Reese Witherspoon, Owen Wilson, Paul Rudd, and Jack Nicholson star in How Do You Know?, the new comedy written and directed by James L Brooks that takes a contemporary and romantic look at the question, “How do you know?”
Lisa (Witherspoon) is a woman whose athletic ability is the defining passion of her life, having been her focus since early childhood. When she is cut from her team, everything she has ever known is suddenly taken from her. Not knowing what to do, she stumbles toward regular life. In this mode, she begins a fling with Matty (Wilson), a major league baseball pitcher, a self-centred ladies man - a narcissist with a code of honour.
George Madison (Rudd) is a straight-arrow businessman whose complicated relationship with his father, Charles (Nicholson), takes a turn when George is accused of a financial crime, even though he’s done nothing wrong. Though he may be headed to jail, George’s honesty, integrity, and unceasing optimism may be his only path to keeping his sanity.
Before Lisa’s relationship with Matty takes root, she meets George for a first date on the worst evening of each of their lives: she has just been cut, and he has just been served. When everything else seems to be falling apart, they will discover what it means to have something wonderful happen.
Columbia Pictures presents a Gracie Films production, a film by James L Brooks, How Do You Know? The film stars Reese Witherspoon, Owen Wilson, Paul Rudd, and Jack Nicholson. Also starring Kathryn Hahn. Written and directed by James L Brooks. Produced by James L Brooks, Paula Weinstein, Laurence Mark, and Julie Ansell. Executive producers are John D Schofield and Richard Sakai. Director of Photography is Janusz Kaminski. Production Designer is Jeannine Oppewall. Editors are Richard Marks ACE and Tracey Wadmore-Smith ACE. Costume Designer is Shay Cunliffe. Music by Hans Zimmer.
ABOUT THE FILM
“If this movie is about one question, it’s ‘How do you know when you’re really in love?’” says Reese Witherspoon, the star of How Do You Know?, the new comedy from writer-director James L Brooks.
“We all have, at some point, a feeling that everything we’ve depended on we can’t depend on anymore. And when that happens, the only thing we have left is love,” says Brooks. “You can think your life is terrible, and then he or she walks in and it’s not terrible anymore. That’s it - love is our saving grace.”
The title question is the most important one most of us will ever face, and as the world gets more complicated and disconnected, it’s harder to answer than ever.
How Do You Know? is a comedy about four people in transition. Witherspoon plays Lisa Jorgenson, a woman who finds the entire life she knew slipping away. The part was written for Witherspoon. “Jim first called me and said he was thinking about his next movie and he’d like me to play the lead character,” the actress says. “I was honoured and thrilled, because I’m such a huge fan of his work - I thought we were just going to have lunch, and then he said he wanted to write a movie for me. It was just unimaginable to me that he could think of me in that way.
“So we talked about his ideas a bit, and slowly after that he started sending me scenes and different things he had written as he did the research,” Witherspoon continues. “It was a great experience, because when I finally got to read the actual, full-length script, I’d already known the character. I was excited to see where he was going to take her and where she was going to end up.”
Brooks says that the project began simply. “I was driving by some ball fields, soccer fields, and filled with women and girls, all ages, and I thought, it’s been a while since we’ve seen a female jock heroine. And I’m a research nut, so that started me on a year of talking to great female athletes.”
And there was only one woman to play the role. “I had just seen Walk the Line, and I knew her comedy skills. Reese was the one,” says Brooks. “So I spoke to her, and then, I went away for a year and a half.”
“There’s maybe five minutes of softball in the movie, but it informs the whole character,” says Brooks. “I have a rule in research: the third time I hear something, it’s generally true. This time, every female athlete I spoke to said that it takes another athlete to understand how much time they have to give to their sport. They can’t go out, they can’t go to the party, because they’re playing, they’re honing their skills. It’s very hard for a man to understand that if he doesn’t share it.”
As a starter, Brooks wrote a scene: a major league baseball relief pitcher asks her out. “I wanted to show the athletes she dates before she meets Paul Rudd’s character,” Brooks says. “And as I started writing Owen Wilson’s character, I had more fun with the character than I imagined - and I changed the story to make him a central part of the plot.”
“The best way I can describe Matty is happy-go-lucky. He doesn’t want to complicate things,” says Wilson. “At first, Lisa’s just another girl - he’s just out to have a good time. But that changes as he hangs around with her more.”
“If Matty is not having a great time in every minute of his life, he feels wildly uncomfortable,” says Brooks. “How many women have known a Matty, where they know at that moment that they fall for him that it may not mean anything to him?”
The last thing Lisa wants or needs was a complicated relationship - and things get even more complicated when she’s set up on a blind date with George Madison (Rudd), a man going through several transitions of his own. “He gets this letter - ‘The United States Government vs. George Madison’ - and all of a sudden he’s in trouble for something he doesn’t think he’s done,” says Rudd. “Things escalate from there and when he meets Lisa, he’s right at the bottom. And there’s something about her - the way she talks to him, and the way she handles that situation - that makes him fall for her on the spot. When I read that, I thought that was a great impetus for a story - what would happen if two people met on the worst day of their lives?” For Brooks, that setup was the third and final piece in the puzzle when he started writing.
Jack Nicholson plays George’s father, Charles. A business tycoon, he’s worked all of his life for only two things: the success of his company and his son’s well-being. In fact, he’s put his son as the figurehead of his empire (even if Charles remains the power behind the throne).
“Because of their long association, Jim and Jack wanted to make certain that the role would allow Jack to show colours he hasn’t shown before,” explains producer Laurence Mark. Amazingly enough, Nicholson has never played the father of an adult man. “So, Jack’s involvement actually affected the role in a positive way, making it even more dimensional.”
ABOUT THE CHARACTERS
In How Do You Know?, Brooks has populated his story with a handful of characters, each in transition, who will have to face the life-altering decisions that they have been avoiding.
Lisa Jorgenson has a true love of her life: her sport, softball. She has dedicated herself to it and been celebrated as one of the world’s best. Like many athletes, she is highly competitive and driven. “Her whole life has been based on creating goals for herself and then exceeding them,” says Reese Witherspoon. “When we meet her in the story, she’s at a crossroads, because she’s uncertain about the future of her career.”
In fact, too old at 31, her playing time is over - she’s been cut from the team. “I think every athlete has the idea in the back of their mind that someday they’re going to have to change paths; a sports career doesn’t last forever,” says Witherspoon. “But it’s another thing to be suddenly thrown from the ship. She’s forced to rebuild her life without a clue of how to do it.”
