<br />
PAUL LEBLANC<br />
GEORDIE SHEFFER<br />
MARY LAMPERT<br />
VALERIE GLADSTONE<br />
DIERDRE HARRIS<br />
Production Coordinator<br />
Assistant Location Manager<br />
Location Assistants<br />
Unit Production Assistant<br />
Location Scouts<br />
Parking Coordinator<br />
LINDSAY FELDMAN<br />
DAN TRESCA<br />
PETER PYUN<br />
SCOTT FERLISI<br />
JAMES McGUINNESS<br />
ORIT GREENBERG<br />
TRISH GRAY<br />
MEGAN FOERSTER<br />
MAURICE CABRERA<br />
Special Effects Coordinator<br />
CONRAD BRINK<br />
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Special Effects Technician<br />
MICHAEL BIRD<br />
Construction Coordinator<br />
Construction Foreman<br />
Best Boy Construction Grip<br />
Key Carpenter<br />
Construction Production Assistant<br />
RICHARD TENEWITZ<br />
DANIEL D. KIRSCH<br />
WILLIAM GARVEY<br />
ANDREW VELENCHENKO<br />
NOREEN E. SOUZA-BAILEY<br />
Charge Scenic<br />
Camera Scenic<br />
Scenic Foremen<br />
Scenics<br />
Set Dress Foreman<br />
Set Dresser<br />
On Set Dresser<br />
GREG SULLIVAN<br />
MAX NISSENHOLTZ<br />
IAN ZDATNY<br />
ERNIE SANDIDGE<br />
CAROLINE IRONS<br />
WOLFE DIETER<br />
BOBBY PROVENZANO<br />
HANK LIEBESKIND<br />
JEFF ROLLINS<br />
DON NACE<br />
NANCY BRANTON<br />
Art Department Coordinator<br />
Graphic Artist<br />
Art Department Production Assistant<br />
MIRIAM JOHNSON<br />
DERRICK KARDOS<br />
AIMEE ATHNOS<br />
Production Accountant<br />
TEDDY AU<br />
42
First Assistant Accountant<br />
Second Assistant Accountant<br />
Payroll Accountant<br />
Post Production Accounting<br />
DAVID FARR<br />
DEIRDRE DONOHUE<br />
KERRY ROBERTS<br />
JENNIFER FREED<br />
JESSIE GANT<br />
TREVANNA POST, INC.<br />
Assistant Production Coordinator<br />
Production Secretary<br />
Office Production Assistant<br />
Assistant to Mr. Aronofsky<br />
Assistant to Mr. Franklin<br />
Assistant to the Producers<br />
Assistant to Mr. Medavoy & Mr. Messer<br />
Assistant to Ms. Portman<br />
JODI ARNESON<br />
M. BALDWIN LEWIS<br />
BEN LUSTHAUS<br />
JON KAUFFMAN<br />
ALEX WILSON<br />
ALEXANDRA MENDES<br />
PANDORA VANDERPUMP-TODD<br />
GRIT MENZZER<br />
1 ST Team Production Assistant SOREN MILTICH<br />
Background Production Assistant<br />
Walkie Production Assistant<br />
Paperwork Production Assistant<br />
Additional Production Assistants<br />
JENNIFER ROBERTS<br />
JACKIE BERNON<br />
ZARA BURDETT<br />
ANGELA CUTRONE<br />
EUGEN AHL-KLOPSCH<br />
Casting Associate<br />
Casting Assistant<br />
LINDSAY GRAHAM<br />
BRANDON HEMMERLING<br />
43
NY Casting<br />
Background Casting<br />
Background Casting Assistant<br />
Unit Publicist<br />
ANN GOULDER<br />
GAYLE KELLER<br />
GRANT WILFLEY<br />
SABEL<br />
ADAM GOLDMAN<br />
ROB HARRIS<br />
Transportation Captain<br />
Transportation Co-Captain<br />
