ADAM RESURRECTED

an Ehud Bleiberg & Werner Wirsing production
a film by Paul Schrader
Jeff Goldblum Willem Dafoe
Los Angeles Press Contact:
mPRm Public Relations
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323-933-3399
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New York Press Contact:
Derek Jacobi Ayelet Zurer
Running Time: 106 minutes
Rated: R
Murphy PR
John Murphy, Heter Myers, Greg
Sullivan
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Synopsis
From one of the most acclaimed books in Israeli history comes ADAM RESURRECTED,
a moving story about the rediscovery of life in the aftermath of war. Adapted from the novel that
has been called Israel’s Catch-22 for its dark comedy and fierce intensity, the film is a provocative
tale of friendship and redemption, irreverence and grief, humans and dogs . . . and the quest for
sanity in a world that seems to have gone mad.
At the center of the story is Adam Stein (JEFF GOLDBLUM), once a popular German
cabaret star who now, in the early 1960s, is living in a very different kind of three-ring circus: an
experimental insane asylum in the Negev Desert in Israel. Brilliant, manipulative, exquisitely
talented and exuberantly free-spirited, Adam outsmarts his doctor (Golden Globe nominee
DEREK JACOBI), rebelliously leads his fellow patients, philanders with the institution’s ravishing
nurse (award-winning Israeli actress AYELET ZURER) and resists all attempts at a cure.
But when Adam encounters a young boy who has been locked in the asylum because he
believes he is a dog, it sparks powerful memories of the events that shattered Adam more than
15 years before, when his own identity was blurred by a Nazi commandant (two-time Academy
Award® nominee WILLEM DAFOE).
Can a boy who thinks he’s a dog help a man regain his humanity?
This story of two imaginary dogs in the desert drives ADAM RESURRECTED’s
exploration of the profound human capacity for renewal. The film is directed by Paul Schrader
(AFFLICTION, AUTO FOCUS) and the screenplay is by award-winning Israeli screenwriter Noah
Stollman, based on the 1968 novel by Yoram Kaniuk. The book, controversial yet lauded as one
of the great works of international literature, is a searing journey through the post-WWII psyche
that illuminates the indistinct lines between freedom and captivity, truth and artifice, tragedy and
comedy.
A unique Israeli-German co-production, the film is produced by Ehud Bleiberg (THE
BAND’S VISIT) and Werner Wirsing (2 DAYS IN PARIS).
# # # # #

