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Disturbia
 
Rating: PG-13
Run Time: 105 min
Genre: Thriller
Language: English
  Synopsis:
Ever since his father died, young Kale (Shia LeBeouf) has become increasingly sullen and withdrawn, until he finds himself under house arrest. With cabin fever setting in, he turns his attention to spying on his neighbors, becoming increasingly suspicious that one of them is a serial killer. However, he wonders if he is right, or if his overactive imagination is getting the better of him.
 
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Poster Art A scene from the film "Disturbia." A scene from the film "Disturbia." A scene from the film "Disturbia." A scene from the film "Disturbia."
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Cast: Shia LeBeouf, Kale - David Morse, Turner - Sarah Roemer, Ashley - Carrie-Anne Moss, Julie - Matt Craven, Daniel - Dominic Daniel, Officer Fox - Charles Carroll, The Judge - Elyse Mirto, Mrs. Carlson - Aaron Yoo, Ronnie - Angela Storm, Linda the Housemaid - Aaron Yu, Ronnie - Jose Pablo Cantillo, Officer Gutierrez

Reviews:

Michael Wilmington - Chicago Tribune
FILM REVIEW: DISTURBIA
By Michael Wilmington
Chicago Tribune Movie Critic
2 stars
When you're writing or directing a suspense movie, and you borrow heavily from Alfred Hitchcock, it's sometimes at your peril.
Take the new teen thriller "Disturbia," in which Shia LaBeouf plays a troubled suburban kid under house arrest who suspects his next-door neighbor (David Morse) is a serial killer. Directed by D. J. Caruso ("The Salton Sea"), with all the gaudy gadgetry and Hitchcockian models at his disposal, it's a movie full of high-tech shocks, suburban high school comedy (of a sub-John Hughes variety) and violent suspense set-pieces. It's fairly well-made, in a shallow but sometimes scintillating way, and youthful stars LaBeouf, Sarah Roemer and Aaron Yoo are watchable and lively. But it didn't work too well for me, and one of the reasons is that I'd already seen an older, better version of this story: its prime source, Hitchcock's 1954 "Rear Window."
"Disturbia" - a pretty lame title by the way - begins with a fatal car crash in which LaBeouf's Kale loses his father and gains a trauma. It continues with the disturbed Kale's assault of his insensitive high school Spanish teacher and with the judge putting Kale under house arrest in his mom's suburban home. To kill the boredom and increased by his mother's prohibition on video games, Kale - who seems pretty hardy and resilient for a kid traumatized by tragedy - begins spying on their neighbors with binoculars and video cameras. Eventually he comes to suspect beefy, quiet Mr. Turner (Morse) of being a local serial killer, specializing in slaughtering gullible young women.
Now we're in "Rear Window" territory, and Kale's voyeuristic game draws in his techno-happy best pal Ronnie (Aaron Yoo) and the sexy new girl next door, Ashley (Sarah Roemer), who doesn't mind being watched. As the evidence mounts, Caruso and his screenwriters (Christopher Landon and Carl Ellsworth) begin to pull out all the stops, sneaking Ronnie over to Turner's house with a Camcorder (the movie's best scene) and putting both Ashley and Kale's mom, Julie (Carrie-Anne Moss), the sudden target of Mr. Turner's dangerous charms, in grave peril. Mysterious bloodstains, disappearances and trash bags that may contain dismembered bodies pop up, and Kale begins to strain at his chains. But every time he tries to investigate, his ankle monitor buzzes the local surly cop Gutierrez (Jose Pablo Cantillo), a nasty relative of Kale's teacher victim. Finally, as you'd suspect, everything hits a violent climax. Or, in fact, several.
The obvious inspiration here is "Rear Window," which was based on a Cornell Woolrich short story and has a very similar plot: photographer Jimmy Stewart, holed up in his upstairs apartment with a broken leg, spies on his neighbors across a Manhattan apartment courtyard and becomes convinced that one of those co-dwellers (dour Raymond Burr) murdered his wife. But comparisons like this are probably something the makers of "Disturbia" don't want us to make, since "Disturbia," for all its glitz and gadgets, is so markedly inferior in everything but teen appeal. "Disturbia's" makers would argue, somewhat plausibly, that they're aiming for a different audience. They barely even mention "Rear Window" in the press book, where it's insisted that screenwriter Christopher Landon's main inspiration for the script came from observing real-life suburbia. (BEGIN ITALICS) (Sure.) (END ITALICS)Caruso's direction has lots of pace and zip, and cinematographer Rogier Stoffers' lighting is the last word in high-tech flash. LaBeouf has camera smarts, but he was much better in the more street-savvy "A Guide to Recognizing Your Saints," and his slug-it-out abilities with the 6'4" Morse and others are not to be believed. Morse, a fine actor with a simmering presence, is generally wasted. So, by the way, is "Rear Window's" plot. And the only good thing about the title "Disturbia" is that now nobody can ever use it again. Of course, there might be a "Disturbia 2," but why look on the bad side?
"Disturbia"
Directed by D. J. Caruso; screenplay by Christopher Landon and Carl Ellsworth; photographed by Rogier Stoffers; edited by Jim Page; music by Geoff Zanelli; production design by Tom Southwell; produced by Joe Medjuck, E. Bennett Walsh and Jackie Marcus. A Paramount Pictures release. Running time: 1:44. MPAA rating: PG-13 (sequences of terror and violence and for some sensuality).
Kale - Shia LaBeouf
Mr. Turner - David Morse
Ashley - Sarah Roemer
Julie - Carrie-Anne Moss
Ronnie - Aaron Yoo
Officer Gutierrez - Jose Pablo Cantillo
Daniel Brecht - Matt Craven


 
Production Notes:

- Notes provided by Paramount Pictures. -

SYNOPSIS

In DreamWorks Pictures' new suspense thriller"Disturbia," the quieter the street, the darker the secrets.
Kale (Shia LaBeouf) has a life most teenagers would envy. He spends his days endlessly playing video games,surfing the net, eating junk food and watching cable. He hascomplete free reign of the house, and a beautiful younghottie named Ashley (Sarah Roemer) has just moved in next-door.
There's only one problem - he's not allowed to leave thehouse. Kale's under court-ordered house arrest for threemonths, and if he takes one step beyond a 100-foot perimeter of the house, his next confinement will be in a real prison.And jail cells don't have video games or cable.
Life hasn't always been like this for him. A year ago,Kale and his mom (Carrie-Anne Moss) and dad were a tight-knit, happy family. Then his father was killed in a caraccident, for which Kale feels somewhat responsible. Thetrauma has had long-lasting psychological effects. The onceoutgoing young man is now shut down and withdrawn. When aninsensitive teacher brings up his father, Kale loses it andpunches him out. Only the intercession of his mother kept himout of jail.
Now he's going stir crazy in his own house while hismother tries to keep things together by working day andnight. As the walls start to close in, Kale starts to noticethe world outside. With some secondhand surveillance
equipment he begins spying on his neighbors, most prominentlyAshley, who soon catches on to him. To his surprise however,she becomes interested in his stakeout hobby.
What starts out as a game turns deadly serious when Kaleand Ashley begin to suspect that one of their neighbors(David Morse) may be an elusive serial killer. But who'sgoing to believe them? It may just be their overactiveimagination. Or they may have stumbled across a secret that might cost them their lives.
After all, even killers have to live next-door tosomeone...
DreamWorks Pictures Presents in Association with Cold SpringPictures, a Montecito Picture Company Production directed by
D.J. Caruso, "Disturbia," starring Shia LaBeouf, David Morse, Sarah Roemer and Carrie-Anne Moss. The film is produced by Joe Medjuck, E. Bennett Walsh and Jackie Marcus, from a storyby Christopher Landon and a screenplay by Christopher Landonand Carl Ellsworth. Executive Producers are Ivan Reitman andTom Pollock. This film is rated PG-13 for sequences of terrorand violence and some sensuality.
(C)2007 DreamWorks LLC and Cold Spring Pictures. All rightsreserved.
ABOUT THE PRODUCTION
A Trip to "Disturbia"

