SNOW ANGELS is a heartrending story about love lost and found in a small town in which a terrible event shakes the entire community and reveals the precarious nature of life. The film explores three couples in various and difficult places in their lives, whose relationships offer a glimpse into those profound and unexpected moments where they each realize how delicate, dangerous and surprising life can be.
High school student Arthur plays trombone in the marching band, works at the local Chinese restaurant and avoids his squabbling parents. At work, he busses tables and flirts with Annie who used to be his baby-sitter. Annie is trying to rebuild her life after splitting with high school sweetheart Glenn and is happy to reciprocate ArthurÕs flirtations. With her marriage to Glenn ending in chaos, she is left to fend for herself and their young daughter. A man with a troubled past, Glenn hopes to rebuild his life by getting a job and tries to reconnect with his family.
At school, Arthur is befriended by Lila, a pretty girl who is just as nerdy as he is, and they quickly develop a crush on each other. Though Lila makes her feelings and affection for Arthur painfully obvious, Arthur is reluctant to engage in a relationship because of his own parents marital troubles. As his father, Don, moves out of the family home, Arthur observes the drama unfold as his mother Louise struggles to keep it together. As he begins to fall for the irresistible Lila, Arthur watches Annie and Glenn tear each other apart at the same time as his parents begin new and separate lives.
These relationships spin around each other in orbits of pain, love and desperation. Then, on a cold winter morning, Glenn and AnnieÕs past catches up with their future. For them, and for everyone who knows them, nothing will ever be the same.
SNOW ANGELS stars Kate Beckinsale as Annie, Sam Rockwell as Glenn, Michael Angarano as Arthur, Jeannetta Arnette as Louise, Griffin Dunne as Don, Nicky Katt as Nate, Tom Noonan as Mr. Chervenick, Connor Paolo as Warren, Amy Sedaris as Barb and Olivia Thirlby (Juno) as Lila. Written for the screen and directed by David Gordon Green, SNOW ANGELS is produced by Dan Lindau, Paul Miller, Lisa Muskat and Cami Taylor.
DIRECTORÕS STATEMENT SNOW ANGELS as a film began when my friend, New York filmmaker Jesse Peretz, brought me Stewart OÕNanÕs novel. Jesse wanted to direct the film and asked me to adapt the screenplay. It was my first Òfor hireÓ writing job. IÕd just finished one film and was looking to kind of branch out as a writer and gain experience writing for other people, so I adapted the novel for Jesse to direct and developed it with him and the producers. Jesse had been doing some comedies and wanted to do something dramatic. Predictably, the more I started doing drafts for him, the more I got invested in the characters and their world and certainly I became a little bit possessive, as any writer IÕm sure does. Meanwhile, Jesse went on to other projects, as did I, and SNOW ANGELS kind of disappeared for a little while. SNOW ANGELS came back when Dan Lindau and Paul Miller of Crossroads Films wanted to give it another shot. Crossroads had been developing SNOW ANGELS for about ten years, since Lindau first read the novel, and had a loose commitment from Sam Rockwell to star. As a late-winter window opened in SamÕs schedule, the producers decided it was time to act, so they approached me and my long-time producer Lisa Muskat and made a plan to shoot. Jesse was unavailable and I jumped at the opportunity to direct the script IÕd written. As I said, IÕd become attached and I had some really strong feelings on how to approach the material cinematically. The novel takes place in the Õ70s and is told in flashback. Characters had to be condensed, cuts were made, whole sequences eliminated. I wanted to update it, make it contemporary, but also invoke the sensibilities of other time periods. I created Õ70s references and Õ80s references. I try to identify with every character. No character can be too far away from me or I donÕt feel like IÕm the appropriate author.
The action in SNOW ANGELS, particularly in the filmÕs second half, is dark by any measure. Most of the adult characters are flawed and, by conventional movie standards, unsympathetic. My strategy for dealing with the darkness: cast actors who understand comedy, so that some degree of humor could leaven the narrative. I wanted to put a lot of the focus on the younger characters and almost have the older characters become more child-like. My goal was for the younger characters to illustrate that point in life when theyÕre starting to take great steps. The movie for me has always been a launch for the Arthur character, to see the world through his eyes, to see his relationships, his likes and hates. Arthur, after all, is watching relationships through whole movie: heÕs watching his mom and dad, heÕs watching Annie and Glenn, watching himself with Lila. It was really a joy to shoot this film. The cast we chose was able to add the lightness and humor IÕd imagined while penning the script and being in Halifax, the cold, the people, the scenery. It all just seemed to come together into a film IÕve become very proud to have been a part of. NOTES FROM THE SET ÒWe do a lot of rehearsals beforehand,Ó says Green, Òand we got to know the characters. I saw immediately that each actor was really desperate to find the humanity in their characters, and equally desperate to find out what makes them laugh. A lot of our dialogue before we went into production has to do with where these characters are coming from, deciding what the funny parts of their lives are, as well as the sad parts.Ó
Sam Rockwell gives a specific example of how this approach informed his character of Glenn and Kate BeckinsaleÕs character, Annie.
