Jeremy Walker



presents

Love In The Time Of Money

starring

Steve Buscemi

Rosario Dawson

Vera Farmiga

Malcolm Gets

Adrian Grenier

Jill Hennessy

Michael Imperioli

Carol Kane

Domenick Lombardozzi

Distributor Contact: NY Press Contact: L.A. Press Contact:

Amanda Sherwin Christine Richardson Syvetril Perryman

THINKFilm Jeremy Walker PR MPRM

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CAST

Greta Vera Farmiga

Eddie Iovine Domenick Lombardozzi

Ellen Walker Jill Hennessy

Robert Walker Malcolm Gets

Martin Kunkle Steve Buscemi

Anna Rosario Dawson

Nick Adrian Grenier

Joey Carol Kane

Will Michael Imperioli

Marianne Jones Nahanni Johnstone

Mark Jones John Ottavino

Jack Ross Gibby

Elaine Alexa Fischer

Susan Kopit Tamara Jenkins

FILMMAKERS

Written and Directed by Peter Mattei

Produced by Lisa Bellomo

Joana Vicente

Jason Kliot

Gretchen McGowan

Executive Producers Robert Redford

Michael Nozik

Co-Producer Yves Chevalier

Co-executive Producers Charles Rusbasan

John Orlando

Directory of Photography Stephen Kazmierski

Production Designer Susan Block

Editor Myron Kerstein

Costume Designer Catherine George

Music Supervisor Susan Jacobs

Music by Theodore Shapiro

Casting Sheila Jaffe, CSA

Georgianne Walken, CSA

Katharina Eggman

ABOUT THE STORY

LOVE IN THE TIME OF MONEY

On a dark and blustery evening, a prostitute (Vera Farmiga) gets picked up by a “john” as he drives by her regular location – a secluded waterfront corner with Manhattan’s skyline glitteringin the distance. The experience is unsatisfactory for both of them; the man, a carpenter (Domenick Lombardozzi), can’t perform properly and the streetwalker never gets paid. Thus begins LOVE I N THE TIME OF MONEY, a quintessentially metropolitan roundelay set at the height of the 90’s Nasdaq boom. In the film, nine New Yorkers, representing a cross section of society, are linked by sex, romance, and commerce, and often all three.

In the ensuing series of successive one-on-one encounters, we follow the carpenter as he is seduced by a bored, wealthy client (Jill Hennessy); she, in turn, is sexually frustrated in her marriage to a bisexual art collector (Malcolm Gets), who actually is more interested in his friend, a struggling painter (Steve Buscemi), who also happens to be pursuing an art gallery receptionist (Rosario Dawson); she confesses her infidelity to her boyfriend (Adrian Grenier), who seeks solace in the company of an older woman (Carol Kane), who then has a disturbing attempt at telephone sex with a desperate Wall Street trader (Michael Imperioli); he ends his night with the same streetwalker who started the tale and set into motion this variety of rendez-vous that delineates the enormous gulf between what we want, what we need, and what we get.

In his assured and elegant feature debut, Peter Mattei cleverly updates Arthur Schnitzler’s classic play “Reigen,” retaining its innovative “daisy chain” structure and its enduring theme of sex as the great equalizer, while creating a time-capsule worthy portrait of contemporary New York at its most beautiful and most reckless.

ABOUT THE PRODUCTION

LOVE IN THE TIME OF MONEY

In his debut feature, LOVE IN THE TIME OF MONEY, writer/director Peter Mattei has painted a moody and evocative mural of millennial New York, a city on the brink of momentous change. And, like the city, its inhabitants are also depicted as teetering, whether between love and loneliness, hunger and satisfaction, wealth and poverty, or happiness and despair. Set at the height of the go-for-broke nineties Nasdaq boom, the film focuses on nine stories that are structurally and thematically linked. Together, they create a haunting picture of a reckless, rapacious era that is at once very recent and very far from where we are today.

