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Preliminary Production Notes For additional publicity materials and artwork, please visit: www.lionsgatepublicity.com Rating: R for disturbing sexual material involving minors, violence including a rape, language and some drug content. Running time: 113 mins. For more information, please contact: Kate Hubin Adam Kersh Lionsgate Lionsgate 2700 Colorado Blvd. 75 Rockefeller Plaza Suite 200 16th floor Santa Monica, CA 90404 New York, NY 10019 M: 310-382-4630 M: 212-386-6874 E: email@example.com E: firstname.lastname@example.org Lionsgate Presents A Centropolis Entertainment and VIP Medienfonds 4 Production A MARCO KREUZPAINTNER FILM KEVIN KLINE TRADE CESAR RAMOS ALICJA BACHLEDA PAULINA GAITAN MARCO PEREZ LINDA EMOND ZACK WARD KATE DEL CASTILLO TIM REID PASHA D. LYCHNIKOFF Directed by MARCO KREUZPAINTNER Produced by ROLAND EMMERICH and ROSILYN HELLER Screenplay by JOSE RIVERA Story By PETER LANDESMAN and JOSE RIVERA Based on the New York Times Magazine article “The Girls Next Door” by PETER LANDESMAN Executive Producers ASHOK AMRITRAJ ROBERT LEGER TOM ORTENBERG MICHAEL WIMER NICK HAMSON PETER LANDESMAN LARS SYLVEST Music By JACOBO LIEBERMAN & LEONARDO HEIBLUM -2- SYNOPSIS Adriana (Paulina Gaitan) is a 13-year-old girl from Mexico City whose kidnapping by sex traffickers sets in motion a desperate mission by her 17-year-old brother, Jorge (Cesar Ramos), to save her. Trapped and terrified by an underground network of international thugs who earn millions exploiting their human cargo, Adriana‟s only friend and protector throughout her ordeal is Veronica (Alicja Bachleda), a young Polish woman tricked into the trade by the same criminal gang. As Jorge dodges immigration officers and incredible obstacles to track the girls‟ abductors, he meets Ray (Kevin Kline), a Texas cop whose own family loss to sex trafficking leads him to become an ally in the boy‟s quest. Fighting with courage and hard-tested faith, the characters of Trade negotiate their way through the unspeakable terrain of the sex trade “tunnels” between Mexico and the United States. From the barrios of Mexico City and the treacherous Rio Grande border, to a secret internet sex slave auction and the final climactic confrontation at a stash house in suburban New Jersey, Ray and Jorge forge a close bond as they give desperate chase to Adriana‟s kidnappers before she is sold and disappears forever into this brutal global underworld, a place from which few victims ever return. The debut American feature of one of Germany‟s leading young directors, Marco Kreuzpaintner, Trade is produced by Roland Emmerich and Rosilyn Heller from a screenplay by Oscar® nominee Jose Rivera (The Motorcycle Diaries) that was inspired by the New York Times Magazine cover story The Girls Next Door written by Peter Landesman. Lionsgate presents a Centropolis Entertainment and VIP Medienfond 4 Production, Trade, a contemporary drama starring Academy Award-winning actor Kevin Kline, Cesar Ramos, Alicja Bachleda, Paulina Gaitan, Marco Perez, Linda Emond, Zack Ward, Kate Del Castillo, Tim Reid and Pasha D. Lychnikoff. Trade is co-produced by Amanda DiGiulio, Jakob Claussen, Thomas Woebke and Ossie von Richthofen. The film‟s executive producers are Ashok Amritraj, Robert Leger, Tom Ortenberg, Michael Wimer, Nick Hamson, Peter Landesman and Lars Sylvest. -3- ABOUT THE PRODUCTION The story of Trade begins in 2003, when reporter and writer Peter Landesman spent five months in the barrios of Mexico City reporting a ground-breaking cover story on sex slavery for the New York Times Magazine. Landesman had gained a reputation for tackling provocative stories; he had covered the wars in Kosovo and Afghanistan, and reported on the dealings of global arms traffickers. But his report from Mexico, Sex Slaves on Main Street, was perhaps the most controversial of all, revealing for the first time the hidden, horrifying crime network of child sex trafficking operating in the U.S., Mexico and Europe. On the Times’ website the article became the most requested story of the year, and was awarded “Best Foreign Reporting on Human Rights Issues” by the Overseas Press Club (the magazine world‟s Pulitzer). “It all began when my wife -- Kimberlee Acquaro, the photojournalist on the story -- saw a local news story on TV about Mexican girls who had been found prostituting themselves in the reeds outside of San Diego,” he recalls. “When I went down to investigate, immediately it seemed there was something missing in the news story – something hidden, wrong, unsaid.” Within a week of reporting, the writer found himself inside an “unspeakable” network of sex traffickers who were kidnapping girls, young women and sometimes adolescent boys and smuggling them across the U.S.-Mexican border. From there, they ferreted their sex slaves into secret stash houses littered across the cities and bedroom communities of America. Usually they would drug their victims into submission and hold them hostage for months or years while selling their bodies for outrageous profits. Most were unable to escape these trafficking “tunnels,” and many were never heard from again. For Landesman, the shocking discovery was like “walking into a house and suddenly finding yourself falling through a trap door into a bottomless cavern.” The TV news story, he discovered, had missed the whole point. “Watching it you had believed these girls were prostitutes, but in fact they were sex slaves. I finally realized what had been unsaid, untold.” (See “Journeys to the Underground,” p. 13) Producer Rosilyn Heller had already heard of Landesman through his prior articles and screenplay commissions when her friend and producing partner, Gloria Steinem, brought him to Heller‟s home for a dinner party. After learning he was writing a story about sex trafficking – an issue close to her heart as a long-time advocate for women‟s rights – she sensed the groundwork for a compelling film with deeply personal and relevant storylines. “People are always quick to point their fingers and say this is a problem that exists overseas, in Southeast Asia, Eastern Europe and Africa,” Heller notes. “But that‟s not true. It‟s also right here in our own backyard.” Heller then called her close friend and producing partner, the director Roland Emmerich. Would he consider taking on the project? “Roland of course was known for these huge successful studio movies like Independence Day, The Patriot and The Day After Tomorrow,” Heller says. “But I knew he was also deeply committed to doing smaller, more provocative political and personal pieces. I knew he had a tremendous interest in Mexico‟s culture and people. I was thrilled that he unequivocally said „yes.‟” With Emmerich‟s purchase of the rights to Landesman‟s story, the director of some of Hollywood‟s biggest blockbusters became the de facto godfather of one the most intimate and powerfully-themed projects to hit the independent film community. “This was such an important story for me that I was determined to see this „little‟ project born,” notes Emmerich. “It may be smaller in budget but it was so great in terms of its emotional core. And this for me is what makes a movie truly „big.‟ ” -4- The Writing of Trade The next step was to develop a script treatment based on Landesman‟s article. Under Emmerich‟s and Heller‟s supervision, Landesman wrote a treatment about a Texas cop who had fathered a daughter lost to the world of sex trafficking, and a young Mexican street kid whose life is forever changed when he runs away to America to rescue his kidnapped sister from one of the underground trafficking networks. “I wanted to make this a story about a kid who could have been one of these young traffickers,” Emmerich says. “He was being practically trained for it, yet in an instant his whole life – and his whole mission in life – changes 180 degrees, and that‟s what we follow. We didn‟t want to make a political or social docudrama about sex trafficking. And we didn‟t want to romanticize the story in any way, because it‟s so devastating. We simply wanted to make a personal story from the victims‟ point of view, because that‟s a story an audience can care deeply about.” With Landesman himself already committed to screenplay projects for Oliver Stone and Michael Mann, Emmerich and Heller approached Puerto Rican-born writer Jose Rivera, who had recently written the acclaimed feature Motorcycle Diaries starring Gael Garcia Bernal. Rivera immediately responded to the subject matter. “We were so lucky because he hadn‟t been nominated for the Academy Award yet for Diaries, so it was easier to get him,” says Heller. “As a Latino he had an innate feeling for the world inhabited by these characters.” In the summer of 2005, Heller and Rivera trekked down to Mexico City on a research trip to visit many of the neighborhoods later portrayed