It is a character, Witherspoon says, that could only have been written by Brooks. Not only is the character richly detailed, but reflects Brooks’ signature outlook on life. “Jim has an extraordinary understanding of the absurdity of normal life,” she says. “He can look at a very simple, even mundane situation and find it absurd and completely hysterical - that’s the perspective he brings. He’s also brilliant at drawing characters who are grounded in reality - he finds these times in people’s lives when they are at a crossroads and finds what is so beautiful about those moments.”
Witherspoon, with no background in softball whatsoever, practiced “two or three hours a day with softball players for months,” in preparation for the role, says Brooks. “There’s maybe 20 seconds of Reese playing ball. The point is that it isn’t about how she caught or threw or hit the ball, though she picked some of that up. What matters is you’ve been with those athletes, and she took that on.”
Matty, on the surface, is every girl’s dream. Handsome, charming, funny, athletic, famous, and rich, he doesn’t take anything too seriously - or even the least bit seriously. Especially his relationships - with his choice of women, why should he? And Lisa is just another girl he can have a good time with… until he starts to develop stronger feelings. “He starts to see what makes her unique, and he falls for her,” says Owen Wilson.
“There’s no question that he falls in love,” says Brooks. “But he falls in love in a different way than any regular Joe would.”
Matty might seem to be a bit of a cad who plays the field, but Brooks says he operates according to a strict code. “He always tells the truth,” says Brooks. “He’s not conniving, he’s not lying, he’s not sneaking around. He has a code of ethics, and his code of ethics is to tell the truth.”
When he goes all out - or, at least, as far out as he is capable of going - to win her, so rock solid is Matty’s confidence that even a potential rival, George, enters the picture, he remains unshakable.
“Matty is such a sweet guy, but he just isn’t very aware of what people around him are thinking and feeling,” says Witherspoon. “To Matty, life is a party, and he wants Lisa to be part of the party and not bring him down. He never asks Lisa about herself - whereas George wants to know everything about her and wants to help her, even though he has troubles of his own.”
Brooks has had a long relationship with Wilson. “When I met Owen, I was producing Bottle Rocket. He was living on the floor with his brothers and Wes Anderson and the other actors. He’s very gifted - this character has to drive every scene he’s in and be exuberant at every moment. He can’t have someone set up the joke and then counter-punch the comedy - he has to give himself his own setups. And he does it brilliantly. There’s never a minute when he’s not giving you world-class reaction shots.”
Into Lisa’s midst comes a character in some serious trouble. George Madison is unlike anybody Lisa has ever dated - odd, funny, and most of all, not an athlete. He’s also someone who has found himself in the hottest of hot water: the target of a federal investigation. A potential new love affair should be the last thing on his mind, but it just might be the only thing that can keep him going. He has every reason to doubt that he could actually fall in love in this state, but he is convinced that it is so.
“Everything starts to escalate,” says Paul Rudd. “He’s indicted for stock fraud, his girlfriend leaves him, and his former assistant gives him dire warnings of a peril of which he is unaware. He vigorously points out, before she spills the beans, that she is legally constrained from saying more. Then, when he’s really hit rock bottom, he meets Lisa - and suddenly things start to look better.”
“George is so absorbed in his own problems that on that first date, he can’t talk about anything else,” Rudd explains. “The way she handles it is just perfect: she suggests they just don’t talk during the entire dinner. And for a moment, he changes focus from himself, and I think he falls in love with her in that instant.”
How can a guy whose life is falling apart compete with a rich, charming, handsome, athletic ballplayer? “All he has going for him is his honesty - and the fact that he feels he has nothing to lose,” says Rudd. “And he listens to her, which is exactly what she needs.”
“The only thing that George and Lisa have in common is something they don’t even know - they are meeting each other on the worst day of their lives,” says Brooks. “They are each trying to dig themselves out of their troubles in their own way.
Brooks says that Rudd pulls off a pretty incredible acting trick: his character forgets his troubles by falling in love, but, thanks to Rudd’s performance, it’s not facile or glib. “In the way that I don’t think I could have made As Good As It Gets with anybody but Jack, I don’t think I could have made this picture with anybody but Paul,” says Brooks. “I think his reaction is real - you believe, every step of the way, that somebody in the ashes can rise out of it. I think you understand that somebody really could act that way. That’s what Paul brought. And somehow he doesn’t sacrifice one comedic beat in getting there. He’s really funny and really real.”
“The role has a great deal of range to it,” says producer Laurence Mark. “It requires the actor to be funny, emotional, sad, love struck, and sometimes even nutty - and we also always have to believe him. Paul seems to have all of this in his repertoire.”
In the role of Charles, George’s father, Jack Nicholson has to make a largely unsympathetic character vulnerable, human - even likable.
“Early in the movie, Jack’s character tells his son that if he’s forced to choose between his son and the company, even though it may kill him, he may pick the company,” says Brooks. But this is also a man who raised his son alone after his wife left them both. Would he really sell out his kid that way? “I wrote that line, I wrote the character, and I still can’t decide if that’s his core truth. The final mystery to him and everybody else is whether he’s a good guy or a bad guy. As Bill Hurt told me a long time ago, sometimes the job is to hold the question and not to provide the answer.”
“He loves his son, but he loves himself as well, and he understands what no one else does: he is facing the possible destruction of one of the two people he loves most in the world,” explains producer Paula Weinstein. “He’s at a moment when he wants to duck for cover, but that leaves his son exposed to take the hit. It was fascinating to watch how their camaraderie and affection comes out of all that emotional confusion.”
“Because I’ve worked with Jack, it was natural to turn to him,” says Brooks. “I’m always slack-jawed at his acting, but he has moments in this movie that are as elegant as anything I’ve ever seen him do.”
“I couldn’t imagine anybody but Jack Nicholson in the role of Charles,” says Rudd. “Working with him has been one of the biggest professional thrills of my life. He has a persona that’s larger than life and he’s been the biggest name in movies for four decades, but what was amazing to me was how good an actor he is. He makes it look so easy, but he’s present every single moment he’s in front of the camera.”
Kathryn Hahn rounds out the cast as Annie, George’s very pregnant assistant. “She is fiercely loyal to her boss,” says Hahn. “She’s also very pregnant by a man she loves but who’s worried he’s not good enough for her and that’s why he won’t marry her. So, when we meet Annie, she’s in a place where her world revolves around her work and the man she works for - who suddenly finds himself in big trouble.”