Transportation Office Manager<br />
Security Supervisor<br />
Catering<br />
Craft Service<br />
STEVEN HAMMOND<br />
PETER J. CLORES<br />
CHRISTINA SCHAICH<br />
MIKE COSTELLO<br />
GOURMET TO U<br />
WILSON RIVAS CATERING<br />
Product Placement Coordinator<br />
Fine Art Advisor<br />
Artist Liaison<br />
WENDY COHEN<br />
DOMINIC SIDHU<br />
MARY ANNE HOBBS<br />
Associate Choreographer<br />
Head Trainer<br />
Trainer<br />
Male Trainer<br />
Trainer for Ms. Portman<br />
KURT FROMAN<br />
GEORGINA PARKINSON<br />
MARINA STAVITSKAYA<br />
JOCK SOTO<br />
MARY HELEN BOWERS<br />
44
Trainer for Ms. Kunis<br />
On Set Ballet Consultant<br />
Ballet Coordinator<br />
Pennsylvania Ballet Liaison<br />
Ballet Consultants<br />
ALEXANDRA BLACKER<br />
OLGA KOSTRITZKY<br />
ASHLEY MELONE<br />
MICHAEL SHERIDAN<br />
FRANCESCA HARPER<br />
TYLER PECK<br />
GILLIAN MURPHY<br />
JULIE KENT<br />
MEGAN FAIRCHILD<br />
HEATHER WATTS<br />
GAVIN FITZPATRICK<br />
45
Visual Effects by: Look Effects, Inc<br />
Additional Visual Effects Supervisor Henrik Fett Additional Visual Effects Producer Melinka Thompson-Godoy<br />
Visual Effects Coordinators Matt Kushner Niko Tavernise SK Nguyen<br />
3D Supervisor Michael Capton<br />
3D Artists<br />
Carl Frytz Joanie Karnowski Darren Kiner Keith Lackey Jessica Y.C. Lai<br />
Shawn Lipowski York Schueller Antonello Stornello David Sudd<br />
2D Supervisors Michael Collins Brad Kalinoski<br />
Digital Compositors<br />
Ulysses Argetta Derek Bird Cyntia Buell Seth Brower Christian Cardona<br />
Manda Cheung Leslie Chung Michael Degtjarewsky Katherine Filtrani Kelly Fisher<br />
Chris Flynn Buddy Gheen Jim Gorman Danny Kim Manuel Llamas<br />
John Mangia Daniel Molina Maureen Nixon Joseph Oberle Greg Silverman<br />
Ben Sumner Chris Wesselman<br />
Roto/Paint<br />
Ray Lewis Jose Lopez Martin McGreevy<br />
Ryan Chatel Melissa Widdup Tina Wallace<br />
Flame Artists<br />
Adam Avitabile David Geoghagen Gabriel Sanchez<br />
Visual Effects Editors Migs Rustia Paul Stemmer<br />
Data Management Michael Oliver James Coleman<br />
President Look FX Mark Driscoll Visual Effects Executive Producer Steve Dellerson<br />
45
THEATRICAL UNIT<br />
Stage Manager<br />
Chief Lighting<br />
Follow Spot Operators<br />
Dimmer Board Operator<br />
House Sound<br />
House Flymen<br />
LOREEN DOMIJAN<br />
LORNE MAC DOUGALL<br />
JAMES F. MCCULLAGH<br />
JAMES J. MANZIONE<br />
CRAIG P. HARRIS<br />
LLOYD ROTHSCHILD<br />
JONATHAN E. HATTAN<br />
KEVIN MCCARTHY<br />
JEFF GOTTESFELD<br />
JEFFREY WONDSEL<br />
GERARD BOURCIER<br />
Art Department Interns<br />
Camera Intern<br />
Location Interns<br />
Production Interns<br />
Set Interns<br />
Wardrobe Interns<br />
TIM CHUNG<br />
DANIEL HAHN<br />
SCOTT GIRSHEK<br />
DANIELLE KRUDY<br />
ROB APUZZO<br />
EVA HANNON<br />