Mattei, an experienced playwright and stage director, who had also studied and taught film at Yale, had long wanted to make a movie. He found his inspiration in a tour of duty done at a hot internet company. As he recalls it, “I started working on the script after I left my job as an executive producer at Razorfish. A big impetus for my writing was my experience in the world at the peak of the market -- a world that no longer exists, really.”

What Mattei remembered was “a version of the city in which everyone was very manic, very kinetic and obsessed with making more and more money. People were consuming like mad, but their desire was non-stop and no one had any time to enjoy what they were consuming. It seemed to me that New York had become a little bit crazy, and people were having a hard time seeing each other as people, and that it was a very, very tough time for relationships. Money had something to do with what everyone was doing on some level.”

Mattei’s viewpoint was phenomenological. He wanted to portray a time, a place, and an entire moral climate and he searched for a structure that would encompass every stratum of society, from its heights to its depths. His search led him to Arthur Schnitzler’s classic play, “Reigen,” which he then freely adapted and updated. Written in 1896, “Reigen” was, appropriately, also an expression of fin de siecle malaise. With its divinely decadent Viennese setting and depiction of the Austro-Hungarian Empire as it hurtled toward the cataclysm of World War I, it suited Mattei’s needs perfectly. Beginning and ending with a prostitute, and climbing up and down the social ladder, the play’s characters were clearly dancing on the edge of a precipice, just as New Yorkers were in the 1990s.

“Reigen” also boasted a dazzling and innovative structure consisting of overlapping vignettes in which character A encounters character B, followed by character B meeting character C, C meeting D, and so on. Each vignette is built around a sexual quest, usually transactional and devoid of romance. And, while the characters are all linked by their common desires and needs, there is no sense of community. Each of them is restricted to two unrelated liaisons and the wider the circle grows, the greater the sense of loneliness and isolation.

Schnitzler’s play had already proven its cinematic viability. It had been filmed several times previously, most notably by the legendary Max Ophuls in 1950’s LA RONDE and again by Roger Vadim in the 1964 CIRCLE OF LOVE. These versions transposed Vienna to France, but retained the original period. Modernizations were also attempted, the most famous being David Hare’s 1999 stage play “The Blue Room.” The success of that project was a testament to Schnitzler’s enduring topicality, and it is hardly coincidental that at the very same time Stanley Kubrick was also transferring a Schnitzler work (the book TRAUMNOVEL) to contemporary New York in EYES WIDE SHUT. Like “Reigen,” that too was about the sexual odysseys of characters who seemed to have it all but who never seemed to have enough.

The very week Mattei finished his script, he got a call from a friend who was scouting projects for the Sundance Filmmakers Lab. He sent in the script. “They liked what I’d done and they made a spot for me. At the lab I met Robert Redford and Lisa Bellomo and they optioned the movie and sent me to Jason Kliot and Joanna Vicente, who liked the project for their digital division, Blow Up Pictures. We spent about a year working on the script and then went into pre-production in September 2000.”

Mattei attributes his luck in getting his project off the ground to his collaborators. “I’ve been very lucky and blessed by being able to attract great actors. Much of this was due to having great producers and part was having the great casting director Sheila Jaffe on our team.” But once again he was indebted to Schnitzler, whose daisy chain structure proved quite practical from a casting point of view. “No actor is required for more than two sequences. It was only a five or six day commitment for most people and many found that attractive and liberating. Also, many of these people were from the theatre, and the film is very dialogue heavy and actors generally react very well when they have a lot to say. I like to say that I write and direct for actors and they tend to appreciate that.”

Mattei’s eclectic cast, comprised of independent film stalwarts like Steve Buscemi and Rosario Dawson as well as television stars such as Jill Hennessy, Carol Kane, and Michael Imperioli, delivered uniformly strong performances, with each registering powerfully despite the comparative brevity of screen time. “I learned a lot by listening to the actors. There’s a scene where Adrian Grenier is walking down a Coney Island street with Carol Kane and he starts doing these sort of hip-hop beats, and another scene with Rosario where he does sort of a boy-band thing. I had seen Adrian do these routines over drinks the night before, and asked him to do it in the movie. I’ve found that if you listen to what people bring to you, sometimes you can put it in just the right place.”