in the film. Among them was the barrio of La Merced, where they witnessed an extraordinary daily ritual chronicled in Landesman‟s article. Called “la parabola,” the haunting scene featured a line of prostitutes, aged from about 14 to 60, circling around in an alley, completely surrounded by a ring of men wordlessly picking their favorites. The scene was “especially disturbing,” Heller recalls, because it took place in broad daylight during the men‟s lunch break: “For many women this was clearly their livelihood. But you sensed there were girls among them who were not there voluntarily.” The trip to Mexico had a profound effect on Rivera in particular. “The original material was heartbreaking – you have to be made of stone not to respond to what the article was about,” the screenwriter remarks. “And that was magnified by meeting some of the girls at the women‟s shelters we visited in Mexico. There were runaways and some of these kids had been sex slaves, and what was most inspiring was just how trusting they were in sharing their stories.” One story in particular impressed the screenwriter, that of a 12-year-old girl who, at the age of nine, had been sold into the sex trade by her uncle. “She had been beaten many times, she had been forced to do horrible things like assist in the abortion of a friend‟s fetus and then bury it in the middle of Mexico City,” Rivera recalls. “Yet this girl refused to feel sorry for herself or indulge in self pity, and that impressed me enormously. You could see her tenacity and her survivor strength through her tears. This amazing girl became my model for the character of Adriana in the film.” A little over three weeks after he returned to Los Angeles, Rivera had a first draft of the screenplay, then called The Girls Next Door, ready to show Emmerich and Heller. “I was able to write the draft fairly quickly, thanks in part to the detailed outline, which I also re- drafted,” says Rivera. The hardest scene to write was the rape scene of Veronica in the stash house. “In the story the whole act is being videotaped by one of the gang members, and that videotape ends up on a porn website as entertainment. On a moral level, that was the toughest part for me to deal with.” Emmerich found Rivera‟s first draft of the script so compelling that he committed to direct the project the following March. But then came the inevitable and lengthy complications of cobbling together the roughly $12 million budget for the movie, and the movie‟s start date kept getting pushed back. Though it would have been easier to find funding through a studio, both -5- Heller and Emmerich were adamant that the movie be made independently in order to preserve as much control over it as possible. Other major commitments began beckoning the director, too. One project, in pre- production at Warner Bros., was the action-adventure epic 10,000 B.C. It was looking increasingly uncertain whether production schedules would allow him to direct all the projects on his plate. Passing the Baton During this time an old film school friend and former producing partner of Emmerich‟s back in Germany had screened for him a feature called Summer Storm, directed by a 27-year-old director named Marco Kreuzpaintner. The movie, a coming-of-age and a coming-out tale about a young rower who goes to summer camp and learns he‟s in love with his best friend, impressed Emmerich with its complex characters and the sensitivity of the acting by a cast of mostly non- professionals. Emmerich invited Kreuzpaintner to come to Los Angeles and look over a pile of screenplays he might like to take on under his aegis. Recalls Kreuzpaintner: “Roland handed me a bunch of scripts – he knew I was interested in doing a character piece with a strong political background – and one of those was a script called The Girls Next Door. When I was about halfway through it I was sitting in the library of his house and he came in and asked me, „So what do you think?‟ I told him if this finishes as great as it starts I‟d be happy to direct this script. The politics never get in the way of the story and it‟s so rare that you have such interesting characters mixed with this political background. None of the other scripts had interested me. And Roland said, „Well, keep on reading. It‟s my next project.‟ “At that moment I was so disappointed I said something like „Fuck! I‟m jealous!‟ Later, he told me that this was one of the moments that impressed him a lot. He would say with a smile, „It‟s always good that a director is jealous.‟” Kreuzpaintner then headed back to Berlin before attending a film festival in India at the end of 2004. Meanwhile, financing delays had finally closed the window for Emmerich to direct Rivera‟s script, and he put his attention onto Soul of the Age (a project that later got postponed when 10,000 B.C. replaced it). Knowing he now needed a director for his Mexican passion project, Emmerich screened Summer Storm for producer Heller, who loved the film. “I told Roland this is the guy who should be directing our movie!” enthuses Heller. “I asked him, where is he? And Roland said, „He‟s on a beach somewhere in India.‟” Continues Kreuzpaintner: “You can imagine I was so thrilled to all of a sudden get a call from Roland Emmerich to do a project! He said „Things are happening and I‟ve decided to do another project. I‟ve thought about it and I think you‟re even better to direct The Girls Next Door.’ I was blown away by the trust he showed in me.” Two days later, after managing to wriggle out of an assignment to direct a disaster movie called The Cloud – which he wrote himself -- (released in Germany last March), Kreuzpaintner was on a plane to Los Angeles. A day after that – December 12th – the director found himself in Mexico City checking out locations for the film with his two new producers, Emmerich and Heller. “What attracted me to Peter (Landesman)‟s story is that for the first time it shined a light on what‟s going on in Mexico and in the U.S. itself, ” noted Kreuzpaintner. “Cross-culturally, that fascinated me: What do we think of each other as neighbors? What do we expect of each other? How do we communicate with each other?” The production finally had its core team in place, but funding still had not come together. So Emmerich decided to bankroll the production himself to keep it afloat. “He knew how tough it was for us before we got our European partners, because he himself is so involved in the Hollywood system,” says Heller. “He said to Marco and me, „I‟m going to make this picture no -6- matter what it takes. I will not fail you.‟ He believed in it and supported us every step of the way. He put his money where his heart is. That‟s pretty unusual in this town. He‟s been our godsend.” With that pledge in place, the film‟s German funding partners and North American distributor, Lionsgate, were finalized. In the end, it was less than a year from the time Kreuzpaintner came aboard that principal photography on the renamed Trade commenced in Mexico City on November 28, 2005. Casting the Film Casting Trade centered first on its three young leads: the kidnapped 13-year-old girl Adriana; her 17-year-old brother Jorge, whose mission it is to save her; and Veronica, the young Polish woman trapped in the “tunnel” who becomes, for Adriana, a different kind of salvation. With these three roles crucially anchoring the film, Kreuzpaintner and company wanted to cast as wide a net as possible in order to find new talent with the right sensitivity and chemistry. For Veronica, the director selected the luminous young Polish actress Alicja Bachleda. Born in Mexico, Bachleda connected closely with its culture, and had already worked with Kreuzpaintner on Summer Storm. The two younger roles, Adriana and Jorge, were selected from open casting calls. After a two-country search that took the director and producer from Mexico to New York, Miami and Los Angeles, they ironically returned to hire two unknown actors whom they met in their first casting session in Mexico City. “Our Mexican casting director was Carla Hool, who had done a wonderful job casting the movie Innocent Voices,” said Heller. “One of the first girls she brought us was a 12-year-old named Paulina Gaitan. She did the scene where she prays in front of the Virgin and asks for help and immediately we knew: this was a hire. Her emotions were so translucent and instinctive, we had tears in our eyes.” Another actor at that first audition was Cesar Ramos, a charismatic 20-year-old who had largely been seen in Mexican TV commercials. “Caesar was one of the very first people we auditioned,” says Kreuzpaintner. “We thought, this is just too easy, it‟s too much luck the first time around and we‟ve got to keep searching. So we did, and many months later we came back and looked at him again and said, this is definitely it. He had so much heart and charm and