UNIVERSAL PICTURES Presents In Association ... - SYE Publicity

UNIVERSAL PICTURES Presents 

In Association With RELATIVITY MEDIA 

A STUBER PICTURES Production 

JUDE LAW 

FOREST WHITAKER 

LIEV SCHREIBER 

ALICE BRAGA 

CARICE VAN HOUTEN 

Executive Producers 

MIGUEL SAPOCHNIK 

JONATHAN MONE 

MIKE DRAKE 

VALERIE DEAN 

ANDREW Z. DAVIS 

Produced by 

SCOTT STUBER 

Based on the Novel “The Repossession Mambo” by 

ERIC GARCIA 

Screenplay by 

ERIC GARCIA & GARRETT LERNER 

Directed by 

MIGUEL SAPOCHNIK 

– 1 –

CAST 

Remy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JUDE LAW 

Jake . . . . . . . . . . . . . . . . . . . . . . . . . FOREST WHITAKER 

Beth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALICE BRAGA 

Frank . . . . . . . . . . . . . . . . . . . . . . . . . . LIEV SCHREIBER 

Carol . . . . . . . . . . . . . . . . . . . . . . CARICE VAN HOUTEN 

Peter . . . . . . . . . . . . . . . . . . . CHANDLER CANTERBURY 

Ray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOE PINGUE 

Alva . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LIZA LAPIRA 

Little Alva . . . . . . . . . . . . . . . . . . . . TIFFANY ESPENSEN 

Rhodesia . . . . . . . . . . . . . . . . . YVETTE NICOLE BROWN 

T-Bone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RZA 

John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WAYNE WARD 

Hooker . . . . . . . . . . . . . . . . . . . . . . . . . . TANYA CLARKE 

Larry the Lung . . . . . . . . . . . . . . . . . . . . MAX TURNBULL 

Salesmen . . . . . . . . . . . . . . . . . . . . . HOWARD HOOVER 

ROBERT DODDS 

Young Remy . . . . . . . . . . . . . . . . . . . . . . . . . . RAFF LAW 

Young Jake . . . . . . . . . . . . . . . . . . . TREMAYNE CORION 

Obese Man . . . . . . . . . . . . . . . . . . . . . . . MARTY ADAMS 

Chipped Tooth . . . . . . . . . . . . . . . . . . . . . . DANIEL KASH 

Addict . . . . . . . . . . . . . . . . . . . . . . . . CHRISTIAN LLOYD 

Cabbie . . . . . . . . . . . . . . . . . . . . DOMENIC CUZZOCREA 

Cab Passenger . . . . . . . . . . . . . . . . . . . . . CARLOS DIAZ 

Q Nurse . . . . . . . . . . . . . . . . . . . . . . . . . . IMALI PERERA 

Hallway Nurse . . . . . . . . . . . . . . . . . . . TANNIS BURNETT 

Father . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL CRAM 

Remy’s Female Customer . . . . . . . HEATHER HODGSON 

Remy’s Male Customer . . . . . . . . . . . . . BRUCE GOOCH 

Jump Rope Girls . . . . . . . . . . . . . . LAYTREL MCMULLEN 

ELLIE ELLWAND 

ALIE RUTTY 

Gruff Repo Man . . . . . . . . . . . . . . . . KENNY ROBINSON 

TSA Guard . . . . . . . . . . . . . . . . . . . . . . . . . . . JIM ANNAN 

TSA Agents . . . . . . . . . . . . . . . . . . . . . . . . . ALICE POON 

SIMON NORTHWOOD 

WAYNE DOWNER 

JOHN MACDONALD 

Passengers . . . . . . . . . . . . . . . . . . . . . . . . NEIL WHITELY 

MARIUM CARVELL 

Curious Man . . . . . . . . . . . . . . . . . . . DANIEL LEVESQUE 

Repo Trainee . . . . . . . . . . . . . . . . MICHAEL GRAJEWSKI 

Technician . . . . . . . . . . . . . . . . . . . . . . . ZOÉ MUGFORD 

Sick Father . . . . . . . . . . . . . . . . . . . . . . . PHILIP NESSEL 

Guard . . . . . . . . . . . . . . . . . . . . . . ROLAND ROTHCHILD 

Doctor . . . . . . . . . . . . . . . . . . . . . . . . . . DENIS AKIYAMA 

Woman in Bathroom . . . . . . . . . . . . . . . . . KATIE BERGIN 

Newswoman . . . . . . . . . . . . . . . . . . . . . . . . JEE YUN LEE 

Newsman . . . . . . . . . . . . . . . . . . . . . . . . . . TINO MONTE 

Raggedy Dude . . . . . . . . . . . . . . . . . . . . . JOHN PICARD 

Artiforg Arm . . . . . . . . . . . . . . . . . . . . . KEVIN RUSHTON 

Repo Woman . . . . . . . . . . . . . . . . . . . . . ALICIA TURNER 

Subway Girl . . . . . . . . . . . . . . . . . . . . . . . . CIARA JONES 

Young Debtor . . . . . . . . . . . . . . . . . . . . . . . RILEY JONES 

Bikini Girl . . . . . . . . . . . . . . . . . . . ANGELINA ASSERETO 

Doctor . . . . . . . . . . . . . . . . . . . . . . . . . . . . MATT BARAM 

Stunt Coordinator/Fight Choreographer . . . . HIRO KODA 

Canadian Stunt Coordinator . . . . . . . . . . . . . KEN QUINN 

Stunt Consultant . . . . . . . . . . . . . . . . . . . . . JEFF IMADA 

Stunts . . . . . . . . . . . . . . . . . . . . . . . . . . . LLOYD ADAMS 

NICK ALACHIOTIS 

ROB ARCHER 

GUY BEWS 

HUBERT BOORDER 

DEREK BUJALSKI 

BRAD BUNN 

CHAD CAMILLERI 

JASON CAVALIER 

MIKE CHUTE 

DEAN COPKOV 

CHRISTOPHER CORDELL 

NEIL DAVISON 

FLINT EAGLE 

JOE EIGO 

TOM FARR 

JEAN FERNETTE 

TIG FONG 

ERROL GEE 

DON GOUGH 

BRIAN JAGERSKY 

ERIN JARVIS 

BRAYDEN JONES 

DANA JONES 

JAMIE JONES 

KELLY JONES 

STÉPHANE JULIEN 

ALLEN KENG 

HENRY KORHONEN 

LARRY LAM 

DANNY LIMA 

DAVE MACOMBER 

JAMES MARK 

PATRICK MARK 

WALTER MASKO 

COTTON MATHER 

CHRISTOPHER MCGUIRE 

DARREN MCGUIRE 

DUNCAN MCLEOD 

MICHAEL MUKATIS 

MOSES NYARKO 

DAYO ODESANYA 

– 2 –

CREW 

BILL OLIVER 

JEFF ONG 

LOUIS PAQUETTE 

DARYL PATCHETT 

EDWARD QUEFFELEC 

CHERYL QUIACOS 

ROBERT RACKI 

ALISON REID 

HERB REISCHL 

BRYAN RENFRO 

JOHN ROSS 

PAUL RUTLEDGE 

BRYAN THOMAS 

ROBERT THOMAS 

PETER SEABORNE 

DARREN SHAHLAVI 

STEVE SHACKLETON 

MARY ANN STEVENS 

GEORGE TCHORTOV 

RON VAN HART 

DAVE VAN ZEYL 

LEN WAGNER 

RON WEBBER 

PAUL WU 

Directed by . . . . . . . . . . . . . . . . . . MIGUEL SAPOCHNIK 

Screenplay by . . . . . . . . . . . . . . . . . . . . . ERIC GARCIA & 

GARRETT LERNER 

Produced by . . . . . . . . . . . . . . . . . . . . . SCOTT STUBER 

Executive Producers . . . . . . . . . . . MIGUEL SAPOCHNIK 

JONATHAN MONE 

MIKE DRAKE 

VALERIE DEAN 

ANDREW Z. DAVIS 

Director of Photography . . . . . . . . . . ENRIQUE CHEDIAK 

Production Designer . . . . . . . . . . . . . DAVID SANDEFUR 

Editor . . . . . . . . . . . . . . RICHARD FRANCIS-BRUCE ACE 

Costume Designer . . . . . . . . . . . . . . CAROLINE HARRIS 

Music by . . . . . . . . . . . . . . . . . . . . . . MARCO BELTRAMI 

Unit Production Manager . . . . . . . . . STEVE WAKEFIELD 

First Assistant Director . . . . . . . . . . . RICHARD COWAN 

Second Assistant Director . . . . JOANNA KELLY MOORE 

Visual Effects Supervisor . . . . . . . . AARON WEINTRAUB 

Art Director . . . . . . . . . . . . . . . . . . . . . . . . . . . DAN YARHI 

1 st Assistant Art Director . . . . . . . . . . . SORIN POPESCU 

2 nd Assistant Art Directors . . . . . . . . . SHAWN THOMAS 

JODY LEMENT 

Set Designers . . . . . . . . . . . . . . . . . . . RUSSELL MOORE 

JAMES OSWALD 

Architectural Concept Illustrator . . . . . . . JOHN FRASER 

Mechanical Concept Illustrator . . . . . . . . . . . . . . RAY LAI 

Illustrator . . . . . . . . . . . . . . . . . . . . . BARTOL RENDULIC 

Art Department Coordinator . . . . . . . . . . . . . . . . . . . . . . . 