For writer Christopher Landon, the genesis for"Disturbia," a suspense thriller in which the upscale homesand manicured lawns of suburbia could be the perfect hiding place for a serial killer, arose from a visit to his sister's
home "deep in the `burbs of Los Angeles' San Fernando Valley."Everyone pretty much considers suburbia as something that isidealistic and beautiful... but it's always kind of given me the creeps," Landon says. "One night, as I was driving homefrom my sister's place, this idea just popped into my head --a story about a kid who is stuck in his house and begins tonotice bizarre things happening across the way. Heeventually comes to suspect that his neighbor is a serial killer."
For Landon, the seeming calm of suburbia produces a"forest for the trees" effect, in which people go about theirlives oblivious to the circumstances - benevolent ordangerous - surrounding them. "I think that many people wholive in these neighborhoods fall into a daily routine and,for the most part, don't really know their neighbors very well."
Such is the case with Kale, the 17-year-old at thecenter of "Disturbia." Until the automobile accident thatkilled his father, life with his family was the typicalsuburban dream. They were a happy, nuclear unit, ensconced ina beautiful two-story Craftsman bungalow. In the year sincehis father's death, however, that dream had disintegrated.When the troubled Kale is challenged at school by one of his teachers, he lashes out, punches the instructor and winds up in court. While he is spared juvenile detention, Kale issentenced to house arrest and must wear an ankle braceletthat will summon the police if he ventures more than 100 feetfrom his front door.
The upside of having the house to himself all day long quickly wear thin and Kale turns his attention to his next-door neighbors. He and his best friend Ronnie engage in agame of "I spy," making note of the comings and goings of theresidents around them. Curious patterns emerge and the glossy
suburban faade begins to tarnish. Idiosyncrasies come tolight and personal affairs are revealed. When Kale's newneighbor, the beautiful Ashley, discovers his little game,she decides to join in on the spying.
But they soon make an unsettling discovery that turns the whole game deadly serious. "In general, we don't reallypay close attention to what's around us, because we're toobusy with our lives," observes Landon. "But Kale is now in a position where he really has nothing else to do but notice.And once he starts watching, he begins to see some unsettlingthings and he has to wonder if it's just his imaginationrunning wild, or is there more out there than meets the eye?"
For the screenwriter, one of the more compelling aspectsof this kind of thriller was not the "is he or isn't he aserial killer?" angle, but the personalities of the ragtagtroupe of spying teenagers who are at the heart of the story."In these types of films, you usually have someone like aHarrison Ford-type chasing down the bad guys. But these kidsare not your classic hero types," Landon notes. "Kale's justthis kid with time on his hands who realizes `I have anentire reality TV show happening all around me.' In theprocess, he stumbles on a really dark and terrifyingcharacter in the show."
It was exactly Landon's voyeuristic exploration combinedwith a varied stylistic tone that ranged from almost comic tonail-biting that appealed to Montecito Picture Companyproducer Joe Medjuck. "All films are essentially voyeuristicin some way," Medjuk suggests. "But there are some great onesthat are actually about people observing, looking at things.There's Antonioni's `Blow Up,' Michael Powell's `PeepingTom,' Hitchcock`s `Rear Window,' Coppola's `TheConversation,' along with several others. They're aboutsomeone who's looking at something, sometimes with a camera,

sometimes not. And it's fascinating, because it makes usespecially aware that we're always voyeurs when we're in thecinema. It's an even stronger sensation when you have thepoint-of-view of someone who is spying on someone else.Kale's looking at the girl next-door swimming and spying on the guy behind him because he thinks the guy might be akiller. He's discovering things about the neighbors heprobably shouldn't know. And when people are not awarethey're being watched, they do things differently - behavedifferently - and that's fascinating."
Thanks to constant advances in contemporary electronictechnology, it's become increasingly easy to watch otherpeople - stealthier surveillance equipment like DV isaugmented with the ever-present camera cell phone --all of
which allow Kale access to what's going on beyond his
restricted 100-foot perimeter from the "cont rol center"
inside his home.

For blockbuster filmmakers and Montecito Picture Company principals Ivan Reitman and Tom Pollock (who serve asexecutive producers on the film), "Disturbia" was somewhat ofa conscious stylistic departure. "Most of the films we'veproduced have been broad comedies, usually with teenagers, orat least people behaving like teenagers, at the center, filmssuch as `Old School' and `Road Trip,'" Reitman mentions."While this one has high school students as its maincharacters, it is a thriller...with some attitude. So it's alittle bit different."
Adds Pollock: "We immediately recognized the story'spotential when we first read the script. What makes Kale andhis friends interesting is the fact that we recognize them, and they wouldn't normally be considered your typical heroes.This kid's under house arrest, his best friend is a littleeccentric, and his potential girlfriend is a misunderstood
beauty. Set them down in the center of a thriller and we, asaudience members, have someone to go along with."
For director D.J. Caruso, while "Disturbia" could notreally be considered a career departure (among his previouscredits are the Angelina Jolie/Ethan Hawke thriller "TakingLives"), it speaks to a different audience than his previousfilms. Caruso says, "My movies have tended to be a little bitmore focused on characters with addictions or problems...or, inone case, fighting a serial killer. So this film presented achallenge - I grew up loving thrillers as well as films by people like Cameron Crowe and John Hughes. `Disturbia' has elements of both those kinds of films, and these are avenuesI hadn't been able to previously explore as a filmmaker."
It didn't hurt that one of the entertainment industry's giants had personally phoned him about the project. "I wasdirecting the season premiere of `The Shield,' and my phone rang...and it was Steven Spielberg," says Caruso. "He said hehad a script he wanted me to read that he thought I'd be perfect for. I read it as soon as I got it and came in andmet with him. That's how it all started, though I have toadmit, for a minute there I thought it was a friend playing apractical joke."
Caruso's multifaceted career was one of his greatest strengths, according to producer E. Bennett Walsh, who foundthat his experience wearing other hats came in handy on"Disturbia." "D.J.'s a great partner. He's always thinkingof what's best for the story, and how to maximize it in frontof the lens," he says. "Because he has also been a producer,he has the skill set to know what it takes to get a showtogether while also being true to the creative elements. Hemakes sure that every shot he builds is the best shot. Andwhen you think of what a film is -basically one shot afteranother to tell a believable story when we're shooting,
that's exactly what we're doing...building one block after another."
The Neighborhood Watch