ÒWhen I first envisioned working with an actress on this, I imagined a lot of pent-up tensions would inform the performances. As it turned out, Kate and I really got along and we joked around a lot. When the cameras roll, we are with the characters as they find themselves today. Joking around between takes was very much ÔthatÕs the way it used to be when they were in love.Õ There was a time when Annie and Glenn were both very much in love Ð intense, passionate love. They probably met in High School and they fell hard for each other. But people grow out of each other, and Annie grew out of Glenn much faster than he grew out of her.Ó
ÒWhen I got involved in the project, Sam had been attached to it and had been talking to Jesse about doing it and when I heard that I was thrilled because I hadnÕt thought of him when I was writing it,Ó says Green. ÒHe is perfect for the part because he captures such dramatic detail with absolute vulnerability. He makes Glenn a sympathetic human being you can feel for.Ó
ÒI believe the film is about second chances,Ó says Rockwell. ÒSome of the people in the film get them, some donÕt.Ó
ÒThe part of Glenn is a very juicy part for an actor,Ó he says. ÒHeÕs a really complex character, with a lot of layers. HeÕs kind of the perfect anti-hero, like you might find in some of the better films of the Õ70s. HeÕs not necessarily a likeable person, but my job is to help the audience understand him and somehow want the best for him.Ó
ÒThe audience should suspect something is not quite right about Glenn right off the bat,Ó the actor explains. ÒWhen we later learn he lives with his parents, that heÕs a born again Christian and heÕs trying to get his act together, thereÕs a lot of hope for him. HeÕs thinking he can get his family back, thinking heÕs still got a real shot at that. But, it all goes very wrong. It all probably went wrong way before weÕre introduced to him, when he and his young wife were married, even before they broke up.Ó
Rockwell says he found the original novel very helpful to the process. ÒI think Meryl Streep once said books are great for lazy actors, and sheÕs right, you can learn what heÕs supposed to be thinking when he says one line or the other.Ó
He talks about past roles that he drew on for Glenn, particularly the characterÕs relationship with Jesus Christ. ÒI have a friend who is a Jesuit priest, Jim Martin, he was the technical advisor for a play by Stephen Adly Guirgis, I did in New York, ÔThe Last Days of Judas of Iscariot,Õ that Philip Seymour Hoffman directed. I didnÕt know anything about the New Testament and Jim really helped and advised me. Doing CONFESSIONS OF A DANGEROUS MIND prepared me to play Glenn in some ways, too.Ó
He also tapped such resources as feature films, documentaries, audiotapes, field trips and born-again friends to prepare for SNOW ANGELS.
ÒI listened to Gregory Peck reading the Bible, one of the best things I got was the BBC TV film JESUS OF NAZARETH directed by Franco Zeffirelli and I went to a lot of church services; they were amazing. I learned a few prayers and how to pray. The services here in Halifax were very helpful. I talked to friends who are born again. I looked at a recent documentary called HELL HOUSE, Billy Graham videos, and a documentary called BROTHER BORN AGAIN. A buddy told me about a film called SOLDIERS IN THE ARMY OF GOD, about guys who kill abortionists and blow up clinics.Ó
The subject matter would imply that the making of this film would be grueling for Rockwell, but his experience wasnÕt that way at all.
He had fun working with Kate Beckinsale. ÒShe cracks me up. I hadnÕt met her before this, and I thought sheÕd be the quiet, mousy type, but sheÕs actually really funny. SheÕs also really smart. She understands human nature and sees the whole arc of the character. SheÕs a sophisticated, mature actress who knows what sheÕs doing and comes at it from a very intelligent yet sincere point of view. You can see it in the work sheÕs done in movies like LAUREL CANYON and BROKEDOWN PALACE.
ÒKate and I worked very well together,Ó Rockwell continues. ÒI looked in her eyes the other day and I saw Annie, I didnÕt see Kate. I thought, Ôthis is my wifeÕ when I walked her out into the snow. I truly felt like I was taking my wife out to the woods to do bad things.
Rockwell, whoÕd loosely attached himself to SNOW ANGELS was excited by the script and by the prospect of working with Green.
ÒItÕs a great script, the fact that David was involved was important to me. He seemed right for the material. HeÕs really transformed the whole thing into something vibrant and spontaneous.
ÒI do think thereÕs a part of David that identifies with Glenn, because like Glenn, David is very passionate. There is ferocity to the way he chews on work. HeÕs really smart, but his choices are governed more by instinct.Ó # # # ÒA lot of what Arthur feels is what the audience feels,Ó Angarano says. ÒWhether he knows it or not, he grows up during the course of the film. ÒTo Annie, Arthur is a bit of the past, a bit of who she used to be. For Arthur, being around Annie makes him realize heÕs a man now,Ó Angarano observes. ÒBut Arthur is also an only child whose parents are separating. He has a good relationship with his parents, but to see them going through this puts him in a weird funk. ÒFinally,Ó Angarano concludes, ÒThe audience gets to see Arthur go from a relatively meek character to one that can stand up to his father and realize he can deal with anything.Ó ÒI talked a lot about that with Michael,Ó adds Green, Òabout how the character can really build strength from observing the weakness of others. The events of the narrative immediately give Arthur anxiety, but they will ultimately give him strength.Ó The relationship between Arthur and Lila is an example of that source of strength for him and it also offers hope to the audience. ÒLila is really a light in ArthurÕs life at that point,Ó Angarano observes. ÒWhen Lila and Arthur are on the screen together it gives the audience a breath of fresh air.Ó Thirlby describes her relationship with her co-star, and the relationship between their characters, as an evolution. ÒThe first time Michael and I met, we read through the scenes and I remember it was kind of awkward getting close to him. Now IÕm pretty used to him. WeÕve ended up spending a lot of time together on set and have developed a nice, interesting relationship Ð weÕre very comfortable with each other.Ó On working with Green, Thirlby, who most recently starred in Juno as Leah, says ÒI think his approach to filmmaking is perfect, because he manages to capture real life.Ó Beckinsale agrees. ÒWhen I worked with Scorsese,Ó she says, ÒI was struck by how much collaboration he wanted and was up for and how much he really valued the input of the people who were going to be in the scenes, and DavidÕs got that as well. I think he really understands that if a scene doesnÕt have meaning to you, then it doesnÕt have meaning.Ó
ÒWhen we attached Kate,Ó Green remembers, ÒI went out to LA to speak with her because in a way, SNOW ANGELS was the opposite of the studio movies sheÕd been doing. IÕd been a big fan of her work in genre movies, and really liked that this was an unexpected career move for her. Rather than cast the obvious actress to play a working class, hard living woman, I thought it was a good idea to cast somebody that we all have our own preconceptions of, and then reinvent her and give her the opportunity to show us something she hadnÕt done before.