CORINNA SCHMITT PORSIA 

Art Department PAs . . . . . . . . . . . . . . . LORNE CHAITOV 

MEREDITH WOODLEY 

Set Decorator . . . . . . . . . . . . . . . . . CLIVE THOMASSON 

Assistant Set Decorator . . . . . . . . . . . . . CAROLINE GEE 

Leadman . . . . . . . . . . . . . . . . . . . . . . . . . . . . REX FIELDS 

Set Dressers . . . . . . . . . . . . . . . . . . . . . . DAVID LYLLOFF 

MICHAEL TAWTON 

Set Decorator Buyer . . . . . . . . . . . . . . . JACLYN SHOUB 

Key Greens . . . . . . . . . . . . . . . . . . MIKE VANDERTEEMS 

Greens Lead . . . . . . . . . . . . . . . . . . . . HENRY GARDNER 

On-Set Dresser . . . . . . . . . . . . . . . . . BRENTON BROWN 

Property Master . . . . . . . . . . . . . . . . . . . . . RON HEWITT 

Assistant Property Master . . . . . . . MICHAEL HUSCHKA 

Props Buyers . . . . . . . . . . . . . . . . . CHARLES MCGLYNN 

GEOFFREY SMITH 

THERESA BUCKLEY 

Camera Operator . . . . . . . . . . . . . . . . . . ANDY CHMURA 

1 st Assistant “A” Camera . . G. CHRISTOPHER RAUCAMP 

2 nd Assistant “A” Camera . . . . . . . . . . . TIM KNEESHAW 

“B” Camera/Steadicam Operator . . . . . . . . TIM MERKEL 

1 st Assistant “B” Camera . . . . . . . . . . . . BRAD CROSBIE 

2 nd Assistant “B” Camera . . . . . . . . . . . . . DEAN MORIN 

Camera Loader . . . . . . . . . . . . . . . . . . . . BRIAN CASSAR 

Video Assist Supervisor . . . . . . . . . . . . . . . . . . TIM DAVIS 

Video Assist . . . . . . . . . . . . . . . . . . . . . PETER BOWMAN 

24-Frame Playback . . . . . . . . . . . MARK LEWANDOWSKI 

Re-recording Mixers . . . . . . . . . . . . . . . . . . JON TAYLOR 

CHRISTIAN P. MINKLER 

Sound Design & Supervision . . . . . . . YANN DELPUECH 

DARREN KING 

Production Sound Mixer . . . . . . . . . . . GLEN GAUTHIER 

Boom Operator . . . . . . . . . . . . . . . . . . . STEVE SWITZER 

Cable Puller/2 nd Boom . . . . . . . . . . . . . MOSHE SAADON 

Gaffer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BOB MCRAE 

Best Boy Electric . . . . . . . . . . . . . . . . . . . . . . DOUG REID 

Electrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . DANNY PIVA 

STEVE FERRIER 

NORM O’HALLORAN 

GARY DENEAULT 

Genny Operator . . . . . . . . . . . . . . . . . . . . . . . JOHN PIVA 

Rigging Gaffer . . . . . . . . . . . . . . . . JOHN C. FERGUSON 

Best Boy Rigging Electric . . . . . . . . . . . . . . . TIM LOVELL 

Key Grip . . . . . . . . . . . . . . . . . . . . CHRISTOPHER DEAN 

Best Boy Grip . . . . . . . . . . . . . . . . . . . . JAMES HOLMES 

Dolly Grip . . . . . . . . . . . . . . . PHILIPPE BUCK LANTHIER 

Grips . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN ADAMSON 

– 3 –

FABIAN MACDONALD 

RON SCHROEDER 

MARK DUFOUR 

Rigging Key Grip . . . . . . . . . . . . . . WALTER LIPSCOMBE 

Best Boy Rigging Grip . . . . . . . . . . . . . . . . HUGH BRULE 

VFX Accountant . . . . . . . . . . . . . . . . . . . . . . LINDA ROSE 

SFX Coordinator . . . . . . . . . . . . . . . . WARREN APPLEBY 

On-Set Special Effects . . . . . . . . TIMOTHY BARRABALL 

1 st Assistant SFX . . . . . . . . . . . . . . . SHUBA DASGUPTA 

Shop Supervisor . . . . . . . . . . . . . . FIONA MACPHERSON 

SFX Builder . . . . . . . . . . . . . . . . . . . . . . GORD HUDSON 

SFX Rigging Key . . . . . . . . . . . . . . . . . . . . . . . DAVE HILL 

SFX Labor . . . . . . . . . . . . . . . . . . STEPHANIE APPLEBY 

SFX Props Builders . . . . . . . . . . . . . . . . . . INESE DZENIS 

MARC DIXON 

SAM MUJKANOVIC 

Assistant Costume Designer . . . . . . . . TRYSHA BAKKER 

Costume Supervisors . . . . . . . . . . . . . RICHARD KROGH 

KATHERINE BURCHILL 

Set Supervisor . . . . . . . . . . . . . . . . . . . . LOU DECAMPO 

Costume Buyers . . . . . . . . . . . . . . . . . . . . . LEONIE REID 

MARY PARTRIDGE 

Background Costume Coordinator . . . . . . DONNA BUTT 

Background Set Supervisor . . . . . . . . . KAREN RENAUT 

Key Breakdown Artist . . . . . . . . . . . . KAREN EPPSTADT 

Head of Makeup Department . . . . . . . DONALD MOWAT 

Assistant Makeup Department Head . . JO-ANN MACNEIL 

Makeup Artist . . . . . . . . . . . . . . . . . . MARLENE AARONS 

Special Makeup FX Created & Designed by . . . . . . . . . . . 

ANDREW CLEMENT 

Effects Assistant . . . . . . . . . . . . . . . . DAVID MONZINGO 

Shop Effects Supervisor . . . . . . . . . . . . . LANCEL REYES 

Lead Mold Maker . . . . . . . . . . . . . . . . . ROBERT RAMOS 

Rapid Prototyping Engineer . . . . . . . . . . . JASON LOPES 

Head of Hair Department/Hair Designer . . . . . . . . . . . . . . 

JUDI COOPER SEALY 

Assistant Hairstylists . . . . . . . . . . . . . CAROL HARTWICK 

CATHY SHIBLEY 

Script Supervisor . . . . . . . . . . . . . . . . . . KATHRYN BUCK 

Location Manager . . . . . . . . . . . . . . . . WILL HODDINOTT 

Assistant Location Managers . . . . . . . . . . . STAN LIDON 

PHILIP SPURVEY 

Location Scout . . . . . . . . . . . . . . . . . . . . . MARK MOORE 

Locations Production Assistants . . . . . . JARED BURTON 

TED ZAGRODNY 

Production Accountant . . . . . . . KAREN DE MONTBRUN 

1 st Assistant Accountant . . . . . . . . . . . . VIRGINIA ALVES 

Payroll Accountant . . . . . . . . . . . . . . . . . RYAN HEIMPEL 

Post Production Accountant . . . . . . . CYNTHIA PHILLIPS 

2 nd Assistant Accountants . . . . . . . . . . . . GINA FOWLER 

DEVIN WHITE 

Accounting Production Assistant . . . . . SIOBHAIN FRAY 

Production Coordinator . . . . . . . . . . . . . . KAREN DOBLE 

Assistant Production Coordinator . . . . . . . . . . . . . . . . . . . 

SANDRA LYNNE GOODERHAM 

Production Secretary . . . . . . . . . . . . . . AARON HORTON 

Clearance Coordinator . . . . . . . . . . . MARA MCSWEENY 

Asset Coordinator . . . . . . . . . . . . . . . . . . . JASON LORR 

3 rd Assistant Directors . . . . . . . . . . . . PATRICK MURPHY 

ADAM BOCKNEK 

Trainee Assistant Director . . . . . . . TRAVIS MCCONNELL 

Casting Associate . . . . . . . . . . . . . . . . . . . KARA LIPSON 

Canadian Casting . . . . . . . . . . . . . . . . DEIRDRE BOWEN 

Canadian Casting Assistant . . CHRISTOPHER RICHARDS 

Extras Casting . . . . . . . . . . . . . . . . . ZAMERET KLEIMAN 

Extras Casting Assistant . . . . . . . . . . . . LUISA CABIDDU 

Unit Publicist . . . . . . . . . . . . . . . . . . . . . . LISA SHAMATA 

Still Photographer . . . . . . . . . . . . . . . . . . . KERRY HAYES 

Assistants to Mr. Sapochnik . . . . . . . GORDON WHISKY 

MICHAEL RIDLEY 

Assistants to Mr. Stuber . . . . . . . . . NICHOLAS NESBITT 

KRISTEN CASCIO 

Assistants to Ms. Parent . . . . . . . . . . . . LEE ZACHARIAS 

ROXANNE MARCINIAK 

Assistant to Mr. Davis . . . . . . . . . . . . . . ASHLEY BOWEN 

Assistant to Mr. Drake . . . . . . . . . . . . . . . . JODI A. TARIO 

Assistant to Mr. Mone . . . . . . . . . . . . . . . . . . DAVID JOO 

Assistant to Mr. Lerner . . . . . . . . . . . . SIMRAN BAIDWAN 

Assistant to Mr. Law . . . . . . . . . . . . . . . . BEN JACKSON 

Assistant to Mr. Whitaker . . . . . . . . . . . . . . . TANYA LEAL 

Assistant to Mr. Schreiber . . . . . . . JENNIFER HAUFLER 

Ms. Braga’s Dialect Coach . . . . . . . . . JEROME BUTLER 

Educational Supervisor . . . . . . . . . . DAHLA MACKENNA 

Medical/Surgical Advisor . . . . . . . . . . . . . . . DR. SEMPLE 

Physical Trainer . . . . . . . . . . . . . . . . . . . . . LISA TWIGHT 

Futurist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BEN BOVA 

Storyboard Artists . . . . . . . . . . . . . . MICHAEL JACKSON 

VINCE PEETS 

On-Set Medic . . . . . . . . . . . . . . . . . . . . . . . STEVE HOLT 

Office Production Assistants . . . . . . . . . . . . . BEN HONG 

KEN STANBURY 

Construction Coordinator . . . . . . . . . . . . . BILL HARMAN 

Head Carpenter . . . . . . . . . . . . . . . . . . . BRIAN MURRAY 

Assistant Head Carpenter . . . . . . . . . . . . . BOB CLAUSE 

Key Scenic Artist . . . . . . . . . . . . . . . . . . . . . REET PUHM 

Head Painter . . . . . . . . . . . . . . . . . . . . . JAY SONDERER 

Assistant Scenic . . . . . . . . . . . . . . . . . . . . . BILLY KOON 

Assistant Head Scenic . . . . . . . . . . . . . . . . . JOE BOWER 

On-Set Scenic Artists . . . . . . . . . . . . . . . . . MIKE CHARD 

CHARLES SHARUN 

Transportation Coordinator . . . . . . . . . GRANT VOLKERS 

Transportation Captain . . . . . . . . . . . . STUART HUGHES 

– 4 –

Transportation Co-Captain . . . . . . . . . RUDY BACCUCHI 

Base Camp Supervisor . . . . . . . . . . . . . STEPHAN PYKE 

Picture Car Coordinator . . . . . . . NORMAN HENDERSON 

Picture Car Captain . . . . . . . . . . . . . . . . . . . . BRYAN LEE 

Picture Cars . . . . . . . . . . . . . . . . . . . . . JOHN MOURTZIS 

Catering . . . . . . . . . . . . . . . . . . . CAPERS ON LOCATION 

Craft Service . . . . . . . . . . . . . . . . . . . . MICHELE HAMEL 

KATHY LOCHWIN 

TRINA PETRIK 

Animal Wrangler . . . . . . . . . . . . . . . . . . . . RICK PARKER 

Additional Editor . . . . . . . . . . . . . . . . . . . ROBERT MEAD 

First Assistant Editor . . . . . . . . . . . JENNIFER SPENELLI 

Visual FX Editors . . . . . . . . . . . . . CHISAKO YOKOYAMA 

JIM SCHEREMERHORN 

Assistant Editors . . . . . . . . . . . . . . . . . MICHAEL STRUK 

TOBY FRANCIS-BRUCE 

First Assistant Editor (Canada) . . . . . . . . DAWN STOLIAR 

Assistant Editor (Canada) . . . . . . . CLARE BAMBROUGH 

Sound Editors . . . . . . . . . . . . . . . . . . . . JOEL SHRYACK 

BARBARA DELPUECH 

BARBARA NOREN 

JUSTIN PEARSON 

JEENA M. PHELPS 

Sound FX Design . . . . . . . . . . . . . . . BERNARD WEISER 

1 st Assistant Sound Editor . . . . . . . . . ANN DUCOMMUN 

Assistant Sound Editors . . . . . . . . . . . . . E. NILES KLEIN 

RYAN LUKASIK 

JEFFREY DYAL 

Foley Artists . . . . . . . . . . . . . . . . . . . . . . . JOHN SIEVERT 

STEFAN FRATICELLI 

STEVE BAINE 

VIRGINIA STOREY 

Foley Engineers . . . . . . . . . . . . . . . . . . . STEVE COPLEY 

RANDY WILSON 

Foley Recorded at . . . . . . . . . . . . . JRS PRODUCTIONS 

TECHNICOLOR TORONTO 

ADR Mixers . . . . . . . . . . . . . . . . . . . . . JEFF GOMILLION 

PAUL DENNING 

DAVE BOLTON 

PETER GLEAVES 

ADR Recordist . . . . . . . . . . . . . . . . . . . . PHILIP ROGERS 

ADR Group Coordinator . . . . . . . . . . CAITLIN MCKENNA 

ADR Voices . . . . . . . . . . . . . . . . . . . CLAUDINE BARROS 

JON BRUNO 

BIRA CASTRO 

DAVID COWGILL 

ROBIN ATKIN DOWNES 

DON FULLILOVE 

ELISA GABRIELLI 

JESSICA GEORGE 

KAREN HUIE 

RIF HUTTON 

JIM LAU 

CONAN LEE 

LUCY LIN 

CAITLIN MCKENNA 

RICHARD ORTEGA MIRO 

PAUL PAPE 

JACQUELINE PINOL 

DENNIS SINGLETARY 

WINDY WAGNER 

LYNNANNE ZAGER 

Mix Technician . . . . . . . . . . . . . . . . . . . . . UNSUN SONG 

Stage Engineers . . . . . . . . . . . . . . . . DAVE BERGSTROM 

JACK SNYDER 

Re-recorded at . . . . . . . . UNIVERSAL STUDIOS SOUND 

Music Editors . . . . . . . . . . . . . . . . . . . . . . . . . DEL SPIVA 

STEVE DURKEE 

VICKI HIATT 

Additional Music by . . . . . . . . . . . . . . CEIRI TORJUSSEN 

MARCUS TRUMPP 

BUCK SANDERS 

Orchestration by . . . . . . . . . . . . . . . . CEIRI TORJUSSEN 

MARCUS TRUMPP 

DANA NIU 

WILLIAM BOSTON 

TIM DAVIES 

Music Preparation . . JOANN KANE MUSIC SERVICE INC. 