passion. Our first instincts were totally right.” For Heller, what was most impressive about these casting sessions was her director. “I‟ve been to many sessions where the director never says anything. But here was this 27-year- old working with these young actors so intimately and confidently, encouraging them and sharing so openly what he wanted from them. I don‟t even know if they understood all the words, but they got it, believe me. I was astonished.” For the role of Ray, the taciturn, world-weary Texas cop who unexpectedly becomes an ally in the personal mission of a young Mexican street kid, the filmmakers resisted traditional casting. “We didn‟t want the typical actor you‟d expect to play a Texas cop,” said Kreuzpaintner. “Someone suggested Kevin Kline and I thought – could we get him? He was known a lot for Shakespeare and comedy, but this was completely different and we liked that. We also knew he‟s really selective about the roles he takes.” Kline was so compelled by Rivera‟s script and by Kreuzpaintner‟s Summer Storm that he asked to meet the young director. Within three hours Kreuzpaintner was on a plane to New York, and what was expected to be a half-hour meeting turned out to be a five-hour marathon talking about the film, life, art, politics and Mexican culture. “Within five minutes of talking to Marco, I could tell that he was not interested in the sensational or exploitative aspects of the story, and that he saw the film within a larger context,” said Kline. “He clearly had an aversion to clichés and, on a personal level, he seemed very open, -7- vulnerable and giving. Plus he had a great sense of humor, which always helps. The first impression proved to be accurate during the filming process.” On Location: A Different Kind of Family Production on Trade began in Mexico City on November 28th, 2005 and wrapped on Feb. th 15 , 2006 in New Jersey. From the start of shooting it had a been a year and a half that Heller and Emmerich had begun development based on Landesman‟s original story, and a mere eight weeks since Emmerich had given the go-ahead for pre-production to begin. With the screenplay‟s narrative moving through vastly different terrains – from the barrios of Mexico City, where the characters of Adriana and Jorge live, to the border crossing at Juarez and the arid Texan landscapes, to the leafy suburbs of New Jersey – the filmmakers knew that authenticity could only be achieved by shooting entirely on location. Mexico City hosted the scenes of Adriana‟s birthday party, Jorge‟s street gang and the first stash house in la Merced where Adriana meets Veronica, as well as the stash house in Juarez. It also subbed for a sequence in Poland, shot in a section of the city built by the Mexican military that features huge socialist-era buildings and vast stretches of concrete. To mimic a snow landscape of Veronica‟s home town in Poland, an entire square was covered with tons of sea salt. “It was probably the first time the residents had ever seen snow in the city!” laughs Kreuzpaintner. After a short holiday break, the crew relocated to Albuquerque, New Mexico. There they shot the scenes of Ray and his wife at home, and the final, climactic rendezvous at the stash house in New Jersey. The final locations of highways and traveling shots were shot by the second unit in New York and New Jersey. Joining the production was a multinational cast and crew of Germans, Americans, Mexicans and two Poles, all communicating in a polyglot of languages with the “default” being English. Mexican crew members “were some of the hardest working I‟ve ever seen,” said co- producer Amanda DiGiulio. Many of the Americans were veterans of major studio productions who had turned down more lucrative work to become part of what all considered a uniquely important project. For Kreuzpaintner, it was critically important that the film‟s production focus on the human story of the girls‟ plight and avoid any hint of political expose. “The danger of this kind of movie is that you can lose yourself in the complications and set-up of the big subject matter of sex-trafficking, which spans several countries in our movie,” the director notes. “So my focus was just to stay with my characters and really put them under an emotional microscope. We didn‟t want to sensationalize this and just show all the cruelties that happen to these girls, how they are being raped by guys who have enough money to buy them. That would be like making them a victim for a second time. I just wanted to give them the chance to be human beings, to fight for their right to be free.” To emphasize this sense of freedom and the actors‟ emotional journey, the director allowed his actors to improvise. “Often I like to rehearse more the character‟s background and situations than particular scenes,” Kreuzpaintner notes. “Sometimes I wouldn‟t say „cut‟ at the end of a shot in order just to let things happen out of a situation written in the script. And sometimes those moments were the most interesting of all.” The director and his cinematographer, Daniel Gottschalk, were also careful not to over- plan the camerawork. Trade was shot almost exclusively with handheld cameras, often using several at a time in order not to miss any special moments or details from the actors. “Instead of using a lot of special lights and set-ups, we wanted to give the scenes the look and feeling of reality,” says Gottschalk. “So in the first part of the movie in Mexico, our aim is to create camerawork that is full of life and color and energy. People here have a lot of interaction and live -8- in very small spaces, so we use a very active handheld camera in order to really be a part of it. The camera‟s moves are totally influenced by the actors; they lead and we follow.” But when Gottschalk‟s camera begins to explore Ray‟s world in New Mexico, its behavior changes. “Ray‟s life is very static and filled with desaturated colors, so we locked down the camera. These people live in huge spaces, so we take advantage of the widescreen format. I try to show the loneliness of it all.” In the second half of the film Ray drives Jorge across the U.S. to hunt for the kidnappers of the boy‟s sister. As the older man becomes bonded to the boy‟s mission, the camera “slowly comes alive again,” says Gottschalk, “We go with the handheld feeling once more, and that‟s determined by Ray‟s character as he opens up to the passion and energy of this amazing kid.” Working with Kline, who plays Ray, was another key element of the production‟s success. “From the first moment I really fell in love with Kevin and the way he works,” says Kreuzpaintner. “He trusts his instincts to explore different things and follow different impulses – he‟s incredibly creative. And he never made it difficult for me as a young director. He‟s the easiest and most professional actor you could work with.” Although virtually all of Kline‟s scenes were to be shot in New Mexico, the actor flew down to Mexico early in the shoot to meet the cast and crew and absorb the feel of the movie. It wasn‟t until filming began that the natural intimidation of the young cast working with an actor of Kline‟s caliber melted into an immensely productive and mutually rewarding collaboration. “After I stopped being nervous, we shot our first scene together and it turned out to be my favorite one,” says Cesar Ramos, who plays Jorge. “It was when Jorge jumps out of the trunk of a car at the motel and Ray pulls me into his car and I yell to him, „Please mister! Don‟t take me to the cops!‟ And I got crazy during the take and started to scream and cry and after the scene Kevin comes over to me and says, „You know it was really hard for me as the character to not believe you and call you a liar because you were so convincing!