For the role of Kale, the troubled teen whose daily routine now includes spying on the neighbors, the filmmakerswere looking for an actor who had the stamina to sustainthroughout the film (his character is in nearly every scene)and to bring out all the dimensions and nuances of ateenager's personality. That meant he had to be smart,funny, a little bit dark, a little bit quirky and,ultimately, have the ability to take charge and act heroic. The search came to a quick resolution when one Shia LaBeoufwalked into the audition room...and, more or less, walked outwith the part: LaBeouf has managed to bridge the trickycareer breach between being a child actor (with an immensely popular television series under his belt) and a young leadingman (he's headlined several films, including the upcomingblockbuster "Transformers" for director Michael Bay andproducer Steven Spielberg).
The director says, "It was a tough casting choice because Kale is pretty much in every scene. And we had haddiscussions about Kale being relatable, not that perfect-looking, cover model type. I mean, for me, some of myfavorite actors growing up were Sean Penn and John Cusack.Shia is a charming intellectual, a really good-looking guy.Halfway through Shia's reading, though, I just knew he was this guy and as soon as the door closed, I told the castingdirector, `That's him. We found him.'"
Caruso admits he wasn't familiar with LaBeouf's previous work even though his children are fans of his show, "EvenStevens." But he found him to be a great natural actor,
whose "realness" comes across onscreen, which was essentialfor his central character, someone the audience couldidentify with (flaws and all) and cheer on. In addition, hewas able to handle all the plot turns inherent in the script.(Interestingly, LaBeouf notes that Caruso's compelling "TheSalton Sea" is one of his favorite films, and that heauditioned for "Disturbia" primarily for the chance to workwith him).
"I think the different tones in `Disturbia' come fromour everyday lives," says Caruso. "There are moments in life where you're laughing and, a minute later, you're scared out of your wits. That's what makes the movie work, and much ofthat is due to Shia's talent. He has that balance. Inworking with him, I discovered that if the moment felt realhe was okay about exploring all these different avenues."
For LaBeouf, Kale was an attractive character to create."When Kale loses his father, his whole world changes," hesays. "He becomes a dark, somewhat closed-off human being.Because his mom is dealing with the same pain, she's not available, so Kale turns into this out-of-control kid underhouse arrest. It's kind of like dangling meat in front of adog. In jail, you're locked away from the world, but on housearrest, the world is tantalizingly out there in front of you.And on top of that, he may be living across from a killer.
"The question of whether it's true or not," hecontinues, "becomes his ultimate focus...and the windows of hishouse become his world. He doesn't want to deal with hisfeelings because the pain is too intense. So, he startslooking out and finding himself outside. He begins to exploreother people's pain as he views relationships unfolding andfalling apart. While doing that, he finds someone he thinksis a murderer."
Though technology becomes a primary factor in Kale's campaign to prove that what he thinks he has seen is true, italso impacts n Kale's isolation and loneliness. "YouTube andMySpace have supposedly revolutionized communication forkids," LaBeouf mentions. But I'm not so sure. They alwayssaid cell phones would bring people closer together, but theyreally take you farther away, especially because some peopleprefer to text rather than have a conversation. Kale is growing up in the middle of change in the way we communicate.Streaming video clips and media of all sorts are available tohim, and they become his connection to the outside.Technology enables him to become the ultimate voyeur and thatinforms his whole being."
Someone who is eager to escape notice in Kale's new voyeuristic world is Mr. Turner, the elusive loner across theway. On the surface, Turner appears to be the ideal neighbor.The lawn and exterior of his home are manicured. His trashnever piles up. He's quiet and keeps to himself -- that is until Kale and his friends start spying on him and witness some potentially disturbing behavior.
To portray Turner, the "Disturbia" filmmakers turned tothe versatile and prolific David Morse, whose performanceshave run the gamut from the ideal father ("Contact") to thecaring doctor (television's "St. Elsewhere"), the prisonguard ("The Green Mile") to the menace in Samaritan'sclothing (on the Broadway stage in "How I Learned to Drive").
For Caruso, although Turner is complex on paper, hischaracter is rather simple: He's an unassuming guy who loves his house, and when Kale infringes on his somewhat twistedlittle paradise, all he can he do is try and preserve thepeace...even if it ultimately leads to violence.
"I had met David years ago on the set of `The Green Mile' because a good friend of mine, Frank Darabont, wrote
and directed it," says Caruso. "I'd always admired him as anactor. I thought `St. Elsewhere' was one of the best shows onTV, and a lot of that was due to the quiet, subtle characterhe played.That's the level of commitment he brought to this role aswell. With every take, he made small, well thought-out changes. David's a very daring actor, but in a very quiet way, the acting equivalent of Cal Ripkin. He's a solid guy and he's present every day. And you don't even fullyappreciate how great he is until you're in the cutting room."
Morse looked forward to getting under the character'sskin and creating an inner logic for him that would explainhis sociopathic behavior. "I've played a few questionablecharacters, and Turner is one of those guys who can go one way or another," he says. "I like walking that fine line and trying to find the integrity of that kind of person, thatinner life that makes you wonder."
Believe it or not, says Morse, Turner may be similar tohis neighbor Kale. For instance, they're both shy when it comes to dealing with others (the opposite sex inparticular). "Turner describes himself as being shy. He'sgot this beautiful house, a nice car, everything you might want for an ideal life but he doesn't have relationships," explains Morse. "No wife, no kids. So he's out there seekingsomething. And that makes him vulnerable, which is something I like about him."
Physically, Morse is imposing, standing six-feet, four-inches tall. That stature belies a natural charm, whichcreates a compelling dichotomy. Producer Medjuck offers, "Heexudes charm on film. But when he becomes quiet, he can be alittle scary because he has such a strong presence. Also, he's working with people who are physically smaller andyounger, which makes him a great potential bad guy."
Morse approaches his characters methodically and chose to remain elusive on set, not taking meals or socializingwith other cast members. His deep character work alsocontributed to a truly believable fight scene between Turnerand Kale, LaBeouf recalls. "We were shooting the fight scene,and since the camera was so close and the set wasrestrictive, we didn't use stunt doubles. We wanted the audience to be up in there. During the shoot, the scene wentunbelievably well-we pushed farther and farther, and it wasamazing. I found out later that he broke three fingersduring that scene, but he didn't mention it, because hedidn't want his character to seem weak."
As far as his other neighbors go, Kale has a wide assortment to choose from - an unfaithful husband, apampering dog owner, a taciturn loner...and every high schoolsenior's ideal girl, Ashley, a new arrival on his block. Thedirector describes Ashley as "the breath of fresh air, the beautiful girl that moves in next-door. While the earliest draft of the script described her as basically the hot girlwith the great body and beautiful smile, as the story wasdeveloped her character become more multi-dimensional.There's a lot going on in her house and life, too. And shebecomes the object of Kale's desire. "Everything is going badfor Kale until she moves in," observes Caruso. "So shesignifies hope. Part of Kale's story is that he's alwayslooking outside himself for answers - and through everywindow is a different movie. The couple across the streetare in a comedy about infidelity. Turner and his suspiciousgoings-on are out the back window of his dad's study. Andfrom his bedroom window is Ashley, the ultimate dream girl, right out of `Fast Times at Ridgemont High' or `Summer of`42.'"
Relative newcomer Sarah Roemer was cast as Kale's "it"girl, Ashley. "Ashley's from the city, and her parents-whoare having problems themselves-have moved to the suburbs, which she didn't really want to do," says Roemer. "Since shehas a lot of issues with her mother, she desperately wants toget out of the house whenever she can. Then she sees Kale,who is also stuck in his house, although under very differentcircumstances. They both feel trapped, and that leads to aconnection. Yeah, there's physical attraction, but it's almost more of an inner connection that bonds them...at first, anyway."
Despite Ashley's interest in Kale as a kindred spirit,he still feels the need to impress her. Screenwriter Landonfound that to be part of the charm of the relationship. "Kaletries to be all cool, but he's not a jock. He's clearly different. Even before his house arrest, he didn't go tokeggers, he didn't hit cool parties. But he's trying to be cool even though she can see through that. It may even bewhat she likes about him."
For Kale's mother, Julie, the filmmakers nabbed "The Matrix's" iconic Carrie-Anne Moss. And while audiences arefamiliar with her on-screen persona as someone who kicks ass,her role in "Disturbia" called for a different set of actingskills, deep maternal affection combined with a strong doseof tough love. "If Ashley is the dream neighbor, Carrie-Anne as Julie is sort of the dream mom," says Caruso. "While she'sage-appropriate to be a mom-and is in real life-she's alsostill amazingly beautiful and a superb actress with a warm, motherly instinct, qualities she brought to the set everyday."
"When I first read the script, I loved the fact that Iwould be supporting another person's journey, another actor's journey," says Moss. "It appealed to me as a performer, as a
woman, and also appealed to me for my life. What really drewme was Kale's journey, and what the actor would be going through-I wanted to watch it. Shia did such a great job. Ithink we're all a little bit in awe of him. He's veryspecial."
What would a journey for a teen under house arrest bewithout a sidekick, preferably someone on the eccentric side,a bit of a cut-up, a slacker with brains. Enter Aaron Yoo asRonnie, Kale's (somewhat reluctant) legman, whom he enlists to wander into dangerous places where Kale cannot go because it's too far beyond the perimeters of his house.
The director reasons that since Kale and Ronnie werebest friends prior to Kale's sentencing, Ronnie is, by association, also under house arrest...at least, empathically.While Kale has a tendency toward dark, sullen moods, Ronnieserves as a balancing influence with his jovial manner, sunnyoutlook and overall innocent demeanor. "Almost from thebeginning-from the character breakdown to meeting D.J.-everyone just kept saying, `Hey, it's you, only on paper,'" laughs Yoo. "I was, like, `Great, but I don't really know howto prepare to play me on paper.' While I might have tendedto push the comedy, D.J. was always about building thefriendship between my character and Kale, and letting thecomedy follow. I mean, if you think about it, I'm playing aguy who's worried about his friend maybe going crazy because of his dad's death, so the comedy comes from Ronnie trying todeal with that in his own way, a childish, ADD kind of thing--comic quips, sarcasm and just tripping over things, physically or mentally."
The alchemy created by the ensemble of actors impressedLaBeouf and, because of the high comfort level established on set by their director, the group began to insinuate theirscripted alter-egos with subtle changes. "On paper, it's a
pretty good story, but D.J. is obsessed with character and when you have that kind of director you are able to branch off and go in different directions, which make the scriptreally come to life," says LaBeouf. "That's what made mereally want to do the film."
A Craftsman with Great Views-Must See to Appreciate
With a relatively short production schedule, the filmmakerswere on high alert from the get-go. Essentially, they were confronted with a film that is primarily set on one streetand largely within one home on that street. As they beganpre-production on "Disturbia," however, they quickly foundthat even "one street/one home" movies can be challenging."It sounded like a very simple movie to shoot," says Caruso."A boy has a tragedy in the beginning and then gets sentencedto house arrest. From then on he's basically in his homewhere he starts looking out at his neighbors. But as we beganfiguring out the logistics of what we needed each house inthe neighborhood to be, we eventually ended up with abackyard in one city, a front yard in a different city and interiors built on soundstages. It was a lot more difficultthan I'd first imagined."
What proved particularly helpful to the director inmaximizing his shooting days was his alliance with productiondesigner Tom Southwell. Caruso and Southwell's relationshipdates back to "Drop Zone" on which Caruso was handling thesecond unit. That experience proved so fruitful that whenCaruso was about to direct his first film, "The Salton Sea,"he brought Southwell onboard as production designer.Southwell has continued to design every Caruso film since.
The question on "Disturbia" was, "What will our suburbialook like?" As Caruso notes, "There have been films with
suburban neighborhoods made up of cookie-cutter houses, manyof them in the `70s and `80s. But suburban neighborhoods havechanged and we really wanted each house to have its ownpersonality. For Kale's house, we loved the idea of aCraftsman, like the ones you see in Pasadena [many of whichare modeled on the Arts and Crafts bungalows of Charles andHenry Greene]. We felt like that style would be warm andinviting and, at the same time, it could be a scary, darkplace when the movie turns into a thriller.
"The Greene & Greene architecture feels hooded, with the