Annie is in a bit of a quandary herself. She values loyalty in herself and others, so she feels a strong need to give George some information that might help his case. However, she’s been enjoined by the company lawyers from talking to her boss - and this single-and-pregnant woman needs to hold on to her job. “She just hates to see George in the state he’s in. But he won’t let her tell him what she knows about his case because it would put her in jeopardy,” says Hahn. “So she has to help him in other ways. She finds him an apartment and makes him food when his legal bills force him to sell everything he owns.”
“Kathryn Hahn is an intoxicating human being,” says Brooks. “If you don’t like her, you don’t like anybody. That’s who she is in real life, and that’s what she brings to her character.”
Not coincidentally, Hahn was pregnant when Brooks cast her in the film. “I happen to have seen her be amazing in ‘Boeing Boeing’ in New York, and as soon as I saw her in our casting office and noticed that she was pregnant, I thought to myself, ‘Ah… that should cinch it. Jim is going to want to hire her,” laughs Mark.
Some juggling was required to fit in Hahn’s scenes before the baby came, but that was fine - until almost the end of Hahn’s scenes. “I was about eight months pregnant and looking forward to finishing my work, going home and having my baby,” Hahn recalls. “Things didn’t exactly go in that order.”
Hahn spent three days shooting the hectic scene in the hospital room after Annie gives birth. Then - in the early morning hours after filming - Hahn went into labour. Her daughter, Mae, was born that night. She would finish the scene two months later.
ABOUT JAMES L BROOKS
“Jim is the most amazing observer of life,” says Laurence Mark, producer of How Do You Know? “He’s a terrific listener and a keen observer, and that manifests itself in his characters. It’s why they have such depth, are so interesting, and have such fascinating things to say.”
“His voice is unique,” says producer Julie Ansell, who has been Brooks’ producing partner for 20 years. “He has insights into people - when he writes something that touches on something you’ve experienced in your own life, you think, ‘That’s it - I couldn’t have put it into words, but that’s how I felt.’ It hits you deep inside.”
“He writes about real people, real dilemmas they face,” says producer Paula Weinstein. “His characters are complicated, difficult, confused, human, flawed, funny, and true. Watching his movies is like reading a great novel that you don’t want to end - you just want to stay in their world a little while more.”
“No one writes dialogue the way he does,” Ansell continues. “He wants to get into his characters so deeply that sometimes we spend two years doing research, talking to hundreds of people for each character.”
“Jim gets an idea for his characters, then he wants to find out what’s real, what’s true,” says Weinstein.
It’s said that the details are what sells a story: we can feel characters are real if we believe the small, fine aspects of their behaviour. “All we have in movies is detail,” says Reese Witherspoon. “Detail is what makes a movie funny, it’s what makes it real, what makes it authentic. It’s why you invest in the characters. Details from the amount of money people make, how much they travel and how they travel, who their closest friends are, what kind of people they date, what they eat and don’t eat. All of that informs your character and the story.”
Brooks becomes fascinated by those details. “When he was doing research for Lisa’s apartment, he went to real athletes’ apartments,” says Mark. “Jim saw a trophy case - it wasn’t too fancy, but it showed how proud the person was to have won those trophies. Jim hangs on to details like that, and it’s how his research pays off.”
Even the smallest details get researched. For example, there is a special drink that Paul Rudd’s character, George, makes for Lisa. Jim turned to his friend, three-star Michelin chef of The French Laundry, and Keller really put his mind to it. He invented a brilliant drink for the movie.
Interested parties can find out exactly what Lisa’s drink tastes like:
Into the shaker, put:
1 sugar cube
3 dashes of bitters
1.5 oz of Makers Mark
Muddle, and add to the shaker, with ice:
½ ounce lime juice
½ ounce Cointreau
Dash of grenadine
Pour into a Martini glass or over ice. Finish with a beautiful orange peel.
The actors also got into the research act. Even though Witherspoon would appear playing ball for only a few moments in the final film, Witherspoon trained with legendary UCLA women’s softball coach Sue Enquist for months. “I’d work with her three days a week for two or three hours, just working on basic skills like throwing, catching, batting, posture, stuff like that. But there was also a different aspect of it - it was a study of a completely different kind of person. I’d never really known many athletes in my life, so jumping into their world and learning how they wake up, what their day is like, how much they work out, how much of a personal life they have, what their college experience was like, really informed my character. Their relationships with their team-mates are paramount in their lives.”
Witherspoon also trained with the USA Women’s softball team. “I got to meet almost all of them and work and train with some of them. It was an incredible, awe-inspiring experience - they have an incredible athleticism, professionalism, drive, and focus that was really inspiring.”
The film is set in Washington, DC, and the production filmed there and in Philadelphia. “Filming in DC has gotten easier, but it’s still more complicated than most places,” says DC production supervisor Carol Flaisher. “There can be four - or more - permitting agencies: the Park Service, Secret Service, Capitol Police, General Services Administration. It’s not easy to close down anything here - for security reasons. But the trade-off is that you get a unique and energetic city that becomes another character in the movie.”
The production even got the chance to film at Nationals Park, the home of Major League Baseball’s Washington Nationals, the team that Matty pitches for. With the big league club out of town, the production took over for scenes of Wilson talking with the other relief pitchers in the middle of a game, as well as a shot of an outfielder making a spectacular catch.
Four-time Academy Award-nominated production designer Jeannine Oppewall was charged with creating the design of the film. “Design is an organic process,” she says. “It starts with a feeling about a place and environment, and you make choices from there - you build the design out of a series of choices based on one or two strong feelings or ideas.”
Working within the confines of a contemporary romantic comedy, Oppewall says, “I can’t really differentiate between a look that’s stylized and a look that’s real. In this movie, there are characters who are definitely living in very real circumstances, whereas Jack Nicholson and Owen Wilson’s characters are living in somewhat artificial circumstances, because they’re surrounded by moneyed choices. The money they spend separates them from real life.”
In fact, Matty and Charles live in the same building - an expensive one in an upscale part of town. “Matty has money and a modicum of taste. People with money can usually buy taste, and that’s what we did with his place. He bought into a nice, expensive building, had somebody do it over. Charles has a smaller apartment - we essentially took Matty’s apartment and chopped it down, adding walls to make it smaller.”
One can compare to the apartment where Lisa lives. “Matty’s apartment is large and hard-edged, while Lisa lives in a modest, residential neighbourhood, in a much smaller apartment, but one with a lot of light and air and warm colour.”