For his maiden directorial effort Mattei also benefited enormously from using digital video, something his producers Kliot and Vicente have mastered with their digital division Blow Up. Having successfully used the format with excellent results in such acclaimed films as SERIES 7, CHUCK AND BUCK, and LOVELY AND AMAZING, they helped Mattei deliver a film with all the elegance and polish its glamorous metropolitan setting required. Of the process, he observes, “To me, DV is just another film stock. We shot DV because it was the right thing to do, and it gave me the flexibility to shoot a lot and focus on performance without having to worry as much about how many dollars were flowing through the camera. I did not set out to do a “dogma” film. It had to be about the acting and not about things like natural light and 40 cameras rolling at once. Because I had a vision of New York as a gleaming city full of wealth and style, we didn’t want to shoot it in a gritty, handheld way. I did a lot of research on DV technology so that I could try to shoot it in a more stylized way, and I had a great DP, Steve Kazmierski, who really made it work.”

Mattei goes on to say, ”Digital Video also surprised me after we’d finished shooting. I was thinking about how to make transitions between the segments of the film and what to do about an opening credit sequence and I planned a bunch of things. I got one of those tiny hand-help consumer-grade DV cameras and went out around New York and on the subway and just sort of experimented. I really liked the grainy, pixilated nature of those portraits of real people in the streets and subways of New York and I sort of became obsessed with this idea and we ended up using exactly what I shot.”

Using these “captured” moments as connective tissue, Mattei emphasizes the randomness with which we connect to one another. “The movie is about the fact that there are millions of stories in the city and we bring nine of them into focus. What links them all is that the characters seem to blindly, or myopically, pursue their desires to the exclusion of all else. As a result, they run the risk of missing out on love. But, I really believe what Carol Kane’s character says; ‘We’re all connected by love.’ So, in that way, I guess the movie is a cautionary tale.”

ABOUT THE CAST

LOVE IN THE TIME OF MONEY

STEVE BUSCEMI

Martin Kunkle

Steve Buscemi has become the actor of choice for many of the best directors in the business. Last year his film “Ghost World” earned him honors for Best Supporting Actor from the New York Film Critics Circle and the L.A. Film Critics Circle, as well as a Golden Globe nomination. His resume also includes: Jim Jarmusch's “Mystery Train,” for which he received an IFP Spirit Award nomination; Alexandre Rockwell's 1992 Sundance Film Festival Jury Award-winner “In the Soup”; Martin Scorsese's “New York Stories”; the Coen Brothers' “Millers Crossing,” “Barton Fink,” the Academy Award-winning “Fargo,” and “The Big Lebowski”; Tom DiCillo's Sundance Film Festival award-winning “Living in Oblivion”; “28 Days”; “Twenty Bucks”; John Carpenter's “Escape From L.A.”; Stanley Tucci’s “The Imposters”; Robert Rodriguez’s “Desperado”; Gary Fleder’s “Things to Do in Denver When You're Dead”; Rockwell's “Somebody to Love”; an IFP Spirit Award-winning performance as Mr. Pink in Quentin Tarantino's “Reservoir Dogs”; Robert Altman's “Kansas City,” as well as numerous supporting appearances in films such as “Rising Sun,” “The Hudsucker Proxy,” “Pulp Fiction,” and “Con Air.”

Buscemi's recent films include: the voice of Randall Boggs in “Monsters, Inc.,” “Domestic Disturbance,” “Final Fantasy,” “Double Whammy,” “13 Moons,” “Mr. Deeds,” and “Spy Kids 2: The Island of Lost Dreams.”