deep-set windows and doors, overhanging porches and other
elements designed to keep out the sunlight," continues
Caruso. "So, it's always much brighter outside and darker

and cooler inside. For a voyeuristic movie, we liked havingour lead character in the dark, looking out into the light."
Producer Walsh adds, "Obviously, the big thing we had tolook for was the neighborhood and the house. Everythingtakes place in that house. And there were certain needs interms of the front of the house and the back of the housethat led to a countrywide search."
Neighborhoods in North Carolina and Georgia wereexplored as were areas in California and every studio backlotin town. The quest was complicated by the fact that thescript called for certain specific characteristics in Kale'shome including second-story windows that look out onto thefront, back and side yards, as well as a driveway (whichseparates Kale's house from Ashley's) and a backyard (thatbordered on Turner's yard). The major stumbling block provedto be finding the right backyard, since it entailed knockingon doors or, perhaps, hopping fences. But Caruso had an idea
-- a helicopter ride. "We had to go up in a chopper andactually start educating ourselves on different backyardssince that was the quickest way to view them," says Walsh.
"That's how we ultimately found what ended up being Turner's backyard."
The production split up Kale's house into threelocations: the front was in Whittier, California (withAshley's house right next-door); the back of the house was inPasadena (a false "back" was built and a fence was erectedbetween the faade and Turner's house); and interiors, primarily Kale's bedroom, his late father's study and thefirst floor kitchen, which were constructed on soundstages onthe Paramount Pictures lot. Any given scene might have to befilmed in three locations, and all the shots, of course,needed to match for continuity purposes.
To further distinguish the homes and provide subtextual"personalities," Southwell and Caruso selected differentcolor palettes for each. Turner's was a cool blue, while Ashley's home was a warm, inviting beige that glowed indaylight and included a large swimming pool built by theproduction. Kale's home remained architecturally true to itsCraftsman design, with its earthy tones of greens and browns.
Another problem in shooting on location was the use ofPasadena's historic area. The city has strict civic codes,though somehow the production did manage to get permission toshoot for an entire week at night. Says producer Medjuck,"But we did it with a firm deadline hanging over our heads,so if anything went wrong, we weren't going to be allowed tocome back for an extra night. That put a certain amount of pressure on us."
With Southwell and his team-set decorator Maria Nay andart director Douglas Cumming-expertly coordinating anddressing the existing locations (and the wholly createdones), the assembled suburb took on a life of its own, andthe spaces themselves became characters. "The spaces reflectwho our characters are," says Moss, "because they are the
settings of our lives. So in a way they themselves become characters. You look around and see the details and you feelthe connections. It's a subtle thing, but Tom was reallyable to capture a real, true quality in his work, whichdefinitely impacted all our work. The spaces felt lived-in, as if you'd been over for dinner at a house just like this."
Caruso and the design team went so far as to scoutteenagers' rooms to crib ideas and plug into the utmost incurrent teen bedroom reality - complete with chaos. As Southwell explains, "Parents allowed me to photograph the mess their teenagers had made, as well as all the kids'personal touches. So there were posters, CDs, computers, books, pictures on the walls, clothes on the floor --anexplosion of visual material. As we would go through thesehouses, D.J. would come over and whisper to me, `You know, Ilike that.'"
The verisimilitude also extended to the wardrobe createdby Marie-Sylvie Deveau, continuing her collaboration withCaruso (Deveau previously costumed his "Two for the Money"
and "Taking Lives"). The same attention to detail and
character delineation was lavished on Kale's clothes, his
mom's and those of their neighbors and friends. Kale and