Oppewall notes that as George’s life falls apart, his descent is reflected in the design. “George starts off in a kind of a comfortable, upper-class, well-appointed bachelor pad, and ends up living above a cake store on a scruffy street corner, with his belongings piled up haphazardly.”
Each of the characters has a different colour scheme, not only to differentiate them from each other, but to underscore who they are. “Matty has a burnt orange in his hallway that sets the tone for almost everything else in the place; he likes things bright and lively. Lisa is in the purple family, reflecting the sun and warmth and light in her personality. George’s place isn’t particularly colourful at all - he’s trying to figure out where he is in life.”
Costume Designer Shay Cunliffe also describes the characters through her designs - and notes that the challenge is to do what is right for the characters without going too far. “Jim walks a tightrope between trying to mine some deeper area of emotion and getting what’s funny out of a scene,” she says. “Every department is trying at every moment to find that thing that makes him smile broadly but doesn’t tip the balance into being too in-your-face.
Key to Brooks’ filmmaking is that he insists every detail of the production enhance his storytelling. “With my department, wardrobe, it’s extremely challenging to deal in that realm - especially with contemporary clothes, which you might think you could just run out and buy off the rack. Each change for Jim is tremendously important. Each beat of his movie is extremely considered. He feels deeply what the visual representation should be. So, it can become quite a test to find that simple dress that’s the dress you fall in love with but which you also feel would be worn by the character who will be wearing it.”
About the Cast
Academy Award winner REESE WITHERSPOON (Lisa) is one of Hollywood’s most sought after and respected actresses. Witherspoon grew up in Tennessee, and returned to her roots to play June Carter Cash in the musical biopic, Walk the Line. Her performance earned her the 2005 Academy Award for Best Actress, the BAFTA, the Golden Globe, the Screen Actors Guild Award, the New York Film Critics Award, and many other honours.
She most recently starred as the giant Susan in the DreamWorks Animation film Monsters vs. Aliens. In 2008, Witherspoon starred alongside Vince Vaughn in Four Christmases, which she also produced.
Witherspoon also starred as a spirit who refuses to accept her death in the romantic comedy Just Like Heaven and as one of English literature’s most memorable characters, the social climbing Becky Sharpe, in Mira Nair’s revisionist take on the Thackeray novel, Vanity Fair.
At the age of 14, Witherspoon was hoping to be an extra in Robert Mulligan’s coming-of-age drama, The Man in the Moon, and unexpectedly landed the lead. She followed with the dramatic adventure, A Far Off Place, and Diane Keaton’s critically acclaimed Lifetime television feature, Wildflower.
In 1995, Witherspoon starred opposite Mark Wahlberg in the thriller, Fear, and received rave reviews for her performance in the independent feature, Freeway - a modern version of Little Red Riding Hood produced by Oliver Stone, which debuted at the Sundance Film Festival and aired to record-breaking numbers on HBO.
Witherspoon worked with Paul Newman, Gene Hackman and Susan Sarandon in Robert Benton’s dramatic thriller, Twilight, then displayed her gift for comedy in Pleasantville, written and directed by Gary Ross and co-starring Tobey Maguire.
In 1999, Witherspoon starred in Alexander Payne’s satirical comedy, Election, which earned her the Best Actress Award from the National Society of Film Critics as well as a Golden Globe Nomination. She followed with Legally Blonde, which took in $100 million in domestic box office and turned the young actress into a marquee name and international star.
Witherspoon went on to star in Sweet Home Alabama, which was one of the most successful female star-driven romantic comedies to the time. She then began a second career as a producer with Legally Blonde 2: Red, White and Blonde. Witherspoon’s production company, Type A Films, went on to develop and produce Penelope, a modern fable starring Christina Ricci and James McAvoy, and has a slate of other projects in the works. She also starred in the Gavin Hood-directed ensemble thriller Rendition opposite Jake Gyllenhaal, Meryl Streep, Peter Sarsgaard, and Alan Arkin.
Off screen, Witherspoon continues to be involved in many charitable works. She has been active on behalf of the Rape Treatment Centre at the Santa Monica-UCLA Medical Centre and Save the Children and currently serves on the board of the Children’s Defence Fund, with whom she has worked raising money and awareness for their many programs. Last year she went to New Orleans with a group of women to open the first “Freedom School” there, and they have since endowed thirteen more community centres in the area.
One of contemporary cinema’s most successful actors, OWEN WILSON (Matty) has won great acclaim for his memorable turns in mainstream and independent films. He will next appear in Little Fockers opposite Ben Stiller and Robert De Niro. He recently completed filming the Farrelly Brothers comedy Hall Pass opposite Jason Sudekis and David Frankel’s The Big Year opposite Steve Martin, Jack Black and Anjelica Huston, as well as Midnight in Paris, directed by Woody Allen. He will also lend his voice to Disney’s Cars 2 which is scheduled for a Summer 2011 release.
Most recently, Wilson starred opposite Jennifer Aniston in Marley & Me, based on the popular memoir by John Grogan. Directed by David Frankel and adapted by Scott Frank, the film earned over $200 million dollars at the box office.
Wilson's string of box office successes includes Night at the Museum and the sequel Night at the Museum 2: Battle of the Smithsonian opposite Robin Williams and Ben Stiller; the smash hit comedy Wedding Crashers opposite Vince Vaughn; and the romantic comedy You, Me and DuPree.
Wilson recently starred opposite Adrien Brody and Jason Schwartzman in Wes Anderson's critically acclaimed film The Darjeeling Limited. This marked the fifth collaboration with director Wes Anderson. Other collaborating works include The Life Aquatic with Steve Zissou, starring Bill Murray and Anjelica Huston and The Royal Tenenbaums, for which Wilson and Anderson were nominated for an Academy Award for Best Original Screenplay. Wilson co-wrote and co-executive produced Anderson's second feature, Rushmore. The duo gained critical and commercial recognition Anderson's first film, Bottle Rocket, which Wilson starred in and co-wrote.
Additional acting credits include Starsky and Hutch, Zoolander, Drillbit Taylor, Wendell Baker Story, Shanghai Noon, Behind Enemy Lines, I Spy, Shanghai Knights, Armageddon, The Minus Man, and The Cable Guy. He also served as associate producer on the Oscar-winning film As Good As it Gets.
Wilson recently lent his voice Wes Anderson’s Fantastic Mr Fox, Marmaduke, and Disney's animated blockbuster Cars, which was nominated for an Academy Award in the category of Best Animated Film.