About The Production
“Not all who are free scorn their chains.”
-- Doris Lessing, Quoted in Yoram Kaniuk’s Adam Resurrected
First published in 1968, Yoram Kaniuk’s ADAM RESURRECTED was instantly controversial,
yet soon began to draw the admiration of the world’s foremost writers and literary critics. The late
Susan Sontag compared Kaniuk to Gabriel Garcia Marquez, Time Magazine measured him against
Dostoyevsky and the New York Times anointed him “one of the most innovative, brilliant novelists in
the world.” The novel – the story of Adam Stein, once a famous European clown, animal trainer and
mind reader, now living as a compellingly unhinged mental patient in an upscale Israeli institution –
was the first to truly grapple, in luminous and darkly comic fiction, with the sheer impossibility of
returning to ordinary life after the horrors of World War II and Fascism.
Kaniuk added something new, even transcendent, to the conversation about catastrophe and
survival: a biting inquiry into a question that continues to be all too relevant: how do shattered souls
sustain the most basic human needs of love, laughter and desire in the face of terror and absurdity?
More than four decades after the book’s release, ADAM RESURRECTED (once a project
associated with the late Orson Welles) has finally become a motion picture, directed by Paul
Schrader and featuring stand-out performances from Jeff Goldblum – in what he calls the “juiciest and
most challenging role” he’s ever played – as well as Willem Dafoe, Derek Jacobi and Ayelet Zurer.
The inspiration for ADAM RESURRECTED came in the aftermath of a more recent war. After
being wounded in the Independence War of Israel in 1948, the writer Yoram Kaniuk moved to New
York where he had two deeply affecting personal experiences. He met a group of concentration
camp survivors and heard their stirring stories; and he encountered the unusual tale of a boy in a
mental institution who had been raised on a chain and believed he was a dog. Thus, the basic
structure of Adam Resurrected was put into place to become the story of a man who was once
treated as a dog who befriends a dog who is really a boy.
From that confluence of characters spilled out a richly layered, poetic tale of a man in a
profound psychic crisis. Kaniuk would set his story in an extraordinary place: the Seizling Institute, a
fictional asylum, one Kaniuk wrote was created by a rich Cleveland widow who believed that cutting-
edge psychological techniques might help troubled concentration camp survivors. No such place
existed at the time, but the novel would prove prophetic. In the 1980s, Israel created AMCHA, the
National Israeli Center for Psychosocial Support of Holocaust Survivors and The Second Generation,
a psychiatric treatment center dedicated to aging survivors and their children.
Inside this intricately imagined world, Adam Stein comes to life as one of literature’s epic
characters: a divine fool who is alternately an entertainer, a swindler, a drunk, a seducer, a
clairvoyant, a genius and a madman. Ultimately, he is a broken soul who finds redemption in unlikely
human connections.
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For decades, a number of filmmakers have flirted with turning Adam Resurrected into a
movie, but no screenplays ever got beyond development. At one point, Orson Welles was attached to
play Adam, but financing complications sidelined the project.
It was Ehud Bleiberg, the Israeli born, and Los Angeles based-producer of such films as the
acclaimed THE BAND’S VISIT and founder of Bleiberg Entertainment, who at last revived the dream.
Bleiberg has long felt a kinship with the author – or as Bleiberg puts it: “Whenever I read Kaniuk’s
work, it is like someone is writing what’s in my own head.” Like Kaniuk, Bleiberg had been an Israeli
soldier, fighting in both the October War of 1973 and in Lebanon in 1982. It was in the wake of that
experience that he responded so deeply to Adam Resurrected.
“I felt caught up in a kind of cognitive dissonance,” recalls Bleiberg. “In war nothing makes
sense, the things that you’ve been taught in life are illegal are suddenly legal and then you return and
are expected to lead a normal life, yet nothing is normal. It was in this context that I became so very,
very attached to Yoram Kaniuk’s writing.”
He continues: “With Adam Resurrected, Yoram created a fiction in which he took a man to
the farthest extremes, stripped him of his humanity so that he could live only as a dog, and then
asked the questions: What happens to the soul after devastation? And can you resurrect the human
mind after such an experience? Before this book, nobody had ever recounted the story of the
aftermath of World War II, when survivors walked the earth wounded, trying to live normal lives.
Adam witnesses so much tragedy, but in the end, he is able to bring himself out of the dark corners
and into the light.”
From the beginning, Bleiberg (who made another Kaniuk novel into the 1987 feature,
HIMMO, KING OF JERUSALEM) daringly envisioned the novel as a film. “I knew that making this
movie would be an unbelievable challenge, but I always believed it was possible,” he muses.
That possibility would spark a passionate, 18-year quest for Bleiberg, who eventually
garnered the rights to the novel. “Now,” he says, “the challenge was upon me to do the story justice.
For me, the relationship with Yoram was not like that between a producer and an author. It was
something different, something more than that. It was like a mission.”
Bleiberg next began searching for a screenwriter who could bring the novel’s trademark
mixture of dark humor and rich imagination from stream-of-consciousness to a viable screenplay
structure. The producer hoped to find a writer who could bring a completely fresh take to the author’s
work. After hearing about the talents of the Cleveland-born, Israeli-raised screenwriter Noah
Stollman, who also recently adapted for the screen David Grossman’s popular novel Someone to Run
With, Bleiberg began to think he might have the devotion and skills necessary.
“Noah and I talked for hours on the phone every day for about a year before we even met,”
he recalls. “We had an amazing, on-going dialogue about every aspect of the story. We talked about
how we needed to find a beginning, a middle and an end for Adam as a human being, and we
imagined many things that Kaniuk never touches on in the novel – what kind of performer was Adam,
what was his relationship with his wife and daughter? The challenge was to answer these new
questions without ever losing the spirit of the book.”
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Stollman was exhilarated by the monumental task at hand. “I grew up in Israel where the
book is considered a classic and everyone has either read it or knows of it,” the screenwriter notes.
“It’s a part of the culture, which made it both a daunting and an exciting opportunity. It’s also a very
unusual tone, a mix of the kind of incisive humor Americans might associate with Philip Roth, of
someone who is very alive and outrageously sexual, along with the more lyrical, magical qualities of a
Jose Saramago or Gabriel Garcia Marquez.”
He continues: “The novel was the first to really look back on the Holocaust with biting humor.
Few Israeli writers would dare to do that but Kaniuk was an iconoclast. I think he came up with one of
the best approaches to introducing this inherently dark material to a younger generation, to a different
kind of audience – with a sense of humor and irony that makes it all the more human and
approachable. That’s what makes the story so compelling and timeless.”
Stollman would read and re-read the book trying to get closer to its internal essence. “It’s an
amazing, masterful work that is rich, dense and written in a complete stream-of-consciousness,
jumping back and forth in time without any conventional structure,” he observes. “So I had to find a
way to translate that to the screen. For me, Adam was the anchor. Through Adam, the audience is
able to move back and forth in time, to see how his past has informed his approach to the present in
so many ways.”
“As I was writing, I also thought a lot about a quote from Emerson that appears in the book:
‘man is a God in ruins.’ The idea that man has the potential to be divine, yet with an overriding
instinct for depravity is a very Kaniuk-esque idea and one that helped me to get a grasp on Adam’s
character.”
It would take Stollman and Bleiberg two years of close creative collaboration, but they
emerged with a script that began attracting attention.
When Bleiberg met with Werner Wirsing, the German producer of Julie Delpy’s 2 DAYS IN
PARIS and head of 3L Filmproduktion, Wirsing was moved to tears by the story of Adam Stein. “He
said ‘I have to be a part of this film,’” Bleiberg recalls.
For Wirsing, the project became deeply personal. “I have long believed that Germans who
were born after World War II have more responsibility towards the future, a responsibility to work for
peace and to enhance German-Jewish relations,” he explains. “So, when Ehud came to me with this
very special film, it was a sign to me that this was a chance to do something that has not been done.
ADAM RESURRECTED is the first movie that involves the Holocaust to be produced by a Jewish
Israeli and a non-Jewish German. Ehud and I also made the unusual decision that we would not have
any German actors playing Nazis.”
He continues: “I think that this is a very important story, one that shows the young people of
the world what human beings can do but also points to a better future and a way towards peace.”
Complex and emotional responses were echoed by others in Hollywood, but along with
admiration came resistance.
“Some amazing directors responded to the material but were unwilling to take the project
head-on. They were afraid to touch the subject,” Bleiberg explains. “It took me some time to get the
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idea that I needed someone who was willing to push beyond the normal, who would openly approach
and immerse themselves in this unconventional story.”
When Bleiberg began searching for the most fearless of contemporary film directors, he kept
coming across one name: Paul Schrader. Already a fan of Schrader’s work – especially MISHIMA,
Schrader’s stylized, probing take on the last extraordinary day of Japanese warrior-poet Yukio
Mishima’s life -- he decided to approach the director.
Says Bleiberg: “I knew Paul was very smart and a wonderful filmmaker, but would he really
get Adam? It was in watching MISHIMA and seeing how he had made this story that was so distinctly
Japanese in such a beautiful way that gave me the answer. I think the strength Paul brings to the film
is that he is able to approach Adam not simply as a Jew and a survivor but as a universal character
who everyone can identify with in many ways.”
CONFRONTING ADAM:
PAUL SCHRADER COMES ON BOARD
Renowned filmmaker, writer and photographer Paul Schrader is a cinematic adventurer who
has already left an indelible mark on American cinema. He is perhaps best known for his seminal
screenplays for such iconic films as TAXI DRIVER and RAGING BULL. He is also the acclaimed
director of AMERICAN GIGOLO, HARDCORE, BLUE COLLAR, LIGHT SLEEPER, PATTY HEARST,
MISHIMA, AFFLICTION (based on the Russell Banks novel) and AUTO FOCUS, among others.
From the hard-edged and street-smart to the nostalgic and expressionistic, Schrader has never
lacked for creative courage or ambition.
Schrader was not unnerved by Noah Stollman’s screenplay for ADAM RESURRECTED. On
the contrary, the story’s boldness – the fact that it was clearly going to be a high-wire creative act
requiring verve and tenacity – attracted him.
“Primarily, I thought it was highly original,” Schrader says of his reaction to the script. “I don’t
really know how some directors can even stay awake with the films they are making. So much of
what you see now in film has been done over and over, so when something like this comes along that
not only has strength but originality, well, I just embraced it.”
Schrader continues: “I found out later it had previously scared off a number of directors, who
couldn’t figure out how to do it. I didn’t have any hesitation.”
After reading Yoram Kaniuk’s novel, Schrader could see the roots of the controversy the book
continues to spark.
“It’s an act of imagination that takes on sacred events in a way that is questioning but isn’t
reverential,” he says. “It’s a black comedy about survival, which throws some people. I myself would
not have been interested in making a film that involves the Holocaust because it is a subject that in
many ways has been exhausted cinematically, but because this story was so different, so original and
a fiction, it interested me.”
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Indeed, the task of adapting the story, and its challenging themes, to a screen experience
reminded Schrader in some ways of a previous experience with another controversial screenplay:
Martin Scorsese’s THE LAST TEMPTATION OF CHRIST.
“As with THE LAST TEMPTATION, the big challenge was to emphasize that this is a fictional
approach to historical events,” he explains.
Of course, other acclaimed fictional films have been set against the backdrop of the Nazi
concentration camps from SOPHIE’S CHOICE to LIFE IS BEAUTIFUL,– but the sheer dark comedy
of Adam Stein’s wartime experience and what he goes through afterward, set it apart. Adam’s story is
psychological and spiritual journey asks a larger question that still reverberates today: how do people
go on when they’ve witnessed the unspeakable, when they seem to have randomly survived where
others have perished?
For Schrader, the heart of the story was always Adam. “He’s a great character, and more
than that, he is a character who transcends period and nationality, who has a universality to him,” he
says.
Schrader immediately thought the role of Adam belonged to one person: Jeff Goldblum.
“Casting is destiny,” the director says. “I thought Jeff was born to play this role and he lived up to all
my expectations. The role is the culmination of everything he’s done in his career and all he has
learned as an actor to this point.”
RESURRECTING ADAM:
JEFF GOLDBLUM TAKES ON THE FILM’S HIGH-WIRE LEAD ROLE
Paul Schrader may have intuited Jeff Goldblum would be an exceptional match for the
demanding role of Adam Stein, but many who know the actor best from his more typically comic roles
in blockbuster action films will be surprised by the sheer breadth and depth of his performance in
ADAM RESURRECTED. Adam Stein the character is alternately masterful and defenseless,
mischievous and lost, sexy and untouchable, violent and compassionate, brilliant and out of control,
intellectual and primal. Steeped in the literary tradition of the Wise Fool, he is, in essence, a man in
search of self – a search made perilous in the wake of modern human catastrophes.
The powerful themes of ADAM RESURRECTED – themes of memory, history, the nature of
human yearning – as well as the story’s dark, complex humor were irresistible to Goldblum, who has
always been an actor of contradictory impulses. He has starred in some of the highest grossing films
of all time, including Steven Spielberg’s JURASSIC PARK and INDEPENDENCE DAY; yet he has
also created unforgettable characters in such films as Lawrence Kasdan’s THE BIG CHILL to David
Cronenberg’s THE FLY and, more recently, Wes Anderson’s THE LIFE AQUATIC. This role, the
driving heartbeat of the movie, would take him places he had never gone before.
remarkable.”
Sums up Ehud Bleiberg: “Jeff’s seriousness and dedication to this role were truly
Schrader, too, quickly saw the extent of Goldblum’s commitment. “We knew we weren’t
going to shoot for a year, but Jeff and I decided to do an early reading,” the director recalls. “ He
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came to my hotel room but he had no script. I offered him mine and he said, ‘no, that’s fine.’ Well, it
soon became clear he had already commanded the entire thing to memory – a year before we
started. I’d never run into that before. Needless to say, his preparation was prodigious.”
Goldblum recalls his visceral reaction to reading the material for the first time. “It was so rich,”
he says. “It was sobering, exhilarating and a little alarming. It’s terrific writing because the meanings
in it are many and in all its poetic resonances it really compels you to think. Adam is someone who is
both a philosopher and a madman, someone who is flirting in every way with death, who thinks he
deserves death, but who experiences this remarkable spiritual resurrection. He goes into the desert
lost and broken and there he finally becomes a simple human being who can love again. It’s really a
universal story about the question of ‘who am I?’ and the need for forgiveness.”
He knew that embodying the character’s many shades – from Adam’s narcissism to his grief
to his extraordinary, fakir-like control over his physical body – wouldn’t be easy, but Goldblum was
compelled to take the leap. “On the one hand the role seemed like a terrific opportunity and on the
other it seemed like a very serious responsibility to do something worthy of such a learned and vital
work of literature,” he says. “Yes, it was scary, but I was fired up to give it my best effort.”
Goldblum was also reassured by having Paul Schrader, with whom he has long wanted to
work, at the helm. “I knew that with Paul involved, it would be done with absolute integrity, high
intelligence and artfulness. I knew he would pull off something sensitive and true and not desecrating
to the subject matter.”
At this point, Goldblum undertook an intensive preparation for the role. “The more time I have
to prepare for a role, the better,” he remarks. “I am nothing if not conscientious and a hard worker, so
as soon as I get a part, I start putting in daily time, just in a way that starts things flowing and then I
follow things that catch my interest. In the case of Adam, there were so many elements I wanted to
pursue – it became a fully immersive experience.”
The film also became a global experience, one that would take Goldblum to Germany, where
he explored the history of the Weimar period, during which Adam rose to fame and through Nazism
when Adam lost everything. Goldblum also visited Poland, where he spent time at the former
Majdenek concentration camp just outside Lublin, and to Israel, where Ehud Bleiberg took him to Yad
Vashem Memorial in Jerusalem. In the U.S, the actor roamed the Museum of Tolerance and the
United States Holocaust Memorial Museum and had intimate conversations with concentration camp
survivors.
“I did everything I could to understand what a person such as Adam might have experienced,
but of course I knew I could only ever scratch the surface,” Goldblum says.
To delve further into Adam’s life as a “dog” and subsequent ability to communicate with dogs,
Goldblum even consulted with the Dog Whisperer, Cesar Milian. To authentically portray Adam’s
musical virtuosity, the actor took violin lessons. Then, to tune into Schrader’s directorial aesthetic, he
watched the top 20 films from the filmmaker’s famed personal “film canon,” starting with Jean
Renoir’s devastating and daring tragic-comedy set at the start of World War II, THE RULES OF THE
GAME.
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Later, Schrader added more fodder to Goldblum’s character development by creating a graph
of Adam’s different personalities and evolution throughout the film, which further helped Goldblum to
balance the challenging role. Still, Goldblum says, for all his research, for all his soul-searching and
soul-baring, a part of Adam Stein will always remain a mystery.
“Adam is part worm, part poet, part puzzlement,” Goldblum says. “The whole thing was a
once-in-a-lifetime experience. I spent months suffering and crying and crawling around on all fours. I
did all that I could do honor this story and I feel real gratitude for having the opportunity to do so.”
Screenwriter Noah Stollman was especially moved by Goldman’s performance. He says:
“Adam is a man in ruins, but out of that ruin comes a certain life and humanity, from his suffering has
emerged a magic and a madness that is poignant and also disconcerting – and Jeff brings all that
across in a beautiful way.”
SEEKING ADAM:
THE SUPPORTING CAST
Surrounding Adam Stein in ADAM RESURRECTED is a diverse cast of characters from both
his past and present who illuminate and, in some cases, unravel the madness that afflicts him.
Bleiberg and Schrader assembled an internationally renowned ensemble including Willem Dafoe,
Derek Jacobi and Ayelet Zurer.
Goldblum says: “It was thrilling to have so many great artists and wonderful people together
on this project. Really, it was a dream experience.”
The man who tears apart Adam Stein’s psyche is Commandant Klein, the German soldier
who takes Adam quite literally as his pet, forcing Adam to live as a dog and perform tricks even as
members of his family are killed.
To play Klein – a complex character who was contemplating suicide the night he first met
Adam in a ribald cabaret show – Schrader cast his longtime associate Willem Dafoe. The two have
worked together often, including most recently in THE WALKER, AUTO FOCUS and AFFLICTION. A
two-time Academy Award® nominee for PLATOON and SHADOW OF THE VAMPIRE, Dafoe also
collaborated with Goldblum in Wes Anderson’s THE LIFE AQUATIC.
“Willem is a wonderful artist, an equally wonderful person and a show business pillar. It was
delicious to work so closely with him,” Goldblum says.
Also joining the cast is the acclaimed British classical actor Derek Jacobi, whose film roles in
recent years include GLADIATOR, GOSFORD PARK and LITTLE DORRIT. Here, Jacobi takes on
the role of Dr. Nathan Gross, who is continually outwitted by his brilliant patient, Adam Stein, yet
persists in believing the troubled man can be cured.
Noah Stollman says of Jacobi: “He is a brilliant actor and he brought something very Kaniuk-
esque to the role, because he really got the humor of this man trying against all odds to let the
humanity of these patients come to the surface by pitting them against each other and just letting
them interact.”
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One of the film’s most vivid roles is that of Gina Grey, the iron-fisted but alluring nurse who
indulges her own fantasies with the seductive Adam Stein. To play Gina, Schrader chose the rising
Israeli actress Ayelet Zurer, who was seen in Steven Spielberg’s MUNICH and was recently cast to
star opposite Tom Hanks in Ron Howard’s ANGELS & DEMONS.
life.”
“She is a wonderful actress,” says Schrader. “She took on a very difficult part and filled it with
Adds Goldblum: “Ayelet is incredibly beautiful and wildly talented. As long as I could keep
up with her, I knew I was doing well.”
Of all the unusual roles in ADAM RESURRECTED, the most unconventional of all is that of
David, the dog-boy whose very presence in the asylum, heard at first only in eerie barks and howls,
drives Adam into a rage. Yet ultimately, it is David’s poignant, unrelenting attempts to regain his
humanity that opens Adam’s eyes to all that he has lost. To play this essentially wordless but
transformative character, Schrader chose a young amateur Romanian named Tudor Rapiteanu.
“Tudor was a very smart boy, I believe he’d actually won Third Place in the Romanian
Academic Olympics, and he really understood what the role was about,” Schrader says.
For Goldblum, working with Tudor was revelatory. “He was thrilled to be a part of this story -
enthusiastic, playful, never the least intimidated and absolutely fearless,” Goldblum said. “I wish I
could approach a part in the completely unaffected way that he did. I learned a lot from him.”
Rounding out the cast are a number of accomplished Israeli and European actors including
the award-winning German actor Joachim Krol as Adam’s fellow survivor Wolfowitz and Israeli
actress Hana Laszlo, who won the Best Actress Award at the Cannes Film Festival for Amos Gitai’s
FREE ZONE, in the role of Nurse Schwester.
“This was a truly multi-cultural production,” sums up Ehud Bleiberg, “with Paul Schrader as
the only member with English as his first language, and a cast and crew from Germany, Israel,
Romania and the USA. Different cultures, ideas and attitudes all brought together by a dynamite
subject.”
ADAM IN THE DESERT:
THE FILM’S DESIGN
ADAM RESURRECTED takes place in a realm of the imagination one step removed from
history. Much of the film unfolds in the 1960s inside the fictional Seizling Institute – a starkly
modernist building rising out of the raw, empty floor of the ancient Negev Desert – which the
filmmakers would create partly in Romania and partly in Israel. “I knew that we would have to build
the whole institute and this would be something very ambitious, so that is what brought us to the
Castel Film Studios in Bucharest, Romania,” explains Bleiberg.
Production designer Alexander Manasse, who previously designed Tom Tykwer’s art-house
hit RUN, LOLA, RUN, crafted the institute’s interiors. For the building’s exterior, he forged an
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elaborate model to reflect the Bauhaus-style architecture that was made popular in Israel in the
1960s, by designers that had fled Germany years before.
Schrader.
“This allowed us to create something original, to use architecture as character,” notes
Later, the model of the institute’s exterior would be merged with locations in the Israeli desert,
located which Bleiberg had intuited would be right for the movie more than a decade before. “I took
Paul to some of my favorite places in the desert, and he loved them too,” he recalls. “The desert is a
powerful symbol in this story of resurrection and redemption.”
Seeing the fictional institute come to life was a thrill for Noah Stollman. “In the novel, the
institute is a kind of bizarre microcosm of the world and Paul Schrader and his team managed to
bring that idea completely to life,” he says. “It’s not a conventional place, it’s a place where anything
can happen, where a man and a boy who have both lived as dogs can find a human connection.”
Schrader also focused on an architectural, Bauhaus-inspired aesthetic by bringing on
cinematographer Sebastian Edschmid, whose films include the award-winning Israeli drama SWEET
MUD and Michael Hoffman’s forthcoming THE LAST STATION. Edschmid and Schrader together
designed a look for the film that flows between grainy black-and-white memories and heated desert
imagery.
“Sebastian is smart and gung-ho and together we developed a very interesting palette for the
film of dark and earth tones, where the only red seen for much of the film is Ayelet’s red lips and nail
polish,” Schrader notes.
Further adding to the film’s design is the work of Israeli costume designer Inbal Shuki, a
seven-time nominee for the Award of the Israeli Film Academy, whose clothes for ADAM
RESURRECTED range from lavish showbiz togs to the striped pajamas of the camps to the stark
functional doctor and nurse outfits in the asylum.
To forge the film’s score, Schrader turned to Gabriel Yared, an Academy Award® winner for
his score for THE ENGLISH PATIENT.
“I knew I wanted a synth score for this film, and although Gabriel works in a lot of different
ways he has done some wonderful synth compositions,” Schrader says. “Synth doesn’t allow for a lot
of melodic themes but Gabriel was able to come up with something with a very emotional effect.”
ethic.
For Goldblum, all of these elements helped inspire his performance, as did Schrader’s work
“He’s someone who knows how to fight for a movie, who keeps things going, who’s very
direct and decisive, but at the same time he can be very creative, mysterious and instinctive,” he
says. “He was everything you want in a director for a film like this. I enjoyed working with him to no
end.”
Bleiberg’s commitment and close relationship to the story also served as inspiration
throughout. “I was there every single moment of the production, from its inception through post—
production,” he notes, “and I felt my purpose was not only to make sure everything was OK as a
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producer but to make sure the spirit of Kaniuk’s book was always part of the creative process. It was
all very, very emotional for me. Werner and I put our efforts, our money and our entire souls into it.”
By the time production came to a close the making of ADAM RESURRECTED had ultimately
itself become an act of redeeming power.
Bleiberg summarizes: “Somehow it all came together - this wonderful collaboration between
so many forces that poured their hearts into helping to create a unique and powerful picture.”
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PAUL SCHRADER - Director
Filmmaker & Cast Biographies
One of America's most highly regarded writer-directors, Paul Schrader began his involvement
with film by taking a summer cinema course at Columbia University while he was a student at
Grand Rapids' Calvin College. After graduation in 1968, he attended UCLA's film school, quickly
becoming a film critic for the L.A. Free Press and an editor of Cinema magazine. His thesis on
Ozu, Bresson and Dreyer was published as Transcendental Style in Film by the University of
California Press. Schrader's first success came with his screenplay for THE YAKUZA, directed
by Sydney Pollack in 1974. This was followed by his classic screenplay for Martin Scorsese's
TAXI DRIVER (1976). In 1977 Schrader began his own directorial career with the working-class
drama BLUE COLLAR (Harvey Keitel, Richard Pryor). He has written scripts for such directors
as Brian De Palma (OBSESSION,1976), Joan Tewkesbury (OLD BOYFRIENDS, 1978), Peter
Weir (THE MOSQUITO COAST, 1986), Harold Becker (CITY HALL, 1995) and, of course,
Scorsese (RAGING BULL,1980, THE LAST TEMPTATION OF CHRIST, 1988 and BRINGING
OUT THE DEAD, 1998).
In 1999 Schrader received the Writer’s Guild Laurel Award for Lifetime Achievement. In 2002 he
was the recipient of the Telluride Film Festival Silver Medallion Tribute and in June of 2005, was
awarded the Franklin Schaffner Alumni Medal by the American Film Institute.
Schrader's career as a director reflects his vast knowledge and love of different film styles and
genres, ranging from the Neo-Western HARDCORE (George C. Scott), to the romantic thriller
AMERICAN GIGOLO (Richard Gere and Lauren Hutton), the supernatural CAT PEOPLE
(Natasia Kinski), the artist's biography MISHIMA (produced by George Lucas and Francis Ford
Coppola), the political docudrama PATTY HEARST (Natasha Richardson), the erotic thriller THE
COMFORT OF STRANGERS (Natasha Richardson, Rupert Everett and Christopher Walken,
Helen Mirren), the haunting LIGHT SLEEPER (Willem Dafoe and Susan Sarandon) and the ironic
TOUCH (Skeet Ulrich, Christopher Walken and Bridget Fonda). In 1997 Schrader adapted and
directed Russell Banks’ AFFLICTION (Nick Nolte, James Coburn), released to critical acclaim in
late 1998. In 2001, he shot his fourteenth film entitled AUTOFOCUS (Greg Kinnearm Willem
Dafoe). After making film trivia history as one of the two directors of the twice made prequel to the
EXORCIST (Schrader’s version was titled DOMINION), he returned to writing/directing with his
original screenplay of THE WALKER (Woody Harrelson) which premiered at the 2007 Berlin Film
Festival. Schrader filmed ADAM RESURRECTED, based on the novel by Yoram Kaniuk and
featuring Jeff Goldblum, in the Spring/Summer of 2007 and it is premiering at the 2008 Toronto
International Film Festival. Most recently he oversaw the tele-cine of MISHIMA, which was
released by Criterion in the Summer of 2008.
He lives in New York with his wife, actress Mary Beth Hurt, and their two children.
EHUD BLEIBERG -Producer
Producer Ehud Bleiberg launched Los Angeles based production and international sales
company Bleiberg Entertainment in September 2005. The company develops, funds, produces
and sells a diverse array of feature films geared toward both the domestic and foreign theatrical,
DVD and TV markets. The company recently wrapped the period drama ADAM RESURRECTED,
directed by Paul Schrader and starring Jeff Goldblum and Willem Dafoe; and the horror comedy
DANCE OF THE DEAD, directed by Gregg Bishop, which will be distributed by Lionsgate in the
fall. Also coming up is Danny Lerner's sophomore project, the action thriller KIROT, starring Olga
Kurylenko, star of Marc Forster’s upcoming Bond film QUANTUM OF SOLACE and of 2007’s
HITMAN.
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Most recently, Bleiberg produced THE BAND’S VISIT, a co-production with July August
Productions, which won more than 40 international festival awards, including the Coup de Couer
at the Cannes Film Festival, and was released in early 2008 by Sony Pictures Classics.
Bleiberg also served as executive producer on the critically-lauded FROZEN DAYS (2006).
Previous producer credits include: 100 GIRLS (2001) starring Jonathan Tucker, Jaime Pressly
and Katherine Heigl; ACCORDING TO SPENCER (2002) starring Jesse Bradford, Mia Kirshner,
David Krumholtz, Adam Goldberg and Giovanni Ribisi; and the tongue-in-cheek horror
MONSTER MAN (2003) directed by Michael Davis (SHOOT ‘EM UP).
A graduate of the Hebrew University in Jerusalem, where he majored in Economy and Political
Science, Bleiberg managed advertising agencies, foreign news entities, and was a business
developer before devoting his career to the entertainment industry. His first film HIMMO: KING
OF JERUSALEM (1988) was highly acclaimed abroad and was an official selection in the
Toronto, Chicago, and Edinburgh Film Festivals. His next film, THE APPOINTED (1990), enjoyed
success as an official selection of the Cannes Film Festival. This was followed by the hit film TEL
AVIV STORIES (1992) which was one of the year's most successful films in Israel and throughout
Europe.
WERNER WIRSING -Producer
Werner Wirsing was born in 1947 in Dortmund. After a successful career in other branches of
business, he founded e-m-s New Media AG, the first producer and supplier of DVDs in Germany.
Today, e-m-s New Media Group is an entertainment company with almost 100 employees. The
company went public in November 2000. Its business segments are film distribution and
production, home entertainment, licensing and music. Werner Wirsing is the exclusive board and
principle shareholder of the company.
Wirsing has produced several German films, such as GOLDEN ZEITEN and DIE
AUFSCHNEIDER. Additionally, he has produced the international co-productions 2 DAYS IN
PARIS, directed by Julie Delpy and the genre film HORROR 101. Recent works include
MANOLETE, from Oscar nominee Manno Meyjes starring Penelope Cruz and Adrien Brody.
Wirsing is also completing production on the upcoming film LAURA, directed by Ben Verbong.
YORAM KANIUK -Author
Yoram Kaniuk, one of Israel’s leading writers, was born in Tel Aviv in 1930. After being wounded
in Israel’s 1948 War of Independence he studied in Jerusalem, Paris and New York, later
becoming a painter. He had a few one man shows in Paris and New York museums for a brief
stint in his early 20s.
Kaniuk became restless with the art world and picked up various odd-jobs as a bartender, a
sailor, a house painter, and a café manager amongst others before returning to Israel. Initially, he
was a theatre critic and journalist, but soon found himself writing novels.
To date, Kaniuk has published 17 novels, a memoir, seven collections of stories, two books of
essays and five books for children and youth. He has been awarded many literary prizes,
including the Ze`ev Prize for Children’s Literature (1980), the Prix des Droits de’ l’Homme
(France, 1997), the President’s Prize (1998), the Bialik Prize (1999), the prestigious Prix
Mיditerranיe Etranger (2000), the Book Publishers Association’s Gold Book Prize (2005), and the
Newman Prize (2006).
His books have been published abroad in 25 languages.
14