JILL HENNESSY

Ellen Walker

Hailing from Edmonton, Canada, Hennessy began her film career appearing in David Cronenberg’s “Dead Ringers.” She studied improvisational comedy with the famed Second City and also worked with a Toronto-based improv comedy troupe before landing a role in the Broadway-bound production of “The Buddy Holly Story.”

Once in New York, Hennessy starred in Ron Howard’s “The Paper.” Her additional film credits include: “I Shot Andy Warhol,” “Chutney Popcorn,” “Most Wanted,” “A Smile Like Yours,” “Dead Broke,” “Row Your Boat,” “The Florentine,” “Two Ninas,” “Molly,” “Komodo,” “Autumn in New York” and “Exit Wounds.” She also performed in “The Acting Class,” on which she also served as writer and co-director.

Television audiences know Hennessy best for her three years as assistant district attorney Claire Kincaid on the Emmy-winning NBC drama series “Law & Order.” She returned to NBC starring as First Lady Jacqueline Kennedy in the miniseries “Jackie, Ethel, Joan: Women of Camelot” and in the series “Crossing Jordan.”

ROSARIO DAWSON

Anna

With numerous films already to her credit, Rosario Dawson is emerging as one of Hollywood’s hottest young actresses. She recently starred opposite Eddie Murphy in the futuristic action/comedy “The Adventures of Pluto Nash” and opposite Will Smith and Tommy Lee Jones in “Men In Black 2.” She also was seen in “Sidewalks of New York,” the romantic comedy written, directed by and starring Ed Burns and plays the female lead in Burns’ next film, “Ash Wednesday.”

Other recent roles include “Chelsea Walls” for director Ethan Hawke, and “The First $20 Million is Always The Hardest,” written by Jon Favreau and directed by Mick Jackson.

Dawson made her film debut in the highly acclaimed and controversial hit “Kids” directed by Larry Clark, and went on to appear in Spike Lee’s “He Got Game” opposite Denzel Washington, “Light It Up,” opposite Forrest Whitaker and Vanessa Williams, “Down To You,” with Freddie Prinze Jr., and “Josie and the Pussycats,” with Rachael Lee Cook and Tara Reid.

MICHAEL IMPERIOLI

Will

Michael Imperioli is currently on HBO’s hit show “The Sopranos,” for which he earned a nomination for the 2001 Emmy Award for outstanding supporting actor in a drama series for his role as Christopher Moltisanti.

He has appeared in over thirty films, including Martin Scorsese's “Goodfellas,” five films with Spike Lee (“Jungle Fever,” “Malcolm X,” “Clockers,” “Girl 6” and “Summer Of Sam”), “Dead Presidents,” “The Addiction,” “Household Saints,” “Bad Boys,” “Basketball Diaries,” “I Shot Andy Warhol,” “Girls Town,” “Last Man Standing,” “Sweet Nothing,” and “Office Killer.” Additionally, Imperioli co-wrote and was executive producer of “Summer Of Sam.” Television appearances include guest leads on “Law and Order,” “NYPD Blue” and “Under Suspicion,” as well as more recent roles in “Hamlet” and “Disappearing Act.”

Imperioli has produced, directed and acted on the New York stage for over a decade. Some of his work includes his critically acclaimed performances in “Avenue Boys” directed by Frederick Zollo, “Displaced Persons” (opposite Martha Plimpton), “Half Deserted Street,” Seth Zvi Rosenfeld's “The Writing On The Wall,” and “Little Blood Brother.” As producer and director, he co-founded Machine Full, an experimental downtown theater company, creating over twenty new works with writer Tom Gilroy and actor Lili Taylor.

ADRIAN GRENIER

Nick

Adrian Grenier received critical acclaim for his dynamic performance in “The Adventures of Sebastian Cole.” He also was seen in “Hart’s War,” “Cecil B. Demented,” Woody Allen’s “Celebrity,” “Drive Me Crazy,” “Hurricane Streets” and “A.I.” Most recently he starred in James Toback’s “Harvard Man.”