Ronnie's clothes are comfortable, slacker/geek wear; Juliewears both casual and business attire; Ashley has a closetfull of sun and party clothes; and Turner wore staid,unflashy apparel.
When the film you're making is about people observing,photographing and videoing other people, the role of directorof photography becomes even more pivotal. That key slot wasfilled by Rogier Stoffers, whose atmospheric and award-winning cinematography has been utilized in a wide variety offilms, both in the United States and abroad.
The partnership among the director, cinematographer andproduction designer was configured as a three-way street, with conferences on such issues as the multiple dressings andlooks of the windows (through which much of the film isviewed) and the wall colors (which could be taken from brightto sinister with lighting adjustments). During meetings there were careful discussions about glass (antique, filtered,matte), wood (graininess, sheen, color) and window coverings(blinds, sheers, draperies), all in an effort to provide asmuch variety to the "eyes of the house" as possible, and toprevent (as Southwell put it) "people yawning the second and third time we go to the window."
To provide further variety to the vantage points ofKale's story, Caruso was intent on keeping the camera inmotion, despite the fact that he was working largely in theinterior confines of a single home. "D.J.'s very good withthe camera in the sense that it's almost always moving, even though we shot in a lockdown situation," says producer Medjuck. "He's very aware when we're filming from someone'spoint-of-view and whether it's with the naked eye, throughbinoculars or a video camera. We actually ended up utilizingquite a few shots that were literally taken with a videocamera. D.J. himself held the camera and swung it aroundmultiple times, as if Kale were looking through it andfilming across the way."
Directing "Disturbia" was a guilty pleasure for Caruso,who notes, "Because I'm a filmmaker, I am in constant voyeurmode, whether I'm listening to a conversation or in asupermarket shopping. So this project, for me, was acatharsis of sorts. It felt good doing this because,basically, I feel that my whole life I've been watching andspying and capturing little moments between actors. So, in away, I was able to put myself in Kale's shoes, look over his
shoulder and play out these voyeuristic fantasies in my mind,both as a filmmaker and as an audience member. I think that'sthe attraction to this kind of movie. The audience alwaysfeels a little guilty for watching, too."
The cast also found the experience somewhat of a guiltypleasure. Morse says "I used to watch people all the time.When I was in theater and nobody knew who I was, I wouldstand on the Boston streets sometimes for hours, even days, and just watch, and watch, and watch. I loved it. But as my face became familiar, it was a little harder to do. As soonas you make eye contact, it's all over. The best place forme to observe people now is the New York subways, becausenobody makes eye contact on the subway. So I can look ateverybody and get away with it."
It all comes back to watching, which for Kale can only be done out the windows of his house. Yet those views afford a fairly unsettling picture of suburban life. As Caruso sums it up, "You start watching your neighbors. You startstudying their patterns. You start to imagine what things arehappening in their homes and why. And even though it could all be innocent, it could also be that subversive thing that some of us believe is what is really going on in suburbia."
ABOUT THE CAST

SHIA LaBEOUF (Kale) burst upon the scene and has quicklybecome one of Hollywood's most sought-after actors. Hisnatural talent and raw energy are quickly earning him areputation as one of the most promising young thespians.
LaBeouf recently completed production on the action-adventure "Transformers" for director Michael Bay, which will be released on July 4. The film focuses on dueling alienraces, the Autobots and the Decepticons, who bring their
battle to Earth, leaving the future of humankind hanging in the balance.
Shia will also be featured in the animated film "Surf'sUp," voicing the young penguin, Cody Maverick. The film, co-starring Jeff Bridges, James Woods and Zooey Deschanel,focuses on the behind-the-scenes look at the annual PenguinWorld Surfing Championship, along with its newestparticipant, up-and-comer Cody Maverick.
LaBeouf was most recently seen in the highly acclaimeddrama "Bobby" for director Emilio Estevez and starring opposite Demi Moore and Elijah Wood; the film centers around22 people who were at the Ambassador Hotel the night that
U.S. Senator Robert F. Kennedy was assassinated. He was alsoseen headlining in "A Guide to Recognizing Your Saints," co-starring Robert Downey, Jr. and Rosario Dawson. The film isa coming-of-age drama about a boy growing up in Astoria, NewYork, during the 1980s. As his friends end up dead, on drugsor in prison, he comes to believe he has been saved fromtheir fate by various so-called saints.
Shia also recently starred in the lead role in the film"The Greatest Game Ever Played" for Walt Disney Pictures.Directed by Bill Paxton, the film was based on the best-selling book by Mark Frost and tells the true story of the legendary 1913 U.S. Open, in which Francis Ouimet, a 20-year-old golf amateur from Massachusetts, shocked the golf worldby defeating the British champion.
LaBeouf's additional feature film credits include "Constantine," opposite Keanu Reeves; "I, Robot," with Will Smith; HBO's Project Greenlight production "The Battle ofShaker Heights"; and the hit action film "Charlie's Angels:Full Throttle." In 2003, LaBeouf made his big-screen debut starring opposite Sigourney Weaver and Jon Voight in the film "Holes."
On television, LaBeouf garnered much praise from criticseverywhere for his portrayal of Louis Stevens on the Disney Channel's original series "Even Stevens." In 2003, he earneda Daytime Emmy Award for Outstanding Performer in aChildren's Series for his work on the highly-rated familyshow.
LaBeouf attended the Magnet School of Performing Arts atUSC and currently resides in California.
DAVID MORSE (Mr. Turner) has long been recognized as anactor of great talent and versatility in film, television andtheatre. Morse made his motion picture debut in RichardDonner's acclaimed drama "Inside Moves," and then went on tostar in two Sean Penn-directed dramas: "The Indian Runner" and "The Crossing Guard" (Independent Spirit Award nomination
-- Best Supporting Actor). Morse has starred in a lengthylist of films in countless standout roles, such as Alex andAndrew Smith's independent film "The Slaughter Rule,"opposite Ryan Gosling; Scott Hicks' "Hearts in Atlantis,"with Anthony Hopkins and Hope Davis; Frank Darabont's highlyacclaimed prison drama "The Green Mile" (Screen Actors GuildAward nomination for Outstanding Cast Performance); Lars VonTrier's musical drama "Dancer in the Dark" (which won the Palme d'Or at the Cannes Film Festival), opposite Bjork andCatherine Deneuve; and Taylor Hackford's thriller "Proof ofLife," alongside Meg Ryan and Russell Crowe.
Morse's other feature film credits include: "16 Blocks,""Down in the Valley," "Nearing Grace," "The Dreamer," "Crazyin Alabama," "The Negotiator," "The Rock," "12 Monkeys," "TheGood Son" and "Personal Foul." Morse will soon be seen in "Hounddog," featured in competition at the 2007 Sundance Film Festival, with Dakota Fanning and Robin Wright Penn.
Morse recently shot a multi-episode arc on thecritically acclaimed television series "House." Ontelevision, Morse is best known for his role as Dr. Jack"Boomer" Morrison in the Emmy-winning ensemble drama "St.Elsewhere." His other TV series roles include CBS's "Hack,"ABC's "Our Family Business" and the sitcom "Big Wave Dave's."Morse also starred in the telefilms "Diary of a City Priest,""Murder Live," "Prototype," "Stephen King's The Langoliers,""When Dreams Come True," "Six Against the Rock," "Downpaymenton Murder," "A Place at the Table," "Winnie," "Brotherhood of the Rose," "Cry in the Wild," "Cross of Fire" and TNT's"Tecumseh: The Last Warrior."
On stage, David starred in the Seattle Rep worldpremiere presentation of "Redwood Curtain" and worked in over30 productions from 1971 to 1977 with the Boston RepertoryCompany. He made his Broadway debut in the role of FatherBarry in the theater adaptation of "On the Waterfront," andtriumphantly returned to the off-Broadway stage in Paula Vogel's Pulitzer Prize-winning drama "How I Learned to Drive." For this starring role, Morse won the Drama LeagueAward, the Lucille Lortel Award, the Drama Desk Award and theObie Award. Additionally, Morse won DramaLogue and LA Weeklyawards for his performance in the Los Angeles production of "Of Mice and Men." Other stage appearances include the off-Broadway productions of "The Trading Post," "Threads" and "ADeath in the Family."
With her striking beauty and sincere talent, SARAHROEMER (Ashley) is quickly emerging as one of Hollywood'smost sought-out actresses. Roemer made her film debut thispast fall in Columbia Pictures' "The Grudge 2," in which sheportrayed Lacey, an American student who falls victim to thegrudge's curse.
Roemer is currently filming Hyde Park Entertainment's"Asylum." In this film, Roemer portrays Madison, a collegestudent who discovers her dorm was once a notorious asylum. "Asylum" is directed by David R. Ellis and can been seen in2007.
A native of San Diego, Roemer was always an avid athlete