NOAH STOLLMAN - Screenwriter
Noah Stollman was born in the U.S. and raised in Israel. He studied filmmaking at the Sam
Spiegel Film and Television School in Jerusalem and since 1995 has been living and writing in
New York.
Stollman has adapted many literary works for film, including ADAM RESURRECTED based on
the novel by Yoram Kaniuk, directed by Paul Schrader, starring Jeff Goldblum and Willem Dafoe;
SOMEONE TO RUN WITH, based on the novel by David Grossman, which opened the 2006
Jerusalem Film Festival; an adaptation of A.B. Yehoshua's A WOMAN IN JERUSALEM, for
director Eran Riklis (SYRIAN BRIDE, LEMON TREE), is set for production in 2008 as an Israeli-
European co-production. Also in development is a script entitled GOOD MORNING, MIDNIGHT,
adapted from New York Times journalist Chip Brown's biography of North American mountaineer
Guy Waterman, for producer Stephen Apkon. His original 8 part TV series for Israeli cable
network, entitled Timrot Ashan (“Vapor of Smoke”) was recently shot on location in the Golan
Heights in Israel's far north. The series involves the mysterious disappearance of an entire
kibbutz, and follows a police investigation that brings to light the regions' darkest secrets It is the
first Israeli television production to be shot in HD and is set to air in December 2008.
Stollman is currently at work on another US feature screenplay, currently untitled, for Los
Angeles-based producer Ehud Bleiberg (THE BAND’S VISIT).
JEFF GOLDBLUM - “Adam Stein”
A career spanning film, television, and theater, Jeff Goldblum is one of the most talented and
respected actors of his generation. Furthermore, he has starred in three of the top 20 grossing
movies of all time, has been nominated for an Academy Award, an Emmy, and, in 2007, won the
prestigious Outer Critics Circle Award for his critically acclaimed performance in THE
PILLOWMAN.
Goldblum’s most recent feature film, ADAM RESURRECTED, will premiere at the 2008 Telluride
Film Festival and be included thereafter in the Toronto Film Festival. Goldblum has most recently
been cast as a lead on the hit drama series Law & Order: Criminal Intent.
Goldblum’s feature credits include: JURASSIC PARK, INDEPENDENCE DAY, THE LIFE
AQUATIC WITH STEVE ZISSOU, IGBY GOES DOWN, THE LOST WORLD: JURASSIC PARK,
POWDER, NINE MONTHS, SILVERADO, THE BIG CHILL, REMEMBER MY NAME, NEXT
STOP GREENWICH VILLAGE, THE RIGHT STUFF, BETWEEN THE LINES, THE
ADVENTURES OF BUCKAROO BANZAI, INTO THE NIGHT, THE TALL GUY, FATHERS AND
SONS, DEEP COVER, THE FLY, INVASION OF THE BODY SNATCHERS, ANNIE HALL,
PITTSBURGH and DEATH WISH.
Goldblum’s television credits include 10 Speed and Brownshoe , a guest-starring arc on Will and
Grace, and made for television movies including Lush Life and Spinning Boris.
Goldblum’s theater credits include Speed the Plow, The Pillowman and Two Gentleman of
Verona.
WILLEM DAFOE - “Commandant Klein”
In 1979, Willem Dafoe was given a small role in Michael Cimino's HEAVEN'S GATE from which
he was fired. His first feature role came shortly after in Kathryn Bigelow's THE LOVELESS. From
there, he went on to perform in over 60 films - in Hollywood (SPIDERMAN, THE ENGLISH
PATIENT, FINDING NEMO, ONCE UPON A TIME IN MEXICO, CLEAR AND PRESENT
DANGER, WHITE SANDS, MISSISSIPPI BURNING, STREETS OF FIRE) and in independent
cinema in the U.S. (THE CLEARING, ANIMAL FACTORY, BASQUIAT, THE BOONDOCK
15