Also a gifted, self-taught musician, Grenier attended Barnard College and Manhattan’s prestigious LaGuardia High School for Music & Art and the Performing Arts.

VERA FARMIGA

Greta

Vera Farmiga currently is starring in NBC’s “UC: Undercover,” on which she plays Alex Cross, a member of a highly specialized unit within the Justice Department that goes deep undercover to apprehend powerful criminals.

On film she co-starred opposite Robert De Niro and Edward Burns in the feature film “Fifteen Minutes,” the romantic comedy “Dummy,” with Adrien Brody, and the television feature “Snow White,” with Miranda Richardson.

Other film credits include “Autumn in New York,” “The Opportunists,” and “Return to Paradise.” She is also an accomplished stage actress who has appeared in several productions as a member of the Barrow Group, a NY theater company, where her credits include “The Tempest,” “The Seagull,” and “Good.”

MALCOLM GETS

Robert Walker

Since his graduation from the prestigious Yale Drama School, Malcolm Gets has had steady work on stage, in films and on television, both in the United States and Europe. Most recently he sang at Carnegie Hall with Barbara Cook and completed work on the film “Thirteen Conversations About One Thing,” directed by Jill Sprecher.

Gets’ stage credits include the off-Broadway production of the Marc Blitzstein musical “Juno,” “Martin Guerre,” directed by Mark Lamos, and the Obie winning “Hello Again,” written by Michael John LaChiusa at Lincoln Center.

He portrayed the lead in the York Theatre Company’s revival of Stephen Sondheim’s “Merrily We Roll Along,” which brought him a Drama Desk nomination as Best Actor in a musical as well as an Obie Award. Later he starred in “Two Gentleman of Verona” at the Delacorte Theatre in New York’s Central Park, for which he won another Obie. His most recent stage credit is as the star of Michel Legrand’s Broadway musical “L’Amour.”

Gets had a successful four year run starring in the hit NBC series “Caroline in the City.” His other television credits include: “Law and Order,” “Southbeach,” and “Showboat.”

CAROL KANE

Joey

Carol Kane’s first starring role in a film, portraying a Jewish bride in “Hester Street,” brought her an Oscar nomination in 1975. She also played Woody Allen's first wife in “Annie Hall,” Gene Wilder's Valentino-struck wife in “The World's Greatest Lover” (both in 1977), and the terrorized baby-sitter in “When a Stranger Calls” (1979).

Best known on TV as Simka on the sitcom “Taxi,” Kane earned two Emmy Awards for her role playing the wife of Andy Kaufman's character, Latka. Kane’s additional film credits include” “Is This Trip Really Necessary?,” “Carnal Knowledge,” “The Last Detail,” and “Dog Day Afternoon.” She has had supporting roles in such films as “Racing With the Moon,” “Jumpin' Jack Flash,” “The Princess Bride,” “Ishtar,” and “Scrooged.” Other credits include playing herself in “Man On The Moon,” “My First Mister,” “Jawbreakers,” and “Trees Lounge,” written, directed by, and starring Steve Buscemi.

DOMENICK LOMBARDOZZI

Edward Iovine

Lombardozzi’s film credits include appearances in “Kate & Leopold,” “The Yards,” “54,” “Kiss Me Guido” and “A Bronx Tale.” His TV credits include guest roles on HBO’s hit series “Oz,” “NYPD Blue.” and “Law and Order.”

ABOUT THE FILMMAKERS

LOVE IN THE TIME OF MONEY

PETER MATTEI

Writer/Director

Peter Mattei is a writer and director who works in both theatre and film. “Love in the Time of Money" is his first feature. The script was developed at the Sundance Filmmakers Lab in 1998.