‟ And I felt really great about that.” Working with Kline, he adds, “is like school for me. He teaches me a lot of things and helps me with the language. He‟s very clever and patient and he respects my job as an actor.” That partnership, Ramos says, was nurtured by his director, too. “At first I thought that since Jorge hated gringos, why would he ever trust a cop? But Marco opened my eyes to something very important – in Ray, Jorge finds the father he never had. At the end of the movie, he really loves Ray.” For Kline, the tensions and unlikely bonding between the older, emotionally shut-down Texas cop and the passionate stubbornness of a young street kid was one of the great attractions of his role. “The fun has been exploring the possibility of some kind of emotional connection in the face of their generational gap, the socioeconomic gap, not to mention a mutual xenophobia that lies between Jorge and Ray.” Much like Jorge‟s character, Ray‟s discovery of family is also a key to his role in the film. “I think Ray feels incomplete, as though he were missing a limb because he has his own child out there whom he has to find, however hopeless that seems,” said Kline. “And there‟s a level of humanity in his attempt to rescue someone else‟s daughter given the impossibility of finding his own.” One of the biggest challenges in Trade was putting these young actors in situations that in real life would be frightening and dangerous for them to encounter. In one of the film‟s most difficult scenes, Adriana, played by the 13-year-old Gaitan, is taken out to a reeds field by some men who have paid to have oral sex with her. “The sequence isn‟t showing the literal act of course. I wanted instead to make Adriana‟s entrance into a field of reeds by some men an endless walk, like the walk to a slaughterhouse,” relates Kreuzpaintner. “We shot it completely from the point of view of the girl. So all we see are the bodies of the adults – not their faces – and the camera is from the girl‟s point of view. And then we see her eyes in reaction to all this and the huge emotions that break out onto Paulina‟s face. That was upsetting to me because as a filmmaker you want to make an impression -9- with this scene but as a human being you want to protect this young actress from getting emotionally hurt. And this made it so difficult for me.” The relationship between his young actors and Kreuzpaintner was like that of close-knit kids to a beloved big brother. “It‟s a huge comfort to work with someone who‟s very sensitive and deep and knows exactly what he wants,” says Bachleda (Veronica). “You can talk to him and he listens.” Adds Gaitan: “Marco‟s not like other directors who spend the whole time screaming at you. He‟s patient. And he loves to be with kids.” That chemistry between the actors is augmented in the film‟s use of music. In the Mexican section of the story, music supervisor Lynn Fainchstein has included a variety of street music to enhance the action. “These people belong to the streets,” she notes, “so we use music called cumbria, which is like Caribbean and salsa band music and is very popular.” Fainschstein included a salsa band for the scenes in the La Suprema bar, where Jorge and his gang hang out. When the movie moves to the U.S., “we have Ray and Jorge fighting over which music to play on the radio – it‟s classical versus reggae.” The Streets of La Merced Key to the movie‟s look and feel was the decision to shoot among the streets of La Merced, one of Mexico‟s most dangerous gangster quarters where Landesman had first trekked to tell his tale. The lively squatters‟ slum is a maze of sewage-soaked alleyways, curbside vendors and yapping dogs. Buffered at one end by Mexico City‟s busiest street market and on another by a red light district, the film‟s location is only a block from where the girls of “la parabola” parade daily under the watchful eyes of knife-toting pimps, selling sex for 20-60 pesos (around $2 to $6). “Don‟t go near there without one of our security guards – and hide your watches,” a crewmember cautions. Still, one makeup woman ventures out alone to research the girls‟ rouge for a later scene. Along the narrow street of Santo Thomas, mothers and daughters peer curiously at the crew vans and tangled cables set up to shoot Scene 40, in which Veronica and Adriana befriend each other in a stash house. The barrio‟s tenement buildings were rented out by the production after weeks of negotiations with dozens of families and their neighborhood bosses, or lider, who traditionally place squatters in unclaimed buildings that can shelter eight or more people to a room. As the cameras are readied, a women drops by to ask in Spanish what all the fuss is about. Told that a movie is being made about a girl who is kidnapped by sex traffickers, she replies, “You‟ve come to the right place. That happens a lot around here.” Stray dogs are everywhere. One of them, a lactating German shepherd that jealously guards her courtyard, is hauled up by an improvised harness to a tin rooftop, where she‟s readied for her close-up. She snarls perfectly on cue. “A lot of the buildings have already been cleaned up for us – when we walked in here at first we kind of had to avoid the dog shit in the rooms,” smiles unit photographer Marco Nagel as he snaps away. “Nearly everyone has already gotten Montezuma‟s revenge. Marco and Daniel (Gottschalk) got tapeworms and even gave them names. Marco‟s was „Horst.‟” At the end of a murky passageway, crew members set up viewing monitors next to a cramped courtyard. Above them, a few dead chickens dangle on a clothesline. Nearby, flies buzz around a family‟s decapitated lunch hen; a rooster pecks nervously at a tripod. Amidst the bustle of work, the crew is happily oblivious to this background action, and to the scent of blood, feces and fermented food that stings the air. Despite the squalor, there‟s an optimism in La Merced that seems to push out from the darkened alleyways and narc dens to embrace the bright December sky. Since it‟s a place where families live, balconies are fringed with marigolds and parakeet cages. A circus clown ambles - 10 - past – a refugee from a city festival the night before. Next door to the film location, a boy places flowers at a makeshift shrine to Saint Guadeloupe, as if to bless the production. “Everyone tried to warn us away from shooting here,” reports Heller, “but we dug in our heels. And in the end, we were so right.” Adds Kreuzpaintner, “The colors and smells of La Merced, the dogs and chickens and wall drawings and all the rhythms of the street – you cannot recreate this, and it would be wrong to try. Everyone is affected by this place, and our idea is that everyone will absorb and reflect this feeling.” The director seems to soak up that spirit as he rehearses the stash house scene in a tenement loft, bobbing up from his chair to hug his two actresses before the cameras roll. The room is dressed with two stained cots, a couple of bird cages and a few framed paintings of Jesus. In a scene before this one, sex trafficker Vadim has ripped up the photo of Veronica‟s daughter in a brutal warning to the young mother. Now, when the girls are alone, Adriana picks up the torn pieces and laces them slowly it into Veronica‟s hand, and the two whisper of how the Virgin Mary will protect them. “It‟s a very important scene for Veronica, because it‟s the first time she really decides she will be there for someone else, that she is needed somehow,” says Bachleda, whose character finally escapes her captors through a literal leap of faith. “Despite all her tragedies, there‟s a light in the tunnel.” Gaitan clearly feels a kinship with Bachleda, and the intimacy shows on camera. “Adriana is a girl who has lost everything, and here in this scene she finds a person she can rely on, whom she can understand,” Gaitan offers in Spanish. “It gives her the strength to live on. And even though she loses that strength when Veronica is no longer there for her, she finds it again with the hope she‟ll finally see her brother. But it‟s a very hard-won hope.” As the scene wraps, Gaitan‟s mother, a lawyer, comes up to offer the cast and crew some homemade cookies. “Mama” is on the set every day, sharing food and laughs with her new-found family. Like Kreuzpaintner, her affection and support are contagious. With more hugs for his actresses and for Mama, the director heads for the next set-up, dodging chickens and dogs as he scurries down some creaky stairs to join the bustle of the streets below. - 11 - JOURNEYS TO THE UNDERGROUND Peter Landesman Talks About the Sex Slave Trade Peter Landesman‟s groundbreaking article in The New York Times Magazine, “Sex Slaves on Main Street,” inspired a national conversation on a topic left largely unspoken in the American media. Since the story‟s publication in January 2004, news articles, documentaries and websites worldwide have finally begun to shed light on the human and social costs of this multi- billion-dollar, multinational slave trade. And the federal government has initiated legislation and law enforcement programs to help stop the trade. Now, with the release of Trade from Lionsgate Films, the shocking underworld first exposed by Landesman finds its most compelling expression in the deeply human story of a boy and a policeman‟s unlikely journey to reunite their families that have disappeared into the “tunnels” of international sex traffickers. With tens of thousands of women and children kidnapped each year by these prostitution and drug rings, Landesman contends that Americans can no longer remain bystanders to the global growth of sex trafficking, because these crimes are happening in their own backyard. “People who live in these towns I wrote about responded to the story with disbelief, rejection, horror at what was taking place next door,” he remarks from his home in Los Angeles. “It‟s a little like battered wife syndrome; they know it‟s happening to them, but they don‟t want to know. I don‟t think it‟s a matter of not accepting it. I just think people had no idea.” Landesman‟s five-month investigation of the “tunnels” of sex slavery across the U.S.