Digital Orchestral Timings . . . . . . . . . . RICHARD GRANT 

Digital Recordist . . . . . . . . . . . . . . . . . . . NOAH SNYDER 

Score Recorded & Mixed by . . . . . . JOHN KURLANDER 

Score Recorded at . . . . . . . . . . . . . 20TH CENTURY FOX 

Fox Scoring Crew . . . . . . . . . . . . . DENIS SAINT-AMAND 

TIM LAUBER 

TOM STEEL 

FRANCESCO PERLANGELI 

STACEY ROBINSON 

Score Mixed at . . . . . . . . . . THE VILLAGE RECORDERS 

Digital Intermediate . . . . . . . . . . . . . . . . . . . . . . . . EFILM 

DI Colorist . . . . . . . . . . . . . . . . . . . . . . . . . . YVAN LUCAS 

DI Producer . . . . . . . . . . . . . . . . . . . . . . . . . LOAN PHAN 

Digital Opticals . . . . . . . . . . . . . . . . . PATRICK CLANCEY 

Main/End Title Design . . . . . . . . . . . . . . . . . . . . . . . . . PIC 

End Crawl . . . . . . . . . . . . . . . . . . . . . SCARLET LETTERS 

Negative Cutter . . . . BUENA VISTA NEGATIVE CUTTING 

Color Timer . . . . . . . . . . . . . . . . . . . . . GEORGE CHAVEZ 

FLORIDA UNIT 

Unit Production Manager . . . . . . . . . KARYN MCCARTHY 

2 nd Assistant Director . . . . . . . . . . STEPHEN DEL PRETE 

On-Set Dresser . . . . . . . . . . . . . . . . . . . . CECIL DURDEN 

– 5 –

Greensman . . . . . . . . . . . . . . . . . . . . . . . . PETER MULLE 

Property Master . . . . . . . . . . . . . . . . . . . . . . MARK DANE 

1 st Assistant B Camera . . . . . . . . . . . . . . PETER FARBER 

2 nd Assistant B Camera . . . . . ROBERTO BALLASTEROS 

Camera Loader . . . . . . . . . . . . . . . . . . . . . CARLA SOSA 

Video Assist . . . . . . . . . . . . . . . . . . . . . SCOTT BLYNDER 

Boom Operator . . . . . . . . . . . . . . . . . . . . . JACOB KEMP 

Cable Puller . . . . . . . . . . . . . . . . . . . . . . . . DAN WHITING 

Best Boy Electric . . . . . . . . . . . . . . . . . . . . . GARY RYAN 

Electrics . . . . . . . . . . . . . . . . . . . . . . . . . JIMMY SECKEL 

DAN DEMIRGIAN 

GARRY HIRT 

Best Boy Grip . . . . . . . . . . . . . . . . . . . . BEN KANEGSON 

Dolly Grip . . . . . . . . . . . . . . . . . . . . . . . . . JAMES GREEN 

Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . KEVIN HIGGINS 

CHRIS TARANTINO 

JOHN SIDER, JR. 

GREG COUPLAND 

Key Costumer . . . . . . . . . . . . . . . . . . . . . . . . . JACQUI G. 

2 nd Assistant Makeup . . . . . . . . . . . . . . . SUSIE PFISTER 

Key Hair . . . . . . . . . . . . . . . . . . . . . GUNNAR SWANSON 

2 nd Assistant Hair . . . . . . . . . . . . . . . . . . . . JOEY REGAL 

Location Manager . . . . . . . . . JENNIFER RADZIKOWSKI 

Payroll Accountant . . . . . . . . . . . . . . . . . . . . . LEE OGLE 

Production Coordinator . . . . . . . . . . . . . . . LISA MARTIN 

Assistant Production Coordinator . . JULIE ANN GRASSO 

2 nd 2 nd Assistant Director . . . . . . . . . . OSCAR AGUIRRE 

On-Set Medic . . . . . . . . . . . . . . . . FREDDY FIGUEREDO 

Transport Coordinator . . . . . . . . . . . . . . JON BERGHOLZ 

Transport Captain . . . . . . . . . . . . . . . . . DANNY TAYLOR 

Catering . . . . . . . . . . . . . . . . . . . . MY BUDDY CATERING 

Craft Service . . . . . . . . . . . . . . . . COLLEEN MCCARTHY 

MICKEY MCCARTHY 

Digital Visual Effects by . . . . . . . . . . . . . . . . . MR. X INC. 

Visual Effects Producer . . . . . . . . . . . SARAH MCMURDO 

Compositing Supervisor . . . . . . . . . . . . TAMARA STONE 

CG Supervisor . . . . . . . . . . . . . . . . . . . . CRAIG CALVERT 

Digital Environment Lead . . . . . . . . . . . . . MAI-LING LEE 

Senior VFX Producer . . . . . . . . . . . . . . DENNIS BERARDI 

Visual Effects Coordinator . . . . . . . . . . . ADNAN AHMED 

On-Set Coordinator . . . . . . . . . . . . . . . . . MATT GLOVER 

Digital Compositors . . . . . . . . MATHIEU ARCHAMBAULT 

BARB BENOIT 

KRISTY BLACKWELL 

KRIS CARSON 

ANDY CHAN 

RICHARD CHIU 

TOMMASO CORONA 

DANNY DUCHESNEAU 

BHAVIK MEHTA 

ANIRBAN DAS 

CLAIRE MCLACHLAN 

JAIDEEP MOHAN 

PETE O’CONNELL 

KEVIN QUATMAN 

PAUL SAINT-HILAIRE 

MAG SARNOWSKA 

CAROLYN SHELBY 

BRIDGET TAYLOR 

SEBASTIEN VEILLEUX 

GWEN ZHANG 

Digital Matte Painters . . . . . . . . . . . . . MATT SCHOFIELD 

MATHEW BORRETT 

Model & Texture Artists . . . . . . . . . . . JASON GOUGEON 

ERIC LACROIX 

JACKSON LI 

SEAN MILLS 

Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . AYO BURGESS 

LISA KELLY 

JESSICA NOLET 

GUSTAVO FERNANDES 

DANILA POGOLOV 

Technical Supervisor . . . . . . . . . . . . . . . . . . BEN SIMONS 

Shader Writer . . . . . . . . . . . . . . . . . . . . . JIM GOODMAN 

Animators . . . . . . . . . . . . . . . . . . . . . . . DAN CARNEGIE 

HUBERT CHAN 

DANIEL MIZUGUCHI 

MATT RALPH 

CHRIS DE SOUZA 

ABHISHEK SAXENA 

GAVIN SOARES 

JIM SU 

Production Management . . . . . . . . ISABELLE LANGLOIS 

SARAH BARBER 

JESH KRISHNA MURTHY 

ROOPESH GUJAR 

SWAPNIL YESANKHEDE 

Dailies Operator . . . . . . . . . . . . . . . . . . . . ROB PHILLIPS 

Assistant VFX Producer . . . . . . . . . . WILSON CAMERON 

“SWAY (MUCHO MAMBO)” 

Written by Norman Gimbel, Pablo Beltran Ruiz, 

Luis Demetrio Traconis Molina 

Performed by Rosemary Clooney featuring 

Perez Prado and His Orchestra 

Courtesy of The RCA Records Label 

By arrangement with Sony Music Entertainment 

“RELEASE YO’ SELF (PRODIGY MIX)” 

Written by RZA, Method Man, 

Dino Fekaris, Frederick Perren 

Performed by Method Man 

Courtesy of The Island Def Jam Music Group 

Under license from Universal Music Enterprises 

– 6 –

“JAH CALLING” 

Written by Alvin Porter 

Performed by The Itals 

Courtesy of Sunflower Entertainment Co., Inc. 

By arrangement with The Orchard 

“CRY ME A RIVER” 

Written by Arthur Hamilton 

“5446 WAS MY NUMBER” 

Written by Frederick Hibbert 

Performed by The Maytals 

Courtesy of Sanctuary Records Group 


“EVERYDAY WILL BE LIKE A HOLIDAY” 

Written by William Bell, Booker T. Jones, Jr. 

Performed by William Bell 

Courtesy of Atlantic Recording Corp. 

By arrangement with Warner Music Group Film 

& TV Licensing 

Additional elements by RZA featuring 

Stone Mecca and Reverend William Burks 

Courtesy of Wu Music Group 

“I JUST WANT TO CELEBRATE” 

Written by Nick Zesses, Dino Fekaris 

Performed by Seeds of Love 

Courtesy of Sealove Multimedia Corp. 

“BATTLING GO-GO YUBARI IN DOWNTOWN L.A.” 

Written by Edward Randolf Ma 

Performed by Edit 

Courtesy of Alpha Pup Records 

“FEELING GOOD” 

Written by Leslie Bricusse, Anthony Newley 

Performed by Nina Simone 

Courtesy of The Verve Music Group 


“SEXO PERFECTO (EN MASSE REMIX)” 

Written by Alberto Sansfi, Dora Schillizzi, 

Riccardo Phillips 

Performed by Supabeatz 

Courtesy of Irma Records 

By arrangement with pigFactory USA LLC 

“NAUSEA” 

Written by Beck Hansen 

Performed by Beck 

Courtesy of Interscope Records 


“PALEX REAP MY MAMBO” 

Written by Miguel Sapochnik 

Produced by Jon Taylor, Del Spiva 

“SAMBA DE VERAO” 

Written by Marcos Kostenbader Valle, 

Paulo Sergio Kostenbader Valle 

Performed by Harry Garfield 

“BURN MY SHADOW” 

Written by Chris Goss, James Lavelle, 

Richard File, Ian Astbury 

Performed by UNKLE 

Courtesy of Surrender All Ltd. 

By arrangement with Zync Music Inc. 

“SING IT BACK” 

Written by Roisin Murphy, Mark Brydon 

Performed by Moloko 

Courtesy of Echo Label 

“DREAM A LITTLE DREAM OF ME” 

Written by Gus Kahn, Wilbur Schwandt, Fabian Andre 

Performed by The Mamas & The Papas 

featuring Cass Elliot 

Courtesy of Geffen Records 


“LOVE LIVES” 

Written by Sam Stewart 

Performed by Dave Stewart 

In association with Dentsu Inc. 

Shot on location in Ontario, Canada, with assistance 

from Ontario Media Development Corporation. 

Vehicles supplied by Volkswagen. 

Microsoft product screen shots reprinted with permission 

from Microsoft Corporation. 

Stock photos by Corbis Corporation. 

Extreme Sports stock footage courtesy of iClipx.com 

Car Stuck Girls footage courtesy of 

Swen Goebbels Videoproduktion. 

Stock footage courtesy of Howard Hall 

Productions/Footage Search. 

– 7 –

Commercial segments produced by Goodness 

Manufacturing and Tool of North America. 

Special Thanks to 

Pietro Scalia 

This motion picture used sustainability strategies to 

reduce its carbon emissions and environmental impact. 

(logo) 

UNIVERSAL STUDIOS IS THE AUTHOR OF THIS 

MOTION PICTURE FOR PURPOSES OF THE BERNE 

CONVENTION AND ALL NATIONAL LAWS GIVING 

EFFECT THERETO. 

THE CHARACTERS AND EVENTS DEPICTED IN THIS 

PHOTOPLAY ARE FICTITIOUS. ANY SIMILARITY TO 

ACTUAL PERSONS, LIVING OR DEAD, IS PURELY 

COINCIDENTAL. 

THIS MOTION PICTURE IS PROTECTED UNDER 

THE LAWS OF THE UNITED STATES AND OTHER 

COUNTRIES. UNAUTHORIZED DUPLICATION, 

DISTRIBUTION OR EXHIBITION MAY RESULT IN CIVIL 

LIABILITY AND CRIMINAL PROSECUTION. 

(The Union Logo) 

NO. 45198 

All Artiforgs subject to repossession 

in the event of nonpayment. 

MOTION PICTURE ASSOCIATION OF AMERICA 

DGC Logo 

ACTRA Logo 

COPYRIGHT © 2009 UNIVERSAL STUDIOS 

All Rights Reserved. 

ANIMATED UNIVERSAL STUDIOS LOGO © 1997 

UNIVERSAL STUDIOS 

Credits as of March 30, 2009. 

– 8 –

The Union’s top enforcers, Remy (JUDE LAW) and Jake (FOREST WHITAKER), in the futuristic action-thriller Repo Men. 

In the futuristic action-thriller Repo Men, 

humans have extended and improved our lives 

through highly sophisticated and expensive artificial 

organs. The dark side of these medical breakthroughs 

is that if you don’t pay your bill, The 

Union sends its highly skilled repo men to take 

back its property…with no concern for your 

comfort or survival. 