PAUL RUDD (George) is currently in production on David Wain's Wanderlust starring opposite Jennifer Aniston as a New York couple who move to a free-wheeling commune to escape their modern city life. Rudd is producing the film with Judd Apatow, David Wain and Ken Marino.
He recently completed production on Jesse Peretz' My Idiot Brother starring opposite Elizabeth Banks, Zooey Deschanel, Emily Mortimer and Rashida Jones. The film centres on an idealist (Rudd) dealing with his over bearing mother and crashes at the homes of his three ambitious sisters and brings truth, happiness and a sunny disposition into their lives while also wreaking havoc. This film marks Rudd's second collaboration with Peretz having worked with him previously in The Chateau.
Rudd most recently starred in Jay Roach's Dinner for Schmucks opposite Steve Carell. Prior to that, he starred in John Hamburg's I Love You, Man, which grossed over $90 million worldwide. He also starred in and co-wrote David Wain's box office hit Role Models opposite Seann William Scott. The film was nominated as Best Comedy by the Broadcast Film Critics Association and the St Louis Film Critics Group.
Rudd starred in Judd Apatow’s hit Knocked Up opposite Seth Rogen and Leslie Mann. Knocked Up grossed over $300 million worldwide and won the People's Choice Award for Favourite Movie Comedy. It was also nominated for a Critics Choice Award for Best Comedy Movie and was named as one of AFI's Top Ten Films of the Year.
Rudd's other feature acting credits include Monsters vs Aliens, Forgetting Sarah Marshall, The 40 Year Old Virgin, Anchorman, The Ten - on which he also served as a producer, Night at the Museum, Diggers, Reno 911, The Cider House Rules, The Object of My Affection, Wet Hot American Summer, The Chateau, Clueless and William Shakespeare's Romeo + Juliet, among others.
On Broadway, Rudd starred in Richard Greenberg's Three Days of Rain opposite Julia Roberts and Bradley Cooper. He also starred in Neil LaBute’s Bash in both New York and Los Angeles as well as LaBute’s The Shape of Things in London and New York. Rudd revived his role in The Shape of Things for LaBute’s feature film version of the play.
The versatile actor made his West End debut in the London production of Eugene O’Neill’s “Long Day’s Journey into Night” opposite Jessica Lange. Other stage credits include the Nicholas Hynter-directed “Twelfth Night” at Lincoln Centre Theatre - with a special performance which aired on PBS' “Great Performances” - and in Alfred Uhry's Tony Award-winning play, “The Last Night of Ballyhoo.”
On television, Rudd guest-starred on NBC's “Friends” as Phoebe's (Lisa Kudrow) husband Mike Hannigan for the final two seasons and starred as Nick Carraway in A&E's production of “The Great Gatsby.”
JACK NICHOLSON (Charles Madison), one of the most honoured actors of all time, has worked with many of the film industry’s most esteemed directors during his career, which has spanned five decades and encompassed more than 60 feature films. He most recently starred in Warner Bros. hit comedy The Bucket List with Morgan Freeman and the Academy Award-winning drama The Departed for director Martin Scorsese.
In 2002, Nicholson received his twelfth Academy Award nomination for his performance in the title role of Alexander Payne’s About Schmidt, giving him the distinction of having earned the most Oscar nominations of any male actor. He has won the Academy Award three times, twice for Best Actor for his work in Milos Forman’s One Flew Over the Cuckoo’s Nest and James L Brooks’ As Good As It Gets, and once for Best Supporting Actor for his role in Brooks’ Terms of Endearment. Nicholson has also been Oscar-nominated for his performances in Rob Reiner’s A Few Good Men, Hector Babenco’s Ironweed, John Huston’s Prizzi’s Honour, Warren Beatty’s Reds, Roman Polanski’s Chinatown, Hal Ashby’s The Last Detail, Bob Rafelson’s Five Easy Pieces and Dennis Hopper’s Easy Rider.
Additionally, Nicholson won Golden Globe Awards for his work in About Schmidt, As Good as It Gets,Prizzi’s Honour, Terms of Endearment, One Flew Over the Cuckoo’s Nest and Chinatown. He also garnered Golden Globe nominations for his roles in Something’s Gotta Give, A Few Good Men, Danny DeVito’s Hoffa, Tim Burton’s Batman, Ironweed, Reds, The Last Detail, Five Easy Pieces and Easy Rider.
Nicholson’s film work has brought him a myriad of critics groups’ awards. In addition, he has been honoured with the Lifetime Achievement Award from the American Film Institute and the Cecil B DeMille Award from the Hollywood Foreign Press Association.
His long list of film acting credits also includes the hit comedy Anger Management; the Sean Penn-directed films The Pledge and The Crossing Guard; Tim Burton’s Mars Attacks!; Mike Nichols’ Wolf and Carnal Knowledge; James L Brooks’ Broadcast News; George Miller’s The Witches of Eastwick; Bob Rafelson’s The Postman Always Rings Twice; Stanley Kubrick’s The Shining; Elia Kazan’s The Last Tycoon; and Michelangelo Antonioni’s The Passenger.
Nicholson made his feature film directorial debut in 1971 on Drive, He Said, which he also wrote and produced. He went on to direct and star in Goin’ South, and to direct, produce and star in The Two Jakes, which was the sequel to Chinatown.
A natural talent with an engaging presence and undeniable energy, KATHRYN HAHN (Annie) has made her mark through a variety of entertaining and memorable roles.
Hahn recently wrapped production on David Wain's Wanderlust, about an urban couple, George (Paul Rudd) and Linda (Jennifer Aniston), who branch out to live a more counter-culture lifestyle. Hahn plays Karen, an eccentric damaged mother who is a member of a commune and welcomes George and Linda to the community with typical New Age-y sincerity. Universal Pictures is set to release the film in 2011. Prior to this, she completed lensing in New York on Jesse Peretz’ My Idiot Brother. The film revolves around Ned (Paul Rudd), who is an idealist. His three sisters, played by Elizabeth Banks, Zooey Deschanel and Emily Mortimer, are ambitious. Hahn portrays Janet, Ned's ex-girlfriend who, out of spite, is keeping him from reuniting with his beloved dog, Willie Nelson.
Hahn made her Broadway debut in the Tony winning play “Boeing-Boeing” alongside Bradley Whitford, Gina Gershon, Mary McCormack, Christine Baranski and Mark Rylance. “Boeing-Boeing” won the 2008 Tony in the category of Best Revival of a Play.