- Mexican border lead him through a labyrinth of organized crime whose scope was as daunting as its motives. “It‟s an extraordinary economy, primarily because the capital it takes to start up a business is zero,” he reports. “You kidnap a girl, you pay her nothing. You don‟t pay anyone else for that human being. So you can make hundreds of thousands of dollars a year off a single girl.” Of the estimated 600,000 to 800,000 men, women, and children trafficked across international borders each year, approximately 80% are women and girls, and about 50% are minors, according to recent State Department reports. Landesman estimates that about 100,000 or more men, women and minors are trafficked into the U.S. every year. Still, he cautions that any numbers are merely a best guess when it comes to the trafficking of drugs, weapons, or humans: “After all, traffickers don‟t file with the IRS, and no one‟s at the border with a clicker counting who‟s coming across.” In his own reporting for The New York Times, Landesman discovered that many of these girls, some as young as 11 or 12, are forced to have sex with up to 30 men a day. The going rate starts at around $20, with clients paying as high as $100 if the girl is a virgin. “Just do the math,” says Landesman. “With each trafficker controlling five, 10 or 20 girls for 365 days a year, it‟s an enormous business.” Within the U.S., the sex slave market is stratified between low-end prostitutes brought in by Mexican field hands, and girls targeted for the high-end prostitution market who are kidnapped from countries like Ukraine, Moldova and Poland, the home country of Veronica in Trade. Many of these victims are enticed into the network by “travel agents” who lure them with exotic tales of becoming movie stars and supermodels, of living the good life under the waving palms and beckoning sun of Hollywood. Their dreams inevitably shattered, these girls can be seen entertaining clients in almost any local strip joint across America. Many are found “offering” their high-end services on the web, while still others are sold outright as chattel for tens of thousands of dollars each, via secret, password-protected Internet auctions. If any of the girls try to escape from these tunnels of sex slavery, they and their families back home can be physically threatened, harmed and even killed. - 12 - “The horrifying nature of sex slavery is the invisibility of it,” Landesman continues. “The reality is that if you drive down Hollywood Blvd. in Los Angeles or Roosevelt Ave. in Queens (New York) or Michigan Ave. in Detroit, you‟ll see girls on the streets in hot pants, some of them strung out on drugs, some looking perfectly healthy. And you know they‟re hookers and whores. But what you don‟t know – what you can‟t see and what is so deeply disturbing – is that many of them are not those girls but these girls, girls who are forced into slavery under the threat of death.” Landesman recounts one particular visit he paid to a neighborhood nestled among the maple trees and flapping flags of Plainfield, New Jersey – the setting of the final, dramatic rendezvous in Trade. Next door to a convenience store “where you and I would go to shop,” the reporter found a stash house where 13 underage Mexican girls were trapped, raped and starved for months and years at a time. “The scene looked like a slave ship,” he recalls. “There was almost nothing in it except mattresses on the floor. There were tranquilizers and narcotics and chemicals that if you ingest will induce spontaneous abortions. The girls were chained. If you could have imagined your worst nightmare of what would happen to your daughter or sister or mother, this was it. And this was in Plainfield, New Jersey.” Perhaps the most devastating story Landesman heard in all of his weeks of research was that of young American girl – a girl he referred to as “a cutter” – who had been held captive in a basement crammed with children in southern California. She had been trafficked back and forth across the Mexico-US. border from the age of four until she escaped, at age 17. Her story was “almost impossible to listen to” over the course of three days, Landesman reports. It was so extraordinarily hard for her to tell that every couple of hours “she would stand up and leave the room to go to the bathroom, where she would cut herself with a knife just to relieve the tension of talking about it.” The reason her story is unique is because girls like this are usually dead by the time Landesman gets to them. “Of all the things I‟ve seen and covered, hers was the most difficult to hear, and yet in some ways also the most heartwarming because she‟s alive and still kicking.” * * * Landesman acknowledges that all the controversy and awareness generated by his exposé of the sex slave underworld may not, by itself, be enough to arouse governments or communities to fight the good fight to change that world. “The complicity of these governments on the local level – and especially Mexico on a national level – is undeniable and, in many ways, unstoppable,” he observes. “To most of us, sex trafficking is the most abhorrent phenomenon. But when it comes to the agendas of national governments of international institutions like the UN, sex trafficking doesn‟t even make it onto the top twelve. After all, the last thing the U.S. wants is to make an enemy of the Fox administration in Mexico, so they‟re not going to press very hard on this issue. They‟ll make public hay with a press item about this piece of legislation or that border raid, but that‟s about it.” To follow these trafficking tunnels deep into their political and social bulwarks leads inevitably to a single source: poverty. In the countries of origin of these kidnapped children -- Moldava, Ukraine, Russia, Nigeria, Mexico and Thailand, to name but a few – the policemen are among the poorest paid of any profession. How, Landesman asks, are these cops to put food on the table to feed their kids? Partly by dealing with traffickers. “The traffickers themselves don‟t want to kill people, but they do want to identify themselves with something they can belong to – a network, different kind of family, barbaric as that is.” Landesman says that in America, the biggest problem in stopping trafficking may be the police themselves, but not because of corruption. “When an ordinary cop sees these girls on the street, they don‟t know what they‟re looking at. Most of the girls themselves don‟t know how to speak English; they can‟t ask for help, and since in their own countries the cops are the bad guys, they don‟t go to the police. They turn around and run the other way.” - 13 - In the end, Landesman believes it is conundrums like these which make it virtually impossible to stop, or even significantly stem, the tide of sex trafficking. “The only way to stop this on a global level is to stop local corruption and reel in the local police,” he ventures. “And how do you do that? You would have to stop the whole phenomenon of poverty. Call it cynicism, pessimism or just hardened reality, but that we will probably never do.” * * * - 14 - ABOUT THE CAST In addition to his 1988 Oscar for his work in A Fish Called Wanda, KEVIN KLINE (Ray) was nominated for Golden Globe Awards for his roles in Sophie's Choice, Dave, In & Out, Soapdish and De-Lovely and a Screen Actors Guild nomination for Life As A House. After his debut in Alan Pakula's adaptation of William Styron's novel Sophie's Choice, Kline began a long-standing creative relationship with writer/director Lawrence Kasdan. Their collaborations included the influential ensemble comedy The Big Chill, followed by the Western Silverado, the offbeat comedy I Love You To Death, the ensemble drama Grand Canyon and the romantic comedy French Kiss. Kline's other film credits include Lord Richard Attenborough's Cry Freedom, Ang Lee's The Ice Storm, and Michael Hoffman's Soapdish, A Midsummer Night's Dream and The Emperor’s Club. Kline was last seen in Robert Altman‟s ensemble A Prairie Home Companion and The Pink Panther opposite Steve Martin. He next appears as Jaques in an adaptation of William Shakespeare's As You Like It directed by Kenneth Branagh for HBO. A Juilliard graduate, Kline made his Broadway debut playing Vershinin in Anton Chekov's The Three Sisters for John Houseman's The Acting Company, of which he is a founding member. His other Broadway credits include Hal Prince's On the Twentieth Century, for which he won both a Tony and a Drama Desk Award, and The Pirates of Penzance, for which he again won both a Tony and a Drama Desk Award, as well as the Obie Award for Outstanding Achievement by an actor. Other Broadway performances include Shaw's