JUDE LAW (Sherlock Holmes, Cold Mountain) 

plays Remy, one of the best organ repo men in the 

business. When he suffers a near-fatal injury on the 

job, he awakens to find himself fitted with the 

company’s top-of-the-line heart replacement…as well 

as a hefty debt. But a side effect of the procedure is 

that his heart’s no longer in the job. When he can’t 

make the payments, The Union sends its toughest 

– 9 –

enforcer, Remy’s former partner Jake (Academy 

Award ® winner FOREST WHITAKER of The Last 

King of Scotland, Vantage Point), to track him down. 

Now that the hunter has become the hunted, 

Remy joins Beth (ALICE BRAGA of I Am Legend, 

Blindness), another debtor who teaches him how to 

vanish from the system. And as he and Jake embark 

on a chase across a landscape populated by maniacal 

friends and foes, one man will become a reluctant 

champion for thousands on the run. 

Jake and Remy hunt for debtors. 

Joining Law and Whitaker for Repo Men are LIEV 

SCHREIBER (X-Men Origins: Wolverine, Taking 

Woodstock) as The Union’s manager and top closer, 

Frank; CARICE VAN HOUTEN (Valkyrie, Body of 

Lies) as Remy’s wife, Carol; and RZA (Funny People, 

American Gangster) as T-Bone, the musician whose 

encounter with Remy ends Remy’s ability to do his job. 

The action-thriller is directed by MIGUEL 

SAPOCHNIK (The Dreamer) and produced by 

SCOTT STUBER (The Wolfman, Couples Retreat). 

The film is written by ERIC GARCIA (Matchstick 

Men, Anonymous Rex) & GARRETT LERNER (television’s 

House M.D., LAX). It is based on the novel 

“The Repossession Mambo” by Eric Garcia. 

Repo Men’s accomplished behind-the-scenes team 

is led by director of photography ENRIQUE CHEDIAK 

(28 Weeks Later, Turistas), production designer DAVID 

– 10 – 

SANDEFUR (Journey to the 

Center of the Earth, The Number 

23), editor RICHARD FRANCIS- 

BRUCE (Air Force One, The 

Italian Job), costume designer 

CAROLINE HARRIS (44 Inch 

Chest, And When Did You Last 

See Your Father?) and composer 

MARCO BELTRAMI (The Hurt 

Locker, 3:10 to Yuma). 

Sapochnik, 

JONATHAN 

MONE (The Wolfman, upcoming 

Your Highness), MIKE DRAKE 

(The Number 23, upcoming A Nightmare on Elm 

Street), VALERIE DEAN (The Prestige) and 

ANDREW Z. DAVIS (Role Models, Enemy of the State) 

serve as the film’s executive producers. 

ABOUT THE 

PRODUCTION 

A Not-So-Different World: 

Repo Men Begins 

While driving in Miami one afternoon in 1997, 

writer Eric Garcia was reflecting upon the way that 

we own property in America. “It occurred to me that 

there’s very little that we truly own,” he explains. 

“Even when we say we’re a homeowner, few of us 

actually are. The bank owns my house, and I’m nice 

enough to continue to pay them or they’ll come and 

take it away. My mind took me from there to the 

world of health care, which is quickly falling off a 

precipice, and it wasn’t a big stretch to imagine a 

world where we had to pay for our organs.” 

Garcia put pen to paper and crafted “The 

Repossession Mambo,” a novel that told of a notso-distant 

future in which humans were desperate to 

stay young, vibrant and, if nothing else, alive. After

he shared his manuscript with fellow screenwriter 

Garrett Lerner, Garcia found that Lerner liked the 

story so much he thought it would make an incredible 

film. 

Relying upon Lerner’s television background and 

ability to structure storylines, the writers crafted the 

screenplay together. Still, they didn’t believe that 

anyone would make their then comedy into a movie. 

Explains Lerner: “The original story was fractured, 

and it needed structural work to become a movie. But 

I saw the movie as I read it. The images were so 

powerful and so funny and fresh. That level of dark 

comedy was along the lines of Pulp Fiction and Fight 

Club, but it had its own flavor.” 

Adds Garcia: “We were able to keep the story 

very subversive, sick and twisted, but in a fun way. 

It was never a horror film. The original was always 

a comedy.” 

Executive producer Valerie Dean read the script 

and contacted the writers to develop the project. To do 

so, Dean brought in filmmaker Miguel Sapochnik, 

who had previously worked as a director of shorts 

and music videos. The writers recognized in 

Sapochnik a man who understood their sensibilities, 

and together they developed the 

script. Sapochnik immediately understood 

Garcia and Lerner’s dark 

humor and social commentary and 

helped the writers craft an actionthriller 

that kept the spirit of their 

work. “The story stayed with me 

because it was funny and had darkly 

comic social commentary,” he 

recalls, “but it didn’t hit you over the 

head with it. Not only that, it was 

inherently entertaining.” 

Producer Scott Stuber came on 

board to develop the project under his 

shingle, Stuber Pictures, which has a 

first-look deal with Universal. “I 

– 11 – 

thought his short film, The Dreamer, was terrific and 

showed real imagination and a strong, specific visual 

style,” says Stuber. “Miguel had been developing the 

script, and when he first brought it to me, it was clear 

he had a great vision for the movie.” With the 

financing and filmmakers in place, it was time to 

bring together a talented cast and build the imagined 

world of the not-so-distant future. 

Hit Men and Refugees: 

Casting the Action-Thriller 

Oscar ® -nominated performer Jude Law responded 

to the screenplay for Repo Men soon after his representative 

advised that he read it. Law met with 

Sapochnik at the very early stages of development. 

“I was given the script by an agent when it was at a 

very early stage,” says the actor. “Over that year, 

having met Miguel and loving the originality of the 

script, I was fortunate enough to be a part of the 

piece’s evolution.” 

Much like Lerner felt when he first read Garcia’s 

original manuscript, Law admits he was “immediately 

struck by the originality of the concept. I liked the 

Remy gets to work on a client.

Jake and Remy try to reason with The Union’s manager, Frank (LIEV SCHREIBER). 

find this emotional catharsis, and 

Jude has that rare ability.” 

Law became extremely disciplined 

when it came time to 

prepare physically and mentally for 

the role. As well, the shooting 

schedule required numerous demands 

on the performer. Not only 

was he in almost every scene of 

Repo Men, he found himself in 

freezing cold weather during the 

many long night shoots. Coupled 

with wearing prosthetics while 

performing multiple physical feats, 

Law couldn’t remember a produc- 

dark humor mixed with a love story, a buddy movie 

and satire, and the challenge that juggling all those 

tones presented to me as an actor.” 

Sapochnik, Stuber and the writers were thrilled with 

Law’s enthusiasm to play protagonist Remy, the man 

who loses his heart but gains a soul. Garcia recalls: 

tion that was more taxing. And he didn’t miss a beat. 

“Jude embraced the physical part of the movie 

without hesitation,” Stuber continues. “He worked out 

extensively and not only trained his body, but also 

learned complicated fight moves and techniques with 

a knife. He was 100 percent committed to the film.” 

“Jude was always behind the script. We could have been When the filmmakers landed Oscar ® winner 

spinning our wheels for Lord knows how long, but when 

he signed, we knew it was really happening.” 

Law describes his character: “I play a guy who’s just 

an upright working bloke doing his job. He’s been highly 

trained and encouraged to kill, but then, like so many exmilitary 

men, he’s been cast off not knowing what to do 

with his skills at the end of a conflict. Remy finds an 

outlet through The Union, and his bizarre job gives him 

an epiphany that, ultimately, sends him on the run. What 

makes him interesting to me is that he’s also a little bit 

of a philosopher and a writer, with an inner voice that’s 

more poetic than he would let on.” 

Stuber was wowed by Law’s dedication to transforming 

into the conflicted killer. “We wanted 

someone who could bring darkness to the character of 

Remy, someone who believes in the nihilism involved 

in the job that they’re doing,” he says. “But, ultimately, 

through the course of the movie, Remy has to 

Forest Whitaker to portray the role of Remy’s brutish 

partner and best childhood friend, Jake, they knew that 

they had scored. While shooting a film in Louisiana, 

Stuber heard that Whitaker was also filming nearby, 

and the producer asked to meet with the actor to 

discuss the project. When Whitaker returned to Los 

Angeles, he and Stuber met with Sapochnik, and 

Whitaker became sold on joining the film. 

Reflects Sapochnik: “I can’t imagine anyone other 

than Forest as Jake; he’s turned an interesting character 

into a multilayered and nuanced, lovable 

psychopath by bringing out a jovial quality that 

brought Jake to life. He’s also given me an amazing 

experience in the edit room because I could choose 

the version and, ultimately, the arc of the character; 

he’s provided so much to play with. That comes from 

his fascinating ability to reinterpret the same moment 

in each take.” 

– 12 –

Repo Men’s producer agrees. “What’s great about 

Forest is that he is a big, imposing guy and can intimidate 

you with either his size or his look,” Stuber 

adds. “He’s got a great, steely gaze. But there’s also 

this big, lovable teddy-bear sweetness to him. 

Because of these qualities, he is able to make his 

character much more interesting.” 

Whitaker explains his interest in the project: 

“There are a number of things about this film that 

appealed to me as an artist. Jake is extroverted and with 

an acidic wit, which is fun to play; he’s also a physical 

character, and I really enjoy martial arts. But in the end, 

there is an underlying message about what happens 

when we don’t take care of people and they need to take 

care of themselves.” 

Though Remy and Jake are very different men and 

certainly have individual styles of doing their jobs, 

there’s a buddy dynamic between them that dates back 

to their childhood and time together in the service. But 

all bets are off when Remy goes on the run and Jake is 

assigned to track him down for a lucrative bounty. 

Whitaker elaborates on his character and Remy’s 

kinship with Jake: “Jake is a pretty straight-ahead guy in 

a lot of ways—a good friend and a good partner—but he 

gets into trouble when he’s faced with letting go of the 

status quo when Remy decides to move on with his life 

and he quits being a repo man. It’s an interesting and odd 

relationship of a friendship that is so steeped in the past. 

“There’s lot of humor involved in Remy and Jake’s 

relationship and the way they view the world,” 

continues Whitaker. “Miguel found a balance between 

the dark humor and the action. I don’t think the other 

elements of the film could work without having 

some of that juxtaposition of humor and real, animalistic 

aggression.” 

Describing the on-screen chemistry he had with 

his Union partner, Law reflects: “Often, you’re 

thrown together and people say, ‘That’s a good 

pairing,’ or ‘Those two will look good together,’ but 

you never know until you’re there whether it’s going 

to work.” In this case, it worked. “On day one it was 

alchemy; Forest and I recognized the chemistry was 

Remy shocks the hell out himself. 

– 13 –

Frank and Jake remedy the situation. 

good from the get-go, and we immediately knew what 

we had to do as a pair.” 

Cast to portray the smooth-talking Frank, the 

manager of Jake and Remy’s Union, was actor Liev 

Schreiber. Offers Sapochnik of Schreiber’s talents: “A 

lot of things make Liev right to play Frank, starting 

with his amazing voice. He has the perfect salesman 

voice and the glint in his eye that could make anyone 

sign on the dotted line. Liev’s known for playing 

serious roles and as a great theater actor, but he’s also 

very funny. He’s menacing but also hilarious in this 

role. He was our perfect Frank.” 

Of being cast in the film, Schreiber notes: “I had 

a suspicion that the filmmakers saw me in Mamet’s 

Glengarry Glen Ross, which is all about the 

cutthroat world of Chicago real estate. The idea of a 

guy who is only a couple of steps away from a used 

car salesman running this company that sells people 

artificial organs to keep them alive was really interesting 

to me.” 

The character of the fugitive who agrees to help 

Remy navigate the world of the artificial-organ 

damned was a tricky one to cast. Beth had to be a 

strong woman who is Remy’s intellectual and physical 

equal, as well as believable as his soul mate. 

– 14 – 

Sapochnik had seen actress 

Alice Braga in the Brazilian 

film Lower City and knew he 

wanted to meet with her for the 

part. “Alice is one of the first 

people I met for the role of Beth, 

and she was impressive in her 

desire to understand and build a 

real character and not get stuck 

being a damsel in the action 

man’s world,” explains the 

director. “She played a young 

and very tough prostitute with 

stoic qualities in Lower City, 

and I thought that was going to 

be an important aspect of Beth’s character.” 