Hahn's feature film credits include her stand-out roles in Step Brothers, playing John C Reilly's outrageous and funny love interest Alice, and Revolutionary Road, playing Kate Winslet and Leonardo DiCaprio's neighbour Milly Campbell. Additional film credits include The Goods: Live Hard, Sell Hard, The Last Mimzy, The Holiday, Around the Bend, Anchorman: The Legend of Ron Burgundy, Win a Date with Tad Hamilton!, How to Lose aGuy in 10 Days, and Flushed. Kathryn's TV credits include her recurring role as Lily Lebowski on the NBC hit show "Crossing Jordan," “Four Kings” and most recently a guest-starring arc on the HBO hit series, "Hung."
No stranger to the stage, her theatre credits also include “Dead End” (Ahmanson Theatre, Huntington Theatre Company), “Ten Unknowns” (Huntington Theatre Company), “A Midsummer Night's Dream” (Williamstown Mainstage), “Hedda Gabler” (Williamstown/Baystreet), Othello (Yale School of Drama), “Chaucer in Rome” (Williamstown Mainstage), “Camino Real” (Williamstown Mainstage) and The Birds (Yale).
Hahn received her Bachelors degree from North-western University and her Masters in Fine Arts from the Yale School of Drama. She currently resides in Los Angeles with her husband and two children.
About the Filmmakers
JAMES L BROOKS (Writer/Director/Producer) has won three Academy Awards, received 8 Academy Award nominations, and 19 Emmy Awards during his long and prolific career. He is tied with one other person for the most Emmys held by an individual.
Brooks most recently wrote, produced, and even contributed to the soundtrack of the box office hit The Simpsons Movie. Prior to that he wrote, produced and directed Spanglish starring Adam Sandler, Téa Leoni and Paz Vega.
Brooks began his career as a television writer and went on to help create such landmark TV hits as “Taxi,” “The Mary Tyler Moore Show,” “Rhoda,” “Lou Grant,” “Room 222,” “The Tracey Ullman Show,” and “The Simpsons.” He also wrote and produced the television movie “Thursday's Game.”
Brooks began working in film in 1979 when he wrote the screenplay for Starting Over, which he co-produced with Alan J Pakula. In 1983 Brooks wrote, produced and directed Terms of Endearment, for which he earned three Oscars, including Best Picture, Best Adapted Screenplay, and Best Director. In 1987, he wrote, produced and directed Broadcast News, which won the New York Drama Critics Award for Best Picture and Best Screenplay and earned two Oscar nominations. Through Gracie Films, Brooks served as executive producer on Cameron Crowe’s directorial debut Say Anything, produced War of the Roses, and co-produced Big with Robert Greenhut.
In 1990, Brooks produced and directed his first play, “Brooklyn Laundry,” a Los Angeles production starring Glenn Close, Woody Harrelson and Laura Dern. Brooks' company, Gracie Films, made an overall deal with Sony Pictures in 1990. He produced two new series for ABC (“The Critic,” another prime time animated series starring Jon Lovitz, and “Phenom,” starring Judith Light, William Devane and Angela Goethals). For Columbia Pictures, he directed I'll Do Anything starring Nick Nolte, Albert Brooks and Julie Kavner.
In 1996, Brooks was the executive producer on Wes Anderson’s debut feature Bottle Rocket and producer on Crowe’s Jerry Maguire starring Tom Cruise, Cuba Gooding Jr., and Renee Zellweger. In 1997, Brooks co-wrote, produced, and directed As Good As It Gets, starring Jack Nicholson, Helen Hunt and Greg Kinnear. The film was nominated for seven Academy Awards including Best Picture and both Nicholson and Hunt won Oscars for their performances.
PAULA WEINSTEIN (Producer) has worked with virtually every major studio during her 20-year career in the entertainment industry. One of the entertainment community’s most dedicated political activists, Weinstein is as well-known for her involvement in social issues as she is for producing quality motion pictures through her company Spring Creek Pictures.
Weinstein was raised in Europe and began her career as an assistant film editor in New York City. She then became Special Events Director in the office of Mayor John Lindsay, bringing plays, ballet and street festivals to the city’s various communities.
Moving to Los Angeles in 1973, Weinstein signed on as a talent agent for what was to become International Creative Management (ICM). She later moved to the William Morris Agency where she handled a client portfolio that included Jane Fonda and Donald Sutherland.
Eager for new challenges, Weinstein joined Warner Bros. as vice president of Production in 1976, and then later enlisted with 20th Century Fox as senior vice president of Worldwide Production, developing and producing films such as Nine to Five and Brubaker. In 1979, Weinstein relocated to the Ladd Company, collaborating on such films as Body Heat, Lawrence Kasdan’s directorial debut.
After two years with Ladd, she moved to United Artists as president of the Motion Picture Division, where she supervised all productions. Two of the many hits that she brought to the screen during this time were WarGames and Yentl.
In 1984, Weinstein started WW Productions, an independent production company in partnership with Gareth Wigan. In 1987, she assumed the title of Executive Consultant to MGM’s worldwide division. This position allowed her to continue producing independent projects such as A Dry White Season, for which Marlon Brando earned an Academy Award nomination, and The Fabulous Baker Boys, nominated for four Academy Awards, which she jointly produced with Mirage Productions in 1989.
In 1990, Paula Weinstein and Mark Rosenberg, a fellow 20-year veteran of the film industry, created Spring Creek Productions. Their first produced feature film was Fearless, directed by Peter Weir. Actress Rosie Perez received an Academy Award nomination for Best Supporting Actress for her role in the drama, which starred Jeff Bridges, Isabella Rossellini, Tom Hulce and John Turturro. Spring Creek’s second film to go into production was Flesh and Bone, which reunited the producers with their collaborators on The Fabulous Baker Boys, writer-director Steve Kloves and Sydney Pollack’s Mirage Productions. The contemporary love story, directed by Kloves from his original screenplay, starred Dennis Quaid, Meg Ryan and James Caan and a young Gwyneth Paltrow.
Pursuing her passion for politics, Weinstein served as executive producer on “Citizen Cohn,” starring James Woods as the notorious McCarthy-era lawyer. The HBO telefilm won four Emmy Awards, three CableACE Awards and was nominated for two Golden Globe Awards.
In 1995, Weinstein and Anthea Sylbert produced Something to Talk About, for Warner Bros., starring Julia Roberts, Dennis Quaid, Robert Duvall, Gena Rowlands and Kyra Sedgwick and directed by Academy Award nominee Lasse Hallström.