ÒMeeting with her and talking about her own life as a mother and a wife also made me realize that Kate was bringing a lot of real life experience to the role, and her ideas made me really see Annie for the first time. Until then, sheÕd been kind of faceless. I knew her house, I knew what was in her kitchen, I knew how her bedroom looked, but I didnÕt know what she looked like and I didnÕt know how she spoke until I met Kate.Ó
She acknowledges that her choice to work on SNOW ANGELS was both professionally and personally meaningful. ÒI donÕt get many opportunities for such a dramatic role, and I really felt a lot of empathy with Annie. IÕve been researching the working mother situation for the last seven years, so I feel like I kind of know that woman pretty well, and it was nice for me to really do something from what I know, to take a character through a really big emotional journey. ItÕs sort of the whole point of being an actor really.Ó
Rockwell adds, ÒKate is so elegant and beautiful. As we were doing the scene walking through the snow, she broke my heart. ThereÕs something very noble about Annie, and itÕs a hard part to make noble.Ó
ÒWhat may read as complex about Annie,Ó adds Green, Òis meant to be a realistic window into the frustrations of motherhood, especially single motherhood, with very realistic everyday problems and frustrations.Ó
ÒIÕm highly sympathetic to the working mother,Ó Beckinsale admits. ÒI know from experience that motherhood can be a real war and I canÕt help but feel for somebody in AnnieÕs situation. In this film you see Annie lose her temper quite a lot with her child. But I tried to make sure the audience understands that beneath every mother whoÕs yelling at their child in a supermarket, that same person would lie down on a train track for that child.Ó
Beckinsale also talks about how motherhood informs her perspective on certain co-stars. As she puts it, ÒBecause I always have a crush on whomever my daughter has a crush on, so I was very keen on working with Michael Angarano,Ó who had previously starred in the hit family film SKY HIGH. ÒFor my daughter, it was kind of like being in the same room with Elvis when Michael came to our hotel room to visit.Ó ÒMichael has a freshness and an excitement and a kind of guilelessness that is really special that I donÕt think every teenager has,Ó Beckinsale observes. ÒHe has a wonderful little face that makes you wish you were sixteen again.Ó On their characters relationship, she adds ÒArthur is at that moment in life where everything seems possible, and Annie is at a moment where sheÕs aware that certain possibilities have closed down for her. So itÕs a poignant relationship.Ó
ABOUT THE CAST English actress Kate Beckinsale (Annie) is revealing herself to be one of filmsÕ most versatile and charismatic actresses. She first gained notice in Kenneth BranaghÕs MUCH ADO ABOUT NOHING and then subsequently appeared as the heroine of John SchlesingerÕs COLD COMFORT FARM, Whit StillmanÕs THE LAST DAYS OF DISCO opposite Chloe Sevigny, Jonathan KaplanÕs BROKEDOWN PALACE opposite Claire Danes and in the British comedy SHOOTING FISH. Additional film credits include HAUNTED opposite Aidan Quinn, and Manuel FlecheÕs MARY LOUISE OU LA PERMISSION.
In 2001, Beckinsale starred opposite Ben Affleck and Josh Hartnett in DisneyÕs epic PEARL HARBOR. She starred opposite John Cusack in SERENDIPITY, opposite Matthew McConaughey and Gary Oldham in TIPTOES and opposite Christian Bale and Frances McDormand in the ensemble drama LAUREL CANYON. Recent film appearances include starring opposite Hugh Jackman in VAN HELSING and starring in the hit vampire tales UNDERWORLD and sequel UNDERWORLD: EVOLUTION for Sony Screen Gems. Beckinsale also starred as screen legend ÔAva GardnerÕ in Martin ScorceseÕs THE AVIATOR.
Her television appearances include playing the title role in A&EÕs "Emma" and in "One Against the Wind" for Hallmark Films. On the stage, she has appeared in ÒClocks & Whistles,Ó ÒSweetheart,Ó and the British National Touring production of ÒThe Seagull.Ó
Beckinsale was last seen in the Screen Gems thriller VACANCY opposite Luke Wilson and the comedy blockbuster CLICK opposite Adam Sandler. Beckinsale recently wrapped production on Rod Lurie's political drama NOTHING BUT THE TRUTH opposite Alan Alda and the independent drama WINGED CREATURES opposite Forest Whitaker and Dakota Fanning. She will next be seen in the Warner BrosÕ suspense thriller WHITEOUT produced by Joel Silver.
Sam Rockwell (Glenn) has emerged as one of the most dynamic actors of his generation by continuing to take on challenging roles in both independent and studio productions.
Rockwell has created memorable characters in several films including: the Russo brothersÕ comedy WELCOME TO COLLINWOOD opposite George Clooney, Patricia Clarkson, Jennifer Esposito, and William H. Macy; David MametÕs HEIST opposite Gene Hackman, Rebecca Pidgeon and Danny DeVito; the blockbuster CHARLIEÕS ANGELS with Drew Barrymore, Cameron Diaz and Lucy Liu; and Frank DarabontÕs Oscar-nominated THE GREEN MILE, opposite Tom Hanks. Rockwell also appeared in DreamWorksÕ box office hit, GALAXY QUEST opposite Tim Allen, Sigourney Weaver, Alan Rickman and Tony Shalhoub.