and then started a career in modeling at the age of 15. She
currently resides in Los Angeles and enjoys surfing and
horseback riding in her spare time.

Ever since she starred in the hugely successful WarnerBros. "Matrix" trilogy -"The Matrix," "The Matrix Reloaded"and "The Matrix Revolutions" - CARRIE-ANNE MOSS (Julie) hasbecome one of the most sought-after actresses in Hollywood.
She was snapped up immediately by some of Hollywood's most prominent producers for their films, including: "TheCrew," in which she starred opposite Burt Reynolds and Richard Dreyfus in the Disney mobster comedy for producersBarry Sonnenfeld and Barry Josephson; "Red Planet," in whichshe starred with Val Kilmer for Warner Bros. and producer Mark Canton; "Chocolat," in which she co-starred oppositeJuliette Binoche, Johnny Depp and Dame Judi Dench inMiramax's Oscar®-nominated film for director Lasse Hallströmand producer David Brown; "Memento," the critically acclaimed independent thriller in which she starred with Guy Pearce;and "Suspect Zero," in which she also starred alongside Aaron Eckhart and Sir Ben Kingsley in the Cruise/Wagner-produced film for director E. Elias Merhige.
For her performance in "Memento," Carrie-Anne received an Independent Spirit Award for Best Supporting Female, andfor her role in "Snow Cake" she earned a Genie Award for BestPerformance by an Actress in a Supporting Role.
Carrie-Anne's other recent projects include the ensembleindependent feature film "The Chumscrubber," with Ralph Fiennes, Rita Wilson and Glenn Close; "Mini's First Time,"opposite Alec Baldwin, Luke Wilson and Nikki Reed; and MarcEvans' touching drama "Snow Cake," with Sigourney Weaver andAlan Rickman.
In 2007 audiences will also see Moss star in "Fido,"opposite Billy Connelly, Dylan Baker and Tim Blake Nelson fordirector Andrew Currie.
This spring, Carrie-Anne will film a starring roleopposite Julia Roberts and Ryan Reynolds in "Fireflies in theGarden."
The many talents of AARON YOO (Ronnie) are notrestricted to his lively work in front of the camera-duringfilming of "Disturbia," Yoo created a behind-the-scenes video diary of the cast and crew.
Following "Disturbia," Yoo will be seen in the lead rolein "American Pastime," in which he plays Lyle, a youngsaxophone-playing baseball pitcher who finds himself relocated to the Topaz internment camp for Japanese-Americans during WWII. The film will be released by Warner Bros. Home Entertainment on May 22. On August 10, he will be seen in alead role in director Jeffrey Blitz's HBO/Picturehouseproduction "Rocket Science" (Official 2007 SundanceSelection). He most recently filmed a lead role oppositeKevin Spacey in "21" for Sony.
Yoo's career began off-Broadway, where he starred in multiple U.S. and world premiere productions, including "Where Do We Live" at the Vineyard Theatre; "wAve" and"Savage Acts" for the Ma-Yi Theatre Company; "Cellophane" atthe Flea Theatre; and the National Asian-American Theatre Co.'s "Fuenteovejuna." Other NYC credits include "The Gifted
Program" at the LAByrinth and "Karaoke Stories" for the Imua!Theatre Company.
Yoo then turned his talents to the small screen, withguest appearances on shows such as "Law & Order: SVU," "LoveMonkey" and "Ed." He most recently had a recurring role onthe WB's "The Bedford Diaries," which was created andexecutive-produced by Tom Fontana.
ABOUT THE FILMMAKERS

D.J. CARUSO (Directed by) most recently helmed the slick"Two for the Money," teaming Oscar®-winner Al Pacino andMatthew McConaughey in a fast-paced story set in the world ofhigh-stakes gambling. The film followed his 2004 hit "TakingLives," which starred Angelina Jolie and Ethan Hawke in a haunting thriller about an FBI agent on the trail of anelusive serial killer.
Although Caruso came up through the ranks of televisionas a director, it was the directorial debut of his criticallyacclaimed feature film "The Salton Sea" that put him on a short list of directors to tap. The 2002 neo-noir thriller, starring Val Kilmer, was praised for its strong performancesand visual technique.
In 2002, he also directed episodes of the hit series "The Shield" and Michael Mann's "Robbery Homicide Division."Additionally, he directed multiple episodes of StevenSpielberg's "High Incident" series for ABC and James Cameron's "Dark Angel." This past year, he directed twoadditional episodes of "The Shield," including the seasonpremiere.
In 1998, he teamed with Hollywood veteran screenwriterFrank Darabont on "Black Cat Run," which proved to be HBO'shighest-rated world premiere movie that year. In one of his
first directorial forays, Caruso collaborated with writerScott Rosenberg on the 1996 award-winning short film"Cyclops, Baby."
Caruso is also a producer and executive producer ofnumerous feature film and television productions. In 1995, heexecutive-produced "Nick of Time," starring Johnny Depp. Ayear earlier, he was the aerial director on "Drop Zone,"starring Wesley Snipes. The film garnered rave reviews for the ingenuity and beauty of Caruso's aerial work.
His television producer credits include the 1999 USA Networks feature "Mind Prey" and the 1996 HBO telefilm"Rebound: The Legend of Earl `The Goat' Manigault," starringDon Cheadle, which garnered an Image Award nomination.
Caruso is a graduate of Pepperdine University and beganhis career in the film industry as a production assistant.
So far, the year 2007 has been a busy one forCHRISTOPHER LANDON (Screenplay by / Story by). Along with "Disturbia," Landon co-wrote "Blood and Chocolate," which was released this past January; it was directed by Katja vonGarnier and starred Agnes Bruckner. He is currentlyfinishing up a feature script for MTV Films and DreamWorks. Landon will also begin writing a new pilot for producer GregBerlanti and Touchstone Television.
Landon was born and raised in Los Angeles, California.While he was attending Loyola Marymount University, he wrotehis first produced feature, "Another Day in Paradise," directed by Larry Clark and starring James Woods and Melanie Griffith. He also wrote the award-winning short "$30," which starred Sara Gilbert.
Landon is also comfortable behind the camera. Not onlydid he direct and write the award-winning short "Only Child," but he has directed many episodes of the popular MTV show
"Making the Video" (working with such artists as Madonna,Beyonc and Jennifer Lopez).
CARL ELLSWORTH (Screenplay by) counts "Disturbia" as hissecond produced feature film.
A native of Louisville, Kentucky, Ellsworth attendedfilm school atSouthern Illinois University. In 1994, he moved to LosAngeles and began his career as a production assistant on TV sitcoms before getting his first break as a TV writer in1997, penning episodes for the hit series "Buffy the Vampire Slayer" and "Xena: Warrior Princess," as well as the sci-fiaction series "Cleopatra 2525." Ellsworth finally broke intothe movies in 2004 with his original script for the hit WesCraven-directed thriller "Red Eye."
JOE MEDJUCK (Produced by) was born in New Brunswick,Canada, on February 17, 1943. He received his Bachelor ofArts in honors English from McGill University and his Mastersand PhD from the University of Toronto. He taught there for12 years, until he moved to Los Angeles in 1980.
Since then, Medjuck has worked in a myriad of productioncapacities-beginning with associate producer and rising to producer-on an impressive list of box office hits, forging a lasting relationship with blockbuster filmmaker Ivan Reitman.Some of his early feature film production credits include"Stripes" (his first credit), the worldwide phenomenon of"Ghostbusters," "Legal Eagles" (his first executive producercredit) and "Twins." His list of additional executive producer credits includes "Ghostbusters II," "KindergartenCop," "Dave," "Junior," Howard Stern's "Private Parts,""Father's Day," "Six Days Seven Nights" and "Eurotrip."
Medjuck first served as a producer on Lorimar'sadventure comedy "Big Shots." He went on to produce suchcomedies as "Stop! Or My Mom Will Shoot," "Beethoven" and"Beethoven's 2nd," "Commandments," "Space Jam," "Road Trip," "Evolution," "Old School" and "Trailer Park Boys: The Movie."
He also served as producer on the thriller "Killing Me
Softly."
Medjuck also executive-produced the Emmy-nominated