Returning to her political roots, Weinstein served as executive producer on “Truman,” starring Gary Sinise for HBO, which went on to win the Emmy for Best Movie made for television. Directed by Frank Pierson, the film is based on David McCullough’s biography of President Harry Truman and chronicles his life from World War II to when he exited the White House.
In December 1996, HBO presented The Cherokee Kid, on which Weinstein served as executive producer. The movie starred Sinbad, James Coburn, Gregory Hines and Burt Reynolds. In 1997 she executive produced “First Time Felon” for HBO which was directed by Charles Dutton.
Weinstein produced the box office smash Analyse This, which starred Billy Crystal and Robert De Niro. The film earned more than $100 million. She co-produced Barry Levinson’s Liberty Heights, which was released in November 1999 to critical acclaim. Weinstein also produced The Perfect Storm, which starred George Clooney and Mark Wahlberg, released in June 2000.
In 1989, Weinstein and Rosenberg received the Bill of Rights Award from the Southern California Chapter of the American Civil Liberties Union. When Rosenberg suffered a fatal heart attack in November 1992, the Mark Rosenberg Legal Centre of South Central Los Angeles was established in memoriam by the ACLU Foundation. The couple had been married since 1984.
A founding member of the Hollywood Women’s Political Committee, Weinstein was honoured by the National Urban League Guild at their Beaux Arts Ball in 1990. When Nelson Mandela made his first official visit to the United States, Weinstein served as the official representative from the Hollywood community and supervised all elements of his visit to Los Angeles. She was honoured by Women in Film with a Crystal Apple Award, which recognized her extraordinary contribution to the entertainment community.
In 2002, Weinstein produced Possession, which starred Gwyneth Paltrow and Aaron Eckhart. Directed by Neil LaBute, the film was based on British author AS Byatt’s novel Possession: A Romance. In the same year, she produced Analyse That, the successful follow-up to Analyse This.
In 2004, she produced the critically acclaimed HBO movie “Iron Jawed Angels,” about the women’s Suffragette movement, starring Oscar-winner Hillary Swank and Golden Globe winner Anjelica Huston. Later that year, she completed production on New Line Cinema’s Monster In Law starring Jane Fonda and Jennifer Lopez and Warner Bros.’ Rumour Has It, which starred Jennifer Aniston, Shirley MacLaine, Kevin Costner and Mark Ruffalo, directed by Rob Reiner.
In October 2005, Weinstein produced The Astronaut Farmer for Warner Independent Films, written and directed by Michael Polish and Mark Polish, starring Billy Bob Thornton and Virginia Madsen. The following year, she produced the political thriller Blood Diamond, directed by Ed Zwick and starring Leonardo DiCaprio and Djimon Hounsou. The film earned five Academy Award nominations, including Best Actor and Supporting Actor for DiCaprio and Hounsou.
Most recently, Weinstein executive produced “Recount” for HBO, which won the Emmy Award for Outstanding Made-for-Television Movie. She is currently executive producing HBO’s “Too Big to Fail,” directed by Curtis Hanson, based on the Andrew Ross Sorkin book about the financial crisis.
Weinstein resides in Los Angeles with her daughter, Hannah Mark.
LAURENCE MARK (Producer) most recently produced the critically acclaimed hit film Julie & Julia directed by Nora Ephron, starring Meryl Streep and Amy Adams. Streep was nominated for an Oscar for Best Actress and won the Golden Globe for Best Performance by an Actress (Musical or Comedy) for her performance, and the film also received a Golden Globe nomination for Best Picture (Musical or Comedy). He also produced Dreamgirls, starring Jamie Foxx, Beyoncé Knowles and Eddie Murphy and written and directed by Bill Condon, which received three Golden Globe Awards, including one for Best Picture (Musical or Comedy), as well as eight Academy Award nominations, winning two of them.
Mark also received an Academy Award nomination for producing Best Picture nominee JerryMaguire, and he executive-produced As Good As It Gets and Working Girl, both Academy Award nominees for Best Picture.
Mark and Bill Condon were the producers of the Hugh Jackman-hosted 81st Annual Academy Awards.
Mark has also produced I, Robot starring Will Smith, Last Holiday starring Queen Latifah, and The Lookout starring Joseph Gordon-Levitt and directed by Scott Frank which won the 2008 Independent Spirit Award for Best First Feature. Prior to these, he produced Riding in Cars with Boys, Finding Forrester, Hanging Up, Anywhere But Here, The Object of My Affection, and Romy and Michele’s High School Reunion.
Laurence Mark Productions is headquartered at Sony Pictures Entertainment, where the company has a long-term production arrangement with Columbia Pictures. Mark’s other producing credits include Black Widow, Cookie, True Colours, Sister Act 2, The Adventures of Huck Finn, Simon Birch, Bicentennial Man, Centre Stage, and CentreStage: Turn It Up.
Prior to producing, Mark held several key publicity and marketing posts at Paramount Pictures, culminating in his being appointed Vice President of West Coast Marketing. He then moved into production, and as Vice President of Production at Paramount and Executive Vice President of Production at Twentieth Century Fox, he was closely involved with the development and production of such films as Terms of Endearment, Trading Places, Falling in Love, The Fly, and Broadcast News.
JULIE ANSELL (Producer) began her career at Gracie Films in 1989 after graduating from North-western University. She began as a development executive and quickly rose to Vice President, working on such films as The War of the Roses, I'll Do Anything, Bottle Rocket, Jerry Maguire and As Good As It Gets. She also ran the Gracie Films’ office in New York for two years.
In 1996, she left the company to become president of Barry Mendel Productions at Disney, where she was involved with Rushmore and The Sixth Sense. She returned to Gracie Films in 1998 as president of Motion Pictures and produced Riding in Cars with Boys. In 2005, she produced Spanglish.
JANUSZ KAMINSKI (Director of Photography) most recently served as director of photography on Funny People, directed by Judd Apatow, starring Adam Sandler and Seth Rogan.
A two-time Academy Award winner, Kaminski took home his first Oscar for his black-and-white cinematography on Steven Spielberg’s Schindler’s List. For his work on that film, Kaminski was also honoured with a BAFTA and numerous critics’ awards, including the Los Angeles Film Critics Association and New York Film Critics Circle awards for Best Cinematography. He won his second Academy Award for his work on Spielberg’s World War II drama Saving Private Ryan. In addition, Kaminski received his third Best Cinematography Oscar nomination for Spielberg’s Amistad and a fourth in 2007 for Julian Schnabel’s The Diving Bell and the Butterfly, for which he won the Technical Grand Prize at the 2007 Cannes International Film Festival, as well as Film Independent’s Spirit Award for Best Cinematography in 2008.