Additional credits include: JOSHUA opposite Vera Farmiga; THE HITCHHIKERÕS GUIDE TO THE GALAXY opposite Zooey Deschanel, Mos Def and Martin Freeman; and the Warner BrosÕ comedy-drama MATCHSTICK MEN directed by Ridley Scott, starring opposite Nicolas Cage. He has also appeared in Woody AllenÕs CELEBRITY; Michael HoffmanÕs A MIDSUMMER NIGHTÕS DREAM with Kevin Kline and Michelle Pfeiffer; John DuiganÕs LAWN DOGS; John HamburgÕs SAFE MEN; Saul RubinekÕs dark comedy JERRY AND TOM; Tom DiCilloÕs BOX OF MOONLIGHT opposite John Turturro; Peter CohenÕs DRUNKS with Richard Lewis, Parker Posey and Faye Dunaway; Paul SchraderÕs LIGHT SLEEPER with Willem Dafoe; Uli EdelÕs LAST EXIT TO BROOKLYN with Jennifer Jason Leigh; and his feature film debut in Francis Ford CoppolaÕs CLOWN HOUSE while he was still a student at the High School of the Performing Arts.
Rockwell won critical praise, as well as the Berlin Film FestivalÕs Best Actor Award and MovielineÕs Breakthrough Performance of the Year Award, for his portrayal of Chuck Barris in George ClooneyÕs CONFESSIONS OF A DANGEROUS MIND. He starred opposite Clooney, Drew Barrymore and Julia Roberts, in this adaptation of BarrisÕ memoirs. Other awards include: Best Actor Sitges Catalonian International Film Festival for his performance in JOSHUA and the Decades Achievement Award from Rehobeth Beach Independent Film Festival.
Rockwell was most recently seen starring opposite Brad Pitt and Casey Affleck in Andrew DominikÕs critically acclaimed film THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD, released in September 2007 by Warner Bros. Pictures. Rockwell can next be seen in Clark GreggÕs adaptation of Chuck PalahniukÕs novel CHOKE, which will make its debut at the 2008 Sundance Film Festival in the US Dramatic Competition. He recently wrapped production on Ron HowardÕs FROST/NIXON, scheduled for release by Universal Pictures in Fall 2008.
On stage, he was seen in "The Last Days of Judas Iscariot" opposite Eric Bogosian at The Public Theater. The Labryrinth Theater Company production was directed by Phillip Seymour Hoffman. Rockwell has appeared in "Face Divided" as part of the EST Marathon series, as well as the Off-Broadway production of ÒGoosepimples,Ó which was written by noted film writer/director, Mike Leigh. He has also appeared in ÒThe Dumb WaiterÓ and ÒHot L BaltimoreÓ for the Williamstown Theater Festival, both of which were directed by Joe Montello.
Michael Angarano (Arthur) is one of the most gifted actors of his generation, making his mark in Hollywood with a diversity of roles that define him as one of the industryÕs most respected and sought after young actors.
Angarano will be seen in Rob Minkoff's THE FORBIDDEN KINGDOM opposite Jackie Chan and Jet Li. Angarano stars as a troubled 17-year-old wannabe kung fu warrior, who after a humiliating defeat at the hands of a street gang, is sent back in time to ancient China on an impossible mission to set free the imprisoned Monkey King (Li) and return to him his all-powerful staff. Lionsgate is scheduled to release the film on April 18th, 2008.
Angarano recently starred in Michael Schroeder's MAN IN THE CHAIR opposite Christopher Plummer. Angarano plays a rebellious 17-year-old from a broken home who teams up with a retired gaffer (Plummer) to produce and direct a film for a prestigious student competition at his school. The film premiered at the 2007 Berlin International Film Festival and 2007 Santa Barbara Film Festival, where it was the recipient of the American Spirit Award.
Angarano made his breakthrough performance in Wes Craven's MUSIC OF THE HEART opposite Meryl Streep. Shortly after, he starred in Cameron Crowe's Academy Award nominated film ALMOST FAMOUS opposite Frances McDormand, Kate Hudson, Billy Crudup, Zooey Deschanel and Patrick Fugit as young William (Patrick FugitÕs character).
Angarano's other film credits include Catherine HardwickeÕs LORDS OF DOGTOWN opposite Heath Ledger and Emile Hirsch, Mike Mitchell's SKY HIGH opposite Kurt Russell and Kelly Preston, Brad Gann's BLACK IRISH, Alex Steyermark's ONE LAST THING opposite Cynthia Nixon, Thomas Vinterberg's DEAR WENDY, Gary Ross' SEABISCUIT opposite Tobey Maguire and Jeff Bridges and David EvansÕ THE FINAL SEASON opposite Sean Astin and Rachael Leigh Cook.
On television, Angarano appeared in a four episode arc on Fox's hit drama Ò24Ó opposite Kiefer Sutherland. He also guest starred on NBC's Emmy winning comedy ÒWill and GraceÓ as Elliot, Jack McFarland's (Sean Hayes) son. Angarano's other television credits include ÒE.R.,Ó ÒCSI,Ó ÒLess Than Perfect,Ó ÒSummerland,Ó and ÒKevin Hill.Ó
Angarano was born in Brooklyn, New York and currently resides in Los Angeles.