Arms and the Man directed by John Malkovich, and Gerry Gutierrez's production of Chekov's Ivanov at Lincoln Center. His roles at the New York Shakespeare Festival have included Richard in Richard III, Henry in Henry V, Duke Vincentio in Measure for Measure, Benedick in Much Ado About Nothing and the title role in Hamlet, for which he won the Obie Award for Sustained Achievement in Theatre. He directed and starred in a second production of Hamlet, which received five Drama Desk nominations, including best director and actor nominations for Kline. Later, he co-directed a televised version of the production for the PBS Great Performances Series. Kline appeared opposite Meryl Streep in Mike Nichols' critically acclaimed production of Chekov's The Seagull, for the Public Theater's "Shakespeare in the Park." He recently won a Drama Desk award for his performance as Falstaff in Lincoln Center Theater's production of Henry IV, directed by Jack O‟Brien. He will be seen in Bertolt Brecht's Mother Courage and Her Children at the Delacorte Theater in New York City during the Summer 2007. Kline is the first American actor to receive the Sir John Gielgud Golden Quill Award, and he was recently inducted into the Theater Hall of Fame. Growing up in Mexico City near the streets of La Merced, CESAR RAMOS (Jorge) could easily relate to his character‟s rocky past. As a kid, Ramos learned to survive eating tuna from tin cans and selling tortas and T-shirts at the local markets with his family. “Still, it was the best time of my life because all of us – my father, my mother, my sister – we were fighting to stay together, despite our troubles. That taught me to have faith in myself.” That self-confidence brought Ramos to acting at an early age, appearing in four Mexican TV shows, 22 TV commercials, two plays and in a small part in the Mexican feature To Die on Sunday, before beginning work on Trade. Ramos also remembers sitting down with his father to watch Kevin Kline in Dave (his dad‟s favorite movie) and, later, Independence Day – the last movie they saw together before his father died. “So maybe life has prepared me for this movie in other ways, too!” Most importantly, the experience of making Trade has changed his life with his family. “With my own sister, I didn‟t have such good communication as Jorge had with Adriana,” he admits. “But once I started shooting this movie, I went to her and apologized and asked her to - 15 - forgive me for being as I am. And I told my sister, „Please, I want to be your best friend. I want you to trust me.‟ After spending time with Paulina (Gaitan), my sister in the movie, I learned how to become a good brother. Now we are close.” The pride of his family, Ramos recently was able to buy an apartment of his own in Mexico City. Born in Tampico, Mexico, in 1983, ALICJA BACHLEDA (Veronica) has acted regularly in her native Poland, making her first appearance in a foreign feature film alongside Tom Schilling in Michael Gutmann's Herz Im Kopf. She first worked with director Marco Kreuzpaintner on the film Summer Storm. She played one of the lead roles in Andrzej Wajda's epic Pan Tadeusz, which drew about six million viewers to theaters, making it one of the most successful Polish films ever. PAULINA GAITAN (Adriana) was 12 years old when casting director Carla Hool brought the Mexico City native in for an audition with the filmmakers. Recalls producer Rosilyn Heller, “Paulina did the scene where she prays in front of the Virgin and asks for help and immediately we all knew she would be perfect for the role of Adriana. Her emotions were so translucent and instinctive, we had tears in our eyes.” Paulina‟s previous acting credits include a small role in the acclaimed motion picture Innocent Voices. MARCO PEREZ (Manuelo) is best known for his role as Ramiro in Amores Perros, which received an Oscar nomination as Best Foreign Language Film (Mexico) in addition to being named Outstanding Foreign Film from BAFTA and the Alma Awards. A well-known theatre actor and playwright in Mexico City, Perez has also appeared in several Spanish language films, including the 2004 crime drama La Sombra del Suhuaro and Guchachi, written and directed by Abraham Oceransky, as well as shorts in Mexico and Spain. In 2006, he received an actor and director scholarship from the cultural office of the Mexican government to create a new play, tentatively entitled “My Beautiful Fable.” KATE DEL CASTILLO (Laura) has been the leading lady in nine telenovelas taking them to the top of the Nielsen charts every time. They have aired multiple times in the US and in more than 100 countries, reaching fans all over the world. Kate‟s recent credits include the lead in “The Same Moon” as the head of a family from Mexico, separated by circumstance, Premiering at the Sundance Film Festival as part of the Spectrum program. Kate recently wrapped Julia with Tilda Swinton, directed by Erick Zonca (Dreamlife of Angels.) Kate‟s recent credits also include The Black Pimpernel, a Sweden-Norway-Mexico production of a true story shot entirely in Chile in which she plays a young revolutionary student, fighting her conservative military father, and getting involved with the Swedish ambassador in Chile, whose heroic actions protected innocent people from execution during the times of the coup against Allende and the soon-to-be-released Bad Guys in a lead role, and a cameo as Antonio Banderas‟ long-suffering wife in Bordertown. She was nominated this year as Best Actress by Mexico‟s Academy of Arts and Sciences (the Ariel Award) for her performance in American Visa and won Best Actress at the Huelva Film Festival in Spain. The film premiered at the AFI Film Festival Latin Series in 2006 and is nominated as Best Foreign Film in Spanish for the 2007 Goya Awards in Spain. Kate recently lent her voice for the character of Sally Carrera for the Spanish version of Disney‟s Cars. She made her crossover debut on American television in Golden Globe-nominated “American Family” as series regular Ofelia. Kate has graced the covers of the top Spanish-language magazines, and was one of the 2006 “People in Español 50 most beautiful.” - 16 - ABOUT THE FILMMAKERS Although only 28 years old when producers Roland Emmerich and Rosilyn Heller selected him to take the reins of Trade, director MARCO KREUZPAINTNER had already established himself as one of the leading young directors in his native Germany. His second feature, the coming-out and coming-of-age German feature, Summer Storm, won him the German Film Award (Germany‟s version of the Oscar) for Best Young Director and earned him a nomination for Best Director and Best Screenplay (which he co-wrote). The movie‟s lead was also nominated for Best Actor. Distributed by Warner Bros., the film was an official selection at over 50 film festivals worldwide, including Toronto, Berlin, London and Palm Springs. So impressed was Emmerich with Kreuzpaintner‟s work on Summer Storm – notably his work with the young cast of actors, many of them non-professionals -- that he invited the young director to come to Los Angeles under his aegis to select his next project. That trip resulted in Kreuzpaintner directing his first American-produced project, Trade, for which he imported several of Summer Storm’s crew as well as his lead actress, Alicja Bachleda (Veronica). Kreuzpaintner‟s first full-length feature, Breaking Loose, garnered the best actor prize at the Max Ophuls Festival in Saarbruecken in 2004. For the German television network ZDF he helmed the experimental movie Rec., which was shot without a script and completely improvised with his actors. In 2000, he formed his own production company FilmManufaktur, and also shot The Breathing Artist, which he produced, wrote and directed and which followed his 1999 short Entering Reality. For theatre, Kreuzpaintner directed the Friedrich Schiller play Die Raeuber, for Munich‟s Volkstheater in 2003. Kreuzpaintner is currently in post-production with the feature Krabat about a boy learning the black arts from an evil sorcerer. The movie is being produced by Munich-based Claussen+Woebke Filmproduktion and is based on Otfried Preussler‟s 1971 literary adaptation of a 17th-century legend, The Curse of the Darkling Mill. A graduate of the University of Salzburg, Kreuzpaintner is a visiting professor at the Film Academy BadenWurtemberg and was the youngest member of Germany‟s Regional Parliament. He is a member of the German Film Academy, the German Directors Guild and the Directors Guild of America. Known as one of Hollywood‟s top-grossing and most bankable directors, producer ROLAND EMMERICH began his career as a student in his native Germany. While studying directing at the Munich Film and Television School, his feature, The Noah’s Ark Principle, became the most expensive student project ever produced in Germany and was screened at the 