Most recently, Kaminski collaborated with Spielberg on the action-adventure Indiana Jones and the Kingdom of the Crystal Skull, the ’60s-era dramatic comedy Catch Me If You Can, the futuristic thriller Minority Report, The Terminal and the politically charged Munich. He also served as the director of photography on the Spielberg-directed films AI: Artificial Intelligence and The Lost World: Jurassic Park. Kaminski’s other film credits as director of photography include The Adventures of Huck Finn, How to Make an American Quilt, Cameron Crowe’s Jerry Maguire and Kathryn Bigelow’s Mission Zero.
A native of Poland, Kaminski came to the United States in 1981. He studied cinematography at Columbia College in Chicago, receiving his BA in 1987. After graduating, he relocated to Los Angeles to become a cinematography fellow at the prestigious American Film Institute and began his professional career on the feature Fallen Angel. Kaminski also lensed two television projects: the Amblin Entertainment production Class of ’61 and the acclaimed cable movie Wildflower, directed by Diane Keaton. In 2000, Kaminski made his feature-film directorial debut with the thriller Lost Souls, which starred Winona Ryder, Ben Chaplin and John Hurt. He has since also directed the Polish drama Hania, about a young married couple who invite a young boy from an orphanage into their home for the Christmas holiday.
JEANNINE OPPEWALL (Production Designer) is a four-time Academy Award nominee, earning her most recent nod for her work on Robert De Niro’s The Good Shepherd. She has also been nominated for Oscars for her work on Gary Ross’ Seabiscuit and Pleasantville; her design of the too-perfect world in the latter film also brought her a Los Angeles Film Critics Award for Best Production Design. Oppewall earned her first Oscar nomination, as well as a British Academy Award nomination, for her evocation of the gritty milieu of 1950s Los Angeles in Curtis Hanson’s LA Confidential.
Oppewall most recently served as production designer on the thriller Peacock with Ellen Page and Susan Sarandon, as well as M Night Shyamalan’s The Happening. Previous films include, Catch Me If You Can, for which she won the Excellence in Production Design Award from the Art Directors Guild, The Sum of All Fears, Wonder Boys and Snow Falling on Cedars.
A graduate of Bryn Mawr College, Oppewall began her career as a researcher for famed designers Charles and Ray Eames. Segueing into films, she worked with production designer Paul Sylbert on such films as Hardcore, Blow Out and Resurrection. Her first film as a production designer was Bruce Beresford’s Tender Mercies.
Her subsequent film credits include Maria’s Lovers; The Big Easy; Ironweed; Music Box; White Palace; Sibling Rivalry; School Ties; Corrina, Corrina; Losing Isaiah; The Bridges of Madison County and Primal Fear.
Oppewall is also on the Board of Governors of the Academy of Motion Picture Arts and Sciences and is vice chair of its museum committee.
RICHARD MARKS ACE (Editor) has been editing films for forty years. During the course of his career, he has been nominated for four Oscars (Apocalypse Now, Terms of Endearment, Broadcast News, As Good As It Gets), four ACE Eddie Awards (Apocalypse Now, Broadcast News, As Good As It Gets, and Julie & Julia), three BAFTA awards (Dick Tracy, Apocalypse Now, The Godfather, Part II), and an Emmy (The 74th Annual Academy Awards). He also co-produced James L Brooks’ Spanglish, As Good As It Gets and I’ll Do Anything. He most recently edited Nora Ephron’s Julie & Julia.
Born and raised in New York City, Marks began as an assistant editor on Francis Ford Coppolla’s The Rain People in 1969, and began working as editor three years later on the film Parades. Among his other best-known movies are Serpico, Bang the Drum Slowly, The Last Tycoon, Pennies From Heaven, Say Anything, You’ve Got Mail, and Riding in Cars With Boys.
HANS ZIMMER (Composer) is one of the film industry’s most influential composers, whose career spans three decades and encompasses well over 100 films. Earlier this year, Zimmer earned his eighth Academy Award nomination for his score for Guy Ritchie’s Sherlock Holmes.
Earlier this year, Zimmer collaborated with director Christopher Nolan on the blockbuster film Inception. He previously collaborated with Nolan on Batman Begins and The Dark Knight, earning a BAFTA Award nomination for his score for the latter.
Zimmer’s music may currently be heard in DreamWorks Animation's Megamind. He is currently working on a number of upcoming features, including Gore Verbinski’s Rango and the sequel to Kung Fu Panda.
In 1994, he won both an Oscar and a Golden Globe Award for his score for the animated smash hit The Lion King, which spawned a hugely successful soundtrack album. Zimmer’s music for The Lion King continues to draw applause in the award-winning stage production of the musical, which earned the 1998 Tony Award for Best Musical, as well as a Grammy Award for Best Original Cast Album.
Zimmer has also garnered Oscar nominations for his scores for Gladiator, The ThinRed Line, ThePrinceof Egypt, As Good as It Gets, The Preacher’s Wife and Rain Man. In addition, he won a Golden Globe Award and earned Grammy and BAFTA Award nominations for Gladiator, and has also received Golden Globe nominations for his composing work on Frost/Nixon, The Da Vinci Code, Spanglish, The LastSamurai, Spirit: Stallion of the Cimarron, Pearl Harbour and The Prince of Egypt.
Zimmer’s long list of film credits goes on to include It’s Complicated, Angels & Demons, Madagascar: Escape 2 Africa, The Simpsons Movie, The Holiday, Pirates of the Caribbean: At World’s End, Pirates of the Caribbean: Dead Man’s Chest, Madagascar, Matchstick Men, Shark Tale, Black Hawk Down, The Ring, Hannibal, Crimson Tide, Driving Miss Daisy, Mission: Impossible II, A League of Their Own, Black Rain, Backdraft, Thelma & Louise, True Romance and My Beautiful Launderette.
In 2003 ASCAP presented Zimmer with the prestigious Henry Mancini Award for Lifetime Achievement, recognizing his extraordinary body of work. Apart from his myriad of composing credits, Zimmer has served as a music producer or consultant on numerous films, recently including the mega-hit Iron Man, on which he was the executive music producer.