Jeannetta Arnette (Louise) has portrayed an array of characters including the alcoholic mother opposite Hillary Swank in BOYS DONÕT CRY, the murderous Silver Melville in Lasse Hallstrom's THE SHIPPING NEWS, a bankrupt Valley housewife in THE PRIME GIG with Vince Vaughn and the abused wife of a polygamist in the indie, DUNSMORE. Her recent TV credits include ÒCriminal Minds,Ó ÒLaw and Order: SVU,Ó ÒLost,Ó ÒC.S.I.Ó and a recurring role in the comedy series ÒSo noTORIous,Ó playing Tori Spelling's whacked manager. She was a series regular on ÒHead of the ClassÓ with Howard Hesseman and Billy Connolly as well as ÒThe Jackie Thomas ShowÓ with Tom Arnold. Her latest films include MIDDLE OF NOWHERE (playing Susan Sarandon's sister), PORN STAR (playing the mother of an adult film actress) PRETTY UGLY PEOPLE (as a racist in this outrageous comedy) and a cameo in David Gordon Green's PINEAPPLE EXPRESS.
Griffin Dunne (Don) is an accomplished actor, producer and director. Dunne recently directed the poignant coming-of-age drama FIERCE PEOPLE, starring Diane Lane and Donald Sutherland and the upcoming ACCIDENTAL HUSBAND, starring Uma Thurman, Colin Firth and Jeffrey Dean Morgan, opening in March 2008. He appeared on the big screen in GAME 6 opposite Robert Downey Jr. and Michael Keaton, a film that he also produced. Next, he will direct THE POSITION based on the novel of the same name by Meg Wolitzer set to shoot in 2008.
Dunne's career began when he moved to New York City to study acting at the Neighborhood Playhouse. Not long after he appeared on Broadway in ÒSearch and Destroy,Ó written by Howard Korder. For his role in ÒSearch and Destroy,Ó Dunne received a Theater World Award as well as a nomination for a Drama Desk Award.
He segued into film as a producer and actor on the drama CHILLY SCENES OF WINTER for United Artists. That led to starring roles in AN AMERICAN WEREWOLF IN LONDON, directed by John Landis, JOHNNY DANGEROUSLY with Michael Keaton, and most notably AFTER HOURS, directed by Martin Scorsese, which Dunne also produced and received a Golden Globe nomination for Best Performance by an Actor in a Motion Picture/Comedy/Musical.
Dunne's other producing credits include, BABY ITÕS YOU, directed by John Sayles, and Sidney Lumet's RUNNING ON EMPTY, which starred River Phoenix. The latter film garnered Academy Award nominations for Best Original Screenplay and Best Supporting Actor. Dunne's next two productions were WHITE PALACE, starring Susan Sarandon and James Spader and directed by Luis Mandoki, and ONCE AROUND, starring Richard Dreyfuss and Holly Hunter and directed by Lasse Hallstrom.
Dunne established himself as a director with his 1996 short film DUKE OF GROOVE, which earned an Academy Award nomination. He made his feature directorial debut with ADDICTED TO LOVE, starring Meg Ryan and Matthew Broderick. He went on to direct PRACTICAL MAGIC, starring Sandra Bullock and Nicole Kidman.
For his work on television, Dunne received an Emmy nomination for his guest starring appearance on the show ÒFrasierÓ and has been nominated for two Ace Awards for his work on HBO's production of ÒLove MattersÓ and Showtime's ÒLip Service.Ó
Nicky Katt (Nate) made his feature debut in Richard LinklaterÕs cult hit DAZED AND CONFUSED. Since then, Katt has gone on to work with some of the industryÕs most influential filmmakers. Katt was most recently seen in Robert Rodriguez and Quentin TarantinoÕs GRINDHOUSE and Neil JordanÕs THE BRAVE ONE. Katt has also had notable roles in successful studio films, including SIN CITY, INSOMNIA, THE WAY OF THE GUN, RULES OF ENGAGEMENT, BOILER ROOM and A TIME TO KILL. On the independent side, Katt has worked with Steven Soderbergh on FULL FRONTAL and THE LIMEY, after re-teaming with Richard Linklater on SUBURBIA. KattÕs notable stage credits include ÒSecond Hand MemoryÓ at the Atlantic Theater Company under the direction of Woody Allen and ÒLove StreamsÓ at Center Theatre in Los Angeles for director John Cassavetes. Tom Noonan (Mr. Chervenick) has appeared in nearly fifty film projects including MANHUNTER, LAST ACTION HERO, HEAT, ROBOCOP 2, THE PLEDGE, KNOCKAROUND GUYS, and the award winning shorts BULLET IN THE BRAIN by David Von Ancken and TOM GOES TO THE BAR by Dean Parisot. He also works now and again on TV, last being seen in ÒThe BeatÓ and ÒThe Jury,Ó both directed by Barry Levinson. He can be seen in the soon-to-be-released, Spirit Award-nominated MADNESS AND GENIUS by Ryan Eslinger. In 2008, Noonan will appear in director Charlie KaufmanÕs SYNEDOCHE, starring Philip Seymour Hoffman, Tilda Swinton, Michelle Williams, Catherine Keener and many other notables. He also appeared in the original New York stage productions of Sam Shepard's Pulitzer Prize winning ÒBuried ChildÓ (OBIE Best Play), Michael Weller's ÒSplit,Ó F. X. KroetzÕ ÒFarmyardÓ (OBIE Best Play), Harvey FiersteinÕs ÒSpookhouse,Ó Len Jenkin's ÒFive of UsÓ (OBIE Best Play), Herb Liebman's ÒThe Breakers,Ó and ÒA Poster of the CosmosÓ (an OBIE winner as well), written for Mr. Noonan (and dedicated to him) by playwright Lanford Wilson.