Screen tests were done with a diverse group of 

other actresses, but it was Braga who captivated 

the filmmakers. Sapochnik notes, “As soon as 

Alice came on, there was a palpable chemistry 

between her and Jude that existed even when they 

didn’t say anything. That became a cornerstone in 

the relationship they developed on screen, where 

they can just look at each other and the audience 

feels the connection.” 

Sapochnik knew that Braga had a series of difficult 

chores ahead of her. “Beth is the romantic heart 

of the movie and has to grasp the audience in very 

few scenes,” he says, “so she had to have a charisma 

that audiences immediately get invested in. Alice 

turned out to be the anchor for our film.” 

Reflecting upon Beth and Remy’s relationship, 

Braga notes: “It’s the kind of connection that is 

instant.” The actress also commends Law’s talent in 

helping develop their characters’ chemistry: “It’s 

been amazing to work with Jude because he’s the 

kind of actor who is both intense and very concentrated. 

I’m inspired to act with someone who has that 

power of creation and such an emotional connection 

with the scene.”

Law echoes his co-star’s sentiments: “The role 

of Beth was a hard part to get right, and Alice 

arrived like a fireball. She just lights up a set 

every time she walks on it. She’s got incredible 

passion, enthusiasm and energy, and a rare combination 

of maturity with a natural, wonderful 

naïveté and youth.” 

Cast as legendary musician and record 

producer T-Bone was rapper-turned-actor RZA. 

Remy encounters T-Bone in his home music studio 

when he is assigned to repossess T-Bone’s artificial 

heart. As he happens to be a big fan of the artist, 

Remy is reluctant to reclaim the organ. The filmmakers 

were also impressed by RZA, as they had 

been admirers of his since his days in the hip-hop 

group the Wu-Tang Clan. 

With his core cast in place, the director was 

ready to build and populate his near future. Always 

self-deprecating, Sapochnik was keenly aware that 

he was working with some serious talent and experience, 

especially with his two repo men, Remy and 

Jake. “I told myself I better be good and not ask 

stupid questions,” he laughs. 

He needn’t have worried, as his first dinner 

meeting with Law and Whitaker turned into something 

of a guys’ night out. “There we were, three 

grown men standing in a hotel suite, demonstrating 

fight moves with butter knives. But out of 

that fun evolved a really interesting moment 

where I began to see little sparkles of things that 

they related to, that they understand about each 

other, and show a childlike excitement that was 

perfect…because both Remy and Jake have a very 

childish quality to them.” 

Law had confidence that Sapochnik would 

breeze through creating the technical aspects of the 

film. Still, he admits, “What’s amazed me is his 

natural ability to work with actors and his calm 

approach on set, even when we were filming like 

crazy on a schedule that was insane.” 

– 15 – 

Artiforgs and 

Synthetic Bodies: 

Crafting Repossession 

Describing the origin of the artificial organs 

(artiforgs) that are central to the story, Sapochnik 

says: “In real life, they were initially developed in 

response to the growing number of people who were 

wounded on the battlefield. What we’ve done is 

created a world where the technology is taken the 

next step further, and we’ve added GPS devices to 

artiforgs sold by a privatized company. The artiforgs 

also have cosmetic value.” 

As his team imagined The Union’s merchandise, 

production designer David Sandefur considered the 

mechanics of a car as if it were a human body. He 

began with a pump for the heart and a filter for the 

For the low price of $975,000, The Union offers this state-of-the-art 

artifical heart.

Beth (ALICE BRAGA) and Remy try to escape agents. 

Depending upon how much 

of the skin surface Sapochnik 

and DP Enrique Chediak 

wanted to show in a scene, 

creating the body took anywhere 

from a couple of weeks 

to a month. The final step was 

to punch by hand the hairs on 

the proxy’s head, one by one. 

The bodies also had to 

have reinforced cavities that 

were large enough for the 

repo men to remove the heavy 

metal artiforgs. Making the 

bodies look as realistic as 

possible was priority number 

liver. “We started with the real shape of a heart, with one. Explains Clement: “When we made a surgery 

the correct number of valves and chambers, which was torso, we usually made the organs out of silicon so 

very mechanical and had an anatomical enclosure,” he they reflected light well. We also made plastic bits for 

explains. “Then we added some bulbs for fun.” the rib cage for an understructure so the skin didn’t 

The artiforgs were built by special makeup effects deform. We had all kinds of tubes coming in from 

designer ANDREW CLEMENT, who used high-impact different angles, and we had blood coming in…as well 

aluminum-filled epoxy resin that was metallized with a as any kind of bodily liquids that we needed in there. 

separate layer of chrome surfacing that gave it structure “We put bladders underneath a lot of the organs so 

and rigidity. Though ultimately quite happy with his that we had movement inside,” continues the designer. 

work, Clement admits that the heart was the toughest “When you look at any surgeries that have been 

organ to build: “It was like building a ship in a bottle filmed, there’s a lot of movement inside the body: the 

because of the tiny motor, valves and chambers that heart is moving, the lungs are breathing and things are 

actually open and close and pump blood through, all of shifting around.” 

which had to fit perfectly together.” 

Clement’s team used layers of latex to create the 

Clement’s team also had the task of creating the bladders (similar to balloons) that were custom 

highly detailed, bloody prosthetic limbs and bodies, formed to fit underneath the organs inside the abdominal 

coelom and other cavities. To give them a real- 

from which the artiforgs are removed. This was an 

area with which Clement was quite familiar, as he’d istic “squishy” feel, guts were created out of soft 

spent years working in an emergency room. The prosthetic 

bodies, or “cart bodies” as Clement calls them, of material to ensure some organs were firmer than 

silicon. As well, the team tested out various densities 

were silicon life casts of the actors. 

others. The crew used olive oil to give the organs a 

Through a variety of mold-making steps, the team wet shine, and they even spent a full day testing various 

created the entire body and used several washes of five consistencies of fake blood to guarantee that it would 

to six different colors to give the skin a translucent look. read realistically on screen. 

– 16 –

– 17 – 

As gory as the process sounds, Law understood 

that the attention to detail would only help make the 

repo men appear more realistic as they carried out 

their jobs. Says the actor: “On various occasions, we 

had whole bodies that I was allowed to cut into, with 

working inner organs that I fished around for, wounds 

that I sealed and weird joints that were able to come 

out and go back into small knees, hips, hearts, livers, 

kidneys…all sorts. The execution of these designs is 

beautiful. These guys are anatomical artists.” 

To maximize production time, Clement’s team 

redressed some of the same body cavities and reused 

them in several scenes in which the repo men extract 

organs. Says the designer: “We were able to use the 

same body cavity as a backdrop and dress it however 

we needed. We took out organs we didn’t need and 

replaced them with the organ that they were trying to 

repo. It allowed us to get a close-up shot of somebody’s 

hand working up inside of it and reaching 

toward the organ that would be repossessed.” 

Prosthetic versions weren’t the only bodies upon 

which operations occurred. Incorporating the live 

actors was also a big task with which Clement’s team 

was involved. For example, during Remy’s surgery 

scene, the crew hid the performer’s body by using 

slant tables, which allowed Law to disappear 

quickly under the set, while 

they placed an artificial torso and prosthetic 

legs on top of the operating table. 

Clement and his assistant were also 

under the dressing, using tubes and 

pneumatic cylinders to pump the heart, 

bladders, lungs and blood to make it 

look as if Remy was actually undergoing 

surgery. “We had medical techs 

who were experienced surgeons come 

in and put in the exact tools that they 

would need to operate,” states Clement. 

Braga’s character also goes through 

surgery. In one of the film’s most humorous 

scenes, Beth has her artificial knee replaced 

by a young but very experienced child. Explains 

Clement: “Alice came in, and we did a whole day of 

intensive body casting, from head to toe. It’s a 

complete duplicate of her. What we created allowed 

us to pull the entire knee apart and expose the artiforg 

inside. We had blood tubes that spurted and 

leaked blood, and we dressed the knee with tendons 

that could be cut through.” 

Though the body casting took eight hours, Braga 

found the entire process fascinating. “I’ve never done 

that before,” says the actress. “It was magical, in a 

way. It was like Disneyland for an actress, discovering 

how everything was made.” 

Clement’s crew also developed a new technology 

to create The Union-symbol tattoos seen on the repo 

men. Combining dimensional appliances with the 

technology that makeup artists use to design fake 

tattoos, the team developed the brand used on the 

actors’ necks. The application of the tattoos that 

were meant to look like raised, scarred skin took 

only minutes. They lasted all day and were easily 

touched up. 

Several designs were created with different bar 

codes that symbolized a repo man’s status, and the 

Remy is a one-man killing machine.

type of repossession that was performed (either legal 

or black market). For example, a Level 5 repo man 

such as Remy has reclaimed a large number of artiforgs. 

His company-sponsored tattoo showcases five 

hash marks to indicate that he is at Level 5. A much 

greener (Level 1) repo man would only have one hash 

mark on his neck. 

Jake prepares to take out a target. 

Perfecting Martial Arts: 

Training Killers 

As he believed it would inform their performances 

mentally, Sapochnik felt that it was crucial that 

his cast was very prepared physically. He reflects: 

“The physical training made them feel their strength 

inherently, without their needing to flaunt it.” 

Because Law was tackling a very physical role, he 

moved to Toronto several weeks before production 

– 18 – 

began and took part in an intensive training course that 

included hours of training at Gym Jones. The trainers 

behind the bodies in the film 300 put the actor through 

a punishing four hours of fight training a day, followed 

by four hours of rehearsal with the director. 

Sapochnik marvels at Law’s commitment: “I 

watched Jude physically transform to a point where it 

changed the look in his eye, and that can’t be manufactured. 

He discovered something about himself 

through training that he didn’t know before, and he 

channeled that into his character.” 

“My trainer and I worked for about a month practicing 

basic hand-to-hand combat before we started 

filming,” recalls Law. “We also worked with sticks, 

boxing and basic movement so that I could become 

very natural using any weapon from a knife or a stick 

to my fists.” 

The arduous physical aspects of Repo Men were 

also what helped attract Forest Whitaker to the role of 

Jake. An avid student of martial arts, Whitaker 

provides, “I initially worked with a fight trainer, and 

then continued the weight training myself for the rest 

of the film shoot.” 

Sapochnik was very involved in the choreography 

of the fight sequences and combat training. This skillset 

development began with learning a Filipino style 

of martial arts, supervised by fight coordinator HIRO 

KODA, and it evolved into the performers’ learning a 

hybrid of knife fighting, karate and kickboxing. Each 

character developed his or her own style of fighting, 

with all participants showcasing raw, acrobatic styles. 

To prepare for her role, Braga spoke extensively 

with Sapochnik about how to showcase her character’s 

fighting style, which stems from surviving on 

the streets by any means necessary. Says the actress: 

“Miguel and I chatted about how we would have Beth 

defend herself. It was important for my entire body to 

feel as if I could survive by myself without anyone 

protecting me because Beth doesn’t have anyone. 

That’s what makes her strong.

“The trainers were amazing,” Braga continues, “Not 

only did they make us lift weights, but they focused on 

training my entire body as a unit. The survivor-style 

training helped me fully develop my character.” 

Finally, what good would a repo man be without 

his trusty taser? Whitaker and Law were both trained 

to use a pistol that fired darts that “electrocuted” the 

person they hit before they extracted an organ. 

Sandefur’s team built to precise specifications the 

guns necessary to detect and track artiforgs that were 

in default. 

Look of a Near Future: 

Design and Visual Effects 

Repo Men takes place approximately 20 years from 

the present in an unidentified North American city. The 

filmmakers crisscrossed the city of Toronto and used 

key buildings and soundstages to create the futuristic 

world. Sapochnik stresses that this is a world that is 

deeply immoral and flawed…yet is not that different 

from how we live today: stressed by war and debt. 

The director envisioned the country to be dominated 

by Asian influence. “Part of the idea was that in 

the future, China is going to become the dominant 

power,” he offers. “But rather than 

physically invade us, they will do it 

economically. So, they likely own and 

work at The Union.” 

Production designer Sandefur 

envisioned Remy and Jake’s world as 

being constantly under construction 

and influenced by the Asian culture 

that has economically permeated 

America. “I thought about Dubai and 

how the city has something like 

30,000 sky cranes functioning at 

once, and how that seems to be a 

natural evolution of where we are 

now,” he offers. 