SAM DAY<br />
ALEX FOOTMAN<br />
ALYSSA FRANKEL<br />
AMA AMPADU<br />
ARIEL WHITE<br />
JESSICA HELD<br />
ALEX PHILLIPS<br />
MALLORY GROFF<br />
Contact Lens Consultant<br />
DR. MITCHELL CASSEL<br />
Sound Designers<br />
BRIAN EMRICH<br />
CRAIG HENIGHAN<br />
46
Supervising Dialogue & ADR Editor<br />
SFX Editor<br />
Foley Artist<br />
Foley Recordist<br />
Foley Assistant<br />
SFX Recordists<br />
Recordists<br />
Mix Engineer<br />
ADR Mixer<br />
ADR Recordist<br />
Voice Casting<br />
Personal Coach for Mr. Cassel<br />
Main and End Titles Designed by<br />
JILL PURDY MPSE<br />
WAYNE LEMMER<br />
STEVE BAINE<br />
PETER PERSAUD<br />
GINA WARK<br />
COLL ANDERSON<br />
NELSON FERREIRA<br />
HARRY HIGGINS<br />
DREW GESCHEIT<br />
AVI LANIADO<br />
BOBBY JOHANSON<br />
KRIS CHEVANNES<br />
DANN FINK<br />
BRUCE WINANT<br />
VERNICE KLIER-MOSKOWITZ<br />
JEREMY DAWSON<br />
JEFF KRYVICKY<br />
Post Production Sound Facility<br />
Post Production Facilities Provided by<br />
Lab Processing & Dailies<br />
Dailies Colorist<br />
Dailies Project Manager<br />
Canon 7D Dailies Advisor<br />
SOUND ONE CORP<br />
SIXTEEN19<br />
TECHNICOLOR – NEW YORK<br />
SAM DALEY<br />
KRISTYN DIPANE<br />
RICHIE ROEFARO<br />
47
Post Facility Supervisor<br />
Digital Intermediate<br />
Digital Intermediate Project Manager<br />
Digital Intermediate Producer<br />
Digital Intermediate Colorist<br />
Digital Intermediate Editor<br />
Data Manager<br />
Digital Intermediate Engineer<br />
Digital Imaging<br />
Visual Effects<br />
VFX Compositors<br />
VFX Producer<br />
VFX Artist<br />
Film Scanning and Recording<br />
CHARLES HERZFELD<br />
TECHNICOLOR – NEW YORK<br />
KEVIN VALE<br />
DANA BLODER<br />
TIM STIPAN<br />
JESSICA ELVIN<br />
ANDREW STILL<br />
MICHAEL P. WHIPPLE<br />
MORGAN MILLER<br />
ERIC LEVERENZ<br />
ERIC LUSZCZ<br />
TECHNICOLOR<br />
ALEX BOOTHBY<br />
BRENT WHITMORE<br />
JODIE BROWN<br />
JAY TILIN<br />
TECHNICOLOR - HOLLYWOOD<br />
BRETT LANDON<br />
JASON SNEA<br />
Music Editor<br />
Associate Music Editor<br />
NANCY ALLEN<br />
MICK GORMALEY<br />
Cranes and Dollies by<br />
ABLE EQUIPMENT<br />
48
Score Conducted & Orchestrated by<br />
Score Contracted by<br />
Assistant Score Orchestra Contractor<br />
Score Preparations by<br />
Score Recorded and Mixed by<br />
Score Recorded & Mixed at<br />
Assistant Engineers<br />
Technical Assistant/Guitar Viol<br />
Music Consultant<br />
Piano<br />
Solo Violin<br />
Additional Production by<br />
MATT DUNKLEY<br />
ISOBEL GRIFFITHS<br />
CHARLOTTE MATTHEWS<br />
JILL STREATER<br />
DAVID RUSSELL<br />
GEOFF FOSTER<br />
AIR STUDIOS, LONDON UK<br />
ADAM MILLER<br />
FIONA CRUICKSHANK<br />
NIGEL WIESEHAN<br />
CHRIS BENSTEAD<br />
SIMON CHAMBERLAIN<br />
ROLF WILSON<br />
JOHN BRADBURY<br />