As a writer, Noonan was awarded the 1995 OBIE Award for his play ÒWifey,Ó he won the Waldo Salt Award at the 1994 Sundance Film Festival for Best Screenplay for WHAT HAPPENED WAS..., and chosen a New York Foundation for the Arts Screenwriting Fellow in 1998 for his script BONE DADDY. WHAT HAPPENED WAS... was also nominated for two Independent Spirit Awards including Best First Screenplay in 1995. The screenplay of WHAT HAPPENED WAS... was published in Scenario Magazine in 1996. He has written over a twenty screenplays (five produced), thirty teleplays (three produced), and an unpublished novel Must Have, and two collections of short stories, Agog and Amygdala. Noonan has written more than two dozen plays, the last produced was ÒWhat the HellÕs Your Problem?: An evening with Dr. Bob Nathelson.Ó Along with his episodic TV work as a writer, Noonan also wrote and produced a feature film, RED WIND, for USA Network in 1991. As a director, Noonan, previous to his own movies, worked extensively in New York theater as well as a director (and producer) in television. As a movie maker Noonan has created three movies. His first, WHAT HAPPENED WAS... (1994) won the Grand Jury Prize at The Sundance Film Festival for best narrative feature. It also won the Silver Hugo at the Chicago International Film Festival (and the two Independent Spirit Awards mentioned above). WHAT HAPPENED WASÉwas distributed theatrically by the Samuel Goldwyn Company. It was named to several 10 Best Movies of 1994 lists and was named by Siskel and Ebert Video Release of the Week in April, 1995. His second feature, THE WIFE, was in competition at the 1995 Sundance Film Festival. It was released theatrically in 1996 and was named one the 10 Best Movies of 1996 by the San Francisco Chronicle. In 2000, THE WIFE was named one the 10 Best Movies of the Decade by Art Forum Magazine. It is distributed on video and DVD by Fox-Lorber. His third feature, WANG DANG, premiered at the 2004 Hamptons Film Festival. Noonan was awarded the National Endowment for the Arts Media Grant in both 1993 and 1994, and was recipient of the Guggenheim Fellowship for Film Making in 1998. Connor Paolo (Warren) is a native New Yorker who was 'discovered' at age six by theatrical director Michael Counts after Paolo refused to leave the huge loft space where Counts' spectacular walk-through production of The Odyssey Ð ÒWine Blue Open WaterÓ Ð had just been performed. Despite the play's three hour running time, Paolo was upset that the show was "over so soon." Fascinated by PaoloÕs energy and eloquence, Counts asked Connor to join his troop Gales Gates et al that night.
Between 1996 and 2003, Paolo performed some six shows with Gale Gates et alÉeverything from guerilla theatre on Wall Street to happenings on the steps of the Metropolitan Museum of Art to an interactive, multi-media extravaganza in the Whitney Museum of American Art at Altria. During the same period, Paolo was also lucky enough to work with Clint Eastwood on MYSTIC RIVER, do some looping with Martin Scorsese on THE GANGS OF NEW YORK, and spend two months in Morocco with Colin Farrell, Angelina Jolie and Val Kilmer playing young ALEXANDER in Oliver Stone's film of the same name.
He also spent six months on Broadway playing Nathan in THE FULL MONTY and three months in Washington DC appearing as Dill (the young Truman Capote) in the Ford Theatre production of ÒTo Kill A Mockingbird.Ó On the small screen Paolo is known for the recurring role of Travis, Star's runaway boyfriend on the soap ÒOne Life To LiveÓ and as Zachery Connor, an 11 year old rapist murderer on ÒLaw & Order: SVU.Ó Paolo is currently part of the cast of the CW series ÒGossip GirlÓ on which he plays the character of Erik.
Over the past few years Paolo has continued to balance his work on the stage and screen: appearing as the Duke of York in the Public Theatre's production of Shakespeare's ÒRichard IIIÓ (with Peter Dinklage), as John in ÒTape,Ó Jack in ÒInto The WoodsÓ and Judas in ÒGodspellÓ (all at PPAS) and in readings of ÒThe Browning VersionÓ (with John Lithgow), ÒBroadcastÓ (with Will Chase) at Playwright's Horizon, and as the title character in ÒJohnny BoyÓ (with Lannie Kazan).
Most recently, Paolo appeared in Oliver Stone's WORLD TRADE CENTER in which he plays Nicholas Cage's son, and in the soon-to-be-released films: FAVORITE SON and CAMP HOPE.
Amy Sedaris (Barb) hails from North Carolina and studied and performed with ChicagoÕs Second City. Her New York theatre credits include ÒWonder of the WorldÓ (Lucille Lortel Award Nomination), ÒThe Country ClubÓ (Drama Dept), ÒThe Most Fabulous Story Ever ToldÓ and Talent Family Plays (written by David and Amy Sedaris): ÒJamboree,Ó ÒStump the Host,Ó ÒStitches,Ó ÒOne Woman ShoeÓ (Obie Award), ÒThe Little Frieda MysteriesÓ (Encore Award), ÒIncident at Cobble KnobÓ (Lincoln Center) and ÒThe Book of LizÓ (Drama Dept). Regional: ÒThe Country ClubÓ (Long Wharf). TV: Series regular on ÒExit 57Ó and ÒStrangers with CandyÓ (both Comedy Central) and recurring roles on ÒJust Shoot Me,Ó ÒSex & the City,Ó ÒMonkÓ and ÒCracking Up.Ó Her latest film projects include DEDICATION, SHREK 3, SEMI-PRO, BEWITCHED, STRANGERS WITH CANDY Ð THE MOVIE, CHICKEN LITTLE, FULL GROWN MEN, ROMANCE & CIGARETTES (directed by John Turturro), MAID IN MANHATTAN, SCHOOL OF ROCK and ELF. October 2006 saw the publication of AmyÕs book I Like You: Hospitality Under the Influence. Sedaris works to support her cupcake and cheeseball business.
Named one of 2006's New Faces of Independent Film by Filmmaker magazine, Olivia Thirlby (Lila) continues to come into her own as an actress known for her beauty, intellect and keen ability to select great material as illustrated by a host of promising projects.