series "The Real Ghostbusters," the "Beethoven" cartoonseries, the syndicated animation series "Mummies Alive!" andthe Emmy and CableACE-nominated HBO film "The Late Shift."
Medjuck lives in Montecito, California with his wife andtwo children.
E. BENNETT WALSH (Produced by) most recently served asexecutive producer on the hit fantasy action film "GhostRider," starring Nicolas Cage. Walsh has worked in numerous capacities in the film world-from producer to cameraman toart director.
Prior to "Ghost Rider," Walsh executive-produced thesci-fi thriller "Stealth" and both volumes of QuentinTarantino's acclaimed, worldwide two-part phenomenon "KillBill," starring an impressive ensemble headlined by UmaThurman. He also served as co-producer on multiple projects, including "Glitter," "Turn It Up" (for producers Madonna andGuy Oseary) and the well-received Wall Street drama "BoilerRoom," starring an ensemble that includes Ben Affleck, Vin Diesel and Giovanni Ribisi, under writer/director BenYounger.
He is currently producing the much anticipated big-screen adaptation of the best-selling novel The Kite Runner.
JACKIE MARCUS (Produced by) recently served as produceron DreamWorks' "Eurotrip," Alliance Atlantis' "Trailer ParkBoys: The Movie" (based on the popular Canadian television show), and as an executive on the hit comedy "Old School."She has also developed and produced television pilots for CBSand Fox.
Prior to producing, she served as the Vice President ofProduction at Working Title Films during the making of"Bridget Jones's Diary," "High Fidelity," "O Brother, WhereArt Thou?" and "Billy Elliot," and as an executive at WarnerBros. in Theatrical Production.
Director/Producer IVAN REITMAN (Executive Producer) hasbeen the creative force behind films beloved by audiencesaround the world. From raucous comedies like "Animal House," "Stripes" and "Ghostbusters," to more sophisticated delightslike "Dave," "Six Days Seven Nights" and "Twins."
The career that has brought us so many laughs began in Canada, where his family emigrated from Czechoslovakia whenhe was four-years-old. Reitman studied music at McMasterUniversity, but soon turned his talents to film and theater.
Shortly after graduation, Reitman delved into filmproduction-first with the extremely low-budget horror comedy"Cannibal Girls," starring Canada's Eugene Levy and AndreaMartin, followed by the live television show "Greed," withDan Aykroyd as its announcer. Reitman then headed to NewYork City and produced the Broadway hit "The Magic Show,"starring McMaster friend Doug Henning. He continuedproducing for the stage with the off-Broadway hit "The National Lampoon Show," where he brought together for thefirst time the then-unknown John Belushi, Gilda Radner, BillMurray, Harold Ramis and Joe Flaherty. Reitman returned to
Broadway with the musical "Merlin," which earned him Tonynominations for directing and producing.
While in New York, Reitman reapplied his talents tofilmmaking when he joined forces with National Lampoon and brought us the groundbreaking sensation "Animal House." Following the success of that film, Reitman returned home to Canada to direct "Meatballs," still considered one the mostsuccessful films ever made in Canada.
The string of hits continued with "Stripes" and the"Ghostbusters" series, which teamed Bill Murray with DanAykroyd and Harold Ramis; "Dave" (Kevin Kline, Sigourney Weaver); "Legal Eagles" (Robert Redford, Debra Winger); "SixDays Seven Nights" (Harrison Ford, Anne Heche); "Evolution"(David Duchovny, Julianne Moore); and a series of films thatrevealed an untapped comic persona for action hero ArnoldSchwarzenegger-"Twins," "Junior" (both co-starring DannyDevito) and "Kindergarten Cop."
Reitman's list of producing credits is equallyextensive. He produced the family features "Beethoven" and"Beethoven's 2nd"and the HBO telefilm "The Late Shift," whichreceived seven Emmy nominations. Other producing endeavorsinclude "Heavy Metal," Howard Stern's "Private Parts," theanimation/live action film "Space Jam" (which teamed MichaelJordan with the Looney Tunes characters) and the teen comedy hits "Road Trip," "Eurotrip" and "Old School," starring WillFerrell, Vince Vaughn and Luke Wilson.
In 1984, Reitman was honored as Director of the Year bythe National Association of Theater Owners and the next yearreceived a Special Achievement Award at the Canadian GenieAwards. In 1979 and again in 1989 (for the films "AnimalHouse" and "Twins"), Reitman was honored with the People's Choice Award. In November of 1994, Reitman became the thirddirector honored by Variety magazine in a special Billion
Dollar Director issue. At the end of the year 2000,Reitman's films "Animal House" and "Ghostbusters" were honored as two of this past century's funniest movies by theAmerican Film Institute. He currently heads The MontecitoPicture Company, a film and television production company,with partner Tom Pollock, in association with DreamWorks, SKG.
Reitman recently directed "My Super Ex-Girlfriend,"which is now in worldwide release, and is the executiveproducer of the smash Canadian comedy "The Big Dirty," starring the comedy troupe Trailer Park Boys.
Reitman has been married to former Quebec film actressGenevieve Robert for over 30 years. Together, they havethree children and live in Santa Barbara, California.
TOM POLLOCK (Executive Producer) served as Vice Chairmanof MCA INC. from July 1995 to March 1996. He previouslyserved as Executive Vice President of MCA and Chairman of itsMotion Picture Group, Universal Pictures, from September 1986 to July 1995. He was also a member of the Board of Directors of MCA INC. and Cineplex-Odeon Corporation.
One of the most highly-regarded and experiencedattorneys in the entertainment field, he was previously theSenior Partner of Pollock, Bloom and Dekom. The firm (nowBloom, Hergot, Diemer and Cook, LLP) represents leadingproducers, directors, writers and actors.
Pollock joined MCA on September 18, 1986. During histenure as Chairman of the Motion Picture Group, Universalreleased over 200 films that grossed in excess of $10-billionworldwide, including "Jurassic Park" (the then highest-grossing film of all time), "Parenthood," "Cape Fear," "Twins," "The Flintstones," "Kindergarten Cop," "Back to theFuture 2 and 3," "Casper," "Waterworld," "Backdraft,"
"Beethoven," "Beethoven's 2nd," "Do the Right Thing," "FriedGreen Tomatoes," "Sneakers" and "Lorenzo's Oil."
Also during this time, Universal had seven AcademyAward® Best Picture nominees, including "Schindler's List,"which won the Academy Award for Best Picture in 1993. OtherBest Picture nominees include "Field of Dreams," "Born on theFourth of July," "Scent of a Woman," "In the Name of theFather," "Apollo 13" and "Babe."
Pollock was also responsible for bringing numerouscreative talents to the studio, including Ivan Reitman, RonHoward and Brian Grazer of Imagine Entertainment, MartinScorsese, Spike Lee, George Miller, Jon Avnet, Martin Brest,Rob Cohen, Phil Alden Robinson, Jim Sheridan, James Cameronand Larry Gordon.
Pollock played a key role in the creation of United Cinemas International (UCI), a joint venture with ParamountPictures, which has become the largest exhibitor outsideNorth America, with nearly 700 multiplex screens. He alsoformed Gramercy Pictures with Polygram in 1992.
During his tenure as Vice Chairman, Pollock forged MCA'salliance with DreamWorks SKG and the interactive arcadeventure Gameworks among Sega, DreamWorks and MCA.
In 1998, Pollock and director/producer Ivan Reitman formed The Montecito Picture Company. Montecito has produced"Road Trip" (2000), "Evolution" (2001), "Old School" (2003)and "Eurotrip" (2004).
In 2006, Pollock and Reitman set up Cold Spring Pictureswith Merrill Lynch and other financial partners, which willco-finance pictures produced by Montecito Picture Company.
Tom Pollock was born April 10, 1943, in Los Angeles,California. He graduated with a BA from Stanford Universityin 1964 and received a JD from Columbia University in 1967.He is a member of the California Bar Association, the former
Chairman of the Board of Trustees of the American FilmInstitute, a trustee of the American Museum of the MovingImage, Adjunct Professor of Film at the University ofCalifornia at Santa Barbara and a former trustee of the LosAngeles Music Center. He has three children: Alexandra,Allegra and Luke.
A native of Holland, ROGIER STOFFERS, N.S.C., (Directorof Photography) served as cinematographer on Mike van Diem's"Karakter," which won the Oscar for Best Foreign Film in 1997and was awarded an additional 10 honors (and fivenominations) from filmic organizations around the world. His cinematography on that film, along with multiple other titlesin his home country, earned him the Nederlands Film FestivalGolden Calf Award for his body of work between the years of1994 and 1999.
Stateside, Stoffers' cinematography can be seen in a diverse list of motion pictures, all sharing the accomplishedlook of his camera work. These include "Quills," "John Q,""Enough," "Masked and Anonymous," "The School of Rock" and"Bad News Bears."
TOM SOUTHWELL (Production Designer) has, with"Disturbia," designed five films for director D.J. Caruso.He also designed sets for the theatrical features "Two for the Money," with Al Pacino and Matthew McConaughey; "TakingLives," the 2004 thriller starring Angelina Jolie and EthanHawke; the 2002 crime drama "The Salton Sea," starring Val Kilmer; and Caruso's 1998 television feature "Black Cat Run,"a mystery written by Frank Darabont.
He served as art director on the 1998 films "Made inUSA" and Ron Underwood's "Mighty Joe Young." He served asvisual arts director on Stuart Baird's 1996 thriller
"Executive Decision," co-starring Kurt Russell and HalleBerry.
Southwell spent much of his early career as a productionillustrator and conceptual artist on 40 films. Those filmsinclude such hits as "Star Trek: Nemesis," "X-Men," "U.S.Marshals," "The Devil's Advocate," "Eraser," "Mission:Impossible," "Nick of Time," "City Slickers,""Arachnophobia," "Gremlins 2: The New Batch," "Scrooged,""The Seventh Sign," "Romancing the Stone" and the seminal"Blade Runner."
JIM PAGE's (Edited by) collaboration with D.J. Carusocontinues with "Disturbia." Page most recently worked onRichard Loncraine's "Firewall," starring Harrison Ford andVirginia Madsen, and Shane Black's action comedy thriller"Kiss Kiss Bang Bang," starring Robert Downey, Jr. and ValKilmer.
His other film credits as editor include "The Majestic,"directed by Frank Darabont and starring Jim Carrey and "The Salton Sea," with Val Kilmer. Page was also an additionaleditor on "Taking Lives," starring Angelina Jolie and EthanHawke.
For the small screen, Page has edited numeroustelevision series, including "CSI: Miami," "The Shield,""Boomtown," "Once and Again," "Cupid" and "High Incident."He has also edited several television pilots, as well as thetelefilms "Mind Prey" and "Black Cat Run" for HBO.
MARIE-SYLVIE DEVEAU (Costume Designer) has created thecostumes on two other films directed by D.J. Caruso: "Twofor the Money" and "Taking Lives." Her work can also be seenin Raja Gosnell's comedy "Yours, Mine and Ours" with Dennis
Quaid and Rene Russo, and in Simon West's "When a StrangerCalls."
Her additional film credits include the costumes createdfor "The Perfect Man," co-starring Hilary Duff and HeatherLocklear; Mike Figgis' "Cold Creek Manor"; "Levity"; PhilAlden Robinson's "The Sum of All Fears"; "Serendipity";"Angel Eyes"; "Urban Legend: Final Cut"; Rob Cohen's "TheSkulls"; Mike Newell's "Pushing Tin"; "The Mighty"; "Mimic";"Fly Away Home"; and the Adam Sandler comedy "Billy Madison."
For television, Deveau created costumes for the hittelevision series "Desperate Housewives," "Mr. Headmistress,"
"F/X: The Series" and "Matrix" and for the telefilms
"Harrison Bergeron" and "Thicker Than Blood: The Larry
McLinden Story."