SAINTS, AMERICAN PSYCHO) and abroad (Lars von Trier's MANDERLAY, Yim Ho's
PAVILLION OF WOMEN, Yurek Bogayevicz's EDGES OF THE LORD, Wim Wenders' FAR
AWAY SO CLOSE, and Brian Gilbert's TOM & VIV).
He has chosen projects for the diversity of roles and opportunities to work with strong directors.
He has worked in the films of Wes Anderson (THE LIFE AQUATIC), Martin Scorsese (THE
AVIATOR, THE LAST TEMPTATION OF CHRIST), Paul Schrader (AUTO FOCUS, AFFLICTION,
LIGHT SLEEPER, THE WALKER), David Cronenberg (EXISTENZ), Abel Ferrara (NEW ROSE
HOTEL), David Lynch (WILD AT HEART), William Friedkin (TO LIVE AND DIE IN LA), and Oliver
Stone (BORN ON THE FOURTH OF JULY, PLATOON).
He was nominated twice for the Academy Award (PLATOON and SHADOW OF THE VAMPIRE)
and once for the Golden Globe. Among other nominations and awards, he received an LA Film
Critics Award and an Independent Spirit Award.
Recent projects include ANAMORPH, MR. BEAN'S HOLIDAY, Spike Lee's INSIDE MAN, Paul
Weitz's AMERICAN DREAMZ, the Nobuhiro Suwa segment of PARIS, JE T'AIME and Giada
Colagrande's BEFORE IT HAD A NAME (which was co-written by Mr. Dafoe).
Other upcoming films include FIREFLIES IN THE GARDEN, starring opposite Julia Roberts,
Christian Carion's FAREWELL, Theo Angelopoulos' THE DUST OF TIME, Abel Ferrara's GO GO
TALES, Paul Weitz's CIRQUE DU FREAK and the Lionsgate release DAYBREAKERS costarring
with Ethan Hawke.
Dafoe is one of the founding members of The Wooster Group, the New York based experimental
theatre collective. He has created and performed in the group's work from 1977 thru 2005, both in
the U.S. and internationally.
DEREK JACOBI - “Dr. Nathan Gross”
Preeminent British classical actor of the first post-Olivier generation, Derek Jacobi was knighted
in 1994 for his services to the theatre, and, in fact, is only the second to enjoy the honor of
holding two knighthoods, Danish and English (Olivier was the other). Modest and unassuming in
nature, Jacobi's firm place in theatre history centers around his fearless display of his characters'
more unappealing aspects, their great flaws, eccentricities and, more often than not, their primal
torment.
Sir Laurence Olivier provided Derek his film debut, recreating his stage role of Cassio in Olivier's
acclaimed cinematic version of OTHELLO. Olivier subsequently cast Derek in his own filmed
presentation of Chekhov's THREE SISTERS. Jacobi went on to star in the epic BBC series I,
CLAUDIUS. His stammering, weak-minded Emperor Claudius was considered a work of genius
and won, among other honors, the BAFTA award.
Kenneth Branagh was greatly influenced by mentor Jacobi and their own association would
include Branagh's films HENRY V, DEAD AGAIN, and HAMLET, the latter playing Claudius to
Branagh's Great Dane.
Jacobi’s other screen credits include Otto Preminger’s THE HUMAN FACTOR, DAY OF THE
JACKAL and THE ODESSA FILE. Recent credits include Robert Altman’s GOSFORD PARK,
Kirk Jones’ NANNY McPHEE and Chris Weitz’s THE GOLDEN COMPASS, based on Philip
Pullman’s best-selling novel. He will next be seen in HIPPIE HIPPIE SHAKE opposite Cillian
Murphy and Sienna Miller.
16