DUOTONE AUDIO GROUP<br />
SONGS<br />
“Apotheosis”<br />
Written and Performed by Pete Min<br />
Contains “<strong>Swan</strong> Lake” written by<br />
Pyotr Ilyich Tchaikovsky<br />
“Outside The Lines”<br />
Written by Praveen Sharma and Travis Stewart<br />
Performed by Sepalcure<br />
Contains “<strong>Swan</strong> Lake” written by<br />
Pyotr Ilvich Tchaikovsky<br />
"Danka Jane"<br />
Written by Tom Rowlands<br />
Performed by The Chemical Brothers<br />
The Chemical Brothers Perform<br />
Courtesy of EMI Records Limited<br />
Contains “<strong>Swan</strong> Lake” written by<br />
Pyotr Ilyich Tchaikovsky<br />
“The White Easton”<br />
Written by Alec Storey<br />
Performed by Al Tourettes<br />
Contains “<strong>Swan</strong> Lake” written by<br />
Pyotr Ilyich Tchaikovsky<br />
49
“Illicit Dreaming”<br />
Written by Jamie Kavanagh<br />
Performed by Kavsrave<br />
Courtesy of Tighten Up Records<br />
Contains “<strong>Swan</strong> Lake” written by<br />
Pyotr Ilyich Tchaikovsky<br />
"The Nina Frequency"<br />
Written by Tom Rowlands and Ed Simons<br />
Performed by The Chemical Brothers<br />
The Chemical Brothers Perform<br />
Courtesy of EMI Records Limited<br />
Contains “<strong>Swan</strong> Lake” written by<br />
Pyotr Ilyich Tchaikovsky<br />
"Electric Hands"<br />
Written by Tom Rowlands<br />
Performed by The Chemical Brothers<br />
The Chemical Brothers Perform<br />
Courtesy of EMI Records Limited<br />
Contains “<strong>Swan</strong> Lake” written by<br />
Pyotr Ilyich Tchaikovsky<br />
“Dark Sygnet”<br />
Written by Jermaine Troy Jacob<br />
Performed by Jakes<br />
Contains “<strong>Swan</strong> Lake” written by<br />
Pyotr Ilyich Tchaikovsky<br />
SOUNDTRACK ON<br />
FILMED IN PART ON LOCATION AT LINCOLN CENTER FOR THE PERFORMING ARTS IN NEW YORK CITY<br />
THE PRODUCERS WISH TO THANK THE FOLLOWING FOR THEIR ASSISTANCE:<br />
WITH SPECIAL THANKS TO SWAROVSKI ENTERTAINMENT<br />
WITH THANKS TO SCHONBEK WORLDWIDE LIGHTING INC.<br />
PENNSYLVANIA BALLET<br />
A VERY SPECIAL THANKS TO THE PERFORMING ARTS CENTER, PURCHASE COLLEGE<br />
NYC MAYORS OFFICE OF FILM, TELEVISION, AND BROADCASTING<br />
NYC POLICE DEPT, MOVIE & TV UNIT<br />
FILMED WITH THE SUPPORT OF THE NEW YORK STATE GOVERNOR’S OFFICE FOR<br />
MOTION PICTURE & TELEVISION DEVELOPMENT<br />
50
AMERICAN BALLET THEATRE<br />
NEW YORK CITY BALLET<br />
SCHOOL OF AMERICAN BALLET<br />
MAC<br />
LA MER<br />
CHANEL<br />
LANCOME<br />
SENSAI/KANEBO<br />
NARS<br />
YUMIKO<br />
BLOCH<br />
MIRELLA<br />
CAPEZIO<br />
EBERJEY<br />
DIESEL<br />
SANSHA<br />
ME & RO<br />
LULULEMON<br />
THEORY<br />
FREED OF LONDON<br />
GAYNOR MINDEN<br />
CAROLINE SEIKALY<br />
KD DANCE<br />
BOEDTCHER<br />
AG ADRIANO GOLDSCHMIED<br />
EQUINOX GYM, NEW YORK CITY<br />
HOOKER FURNITURE<br />
BLOSSOM LAMPS COURTESY OF<br />