– 19 – 

While designing the run-down section of the 

city called the metal graveyard, Sandefur was 

inspired by Kowloon Walled City, a now-defunct 

urban area in Hong Kong that had high rates of 

prostitution, drug use and gambling in the period 

from the 1950s to the ’70s. 

The Union’s factory floor, which also brings the 

influence of Chinese culture into the film, was shot in 

a warehouse in Toronto. A green screen was used for set 

extension to make the space appear massive enough 

to house countless artiforgs. Explains Sandefur: “I 

found a warehouse that was approximately 300,000 

square feet. We set up a green screen around the 

central part of it, and we utilized it for its structure 

above, as well as the columns and the floor.” 

Adds Sapochnik: “The deeper they go into The 

Union, the more and more Chinese it becomes. The 

scene in the factory floor with the millions of workers 

is taken directly from Chinese factories and the idea 

of row after row of people working.” 

The biggest challenge of creating this world was 

to keep it authentic and have it emerge naturally. The 

decision to shoot in Toronto was based on the city’s 

filmmaking infrastructure, as well as a plethora of 

unique locations that worked to support the story. 

Remy is a Level 5 repo man.

JUDE LAW as Remy, ALICE BRAGA as Beth and director MIGUEL SAPOCHNIK 

on the set of Repo Men. 

Many of the places used have never been seen on film 

before, such as a new terminal at Pearson Airport. 

On the opposite end of the spectrum, the crew 

found a suburban neighborhood that reminded it of 

the cookie-cutter homes in Edward Scissorhands. 

They used that area for Remy and Carol’s home, the 

place where Remy can no longer simply abide by the 

rules of picket-fence life. 

To draw the fine line between now and the near 

future, many of the locations needed to be augmented 

in postproduction with computer-generated effects. 

For example, the scene in which Jake and Remy 

cruise downtown was filmed overnight at Dundas 

Square, Toronto’s version of Times Square. Though 

it’s a busy spot, the fairly low skyline was digitally 

enhanced with additional structures and a monorail. 

Creating the visual effects was a lengthy and 

involved process for AARON WEINTRAUB and his 

team from digital studio Mr. X. The scope of their work 

needed to create the futuristic world exceeded 350 visual 

effects shots. To accomplish this, a variety of techniques 

such as environment enhancement was used. It became 

necessary to design and augment existing locations, such 

– 20 – 

as creating cityscapes and malls 

with CG buildings, digital matte 

paintings, jumbotrons and advertising 

blimps. 

A digital set design was used 

for the factory floor sequence; it 

required CG set extensions, crowd 

replication and character animation. 

As well, an actor’s arm was 

replaced with a CG robotic arm for 

the sequence in the abandoned 

freighter. Additionally, the concept 

design and implementation of the 

LCD wallpaper in Peter’s (Remy’s 

young son) room featured a digital 

wall treatment that displayed 

footage of sharks swimming. 

“Blood and gore enhancements” were used 

primarily in the long corridor sequence in which 

Remy and Beth (toting an arsenal of weapons) fight 

their way through multiple adversaries. The reclamation 

room sequence in which Beth inserts her arm into 

Remy’s chest was achieved by a multilayer compositing 

of live-action motion-control plates and 

prosthetic elements. 

For the tropical island sequence, the filmmakers 

wanted an area that reminded them of some of the 

uninhabited beaches in Fiji. They found what they 

were looking for on a tiny island in the Florida Keys. 

“We wanted it to look like it was a completely abandoned 

or deserted island,” explains Sandefur. “There 

were structures in the background that we were able 

to remove digitally. It’s one of the few places in the 

Keys that actually looks like it’s desolate.” 

Dressing the Cast: 

Film Costumes 

Costume designer Caroline Harris had the difficult 

task of creating designs for Repo Men’s world of

the future. Tricky, because 20 years in the future Ultimately, the costumes created for the repo men 

isn’t that far away, and though there are multiple vaguely resembled protective gear, and Remy’s clothes 

elements of science fiction, it would have been easy mirrored his journey. “He starts off as an uptight thug 

to go overboard. 

and becomes a badass dude,” sums Harris. 

“Miguel is incredibly instinctive and had a clear 

**** 

visual idea of the look he was after,” says Harris. “It’s Universal Pictures presents—in association with 

a future world, but one that continues to function as Relativity Media—A Stuber Pictures production: 

we do now, but with a stronger Chinese influence. It’s Jude Law, Forest Whitaker in Repo Men, starring Liev 

a world of mass production manufacturing, and it has Schreiber, Alice Braga, Carice van Houten. The 

China’s interpretation of what would interest America music is by Marco Beltrami; the costume designer 

and Europe.” 

is Caroline Harris. The futuristic action-thriller’s 

Harris and Sapochnik imagined the idea that editor is Richard Francis-Bruce, ACE; the production 

people in the future would wear synthetic fabrics such designer is David Sandefur; and its director of 

as nylon. And despite the future being somewhat photography is Enrique Chediak. The film’s executive 

somber, Harris imagined that color would still producers are Miguel Sapochnik, Jonathan Mone, 

remain. “We wanted to keep the world bright in order Mike Drake, Valerie Dean, Andrew Z. Davis. Repo 

to avoid it being postapocalyptic, even though there Men is produced by Scott Stuber, and its screenplay is 

are elements in which it might feel like that. I looked by Eric Garcia & Garrett Lerner. The film is directed 

for images in which colors remained, no matter what. by Miguel Sapochnik. © 2009 Universal Studios. 

I remembered refugees from Kosovo and Serbia, www.repomenarecoming.com 

where I worked in the ’90s, wearing colors despite the 

horrors of what had happened there.” 

Harris wanted much of the clothing in the film to 

look worn and old. Believing that it’s very difficult to 

make the color gray 

look dirty, the designer 

instead broke down 

clothing by dying color 

into pieces and putting 

the actors in layers. 

Many of the characters 

that sought refuge in 

the metal graveyard 

were to appear as if 

they’d been stuck in 

the same clothing they 

escaped in, and have 

been wearing these 

outfits every day for at 

least a year. 

JUDE LAW as Remy, director MIGUEL SAPOCHNIK and FOREST WHITAKER as Jake on set. 

– 21 –

ABOUT THE 

CAST 

JUDE LAW (Remy) is one of the most soughtafter 

talents in the acting world. 

He was recently seen starring 

opposite Robert Downey Jr. 

in the smash hit Sherlock 

Holmes, and in Terry Gilliam’s 

The Imaginarium of Doctor 

Parnassus. The two-time Oscar ® 

nominee worked with his 

friend Anthony Minghella on 

the director’s final film, 

Breaking and Entering, opposite Juliette Binoche and 

Robin Wright Penn. Law also starred in Sleuth, opposite 

Michael Caine, and in Wong Kar Wai’s My 

Blueberry Nights, opposite Natalie Portman and 

Rachel Weisz. 

In 2006, Law was seen in All the King’s Men, 

opposite Sean Penn, and starred in The Holiday, 

opposite Cameron Diaz and Kate Winslet. 

In 2003, Law received Oscar ® 

and Golden 

Globe nominations for Best Actor in Cold Mountain. 

He was also nominated for Academy ® and Golden 

Globe awards and won a BAFTA for his performance 

as Dickie Greenleaf in The Talented 

Mr. Ripley. 

In 2004, Law starred in Sky Captain and the World 

of Tomorrow, opposite Gwyneth Paltrow, and I Heart 

Huckabees, directed by David O. Russell. He starred 

as the title role in Alfie, for director Charles Shyer, 

and lent his voice to Lemony Snicket’s A Series of 

Unfortunate Events. He also co-starred in Mike 

Nichols’ Closer, alongside Julia Roberts, Natalie 

Portman and Clive Owen. 

In 2002, Law starred in Sam Mendes’ Road to 

Perdition, opposite Tom Hanks and Paul Newman. He 

also starred in David Cronenberg’s eXistenZ, opposite 

– 22 – 

Jennifer Jason Leigh and Willem Dafoe. Law won 

several awards for his starring role in Wilde, opposite 

Stephen Fry and Vanessa Redgrave, including a 

London Critics’ Circle Film Award and an Evening 

Standard British Film Award. 

His American film debut was in the futuristic 

film Gattaca, opposite Uma Thurman and Ethan 

Hawke. Other film credits include Clint Eastwood’s 

Midnight in the Garden of Good and Evil, in which 

he starred opposite Kevin Spacey and John Cusack, 

and Jean-Jacques Annaud’s World War II epic Enemy 

at the Gates. 

Law starred opposite Kathleen Turner and Eileen 

Atkins in the hit Broadway play Indiscretions, for 

which he won a Theatre World Award and received a 

Tony Award nomination for Best Performance by a 

Featured Actor in a Play. He originated the role of 

Michael in the same play in London, for which he 

received an Ian Charleson Award. 

FOREST WHITAKER (Jake) is one of Hollywood’s 

most accomplished 

actors, directors and producers 

who has showcased his talents 

in a multitude of demanding 

and diverse roles. 

After winning almost every 

critics’ award in 2007, he 

received an Academy Award ® 

for Best Actor, a Golden 

Globe for Best Performance 

by an Actor in a Motion Picture—Drama, a Screen 

Actors Guild Award for Best Actor and a BAFTA for 

his performance as Ugandan dictator Idi Amin in The 

Last King of Scotland. That same year, his independent 

film American Gun, in which he starred and 

produced, was nominated for a Film Independent 

Spirit Award. 

Whitaker garnered more critical attention for his 

performance on FX’s The Shield, opposite Michael

Chiklis, and for his performance on ER, for which he Light, directed by Kiefer Sutherland. He also starred 

garnered an Emmy nomination in the category of in the HBO film Criminal Justice, for which he 

Outstanding Guest Actor in a Drama Series. He was earned a CableACE Award nomination, and The 

recently seen in the suspense thriller Vantage Point, Enemy Within, for which Whitaker received a Screen 

opposite Dennis Quaid and Matthew Fox; lent his Actors Guild Award nomination. 

voice to Where the Wild Things Are, for director In 1999, Whitaker played the title role of a spiritual 

gangster in Ghost Dog: The Way of the Samurai, 

Spike Jonze; and was seen in The Air I Breathe, with 

Kevin Bacon and Andy Garcia. Whitaker was also directed by Jim Jarmusch. The film premiered at the 

seen in Winged Creatures, which tells the story of a 1999 Cannes Film Festival and screened at the 1999 

diverse group of strangers who form a unique relationship 

with each other after surviving a shooting at acclaim. Ghost Dog was nominated for a Film 

Toronto International Film Festival to critical 

a Los Angeles diner. The film also starred Dakota Independent Spirit Award for Best Feature. The film’s 

Fanning, Jackie Earle Haley, Jennifer Hudson and soundtrack was a co-venture with Whitaker’s own 

Kate Beckinsale. 

company, Spirit Dance. 

At the 2005 Toronto International Film Festival, In 2001, Whitaker appeared in The Fourth Angel, 

Whitaker wowed audiences with three outstanding an action-thriller set in London, opposite Jeremy 

films. He starred in a compelling, dark thriller titled A Irons. Whitaker starred in and executive produced the 

Little Trip to Heaven, opposite Julia Stiles. Whitaker television miniseries Feast of All Saints, which won 

delivered a shuddering performance and proved that an Emmy and was nominated in two other categories. 

he is one of the best actors of his generation in the Prior to that, he starred in and executive produced 

fundamentally subversive and religiously complex Green Dragon, the first feature film production of 

film Mary, opposite Matthew Modine. Finally, he this entity, which won the Humanitas Prize in addition 

executive produced and starred opposite Donald to the Audience Award at the South by Southwest 

Sutherland in the film American Gun. 