AYELET ZURER - “Gina Grey”
Ayelet Zurer is one of Israel’s most acclaimed actresses. She first garnered the attention of
Hollywood when cast by Steven Spielberg in her first English speaking role as Eric Bana’s wife in
the Oscar nominated film MUNICH. Zurer is currently starring opposite Tom Hanks in the highly
anticipated ANGELS & DEMONS, directed by Ron Howard, to be released in Spring 2009.
Beginning her career in Israel, Zurer won the Israeli Academy Award for her lead performance in
NINA’S TRAGEDIES. She also received nominations for her work in the features ONLY DOGS
RUN FREE, THE DYBBUK FROM THE HOLY APPLE FIELD, DESPERADO and RUTENBERG.
Zurer also won the Israeli Television Academy Award for lead actress for IN THERAPY, a highly
acclaimed series that has been adapted by HBO for American television into the series IN
TREATMENT.
Since arriving in the United States, Zurer has starred in several films including VANTAGE POINT
with Dennis Quaid and William Hurt, and FUGITIVE PIECES opposite Stephen Dillane. She will
soon be seen in the independent film LIGHTBULB.
MORITZ BLEIBTREU - “Joseph Gracci”
Born to Austrian actors Hans Brenner and Monika Bleibtreu, Moritz Bleibtreu started acting at the
age of six. He traveled the U.S. and Paris as a teenager before becoming a prominent German
actor in television and film. After a few roles in productions with his mother, he appeared in the
drama SIMPLY LOVE and the comedy TALK OF THE TOWN.
In 1997, he earned his first major acclaim as the comedic gangster Abdul in KNOCKIN’ ON
HEAVEN’S DOOR. The next year he made his international breakthrough as Manni in RUN
LOLA RUN.
He appeared in four films in 2001, including his first American production, THE INVISIBLE
CIRCUS. He took on some challenging parts that year as well, appearing with Harvey Keitel and
Stellan Skarsgård for TAKING SIDES and as the lead prisoner in DAS EXPERIMENT.
Continuing with leading man status, Bleibtreu next portrayed an Italian immigrant SOLINO and
GERMANIKUS.
Recent works include Paul Schrader’s THE WALKER, opposite Woody Harrelson, and The
Wachowski Brothers’ SPEED RACER. He will next be seen in THE BAADER MEINHOFF
COMPLEX.
HANA LASZLO - “Rachel Shwester”
SELECTED FILMOGRAPHY
ADAM RESURRECTED (2008, Paul Schrader)
SEVEN DAYS (2008, Ronit Elkabetz & Shlomi Elkabetz)
FREE ZONE (2005, Amos Gitai) – Winner, Best Actress – Cannes Film Festival
ALILA (2003, Amos Gitai) – Nominee, Best Supporting Actress – Israeli Film Academy Awards
JOACHIM KROL - “Abe Wolfowitz”
SELECTED FILMOGRAPHY
ADAM RESURRECTED (2008, Paul Schrader)
WINDLAND (2007, Edward Berger) – Winner, Best Actor – Hessian Film Awards
THE PRINCESS AND THE WARRIOR (2000, Tom Twyker)
GLOOMY SUNDAY (1999, Rolf Schubel) – Nominee, Best Actor – German Film Awards
RUN LOLA RUN (1997, Tom Twyker)
MAYBE… MAYBE NOT (1994, Sonke Wortmann) – Winner, Best Actor – Bavarian Film Awards
17