Mattei is a founding member of the Obie-winning Cucaracha Theatre in New York, where he wrote, designed and directed several plays to critical acclaim. The Village Voice called his work "rare and distinctive" and The New York Times hailed his directing as "electrifying." His plays have also been produced in Los Angeles, San Francisco, Seattle, Chicago and many other cities.

He was executive producer at Razorfish Studios, where he created original web-based content, some of which is in the permanent collection of the San Francisco Museum of Modern Art.

Mattei studied at Brown University and at the Yale School of Drama, where he also taught film studies, and has received a residency grant at the Royal Court Theatre in London. He lives in Brooklyn.

JOANA VICENTE AND JASON KLIOT

Producers

Joana Vicente and Jason Kliot are Co-Founders and Co-Presidents of Open City Films and its digital production division Blow Up Pictures, both of which are dedicated to the discovery and advancement of ground-breaking independent visions in film. Together and separately they have worked on over 30 feature films, shorts and commercials, and have a proven track record for producing critically acclaimed and commercially successful films. They produced the Miramax financed “Down to You,” directed by Kris Isacsson and starring Freddie Prinze Jr. and Julia Stiles. The film opened at the top of the U.S. box office charts and grossed over $20 million in the first month of its national release. They also produced Tony Bui’s “Three Seasons” which was the first film ever to win both the Grand Jury Prize and the Audience Award at the Sundance Film Festival.

For Blow Up Pictures, they executive produced “Chuck and Buck,” and produced “Series 7,” both of which premiered at Sundance. Both films were critical and commercial successes, and have been sold to all major territories throughout the world. Their most recent production was Nicole Holofcener’s “Lovely and Amazing.”

Other projects include: “Too Much Sleep,” “Welcome to the Dollhouse” (Grand Jury Prize, 1996 Sundance Film Festival), “All Revved Up,” “A, B, C . . . Manhattan” (official selection, 50th Cannes Film Festival, 1998 Sundance Film Festival), “Chocolate Babies” (official selection, Berlin Film Festival), “Childhood’s End” (official selection, Montreal Film Festival), “Strawberry Fields,” and “The Incredibly True Adventures of Two Girls in Love.”

Before founding Open City Films and Blow Up Pictures, Vicente worked as a press attaché for the European Parliament, as a producer of television political campaigns in her native Portugal, and as a radio producer at the United Nations.

Kliot previously worked as an assistant director for such notable filmmakers as Sam Fuller, Wim Wenders and Euzhan Palcy. He is also a co-founder of City Harvest, a food redistribution program in New York City.

LISA BELLOMO

Producer

Currently, Bellomo serves as Senior Vice President of Production/Development at Michael Douglas' Furthur Films. Previously, she served as Senior Vice President of Production/Development for Robert Redford's South Fork Pictures from 1995 to 2000, where she co-produced “How To Kill Your Neighbor's Dog,” starring Kenneth Branagh and Robin Wright Penn. Bellomo also served as an executive on South Fork's numerous features in development and production, where she worked alongside writer/director's Ed Burns, Tamra Jenkins, Walter Salles and Milcho Manchevski.

Before joining South Fork, Bellomo was Director of Development for Paula

Weinstein's Spring Creek Productions, working on such features as “Fearless,”

“Flesh & Bone” and “Something To Talk About.” Prior to South Fork, Bellomo spent two years as a story editor for Sydney Pollack and Mark Rosenberg at Mirage Productions.

GRETCHEN MCGOWAN

Producer

Gretchen McGowan has been producing feature films and documentaries for over eleven years. As a line producer, her projects include “Buffalo ’66,” “Two Girls and a Guy,” “Heavy” and “American Psycho.”

McGowan has been working with Blow Up Pictures and Open City Films as the head of production since December 1999. Blow Up’s digitally originated projects for theatrical distribution have included Miguel Arteta’s “Chuck & Buck,” Dan Minahan’s “Series 7,” Alan Wade’s “The Pornographer,” and Nicole Holofcener’s second feature, “Lovely And Amazing.”