Film Festival. He also produced Door to Door, 

With three college scholarships already under his starring William H. Macy, for TNT under the Spirit 

belt, Whitaker received a fourth scholarship, set up by Dance banner. This telefilm was nominated for two 

Sir John Gielgud, upon his entrance to the drama Golden Globes, one Emmy and was also honored by 

program at the University of California, Berkeley. A the American Film Institute. 

seasoned stage veteran at 21, baby-faced Whitaker In 2002, Whitaker starred in the ASCAP awardwinning 

film Panic Room and was nominated for a 

made his film debut in the 1982 film Fast Times at 

Ridgemont High. From that point on, Whitaker has Black Reel Award for Best Supporting Actor. 

been making history. In 1988, Whitaker was named Whitaker starred in Joel Schumacher’s Phone Booth, 

Best Actor at the Cannes Film Festival for his brilliant opposite Colin Farrell, for which he received Black 

portrayal of jazz legend Charlie Parker in Clint Reel and Image Award nominations for Best 

Eastwood’s Bird, and earned widespread recognition Supporting Actor and Outstanding Supporting Actor 

for his performance as Jody, the hostage British in a Motion Picture. 

soldier in Neil Jordan’s Academy Award ® -winning In 2003, Whitaker appeared to critical acclaim, 

film The Crying Game. 

opposite Ossie Davis, in the Showtime movie Deacons 

He garnered a CableACE Award nomination for for Defense, for which he received a SAG nomination 

his performance in the Showtime original film Last for Outstanding Performance by a Male Actor in a 

– 23 –

Television Movie or Miniseries. Whitaker produced prequel to the hit X-Men trilogy, Jackman’s Wolverine 

Chasing Papi and directed First Daughter, starring is keen on seeking revenge against Creed (who is 

Katie Holmes. 

secretly the mutant Sabretooth) for killing his love. He 

Whitaker made his feature film directing debut with also starred in Ang Lee’s Taking Woodstock. 

the critically acclaimed, box-office hit Waiting to Showing his versatility, Schreiber recently 

Exhale. He first gained recognition as a director for his appeared in two period adaptations: Mike Newell’s 

debut film, the 1993 HBO original film Strapped, and Love in the Time of Cholera, alongside Benjamin 

went on to direct Hope Floats, starring Sandra Bullock. Bratt and Javier Bardem in 2007, and The Painted 

He also executive produced each of these films’ multiplatinum 

soundtracks, which earned a combined total of December 2006. Schreiber has also starred alongside 

Veil, starring Edward Norton and Naomi Watts in 

14 Grammy nominations. His short film, John Henry, Meryl Streep and Denzel Washington in The 

was released in February 2002 for Black History Month. Manchurian Candidate; alongside Julia Stiles in The 

Whitaker’s other credits include Witness Protection, Omen; alongside Ben Affleck in The Sum of All 

for HBO, and the feature films Light It Up; Fears; and alongside Hugh Jackman in Kate & 

Phenomenon; Species; Smoke; Prêt-à-Porter; Jason’s Leopold. Utilizing his theater and Shakespearean 

Lyric; Platoon; Good Morning Vietnam; Consenting background, Schreiber starred as Laertes in Hamlet, 

Adults; Stakeout; The Color of Money; Johnny Handsome; 

Downtown; Diary of a Hitman; Body Snatchers; Hurricane, the acclaimed biopic starring Denzel 

with Ethan Hawke. Schreiber also starred in The 

and Vision Quest. 

Washington, and opposite Diane Lane and Viggo 

Mortensen in A Walk on the Moon. 

LIEV SCHREIBER (Frank) is widely considered An accomplished stage actor, Scheiber’s portrayal 

one of the finest actors of his of Ricky Roma in the 2005 Broadway revival of 

generation, with a repertoire David Mamet’s Glengarry Glen Ross earned him a 

of resonant, humanistic and Tony Award. In the summer of 2006, Schreiber 

oftentimes gritty portrayals returned to the stage in Shakespeare in the Park’s 

that have garnered the actor production of Macbeth and, in early 2007, he returned 

the strongest praise in film, to Broadway to star in Eric Bogosian’s Talk Radio. 

theater and television. His This first Broadway staging of Talk Radio opened at 

most recent choices continue the Longacre Theatre in March of that year. Ben 

this path. In 2008, Schreiber Brantley of The New York Times declared, “With Talk 

starred opposite Daniel Craig Radio, Mr. Schreiber...confirms his status as the 

and Jamie Bell in Defiance, a World War II-era drama finest American theater actor of his generation.” 

directed by Edward Zwick. The three actors starred as Schreiber was nominated for his second Tony for his 

Jewish brothers who escape from Nazi-occupied portrayal of radio host Barry Champlain. 

Poland to the forests of Belarus to join the resistance, Schreiber has also made use of his deft technique 

and endeavor to build a village in order to protect working in television. Truly making a name for 

themselves and others in danger. 

himself with his portrayal of Orson Welles in HBO’s 

In 2009, Schreiber starred in Gavin Hood’s X-Men RKO 281, Schreiber again worked with the network 

Origins: Wolverine as Victor Creed, the beastly nemesis for the emotional Lackawanna Blues. Schreiber’s 

of Wolverine, a role revisited by Hugh Jackman. In this expressive voice is also showcased in his voiceover 

– 24 –

and narration work, taking center stage for prominent 

pieces on HBO and PBS. One of America’s foremost 

narrators, Schreiber has lent his voice to sports documentaries 

such as Mantle, :03 From Gold and A City 

on Fire: The Story of the ’68 Detroit Tigers, as well as 

the PBS documentary series Nova and Nature. 

In 2005, Schreiber made his directorial debut with 

Everything Is Illuminated, adapted from Jonathan 

Safran Foer’s best-selling novel of the same name. 

Prior to the publication of the novel, Schreiber read an 

excerpt in The New Yorker, secured the rights, wrote 

the screenplay and subsequently brought the project 

to Warner Bros. The film, starring Elijah Wood, was 

recognized by the 2006 National Film Board as one of 

the top-10 films of the year. 

film also starred Julianne Moore, Mark Ruffalo, 

Danny Glover and Gael García Bernal. 

Braga’s past credits include her portrayal of a 

carefree art student, opposite Diego Luna, in Sólo 

Dios Sabe (Only God Knows), which premiered at the 

Sundance Film Festival; Journey to the End of the 

Night, an independent film set against the backdrop 

of the Brazilian sex-trade industry, with Mos Def and 

Brendan Fraser; Cidade Baixa (Lower City), a 

riveting drama about the dangers of a love triangle; 

and the offbeat comedy O Cheiro do Ralo (Drained). 

Alice most recently wrapped 20 th Century Fox’s 

Predators, starring opposite Adrien Brody. This 

modern remake of the cult classic is due in theaters 

this summer. 

Brazilian-born actress ALICE BRAGA (Beth) CARICE VAN HOUTEN (Carol) has become one 

has received critical acclaim 

of the most beloved actresses 

and international recognition 

in her native country the 

ever since her stirring performance 

in City of God 

several awards including three 

Netherlands. She has won 

helped catapult the film to 

Golden Calf Awards for Best 

multiple Golden Globe and 

Actress and was voted Best 

Oscar ® nominations. Appearing 

in nearly a dozen films in 

the Dutch audience in 2008. 

Dutch Actress of All Time by 

just five years, Braga, already 

Her stunning performance in 

a fixture of Brazilian cinema, 

Paul Verhoeven’s war epic 

has captured Hollywood’s attention with a host of Black Book marked the beginning of van Houten’s 

promising projects on the horizon. Braga was recently international breakthrough. In the Tom Cruise/Bryan 

seen in David Mamet’s Redbelt, which chronicled the Singer film Valkyrie, she starred as the female lead 

life of a jiujitsu master, played by Chiwetel Ejiofor, Nina von Stauffenberg. 

who must enter the ring to redeem his honor after Van Houten was born in Leiderdorp (near Leiden) 

being conned by movie stars and promoters. 

on September 5, 1976. In 1995, she was accepted by 

Braga recently starred opposite Will Smith in the both the Maastricht and Amsterdam drama academies, 

and she started her television career as a student 

blockbuster I Am Legend, and opposite Harrison Ford 

and Ray Liotta in Crossing Over, a film about the at the Academy of Fine Arts in Amsterdam. While 

lives of immigrants living in Los Angeles and their there, she was awarded the 1999 Pisuisse Prize for 

efforts to achieve U.S. citizenship. She appeared in most promising graduating student and the 2000 Top 

Blindness, based on the novel by Nobel Prize winner Naeff Prize for her theater work. A day before 

José Saramago. Directed by Fernando Meirelles, the receiving the Top Naeff Prize, she was awarded the 

– 25 –

Golden Calf for Best Actress in a TV-Drama for 

Martin Koolhoven’s Suzy Q. 

In 2006, van Houten shined as Jewish singer Rachel 

Stein in Paul Verhoeven’s critically acclaimed Black 

Book. One year later, van Houten displayed great 

comic talent in the romantic comedy Love Is All. The 

film was a major box-office hit and became one of 

the most successful Dutch films of all time. 

Bryan Singer’s Valkyrie was the first major Hollywood 

production in which van Houten appeared. That 

same year, New York magazine proclaimed her 

Woman of the Year and Vanity Fair featured her in a 

“Vanities” article. 

Of her role in the 2009 Dutch box-office hit A 

Woman Goes to the Doctor, Variety wrote, “Carice 

van Houten in another attention-grabbing perf as the 

two-timed, terminally ill woman…often steals the 

show, delivering some of the pic’s best lines with an 

increasingly biting cynicism.” 

Van Houten’s upcoming films include From Time 

to Time, directed by Julian Fellowes; Black Death, 

directed by Christopher Smith; and the Dutch film De 

gelukkige huisvrouw, directed by Antoinette Beumer. 

– 26 – 

ABOUT THE 

FILMMAKERS 

MIGUEL SAPOCHNIK (Directed by/ 

Executive Producer) has 

been making movies since he 

was old enough to pick up a 

camera. After a foundation 

course in art and a stint as a 

muralist, he worked as a 

storyboard and scenic artist 

on such features as Trainspotting, 

A Life Less Ordinary 

and Small Faces. His 

storyboards have been published in Dazed and 

Confused magazine. It is this artistic vision that 

Sapochnik brings to his own work. 

In 1996, after completing his postgraduate course 

at the Arts University College at Bournemouth with 

distinction (as the youngest student the school ever 

had), Sapochnik kicked off his professional life 

working on promos and directing spots for bands like 

The Charlatans and The Brand New Heavies. 

His ambitious 15-minute short film, The Dreamer, 

was conceived as a project to put Sapochnik on 

Hollywood’s radar. With awards at the Palm Springs 

International Film Festival and ending up on short 

lists for both BAFTA and Academy Award ® nominations, 

The Dreamer achieved its purpose, earning 

Sapochnik development deals with several major 

studios including Miramax, Focus Features and 

Working Title as a writer and a director. In 2006, his 

short film earned him a place on the prestigious 

Saatchi & Saatchi New Directors’ Showcase as one of 

the top-25 new directors in the world. 

More recently, Sapochnik completed a short 

film/music video for acclaimed U.K. band UNKLE 

and is currently working on an original graphic novel 

titled “The Source.”

ERIC GARCIA (Screenplay by/Based on the novel Universal recently released the Stuber-produced 

“The Repossession Mambo” by) is the internationally action-horror The Wolfman, starring Oscar ® winners 

best-selling author of “Anonymous Rex,” “Casual Rex,” Benicio Del Toro and Anthony Hopkins, along with 

“Hot and Sweaty Rex,” “Matchstick Men: A Novel Emily Blunt and Hugo Weaving; the comedy Couples 

About Grifters With Issues,” “Cassandra French’s Retreat, starring Vince Vaughn, Jon Favreau and Jason 

Finishing School for Boys” and “The Repossession Bateman; and the romantic drama Love Happens, starring 

Aaron Eckhart and Jennifer Aniston. 

Mambo.” His novels have been published in 22 countries 

and translated into 14 languages. 

Also slated for a 2010 release is Your Highness, 

His 2003 book, “Matchstick Men,” was made into a from the comedic team of Danny McBride and Ben 

film starring Nicolas Cage and Sam Rockwell and Best, directed by David Gordon Green and starring 

directed by Ridley Scott. In 2004, his acclaimed sci-fi noir McBride, James Franco, Zooey Deschanel and Natalie 

“Rex” series was turned into a two-hour television movie. Portman; and Love and Other Drugs, based on Jamie 

Reidy’s book “Hard Sell: The Evolution of a Viagra 

GARRETT LERNER (Screenplay by) is an Salesman,” about the behind-the-scenes look at Pfizer 

American writer and television producer. He is best and the launching of its most popular drug. The film is 

known for his work as an executive producer and directed by Edward Zwick (Blood Diamond) and stars 

writer of House M.D. For the series, he has been nominated 

for four Emmy Awards and recently received Upcoming projects in various stages of produc- 

Anne Hathaway and Jake Gyllenhaal. 

the Writers Guild Award for Best Episodic Drama for tion include the motion picture adaptation of 

his work on the episode “Broken.” He has previously Battleship, based on Hasbro’s classic naval combat 

written for several other shows, most notably Boston game and directed by Peter Berg (Hancock, The 

Public, Smallville and Roswell. 