JEREMY COLE DESIGNS<br />
GLASS FIXTURES COURTESY OF<br />
NICHE MODERN<br />
AL HIRSCHFELD REPRODUCED BY ARRANGEMENT WITH EXCLUSIVE REPRESENTATIVE, THE MARGO<br />
FEIDEN GALLERIES, LTC. NY<br />
AVNER BEN-GAL COURTESY OF THE ARTIST AND BORTOLAMI GALLERY, NEW YORK<br />
© FLENSTED MOBILES, LTD DENMARK<br />
FRITZ SCHOLDER BRONZE COURTESY OF THE ESTATE<br />
GARTH WEISER PAINTING COURTESY OF CASEY KAPLAN GALLERY, NYC<br />
KENNETH HOPKINS PHOTOGRAPHY<br />
RUDOLPH STINGEL COURTESY OF THE ARTIST AND PAULA COOPER GALLERY, NEW YORK<br />
SKEET MCAULEY ARTWORK COURTESY OF THE ARTIST<br />
VIJA CELMINS COURTESY OF THE ARTIST AND McKEE GALLERY, NEW YORK<br />
WADE GUYTON COURTESY OF THE ARTIST AND FREDRICH PETZEL GALLERY, NEW YORK<br />
MAYA LIN COURTESY OF THE ARTIST AND PACEWILDENSTEIN, NEW YORK (PaceWildenstein)<br />
NICK MAUSS COURTESY OF THE ARTIST AND 303 GALLERY, NEW YORK<br />
NEW YORK DAILY NEWS, L.P. USED WITH PERMISSION.<br />
CHRISTOPHER WOOL ARTWORK COURTESY OF THE ARTIST AND LUHRING AUGUSTINE, NEW YORK<br />
ARTWORK PROVIDED BY CULVER STUDIOS COLLECTION<br />
ARTWORK BY KAREN KILIMNIK, NICK MAUS, AND MARY HEILMANN COURTESY OF 303 GALLERY<br />
Color by TECHNICOLOR<br />
Prints by DELUXE®<br />
FILMED WITH ARRI<br />
CSC®<br />
CAMERAS & LENSES<br />
SDDS logo<br />
FUJI MOTION PICTURE<br />
FILM STOCK (Logo)<br />
DOLBY STEREO (logo)<br />
In Selected Theatres<br />
DTS<br />
51
Approved No. 46261 (MPAA Globe)<br />
MOTION PICTURE ASSOCIATION OF<br />
AMERICA<br />
IATSE "Bug"<br />
Copyright © 2010 Twentieth Century Fox Film Corporation and Dune Entertainment III LLC in all territories<br />
except Brazil, Italy, Japan, Korea and Spain. All rights reserved.<br />
Copyright © 2010 TCF Hungary Film Rights Exploitation Limited Liability Company, Twentieth Century Fox Film<br />
Corporation and Dune Entertainment III LLC in Brazil, Italy, Japan, Korea and Spain.<br />
All rights reserved.<br />
The events, characters and firms depicted in this photoplay are fictitious. Any similarity<br />
to actual persons, living or dead, or to actual events or firms is purely coincidental.<br />
Ownership of this motion picture is protected by copyright and other applicable laws,<br />
and any unauthorized duplication, distribution or exhibition of this motion picture<br />
could result in criminal prosecution as well as civil liability.<br />
©2010 TWENTIETH CENTURY FOX FILM CORPORATION. ALL RIGHTS RESERVED.<br />
PROPERTY OF FOX. PERMISSION IS GRANTED TO NEWSPAPERS AND PERIODICALS<br />
TO REPRODUCE THIS TEXT IN ARTICLES PUBLICIZING THE DISTRIBUTION OF THE<br />
MOTION PICTURE. ALL OTHER USE IS STRICTLY PROHIBITED, INCLUDING SALE,<br />
DUPLICATION, OR OTHER TRANSFER OF THIS MATERIAL. THIS PRESS KIT, IN<br />
WHOLE OR IN PART, MUST NOT BE LEASED, SOLD, OR GIVEN AWAY.<br />
52