JULIANE KOHLER - “Ruth Edelson”
SELECTED FILMOGRAPHY
EDEN IS WEST (2009, Costa-Gavras)
ADAM RESURRECTED (2008, Paul Schrader)
THE KAMINSKI CASE (2005, Stephan Wagner) – Nominee, Best Actress – Bavarian TV Awards
DOWNFALL (2004, Oliver Hirschbiegel) – Nominee, Best Supporting Actress – German Film
Awards
NOWHERE IN AFRICA (2001, Caroline Link) – Nominee, Best Actress – German Film Awards
AIMEE & JAGUAR (1999, Max Farberbock) – Winner, Best Actress – German & Bavarian Film
Awards
IDAN ALTERMAN – “Arthur The Arsonist”
SELECTED FILMOGRAPHY
ADAM RESURRECTED (2008, Paul Schrader)
NAMUCH [Documentary] (2005) - Director
SIMA VAKNIN MACHSHEFA (2003, Dror Shaul)
TIME OF FAVOR (2000, Joseph Cedar) – Nominee, Best Supporting Actor – Israel Film
Academy
VERONICA FERRES - “Frau Fogel”
SELECTED FILMOGRAPHY
ADAM RESURRECTED (2008, Paul Schrader)
KLIMT (2006, Raul Ruiz)
THE END OF THE ICE AGE (2006, Friedmann Fromm) – Winner, Best Actress – German TV
Awards
ANNAS HEIMKEHR (2003, Xaver Schwarzenberger) – Winner – Bavarian TV Award
THE MANNS (2001) – Winner – Bavarian TV Award
EVGENYA DODINA – “Gretchen Stein”
SELECTED FILMOGRAPHY
ADAM RESURRECTED (2008, Paul Schrader)
LOVE & DANCE (2006, Eitan Anner)
NINA’S TRAGEDIES (2003, Savi Gavison)
MADE IN ISRAEL (2001, Ari Folman) – Nominee, Best Actress – Israel Film Academy
GENTILA (1997, Agur Schiff) – Nominee, Best Actress – Israel Film Academy
18

Credits
An Ehud Bleiberg/Werner Wirsing Production
A film by Paul Schrader
Jeff Goldblum
Willem Dafoe
Derek Jacobi
Ayelet Zurer
Music by Gabriel Yared
Line Producer – Yoram Barzilai
Costume Designer Inbal Shuki
Film Editor – Sandy Saffeels
Co-Producers – July August Productions
Hildegard Luke
Production Designer – Alexander Manasse
Director of Photography – Sebastian Edschmid
Executive Producers – Ulf Israel
Marion Forster Bleiberg
Based on the novel by Yoram Kaniuk
Screenplay by Noah Stollman
Produced by Ehud Bleiberg and Werner Wirsing
Directed by Paul Schrader
Cast
Adam Stein Jeff Goldblum
Commandant Klein Willem Dafoe
Dr. Nathan Gross Derek Jacobi
Gina Grey Ayelet Zurer
Rachel Shwester Hana Laslo
Abe Wolfowitz Joachim Król
Gretchen Stein Evgenia Dodina
David Tudor Rapiteanu
Frau Fogel Veronica Ferres
Arthur Idan Alterman
Ruth Edelson Juliane Köhler
Dr. Uri Slonim Dror Keren
Dr. Shapiro Schmuel Edelman
Tarshish Yoram Tolledano
Golomb Mickey Leon
Joseph Gracci Moritz Bleibtreu
19

Rabbi Lichtenstein Benjamin Jagendorf
Blum Theodor Danetti
Taub Gabriel Spahiu
Zelda Luana Stoica
Mrs. Lipowitz Coca Bloos
Woman with Doll Ioana Abur
Institute Nurse Ozana Oancea
Woman with the cap Maria Chiran
Pinkie Ana Benea
Volk Cristian Motiu
Nazi in the crematorium George Remes
Nazi Soldier Train Constantin Florescu
Heinz Arcudean Ion
Old Bedouin Mohamad
Israeli Kid in Haifa #1 Moti Rozentsvaig
Israeli Kid in Haifa #2 Ilan Aviv
Ruth Stein 19 years Berivan Laura Haj Abdo
Ruth Stein 11 years Ana Geoanna
Ruth Stein 5 years Amina Abu Shanab
Lotte Stein 8 years Hanelore Bauer
Lotte Stein 2 years Mihaela Denisa Mailat
Naomi Wolfowitz Cristina Anghel
David's Relative Ehud Bleiberg
Cabaret Musican #1 Alexandra Savu
Cabaret Musican #2 Mirela Dranga
Cabaret Musican #3 Alexa Paraschiva
Cabaret Musican #4 Georgeta Radu
Cabaret Dancer #1 Maria Dumitru
Cabaret Dancer #2 Vatafu Alina
Cabaret Dancer #3 Teodora Bencea
Cabaret Dancer #4 Alexandra Vasilescu
Cabaret WW1 Veteran Mircea Ilioara
Cabaret WW1 Veteran Biet Gica
Laughing Nazi in Cabaret Dan Chiriac
Night Club Go–Go Girl #1 Marilena Botis
Night Club Go–Go Girl #2 Mihaela Jaglau
Night Club Cigarette Lady Giorgiana Voicu
Circus-Trapez Artist #1 Luiza Anatal
Circus-Trapez Artist #2 Gina Burlacu
Circus-Trapez Floor #1 Marian Marinof
Circus-Trapez Floor #2 Rodica Marinof
Ballerina on Pony Diana Poran
Circus-Clown #1 Constantin Rotaru
Circus-Clown #2 Vanda Rotaru
Circus-Clown #3 Lucian Gavriluta
Circus-Musicians #1 Eugenia Leau
Circus-Musicians #2 Gladiola Lamatic
Circus-Musicians #3 Mircea Luculescu
Circus-Musicians #4 Laurentiu Grigorescu
Circus-Musicians #5 Liviu Popa
Circus-Musicians #6 Constantin Urziceanu
Woman in the train Liliane Margineanu
20