The music of Emmy Award-winning composer GEOFF ZANELLI(Music by) has been heard by millions of viewers of film andtelevision, thanks to the impressive list of motion picture,TV and advertising projects that have relied on Zanelli toprovide integral scoring. Additionally, Zanelli has workedwith some of the recording industry's most intriguingartists.
Most recently, Zanelli's motion picture collaborations have included Joey Lauren Adams' "Come Early Morning" andDavid Duchovny's "House of D," having scored both films.Zanelli also provided additional scoring for such features asthe blockbuster "Pirates of the Caribbean," "Matchstick Men," "Ned Kelly," "Veronica Guerin," "K-19: The Widowmaker," "TheTime Machine," "Equilibrium," "Passionada," "Pearl Harbor,""Just Visiting," "Hannibal," "Chicken Run," "The Road to ElDorado," "Forces of Nature," "Antz" and "Face/Off."
His music for the TNT epic "Into the West" garnered him the 2006 Emmy for Outstanding Music Composition for a
Miniseries, Movie or a Special (Dramatic Underscore). Hisadditional music was heard in HBO Films' "Live from Baghdad"and the CBS series "American Fighter Pilot," along with the MTV series "Fear."
Zanelli arranged the Robbie Williams single from the soundtrack to "Johnny English" entitled "Man for All Seasons," and provided string arrangements on multiple cutson albums for alterna-rockers Page Avenue and Mest.
His music has also been featured in advertisements forsuch clients as Disney, Pringles, the U.S. Army, Compaq,Milton Bradley, Coca-Cola and GCI Telecomm.


 

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