1984 Berlin Film Festival, selling to more than 20 countries. Following the success of his student film, Emmerich formed Centropolis Film Productions, producing and directing the features Joey, Hollywood Monster and Moon 44. In 1992, Emmerich directed his first American feature, Universal Soldier, starring Jean- Claude Van Damme. His 1994 sci-fi film Stargate lead to a hit spin-off television series and gave Hollywood the confidence to back Roland‟s next effort, the huge special-effects driven sci-fi feature Independence Day, starring Will Smith. The film grossed over $800 million worldwide and seated Emmerich among Hollywood‟s most bankable directors. Emmerich went on to direct and executive produce Godzilla in 1998 and The Patriot, starring Mel Gibson, in 2002. Two years later, his movie about an abrupt climate shift, the blockbuster The Day After Tomorrow, starring Dennis Quaid and Jake Gyllenhall, inspired him to become involved in a variety of environmental concerns. Emmerich‟s period epic drama 10,000 B.C. is scheduled for an early 2008 tentpole release by Warner Bros. (which will distribute worldwide). The movie was filmed in New Zealand, South Africa and Namibia. - 17 - With her unique ability to discover new talent, producer ROSILYN HELLER has helped develop, produce and distribute the work of some of the most important executives, directors, writers, and actors working in Hollywood today. She began her motion picture career as a creative executive for Palomar/ABC Pictures in New York before moving to Los Angeles to join Peter Guber at Columbia Pictures as a production executive. At Columbia, she became the first woman Vice President of a major Hollywood studio, serving under studio heads Peter Guber, David Begelman, Stanley Jaffe and Danny Melnick. Among the many award-winning films she developed and supervised are Taxi Driver, Julia, Close Encounters of the Third Kind and The China Syndrome. Heller then became an independent producer at Columbia where she executive-produced the feature Ice Castles. She went on to produce Who’s That Girl, starring Madonna, for Guber- Peters at Warner Bros.; American Heart, starring Jeff Bridges, for Avenue/World Pictures; and The Beans of Egypt, Maine, starring Martha Plimpton, Kelly Lynch and Rutger Hauer for American Playhouse Films. For Guber-Peters Entertainment, Heller served as executive vice president when the company was housed at Warners, later moving to Kings Road Prods. in the same position. In addition to her feature films, Heller produced the six-hour NBC miniseries, Celebrity, based on the novel by the late Tommy Thompson, and several television and cable movies, including Callie & Son, starring Lindsay Wagner and Michelle Pfeiffer; The Killing of Randy Webster, starring Hal Holbrook, Dixie Carter, Sean Penn and Jennifer Jason Leigh; and the Lifetime movie Better Off Dead with Mare Winningham, produced with her friend and creative partner Gloria Steinem. Heller currently has numerous features at various stages of development and pre- production. She has also written a number of screen adaptations, among them The Gilded City, to be directed by Academy-Award-winning Production Designer, Eugenio Zanetti, at Fox Searchlight; Fathers & Sons, based on the Ivan Turgenev novel and to be directed by Michael Hoffman; and a true World War II coming-of-age story, The Defiant, based on the book by Shalom Yoran and to be directed by award-winning German director Tomy Wigand (The Flying Classroom) and executive produced by Roland Emmerich. Recently she completed an original romantic comedy, Poles Apart. Before her career in the motion picture industry, Heller held various positions in New York publishing, including senior editor for New American Library. TRADE is Heller‟s first time working with director Marco Kreuzpaintner, with whom she hopes to work with often in the future. Playwright and screenwriter JOSE RIVERA earned an Academy Award nomination for Best Adapted Screenplay for Motorcycle Diaries, directed by Walter Salles, as well as a British Academy of Film and Television Arts Award and a Writers Guild Award. The screenplay also garnered Spain‟s Goya Award and Argentina‟s top award for screenwriting. The Puerto-Rican born Rivera is a recipient of two Obie Awards for playwriting, for Marisol and References to Salvador Dali Make Me Hot, both produced at The Joseph Papp Public Theatre/New York Shakespeare Festival. His other honors include the Imagen Foundation‟s 2005 Normal Lear Writing Award, a Fulbright Arts Fellowship in Playwriting, and a Rockefeller Foundation grant. Rivera‟s plays have been produced worldwide and translated into seven languages, including Cloud Tectonics, Each Day Dies with Sleep, Sonnets for an Old Century, Sueno, Giants Have Us in Their Books, Marciela de la Luz Lights the World, Adoration of the Old Woman and Massacre (Sing to Your Children). His School of the Americas premiered at the Public Theatre in New York in July of 2006 in a co-production with the LAByrinth Theatre Company. - 18 - Rivera is currently penning The Untranslatable Secrets of Orlando Corona and a screen adaptation of Jack Kerouac‟s On the Road for Walter Salles. He will make his feature film directing debut with Celestina, based on his play Cloud Tectonics. PETER LANDESMAN is a screenwriter, producer, award-winning investigative staff journalist for the New York Times Magazine and novelist. He has written scripts for Michael Mann, Cruise/Wagner, Oliver Stone, and the adaptation of „Who Killed Daniel Pearl?‟ for Beacon Pictures. He is currently writing a movie about Watergate‟s Deep Throat, Mark Felt, for Universal and Tom Hanks. His investigative journalism, appearing regularly in the New York Times Magazine, includes cover stories on weapons trafficking, sex slavery and drug and refugee smuggling. He has also covered the war in Kosovo and post-9/11 Pakistan and Afghanistan for the NY Times Magazine, the New Yorker and the Atlantic Monthly. His April 2002 article on refugee smuggling and people trafficking for the New York Times Magazine, “Light at the end of the Chunnel”, won the Overseas Press Club prize for best magazine reporting from abroad. His 2004 for article on sex trafficking, “The Girls Next Door”, was cited by the Overseas Press Club for best international reporting on human rights issues. His first novel, „The Raven‟, was awarded the best first fiction prize by the American Academy of Arts and Letters. Landesman, 41, lives in Los Angeles. Director of photography DANIEL GOTTSCHALK began his career chiefly as cameraman for short-film projects which, since 1995, include In der Zeit and Nachtfalter. In 2001 he worked with Marco Kreuzpaintner for the first time filming the pilot of Rec. Kreuzpaintner's big-screen debut Breaking Loose (2003) was also Gottschalk's feature-film debut. In addition to short films, Gottschalk has worked on a number of promotional films for companies such as McDonalds, Langnese, Karstadt InScene and Nike. He is also a sought-after cameraman for video productions of many German and international bands such as Natural Born Hippies, Rammstein, H-BlockX, Die Fantastischen Vier and Freundeskreis, some of which he shot with director Zoran Bihac. Production Designer BERNT CAPRA, also known as Amadeus, was raised on a farm in the Tyrolean Alps and financed his studies in architecture with jobs as tourist guide and ski instructor. But as soon as he graduated from Graz University, the Austrian army tried to draft him and he escaped to Los Angeles where he scored a UCLA scholarship for Urban Planning and a second master‟s degree. Finally, after many great years of campus life, Bernt joined an architectural firm in Century City. Most of his friends from UCLA, however, worked in the movie industry and soon he, too, found himself drafting away in the Paramount art department. Some big studio pictures later, Bernt got restless again and moved to Rome, Italy, where he made experimental films, which he financed with small acting jobs. After that he spent a few years directing documentaries for Austrian TV, until he finally moved back to the beaches of Malibu where he still lives today with his three children. Meanwhile he has established himself as a production designer in Hollywood, with such films as Bagdad Café, This is Spinal Tap, and What’s Eating Gilbert Grape? and with TV shows such as HBO‟s Carnivale, for which he received several awards, including an Emmy. He also directed the cult classic Mindwalk. Editor HANSJORG WEISSBRICH‟s credits include the Hans Christian Schmid films Crazy, 23, Nach Funf Im Urwald and Lichter, as well as on Was Tun, Wenn's Brennt. Among his more recent feature films are SoloAlbum and Bibi Blocksberg. For Lichter he won the editing award in 2003 and the prize of the German Film Critics for best film editing in 2004. He won the German Camera Prize for his