Thirlby was most recently seen in JUNO, starring opposite Ellen Page, Jason Bateman and Jennifer Garner. The film, directed by Jason Reitman and written by first-time screenwriter Diablo Cody, follows the story of a girl who in the wake of an unplanned pregnancy makes an unusual choice regarding her unborn child.
Thirlby is currently in production on THE SAFETY GLASS with Molly Shannon, Hilary Duff, Josh Peck, and Steve Coogan, about a reporter who is sent to cover the Challenger Space Shuttle launch only to become mixed up in the lives of some local students.
Thirlby is part of the all-star ensemble for Kenneth Lonergan's upcoming film, MARGARET, featuring Anna Paquin, Matthew Broderick, Mark Ruffalo, Allison Janney, Jean Reno and Matt Damon. The story tracks the aftermath of a bus accident. Thirlby will also soon appear in THE SECRET, a remake of a Japanese film produced by Luc Besson, in which she stars opposite David Duchovny and Lily Taylor. In addition, Thirlby recently wrapped production on Jonathan Levine's THE WACKNESS opposite Sir Ben Kingsley and Josh Peck in a film centered on a teenage drug dealer and his drug addicted therapist. Thirlby will also be seen in directing/writing team Siegel and McGehee's UNCERTAINTY opposite Joseph Gordon-Levitt and Lynn Collins about a New York City couple who make a life-changing decision over a Fourth of July weekend.
In 2006, Thirlby gained national attention by appearing in Paul Greengrass' award-winning film UNITED 93, a real-time account of the events of one of the September 11th hijacked planes that crashed near Shanksville, Pennsylvania.
Prior to that, Thirlby had extensive credits in classical Shakespeare, as she studied at both the American Globe Theatre, and at the Royal Academy of Dramatic Art in London.
ABOUT THE FILMMAKERS
David Gordon Green (Written for the Screen and Directed by) was born in Arkansas and raised in Texas. He wrote and directed GEORGE WASHINGTON (2000), which was honored with a prize for Best First Film by the New York Film Critic's Circle, won The Discovery award at The Toronto Film Festival and landed on the 10 best lists of Roger Ebert, The New York Times, and Time Magazine. Green's next film, ALL THE REAL GIRLS, was released by Sony Pictures Classics and recognized with two jury awards at the 2003 Sundance Film Festival. 2005 brought the violent family drama UNDERTOW, starring Jamie Bell, Josh Lucas and Dermot Mulroney, which was an official selection of the New York and Toronto Film Festivals and was released theatrically by United Artists. SNOW ANGELS is GreenÕs fourth feature. His fifth feature PINEAPPLE EXPRESS is an action comedy starring Seth Rogen and James Franco, produced by Judd Apatow, that will be released in August 2008. Crossroads Films: Crossroads FilmsÕ previous feature film releases include JAWBREAKER, FIRST LOVE LAST RITES, THE BIG SPLIT, LE CHATEAU and IGBY GOES DOWN. In addition to SNOW ANGELS, upcoming projects from Crossroads Feature Films include THE WEDDING PROJECT, co-created by David Conolly and Hannah Davis and featuring Olympia Dukakis, Gloria Reuben, Peter McRobbie and John Ventimiglia. Projects in development include CAUGHT STEALING, a crime comedy by Mike Galvin and Peter Speakman (ÒYour Word Against MineÓ), to be directed by Tate Taylor (ÒChicken PartyÓ); The darkly comic ACTS OF CHARITY, by Chips Hardy, to be directed by Alex Winter ("Freaked", "Fever"); TUPPERWARE, written and to be directed by Jim Taylor (ÒSidewaysÓ), based on the documentary about the rise of the Tupperware empire in the 1950Õs; AFTER THE SILENCE, written by Jeff Lieber (ÒTuck Everlasting,Ó ÒTangledÓ), to be directed by Eric Skjoldbjaerg (ÒInsomnia,Ó ÒProzac NationÓ); ALL SOULS, Michael MacDonaldÕs memoir of growing up in the projects South Boston during the 1970Õs, to be directed by Ron Shelton; WOMAN AT POINT ZERO, a Shainee Gabel adaptation of the award winning German novel The Lost Honor of Katarina Blum; THE FIFTH CHILD, an adaptation of a Doris Lessing novella, written by John Sayles and Robert Buckler, to be directed by Udayan Prasad.
Dan Lindau (Producer) is Partner/Owner of The Crossroads Companies. Launched in 1989, Crossroads Films began as a subsidiary of New York production company Story/Piccolo/Guliner. The companyÕs mission was to introduce non-commercial filmmakers (feature, music video etc...) to advertising. Among the first companies of its kind, Lindau and partner Cami Taylor helped introduce and develop such talent as Mark Pellington, Tim Pope and Jesse Peretz to the commercial marketplace.
Under the Crossroads umbrella, Lindau has launched 89 Editorial (a non-linear editing and design facility), Headlight Design + Visual Effects (specializing in concept, design, and execution for the entertainment and commercial industries), Crossroads Television (a creative services agency and production company that develops and produces promotion and marketing campaigns for broadcast, cable and syndication companies), and Crossroads Films (a movie development and production company). Past Crossroads Films credits include Shainee Gabel's A LOVE SONG FOR BOBBY LONG, starring John Travolta and Scarlett Johansson and Burr SteersÕ IGBY GOES DOWN, starring Jeff Goldblum and Susan Sarandon.