Nazi Soldier #1 Vali Albinet
Nazi Soldier #2 Andrei Preorocu
Nazi Soldier #3 Lionte Sergiu
Nazi Soldier #4 Ionut Mereuta
Nazi Soldier #5 Dinu Mereuta
Nazi Soldier #6 Vlad Cacinski
Nazi Soldier #7 Robert Cazan
Graveyard Beggars #1 Rolf Bitler
Graveyard Beggars #2 Yakov Broomberg
Graveyard Beggars #3 Michel Vazana
Graveyard Beggars #4 Rammy Zrog
Co-Producers in Israel Eilon Ratzkovsky
Yossi Uzrad
Guy Jacoel
1st Assistant Director Shaul Dishy
Executive in Charge of Production - 3L Marc Grewe
Executive in Charge of Production - Israel Yochanan Kredo
Bleiberg Entertainment Executives Shannon Banal
Roman Kopelevich
Nicholas Donnermeyer
3L Filmproduktion Executives Christine Schoettler
Klaus Palitz
Casting
Casting Director Israel Esther Kling
Casting Director Germany Anja Dihrberg
Casting Director Romania Floriela Grapini
Casting Director USA Johanna Ray
Casting UK Crowley / Pull
Crew in Romania
Production Services - Romania Castel Film Studios
Owner Vlad Păunescu
Executive in Charge of Production Cristi Bostănescu
Unit Production Manager Lucia Maghiar
Production Coordinator Nora Ehrmann
Liaison / Consultant Uri Mossinsohn
Production Secretary Gabi Ghircoias
Office Secretary Cristina Ivan
Office Secretary Anca Laslu
Asst. to Paul Schrader Adrian Buescu
Asst. to Ehud Bleiberg Ciprian Nistorescu
Asst. to Jeff Goldblum Smaranda Comanescu
Asst. to Willem Dafoe Razvan Dinu
Production Assistants Cezar Visan
George Opris
21

Ionut Ciuraru
Florin Musat
Cathy Kritsis
Assistant Director Department
2nd Assistant Director Robyn Glaser
2nd 2nd Assistant Director Mircea Ghinescu
3rd Assistant Director Iulian Ghervas
Extras Coordinator Crina Pundichi
Script Supervisor Cornelia Stefan
2nd Assistant Director Re-Shoot Cristina Iliescu
Camera Department
B Camera Operator Robert Patzelt
A Camera Focus Puller Johnny Feurer
B Camera Focus Puller Sven Fink
B Camera Focus Puller Philip Dönch
2nd assistant camera Ionut Perianu
Clapper Adrian Iurchevici
Clapper Cantemir Cosnean
Loader Romulus Stancescu
Video Assistant Operator Nicu Rotaru
Steadicam Operator Robert Patzelt
Still Photographer Cos Aelenei
Electrical Department
Gaffer Catalin Calin
Best Boy Electrical Marcu Ion
Electricians George Stan
Mihai Adrian
Radu Viorel
Ionut Niculcea
Generator Operators Nicu Chiosea
Bebe Surugiu
Grip Department
Key Grip Thorsten Querner
Best Boy Grip Gabi Postasu
Dolly Grip Marian Oboroceanu
Grips Ion Postasu
Radu Postasu
Andrei Nana
Art Department
22

Art Director Serban Porupca
Asst. Art Director Grigore Puscariu
Art Dept. Coordinator Karina Lange
Draft Person Mihai Sava
Draft Person Mihaela Craiciu
Painter #1 Anca Birsan
Painter #2 Eusebiu Sirbu
Set Construction
Construction Coordinator Crina Cartas
Supplier Sandu Cucu
On-Set Carpenters Stelica Oprea
Florica Oprea
Set Dressing
Set Decorator Camelia Tutulan
Set Decorator Gabi Nechita
Assistant Set Decorator Denis Boerescu
Lead Man Gabi Bucur
On-Set Dresser Cristi Capitanescu
Buyer Iasar Memedali
Swing Gang Bogdan Miron
Scortanu Constantin
Serban Cristian
Adrian Iancu
Ovidiu Buruiana
Octav Bucuiana
Property Department
Property Master Viorel Ghenea
Assistant Property Master Alexandru Dinca
Costume Department
Costume Supervisor Mihaela David
Production coordinator Dana Chelaru
Assistant Costume Designer Geta Isvoranu
Buyer Delia Vaduva
Mr. Goldblum's Wardrobe Doina Raducut
Wardrobe Manufacturer Andrei Mezei
Assistant Wardrobe Narcisa Micut
Niculina Dumitru
Customs Liaison Dori Mercea
Wardrobe Manufacturer Dada Charisma Studio
Make-Up & Hair Department
Key Make-Up Artist Ioana Angelescu
23

Key Hair Stylist Lidia Ivanov
Make-up Assistant Guy Warshaviak
Hair Assistant Adelina Popa
Hair Specialist Mr. Goldblum Erwin Kupitz
Sound Department
Sound Mixer Vadim Staver
Boom Operator Calin Potcoava
Boom Operator Viorel Dobre
Stunt Department
Stunt Coordinator Vasile Albinet
Stunt Rigger Razvan Gheorghiu
Valeriu Tomescu
Stunts Vlad Iacob
Horse Master John Maldea
Accounting
Production Accountant ROM Lavinia Mercea
Cashier Ruxandra Popescu
Editing
Assistant Editor Cristian Nicolescu
Post Production Supervisor Calin Pandele
SFX Department
SFX-Coordinator Ovidiu Veliscu
Mechanical Effects Viorel Militaru
Locations Department
Location Manager Ovidiu Stoia
Utility Man Iulian Margarit
Utility Man Nae Valentin
EPK Team Department
EPK Director Dana Goren
EPK Assistant Adrian Radu
Catering
Chef Marian Gigirtu
Craft Services Bogdan Nicolescu
Gabriel Mindreanu
24

Transportation
Aurelia Paraschiva
Tanta Paduraiu
Gruia Mihai
Transport Coordinator Octav Tudor
Drivers Costel Dumitru
Nicu Radu
Vali Anton
Florin Badita
Radu Comanescu
Costel Pomenea
Tibi Pirvu
Dan Barbu
Virgil Muntean
Dog Trainer Marco Heyse
Rex Sam
Dog Training for Jeff Goldblum - U.S. Rob Bloch
Bear Crew Fauna Film, Prague
Ota Bares
Radim Macha
Jaroslav Kana
Radka Sarkaniova
Film shot at Castel Film in Snagov Studios
Crew in Israel
Unit Production Manager Liat Benasuly
Production Manager Anat Shafranek
Location Manager Yoni Kurlender
Production Coordinator Keren Elrom
Camp Manager Izi (Izidor) Pevsner
Asst. to Jeff Goldblum Moriya Matityahu
Asst. To Paul Schrader Noam Bacharach
Asst. to Ehud Bleiberg Benjamin Freidenberg
Production Assistants Amiram Snir
Yannay Ghrenassia
Paz Reshef
Hillel Yodaiken
Yaron Agayof
Nir Harary
Oded Aharon
Water Girls Viki Hen
Lihi Linder
Water Girls - Desert Adva Shoua
Rachel Nezer
Medical Service Dr. Shay Berns
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Assistant Director Department
2nd Assistant Director Robyn Glaser
3nd Assistant Director Rotem Kipnis
3nd Assistant Director Orna Lipkind
Camera Department
B Camera Focus Puller Rami Siman Tov
A Camera Loader Aviv Kosloff
B Camera Loaders Merav Levin
Doron Peled
Video Assist Operator Liron Blumenkranz
Still Photography Yifat Yogev
Art Department & Set Dressing
Art Director Ido Dolev
Set Dresser Zvika Hen
Set Dresser Benny Arbitman
Asst. Set Dresser Udi Tugendreich
Construction Itzik Nofar
Property Department
Property Masters Ron Zikno
Benny Aper
Picture Vehicles Eli Zion
Electrical Department
Gaffer Avi Avrahmi
Best Boy Dror Zinman
Electricians Itzik Levi
Dror Plitz
EPK Team Department
EPK Director Dana Goren
Grip Department
Key Grip Guy Naaaman
Best Boy Grip Shabat Moshe
Grips Yossi Lachmish
Elad Elbar
Rafi Savid
Costume Department
Jeff Goldblum's Wardrobe Doina Raducut
Wardrobe Assistants Mishmish Uri
Adi Negev
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Make-Up & Hair Department
Key Make-Up Artist Eti Ben Nun
Key Hair Stylist Lidia Ivanov
Assitant Make-Up Guy Warshaviak
Moran Kadosh
Assistant Hair Sigalit Graw
Sound Department
Sound Mixer Yochai Moshe
Boom Operator Oren Raviv
Transportation
Transport Coordinator Ilan Appel
Drivers Benny Dotan
Eli Tziyoni
Meir Berns
Eli Mualem
Moshe Gisis
Avi Cohen
Truck Coordinator Eli Hiram
Trailer Coordinator Ofer Nezer
Stand-Ins Yonathan Toussia-Cohen
Shlomi Toussia-Cohen
July August Productions Noa Lifshitz
Shira Pinhas
Orna Noy
Tamar Ganon
C.P.A. Lion Orlitzky & Co. C.P.A.
Production Auditors Ronen Schwartz
Ravit Ron
Sound Studio D.B studios
Ronen Ben Tal
Gil Toren
Avi Mizrahi
Erez Ayni Shavit
Special Legal Consultant Yossi Abadi
Legal Consultant Adam- Law Office
Thanks Tel Aviv City Council
Haifa City Council
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NY Assistants to Paul Schrader Tony Mosher
Andrew Wonder
Archive Footage Consultant - Israel Yaakov Gross
Archive Footage Consultant - Germany Michael Konstabel
The Society for the Protection of Nature in Israel
Haifa port footage is part of “The Steven Spielberg Jewish Film Archives of the Hebrew University
of Jerusalem and the Central Zionist Archives.
Berlin archive footage courtesy of Deutsche Wochenschau, Hamburg
Public Relations mPRm Public Relations
Marc Pogachefsky
Karen Oberman
Rogers&Cowan
Nikki Parker
Dennis Dembia
Elena O'Gorman
Public Relations - Israel Liebermann-Aharoni Communication
Amnon Liebermann
Public Relations - Germany Publics PR
Nicole Giesa
Storyboard Artist Marc Ewert
Post Production Supervisor Marc Grewe
Music
Score Produced by Gabriel Yared
Music Editor Allan Jenkins
Score Recorded & Mixed at Abbey Rd Studios
Scoring Engineer Sam Okell
Assitant Scoring Engineers John Barrett
Kris Burton
Solo Violin Bogdan Vacerescu
Solo Cello Kirsty Whalley
Keyborads Gabriel Yared
Acoustic Guitar Lewis Morison
Synthesizer Programming Allan Jenkins
Gabriel Yared
Assisted by Lewis Morison
Music Rights Clearning Katinka Seidt
Additional Weimar Music
Composed and Conducted by Mircea Luculescu
28