Kingdom); the epic period film 47 Ronin, written by 

Chris Morgan (Wanted) and starring Keanu Reeves; 

In March 2008, producer SCOTT STUBER the film adaptation of the hugely popular EA video 

(Produced by) transitioned the company he founded game Army of Two, to be written by Scott Z. Burns 

with Mary Parent into Stuber Pictures. This (The Bourne Ultimatum, The Informant!); and Moby 

producing agreement with Universal Pictures began Dick, a reimagining of the Herman Melville whale 

in 2006, after he left his post as the studio’s vice tale that Timur Bekmambetov (Wanted) will direct. 

chairman of worldwide production. Prior to that, Stuber’s first production under the Stuber/Parent 

Stuber had served as president of production since banner was summer 2006’s breakout comedy hit You, 

February 2001, having joined Universal Pictures as Me and Dupree, starring Owen Wilson, Kate Hudson 

senior vice president of production in August 1997. and Matt Dillon. Summer ’06 also brought audiences 

Now, Stuber solely runs Stuber Pictures. 

the blockbuster hit The Break-Up, starring Vince 

As a producer, Stuber has put together a prolific Vaughn and Jennifer Aniston. These two comedies 

and varied slate of films that includes tent-pole comedies; 

star-driven dramas and thrillers; and high- 

film The Kingdom; the Martin Lawrence comedy 

were followed by Peter Berg’s critically acclaimed 

profile books and original scripts by established and Welcome Home Roscoe Jenkins; and the David Wain 

visionary writers. Stuber Pictures has development sleeper hit Role Models, starring Paul Rudd and 

and production deals with the industry’s foremost Seann William Scott, which grossed more than $100 

directors, writers and actors. 

million worldwide. 

– 27 –

During Stuber’s eight years at Universal—five of ring Bruce Willis and Matthew Perry, the boxing 

which he spent co-running production—he was responsible 

for many of the studio’s critically acclaimed and open-wheel racing action film Driven, starring 

drama Against the Ropes, starring Meg Ryan, and the 

commercially successful films, including King Kong, Sylvester Stallone, to name a few. 

Jarhead, A Beautiful Mind, Seabiscuit, Cinderella Man, In 2004, Drake produced the film Something the 

Munich, Meet the Parents, Meet the Fockers, The Lord Made and won the Academy of Television Arts 

Bourne Identity, The Bourne Supremacy, About a Boy, & Sciences Primetime Emmy Award. The critically 

The 40-Year-Old Virgin, 8 Mile, Spy Game, The Family acclaimed HBO film was also nominated for a 

Man, The Nutty Professor, Nutty Professor II: The Golden Globe and won numerous accolades 

Klumps, The Mummy franchise, the American Pie franchise, 

The Fast and the Furious franchise, Friday Night Broadcasting, an NAACP Image Award and an 

including the Peabody Award for Excellence in 

Lights, Bring It On and many others. Of the dozens of American Film Institute Award. Drake was also 

films Stuber supervised, more than 20 of them have nominated for the prestigious David L. Wolper 

grossed more than $100 million domestically. Producer of the Year Award given by the Producers 

Guild of America. 

In addition to his work on Repo Men, JONATHAN Drake had two films released in 2007: the drama 

MONE (Executive Producer) recently served as an executive 

producer on Stuber Pictures’ action-horror film The logical thriller The Number 23, starring Jim Carrey. 

Martian Child, starring John Cusack, and the psycho- 

Wolfman, starring Oscar ® winner Benicio Del Toro, 

Oscar ® winner Anthony Hopkins and Golden Globe VALERIE DEAN (Executive Producer) is currently 

working as an independent producer on several 

winner Emily Blunt. He also serves as an executive 

producer on Stuber Pictures’ upcoming epic comedyadventure 

Your Highness, starring Danny McBride, producer on Christopher Nolan’s The Prestige, star- 

projects. Her credits include serving as an executive 

James Franco, Natalie Portman and Zooey Deschanel. ring Christian Bale and Hugh Jackman, and serving 

Currently a senior vice president at Stuber Pictures, as associate producer on Bill Condon’s Kinsey, starring 

Liam Neeson in the title role. 

Mone previously worked as an associate producer on 

two successful sports dramas for Disney, 2004’s Dean was formerly senior vice president of production 

at Pretty Pictures, overseeing feature film, televi- 

Miracle, starring Kurt Russell, and 2006’s Invincible, 

starring Mark Wahlberg. 

sion and theater development for writer and director 

A graduate of Middlebury College, Mone currently Neil LaBute and producer Gail Mutrux. She began 

lives in Los Angeles. 

working with Mutrux in 1996 on projects ranging from 

Mike Newell’s Donnie Brasco to LaBute’s Nurse Betty, 

MIKE DRAKE (Executive Producer) began his after serving as a story editor for Barry Levinson’s 

career at film school at California State University, Baltimore Pictures. 

Northridge. Upon graduating, Drake quickly began 

producing independent films with budgets big ANDREW Z. DAVIS (Executive Producer) and 

and small, with veteran filmmakers and first-time Stuber Pictures are currently involved with postproduction 

on Your Highness, starring Danny McBride, 

directors alike. 

In the past 10 years, Drake has produced 17 films James Franco, Natalie Portman and Zooey Deschanel. 

including the hit comedy The Whole Nine Yards, star- 

They recently produced Role Models. 

– 28 –

Davis was the producer on the blockbuster His feature film debut was American Southern, 

comedy Rush Hour 3 and executive producer of Rush directed by John Joshua Clayton. 

Hour 2, both directed by Brett Ratner and starring Born in Quito, Ecuador, Chediak studied still 

Jackie Chan and Chris Tucker. Prior to that, he executive 

produced Universal’s Red Dragon, starring Santiago, Chile, before entering New York 

photography in Madrid and communications in 

Anthony Hopkins, Edward Norton and Ralph University’s film school graduate program in 1992, 

Fiennes, and The Family Man, starring Nicolas Cage where he won the Best Cinematography award at 

and Téa Leoni, both directed by Ratner; the critically NYU’s First Run Film Festival. 

acclaimed coming-of-age drama, Love & Basketball, 

directed by Gina Prince-Bythewood, starring Omar DAVID SANDEFUR (Production Designer) is an 

Epps, Sanaa Lathan and Alfre Woodard; the mega hit accomplished art director, who marks his second 

Enemy of the State, starring Will Smith and Gene credit as production designer with Repo Men. Last 

Hackman; and Love Affair, starring Warren Beatty year’s Journey to the Center of the Earth 3D was his 

and Annette Bening. Davis also produced the action first. Sandefur is currently shooting Warner Bros.’ 

film Volcano, starring Tommy Lee Jones and Anne Yogi Bear, directed by Eric Brevig. 

Heche. His other producer credits include Lost Sandefur’s credits include The Number 23, 

Angels, Sid and Nancy and Tapeheads. 

directed by Joel Schumacher and starring Jim 

Davis served as head of production for Stuber Carrey; The Break-Up, with Vince Vaughn and 

Pictures and as executive vice president of production Jennifer Aniston; Richard Donner’s sci-fi adventure 

for MGM. Earlier in his career, was an executive at Timeline; F. Gary Gray’s hit crime-thriller The Italian 

The Walt Disney Company before signing an independent 

production deal with the studio under his and the Robert De Niro/Eddie Murphy action- 

Job, starring Mark Wahlberg and Charlize Theron; 

own banner, Andrew Davis Productions. 

comedy Showtime. 

Davis is a graduate of the University of Southern Sandefur’s credits as a supervising art director 

California School of Cinema-Television. 

include Doug Liman’s Mr. & Mrs. Smith and Michael 

Bay’s The Island. As an assistant art director, he contributed 

to such varied films as the 1960s-set romantic 

In 1999, Daily Variety named ENRIQUE CHEDIAK 

(Director of Photography) one of “10 Cinematographers comedy Down With Love, Steven Spielberg’s ultrafuturistic 

Minority Report, the crime-thriller Swordfish 

to Watch,” and he hasn’t disappointed. His film credits 

include 28 Weeks Later; The Flock, starring Richard and Renny Harlin’s nautical thriller Deep Blue Sea. 

Gere and Claire Danes; Down in the Valley, starring For his work on Wolfgang Petersen’s The Perfect 

Edward Norton; Turistas; Lies & Alibis; Crónicas; A Storm, the Art Directors Guild nominated Sandefur 

Home at the End of the World; and Undefeated for HBO, for an Excellence in Production Design Award, an 

which Enrique co-directed with John Leguizamo. Prior honor he shared with the art direction team. 

to this, he shot Brown Sugar, The Good Girl, which 

premiered at the 2002 Sundance Film Festival, The RICHARD FRANCIS-BRUCE, ACE (Editor) has 

Safety of Objects, Songcatcher, Boiler Room and The been nominated for three Academy Awards ® for his 

Faculty, directed by Robert Rodriquez. 

work on The Shawshank Redemption, Se7en and Air 

Chediak won the 1997 Sundance Film Festival’s Force One. He has also been nominated four times by 

Best Cinematography Award for Hurricane Streets. his peers for the American Cinema Editors Eddie Award 

– 29 –

for The Shawshank Redemption, Air Force One, The 

Rock and Harry Potter and the Sorcerer’s Stone. 

Already a leading editor in his native Australia 

when he was invited by George Miller to edit The 

Witches of Eastwick, Francis-Bruce received an award 

from the Australian Film Institute for Best Achievement 

in Editing for his work on Phillip Noyce’s Dead 

Calm, after being nominated three times for Careful, 

He Might Hear You, Short Changed and Bullseye. 

Francis-Bruce’s many other credits include David 

& Fatima, Lorenzo’s Oil, The Italian Job, Path to War, 

The Green Mile and The Perfect Storm. 

CAROLINE HARRIS (Costume Designer) was 

nominated for a BAFTA for her design on the period 

costume drama An Ideal Husband, starring Cate 

Blanchett, Rupert Everett and Julianne Moore. She 

was nominated for an Emmy for her work on the 

HBO television movie Iron Jawed Angels, starring 

Hilary Swank and Anjelica Huston. 

Her recent credits include Mr. Nice, starring Rhys 

Ifans and Chloë Sevigny, to be released later this year; 

44 Inch Chest, starring Ray Winstone and John Hurt; 

and And When Did You Last See Your Father?, starring 

Jim Broadbent and Colin Firth. Other credits include A 

Knight’s Tale, starring Heath Ledger; Croupier, starring 

Clive Owen; Still Crazy, starring Stephen Rea and Billy 

Connolly; Ripley Under Ground, directed by Roger 

Spottiswoode; The Governess; Swept From the Sea, 

starring Rachel Weisz; Othello; In the Bleak Midwinter; 

Before the Rain; and Very Annie Mary. 

the most unexpected and imaginative scores in recent 

memory. The score gathered much attention for the 

young composer and the sound became Scream’s 

signature. Wes Craven remarked in the liner notes of 

the film’s soundtrack, “Without Marco’s genius, 

Scream would have been little more than a whisper.” 

Beltrami has scored blockbuster films including 

Terminator 3: Rise of the Machines, Live Free or Die 

Hard, Hellboy and I, Robot, before finding his way 

back to Western compositions when Tommy Lee 

Jones hired him to score The Three Burials of 

Melquiades Estrada. The film won the Best Actor 

and Best Screenplay awards at the Cannes Film 

Festival, and it featured a suspenseful and beautiful 

Western score. Walk the Line director James Mangold 

was a fan of the score and hired Beltrami to write the 

music for 3:10 to Yuma. Michael Rechtshaffen of The 

Hollywood Reporter wrote, “The impressive work 

extends behind the scenes to...Marco Beltrami’s 

percolating score, which subtly yet effectively signals 

Yuma’s status as a thinking person’s Western.” 

His work on 3:10 to Yuma and The Hurt Locker 

garnered him Academy Award ® nominations for Best 

Original Score. 

—repo men— 

Two-time Academy Award ® nominee MARCO 

BELTRAMI (Music by) was a protégé of acclaimed 

composer Jerry Goldsmith. Shortly thereafter, Beltrami 

got his big break by scoring Wes Craven’s Scream. In 

his approach to scoring the film, Beltrami threw away 

conventional horror music clichés. Instead, he likened 

the film to a Western and, calling upon the influences 

of his idol Ennio Morricone, went on to write one of 

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