R. Paul Miller (Producer) currently heads Crossroads FilmsÕ Feature Division where he produced, in addition to SNOW ANGELS, A LOVE SONG FOR BOBBY LONG with John Travolta and Scarlet Johansson. Prior to joining Crossroads, Miller was an established independent producer with a track record that includes films with Oscar nominations, Golden Globe nominations, BAFTA nominations and many other prestigious awards. Other credits include PROZAC NATION, IGBY GOES DOWN, JAWBREAKER and John SaylesÕ LONE STAR, MEN WITH GUNS and THE SECRET OF ROAN INISH. Miller has also been the primary driving force for CrossroadsÕ expansion here and in Europe, creating relationships with such financing entities as the UK Film Council.
Lisa Muskat (Producer) is an independent producer who has established herself by discovering and producing exceptional and innovative new talent. Her first feature as producer, GEORGE WASHINGTON, directed by David Gordon Green, became one of the most acclaimed films of 2000 and was recognized on the Òtop ten filmsÓ lists that year by The New York Times, Roger Ebert, and Time Magazine, among others. SNOW ANGELS is the fourth feature film she has produced for director Green following up from ALLTHE REAL GIRLS and UNDERTOW, which she produced with Ed Pressman and Terrence Malick. Muskat produced Ramin BahraniÕs debut film, MAN PUSH CART and his second feature, CHOP SHOP, which premiered at this yearÕs Cannes Film Festival and will be released theatrically in 2008. Muskat teamed up with David Gordon Green to produce SHOTGUN STORIES, directed by Jeff Nichols, which will also be released in 2008. Prior to her career as a producer, Lisa taught on the faculty of the North Carolina School for the Arts and began working with many in her creative team including Green, Nichols, Craig Zobel, Richard Wright and Tim Orr among others. Muskat was named one of VarietyÕs Ten Producers to Watch and received the Sundance/Mark Silverman Award for Producing.
Cami Taylor (Producer) began her film career in feature films Ð working first as a production coordinator and production manager, then as a casting director, and finally as a producer. She currently owns, with partner Dan Lindau, Crossroads Films, Crossroads Television, Merge@Crossroads, Headlight Design and Visual Effects, and 89 Editorial, a post production facility with offices in New York and Los Angeles. The film companies specialize in commercial production, music video production, and independent feature film development/production. With offices in Los Angeles, New York, and London, these companies have won multiple Gold and Silver Lions at Cannes, Best Music Video of the Year awards, a Grammy, and all of the top acknowledgments given to outstanding commercials. Taylor is an active member of Women in Film, The Academy of Motion Picture Arts and Sciences, a board member of the AICP, and the former president of the board of Streetlights, a non-profit organization that promotes ethnic diversity in the entertainment business.
Tim Orr (Cinematographer) is a native of North Carolina, Orr studied cinematography at the North Carolina School of the Arts School of Filmmaking. He was nominated for an Independent Spirit Award for his first feature: GEORGE WASHINGTON directed by David Gordon Green. Peter SollettÕs award winning RAISING VICTOR VARGAS followed in 2001 along with Sundance award winner ALL THE REAL GIRLS. He spent the last several years in New York working on numerous independent feature films and commercials, before relocating with his family to Los Angeles in the spring of 2006. Some of his other feature credits include: DANDELION, for which he was nominated for an Independent Spirit Award, IMAGINARY HEROES, UNDERTOW, LITTLE MANHATTAN, TRUST THE MAN, and YEAR OF THE DOG. He most recently finished work on David Gordon GreenÕs PINEAPPLE EXPRESS for Columbia Pictures and the 2008 Sundance entry CHOKE.
Richard A. Wright (Production Designer) studied film at both New York CityÕs School of Visual Arts and the North Carolina School of the Arts where he earned his degree. Immediately following graduation, Wright moved into Production Design with David Gordon GreenÕs debut film GEORGE WASHINGTON; which has been praised for its sumptuous visuals and Southern-Gothic style. Since GEORGE WASHINGTON, Wright has continued to work with Green. Two of their notable collaborations are the Sundance winner ALL THE REAL GIRLS Ð and the visually expressive UNDERTOW. Other work includes Craig ZobelÕs GREAT WORLD OF SOUND and Ramin BahraniÕs CHOP SHOP; which premiered at CannesÕ Fortnight. Beyond his work as a Production Designer, Wright also wears the hat of Producer with MORTIMER JONES, a commercial and music video production company that Wright co-founded, and also, most recently, on the Gotham Award winning GREAT WORLD OF SOUND.
William Mills ÒBillÓ Anderson (Edited by) grew up in Belfast, Northern Ireland and began his film career in Australia. He has edited some of the most beloved films in the history of Hollywood during long-term collaborations with respected directors such as Bruce Beresford and Peter Weir.
He edited ten films with Beresford including the acclaimed BREAKER MORANT and TENDER MERCIES. A six-film collaboration with Peter Weir produced the celebrated movies DEAD POETS SOCIETY, GALLIPOLI, THE YEAR OF LIVING DANGEROUSLY, FEARLESS and THE TRUMAN SHOW.
In a career spanning over 40 years, has won Best Achievement in Editing (BREAKER MORANT, DONÕS PARTY, RAZORBACK and GALLIPOLI) and Best Achievement in Sound Editing (BREAKER MORANT, DONÕS PARTY) Awards from the Australian Film Institute. He has been nominated for the BAFTA Award for Best Editing (DEAD POETÕS SOCIETY) and the Online Film Critics Award for Best Film Editing (THE TRUMAN SHOW).
An internationally acclaimed film editor, Anderson has worked in London, Paris, Rome, Buenos Ares, Tokyo and many other exotic locales. Recently, he edited AEGIS and MIDNIGHT EAGLE, two blockbuster Japanese language films. He was nominated for the Best Editing Award from the Japanese Film Academy in 2006.
A life-long champion of emerging filmmakers and independent film, Anderson has served as a visiting professor at The Chapman University School of Film and has taken two films to compete at the Sundance Film Festival in the last two years.