Trailer Editing Chris Walter
Films Production Controller Boris Dillen
Production Accountant Ina Novotny
Post Production Sound Services Ruhr Sound Studios , Germany
Supervising Sound Editor/Sound Designer Guido Zettier
Sound Re-Recording Mixer Stefan Korte
Dialogue Editor Alexander Buck
ADR Recordist/Editor Alexander Vitt
ADR Recordist Günter Friedhoff
ADR Editor Thomas Lüdemann
Sound Effects Editor Tobias Poppe
Assistant Sound Editor Helene Seidl
Foley Artist Carsten Richter
Foley Recordist Hanse Warns
Foley Editor Laura Plock
Sound Mix Technican Markus Münz
Sound Office Coordinator Marita Strotkötter
Dolby Consultant Mark Kenna
Visual Effects and Digital Intermediate by Pictorion Das Werk
VFX + DI Producer Michael Brink
VFX + DI Supervisor Andreas Schellenberg
CG Supervisor Rolf Muetze
Compositing Supervisor Paul Poetsch
Lead Digital Compositor
and Pipeline Technical Director Jörg Brümmer
Digital Compositors Tim Stern
Martin Ofori
Teni Noravian
Michael Krämer
Junior Compositor Sebastian Mietzner
3D Artists Andreas Krieg
Stefan Albertz
Christian Wallmeier
Matte Patining Cania
Roto & Prep Julia Müller-Madaus
Thomas Deckers
Aline Rudolf
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Tanja Bonensteffen
Lukas Gehner
Sven Heim
Arne Kiefer
Armin Reisch
Alexander Eberl
Nicolas Büren
Linda Pleschka
Saskia Klein
Birthe Kohmanns
Michael Wilke
Benjamin Rosentreter
Lena-Sophie Oberherr
Senior Colorist Moritz Peters
In-House Coordinator Verena Schorn
Scanning Frank Richter
Data Conform / Colorist Jonas Thorbruegge
System Administrator Christian Meckel
Martin Markert
DI Lab Supervisor Ralf Wacker
DI Lab Coordinator Mathias Knöfler
Film Recording Gerhard Spring
Data Wrangler Sven Heim
Thomas Deckers
Aline Windolph
Legal Services Robert Nau
Alexander, Nau, Lawrence, Frumes & Labowitz, LLP
Additional Legal Services Pierce Law Group LLP
David Albert Pierce
Financial Services Dortmunder Volksbank eG
HypoVereinsbank
Josef Brandmaier
Tanja Ohnesorg
Bank Leumi USA, Beverly Hills
Edna Naftaly
Dan Meiri
Jacques Delvoye
Melanie Krinsky
Hotels JW Marriot Bucharest Grand Hotel
Daniel Dead Sea
Meridian Dead Sea
Dan Hotel Tel Aviv
The film was produced with the support of
30

Filmstiftung NRW
&
Cinema Project, a joint project of
The Rabinowich Foundation for the Arts & the Recanati Foundation.
Thanks to all of the administration at the
Israeli Ministry of Science, Culutre and Sports and the Israeli Council for Cinema
Gory Einy
Nachman Ingber
Yossi Oren
Alon Garbuz
Yoav Abramovich
&
The German Federal Filmboard FFA
&
HOT
Executive in Charge of Production-HOT Ofir Rabinovich
Head of Drama Department-HOT Mirit Toubi
Drama Department Producer-HOT Inam Shavit
Special Thanks
Amira Bleiberg Yerachmiel Bleiberg
Keith Addis Antonia Israel
Yishay Aizik Hülya Israel
Amir Aviram Luca Israel
Daniel Bleiberg Katharina Lueke
Ariel Bleiberg Sarah Lueke
Shlomo Bleiberg Johnnie Planco
Peter Dinges Hal Sadoff
Dr. Nathan Dorst Michael Schmid-Ospach
Claudia Droste-Deselaers Renen Schorr
Jacob Feingold Lisa Shiloach
Tomer Feingold Efrat Toussia-Cohen
Frank Frattaroli David Unger
Koby Gal-Raday Yoav Ze'evi
Mary Beth Hurt Miranda Kaniuk
Thanks to Yad Vashem
Yad Vashem Visual Center, Liat Benhabib, Dr. Robert Rozett, Mimi Ash, Nava Silvera, Dilyara
Bayrmov, and especially to Dana Porat
Thanks
Ken Atichy David Lipkind
Arye Barak Ira Liss
Holly Baril Bryan Lourd
31

Aaron Barsky Paul Lyon-Maris
Henri Behar Janet Maslin
Brinda Bhatt Marcia Matthew
Barbara Black Mike Miller
Leora Bleiberg Linda Morrow
Klaus Bloch Prof. Ilan Mudai
Michelle Bohan Tova Rattner
Andrei Boncea Karen Roberts
Christina Born Nathan Ross
Joan Borsten Jay Rubin
David Bugliari Scott Schachter
Ilan Bushari Katriel Schori
Maryline Collin Noemi Ben-Natan Schori
Joseph Craig John Shanley
Nadine Debarros Jered Schwartz
Ann Du Val Adi Shoval
Rodika Elkalay Dana Sims
Louisa Fox Andreea Stanculeanu
Yitzhak Ginsberg Deborah Steinmetz
Robbie Goolrick Joachim Sturmes
Andrew Gout Brian Swardstrom
Roxana Gramada Arieh Toussia-Cohen
Eugenie Grandval Shlomi Toussia-Cohen
Haifa City Council Yonathan Toussia-Cohen
Louise Hammarberg Yarden Toussia-Cohen
Shmuel Ha'sfari Bic Tran
Levia Hon Dom Tavella
Jan Hübel Peter Trinh
Craig Jecobson Frank Walliger
Kent Jones David Weismann
Perry Kafri Silke Wolz
David Klane Frank Wullinger
Jessica Lacy Zohar Yakobson
Nathalie Lamy Boaz Ben Ziyon
Licensed Music
Tannhäuser Ouverture Nachtviolen
written by: Richard Wagner written by: Franz Schubert
© Bruton Music Ltd. Sopran: Elisabeth Schwarzkopf
by courtesy of Universal Publishing Piano: Edwin Fischer
Production Music GmbH by courtesy of EMI Music Germany GmbH & Co. KG
Camera equipment provided by Arri
Lighting equipment provided by Arri and Panalight Studio S.L.R., Romania
Film shot on Kodak
Insurance provided by Aon Jauch & Hubener GmbH
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