Since 1987, Gretchen developed, produced, and secured distribution for several acclaimed documentaries, including “Martha and Ethel,” “Unmade Beds,” and “The Dancemaker” which was nominated for an Academy Award in 1999.

ROBERT REDFORD

Executive Producer

Executive producer Robert Redford has received international acclaim for his work as a director, actor and producer, as well as his efforts as a champion of independent film and the environment.

Redford won an Academy Award, a Golden Globe and a Director’s Guild of America Award for his feature film directorial debut on “Ordinary People.” He went on to direct and produce “The Milagro Beanfield War,” “A River Runs Through It,” “Quiz Show,” “The Horse Whisperer,” and “The Legend of Bagger Vance.” Also honored for his acting work, Redford received an Academy Award nomination for Best Actor for his performance in “The Sting.” Among his numerous acting credits are “Jeremiah Johnson,” “The Way We Were,” “The Candidate,” “Three Days of the Condor,” “All the Presidents Men,” “The Natural,” “Out of Africa” and “The Horse Whisperer.” He recently starred in “Spy Game” opposite Brad Pitt.

MICHAEL NOZIK

Executive Producer

Michael Nozik has been Robert Redford’s producing partner since 1995 and President of his film production companies - Wildwood Enterprises and South Fork Pictures. A veteran of 14 years of producing, he received an Academy Award nomination for his work as the producer of “Quiz Show,” directed by Redford and starring Ralph Fiennes.

Most recently, he produced the thriller “People I Know” starring Al Pacino, Kim Basinger, and Tea Leoni, and the Redford directed “The Legend of Bagger Vance,” starring Matt Damon and Will Smith.

For South Fork, Nozik also produced “How to Kill Your Neighbor’s Dog,“ starring Kenneth Branagh and Robin Wright Penn, “Slums of Beverly Hills,” starring Alan Arkin and Marisa Tomei; “No Looking Back,” starring Edward Burns and Lauren Holly; and executive produced “She’s the One,” starring Edward Burns, Cameron Diaz, and Jennifer Aniston.

Previously, Nozik produced three films for award-winning director Mira Nair: “The Perez Family,” starring Marisa Tomei and Anjelica Huston; “Mississippi Masala,” starring Denzel Washington; and the Academy Award nominated “Salaam Bombay!” His other producing credits include “Thunderheart,” starring Val Kilmer; the HBO movie “Criminal Justice,” starring Forest Whittaker, “Crossing Delancey,” with Amy Irving, and Abel Ferrara’s “China Girl.”

STEPHEN KAZMIERSKI

Director of Photography

Stephen Kazmierski has photographed Kenneth Lonergan’s Academy Award-nominated and 2001 Sundance Film Festival Grand Jury Award-winning film “You Can Count on Me.” In addition, he photographed “The Myth of Fingerprints,” directed by Bart Freundlich.

Other credits include: “Skins,” “Boys on the Run,” “Tart,” “The Bumblebee Flies Away,” “The Florentine,” “Murder & Murder,” “Grind,” “Blessing,” and the documentary “Listen Up, The Lives of Quincy Jones.”

SUSAN BLOCK

Production Designer

Susan Block has worked as a production designer, set decorator and art director on a variety of projects including “Ash Wednesday,” written, directed and starring Ed Burns, Brad Anderson’s “Happy Accidents,” Tom Gilroy’s “Spring Forward,” Todd Solondz’ 1996 Sundance Film Festival Grand Jury Award-winner “Welcome to the Dollhouse,” and “Spanking the Monkey,” the Audience Award-winner at the 1994 Sundance Film Festival.

Music video credits include: “Crash Into Me” for Dave Matthews Band, “K.D. Lang’s “Miss Chatelaine,” Bobby Brown’s “That’s the Way Love Is,” Sting’s “Englishman in New York,” and Cyndi Lauper’s “Time After Time” and “Girls Just Wanna Have Fun.”

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