editing skills on Was Tun, Wenn's Brennt in 2002, and more recently for Leander Haussmann‟s movie NVA. He won the German TV Award for his editorial work on Vivian Naefe's Frauen lügen besser. - 19 - Weissbrich studied music, French literature, theater, film and television before turning to film editing. After many assistantships (including Der Bewegte Mann), he quickly established his reputation as an innovative editor with Nach Funf Im Urwald and Sharon von Wietersheim's Workaholic. These productions were followed by the theatrical comedies 2 Manner, 2 Frauen – 4 Probleme by Vivian Naefe, Weihnachtsfieber by Paul Harather, Sudsee, Eigene Insel by Thomas Bahmann, Vivian Naefe's TV two-part Eine ungehorsame Frau and the TV movie Einer geht noch. He also edited Florian Gallenberger's Quiero Ser – Gestohlene Traume, which won an Oscar in 2001. Costume Designer CAROL ODITZ designs for film and stage. She was one of five American designers exhibited in the Biennale della moda di Firenze in Florence. Her costume designs for Jennifer Jason Leigh in Georgia were chosen 'One of the Great Fashion Moments on Film' of the decade by Vogue magazine and began the 'slip as dress' trend. The following year, her costumes for The Ice Storm were again picked by Vogue 'Best Fashion in Film'. Her work continues to inspire fashion designers in America and Europe. Oditz's Tin Cup design began the largest film to fashion trend of the decade. The necklace now known around the world as the 'Tin Cup pearls' changed the pearl industry. Other films include The Break-Up starring Vince Vaughn and Jennifer Aniston, John Singleton's Higher Learning, Ethan Frome starring Liam Neeson, Molly starring Elisabeth Shue (exhibited in the Biennale), Staying Together, No Place Like Home, and Nobody's Child - all directed by Lee Grant, Zebrahead, Smooth Talk, Last Exit to Brooklyn (also starring Jennifer Jason Leigh) and Autumn in New York starring Richard Gere and Winona Ryder and Murder by Numbers for Barbet Schroeder starring Sandra Bullock. Oditz began as a sculptor before turning to theatre design, then on to film. She has designed theatre in New York and across the country. She was honored with the 2002 New York Women In Film & Television achievement award. Make-up/hair designer DEBORAH LARSEN has been a makeup artist and designer in the film, television and print business for more than a decade. She has been featured in several magazines including InStyle‟s “Steal This Look” section, as well as Oscar-nominated for her work with Charlize Theron on The Legend of Bagger Vance. Deborah has worked as personal artist for such actors as Julianne Moore, Maria Bello, Alison Lohman, Hilary Swank and Hugh Grant. She has designed and worked on films including American Dreamz, Flicka, Cider House Rules, The Player, The Core, The Legend of Bagger Vance, Michael and Mighty Joe Young. Mexican composers JACOBO LIEBERMAN and LEONARDO HEIBLUM have composed, recorded and produced music for a variety of different projects, including feature films Maria, Full of Grace and Frida, documentaries, advertising, dance and theatre. Lieberman and Heiblum co-own Audioflot, a state-of-the-art recording studio in Mexico. Heiblum studied music and composition in Mexico and went on to study recording engineering at Full Sail in Orlando, Florida. He worked with Philip Glass as an engineer and as the music assistant to music director Michael Riesman for five years. Lieberman has been a composer in several original musical groups and has played all kinds of instruments. Besides playing cello in the baroque musical ensemble Galileo, he has played guitar, keyboards, percussion and drums in several rock bands, including Santa Sabina. Music supervisor LYNN FAINCHTEIN has brought her music expertise to a range of media, including film, television, radio and journalism as well as recording. She has worked as music supervisor and soundtrack producer in her native Mexico on a number of films, including - 20 - Babel by Alejandro Gonzalez Iñarritu, Maria Full of Grace by Joshua Marston, Casa de los Babys by John Sayles, and Innocent Voices by Luis Mandoki. She has worked extensively with Iñarritu on films including 21 Grams and Amores Perros. Other film credits include Bruno De Almeida‟s 22 Days in Acapulco, Carlos Salces‟ La Mano del Zurdo, and Maria Novaro‟s Sin dejar Huella and Danzon. Fainchtein was music supervisor for Altavista Films‟ soundtracks, and also served as the company‟s director of A&R for Altavista Films. She is currently a writer with Rolling Stone magazine, reporting from Mexico. She had previously been at MTV Latinoamerica, where she worked as Director of Music Programming, and producer/writer/interviewer for MTV News. In radio, she has worked as a host, DJ, producer, programmer and director at a number of different Mexican stations. ### - 21 - FINAL END CREDITS Ray Sheridan KEVIN KLINE Jorge CESAR RAMOS Veronica ALICJA BACHLEDA Adriana PAULINA GAITAN Manuelo MARCO PEREZ Patty Sheridan LINDA EMOND Alex Green ZACK WARD Laura KATE DEL CASTILLO Hank Jefferson TIM REID Vadim Youchenko PASHA D. LYCHNIKOFF Lupe NATALIA TRAVEN Alejandro GUILLERMO IVAN Moncho CHRISTIAN VAZQUEZ Don Victor JOSE SEFAMI Thai Boy LELAND PASCUAL Ten Year Old Boy JORGE ANGEL TORIELLO Moncho's Girl LUZ ITZEL Lovesick Girl EREN ZUMAYA Lupe's Neighbor NORMA ANGELICA Irina KATHLEEN GATI Detective Martinez ANNA MARIA HORSFORD Detective Henderson ANTHONY CRIVELLO American Tourist WILLIAM STERCHI Woman at Door MAYAHUEL DEL MONTE Brazilian Girl KEI-KEI CADENA Mexican Girl LESLY ORTEGA DEL ROSAL Mexican Policeman #1 FERMIN MARTINEZ Mexican Policeman #2 JULIO ESCALERO Pedophile in Reeds JOHN WYLIE Armed Man RIO ALEXANDER Old Mexican Shopkeeper MARIA LUISA CORONEL High School Spanish Teacher JD GARFIELD School Girl AIMEE LYNN CHADWICK El Paso Border Guard MATTHEW TIMMONS Detention Center Guard #1 BRUCE DeHERRERA Detention Center Guard #2 MICHAEL CARRILLO Detention Center Guard #3 DOMINICK CHAVEZ El Paso Police Officer MIKE HATFIELD Waitress in Diner BARBARA MAYFIELD Pedophile at Diner MATTHEW McDUFFIE Motorcycle Cop at Diner ROB DeBUCK - 22 - Police Officer at Diner GRANT MARTIN Van Owner at Diner BOOTS SOUTHERLAND Hotel Receptionist GENIA MICHAELA Young New Jersey Officer ROSS KELLY New Jersey State Trooper JASON CLARKE New Jersey Officer AARON LOBATO First Deputy, Texas BO GREIGH Second Deputy, Texas JOSH BERRY Natasha LENA BARAN Veronica's Mother LARISA ERYOMINA-WAIN Travel Agent ELIZABETH LEIBEL Sarah Buchanan LISA CLUGSTON Sarah's Daughter ERIKA CLUGSTON Stunt Coordinator JULIUS LeFLORE Abductor #1 WILEBALDO "BALO" BUCIO Abductor #2 PABLO VINO Veronica Stunt Double JENNIFER CAPUTO Adriana Stunt Double KARINE MAUFFREY Stunt Players HELENA BARRETT KURT LOTT CHRISTOPHER MARLOWE BRETT A. MYRICK LEE SMITH AL RICHARD UNSER ANTHONY VITALE CORD WALKER Unit Production Manager PATTY LONG First Assistant Director JAMES M. FREITAG Second Assistant Director CHRISTOPHER BRYSON NEW MEXICO UNIT / U.S. CREW New Mexico Casting by KATHRYN BRINK New Mexico Casting Assistants WILLIAM KATAKIS TIM FRENCH US Casting Assistant GIOVANNA COSTA Extras Casting by ELEANOR BRAVO Extras Casting Assistant MARK KEISTER Extras Wrangler TRIXIE GEISLER "A" Camera Operator/Steadicam GARY CAMP First Assistant Camera JOE SANCHEZ - 23 - Second Assistant Camera SAM MARES "B" Camera Operator PHIL PFEIFFER "B" Camera First Assistant ALLAN KEFFER "B" Camera First Assistant R. TODD SCHLOPY "B" Camera Second Assistant MICHAEL R. WOHLFELD Loader COREY WEINTRAUB Camera Production Assistant ALEXANDER PAUL Video Playback Operator FRANK EYERS 24 Frame Playback ALEX SEARS PAUL CONTI Script Supervisor TRACEY MERKLE Art Director JAMES OBERLANDER Art Department Coordinator ROBERTA MARQUEZ Set Decorator MARCIA CALOSIO Leadman JOEL SISSON On Set Dresser COLIN ZAUG Shopper LISANNE SCAFINE Swing Crew CHAD EVERETT SAGE CONNELL NIGEL CONWAY Key Greens JASON DELAP Greens Crew CHRISTOPHER PAINTER BRETT MYRICK JUDAH BRAUNSTEIN BROOKE FAIR JAIME SOUZA Production Controller ROBERT C. CAMPION First Assistant Accountant MICHAEL FRAYEH Payroll Accountant LAVINIA ZETINA Line Producer New Mexico PATTY LONG Production Supervisor LA TRACY KETTLER Production Supervisor New Mexico SHARON C. DIETZ Assistant Production Coordinator KYNDALL HOLSTEAD Office Production Assistants PILAR SALAZAR ZACHARY ELWOOD CHRISTINA HARRINGTON ALANNA HERRERA Office Production Assistant LA MATTHEW HADFILED Second Second Assistant Director SARAH LEMON Key Set Production Assistant MICHELLE DuVAL Set Production Assistants KEITH POTTER CARLOS MONTOYA ROYCE ALLEN Additional Set Production Assistants DREAM MULLICK JOSHUA SALLACH Second Unit Director JULIUS LeFLORE - 24 - Second Unit First Assistant Director CHEMEN OCHOA Second Unit Aerial Pilots TOM SCHAUS RICK SCHUSTER Property Master OTNIEL GONZALEZ Assistant Props BOBBI JO GONZALEZ Sound Mixer PAWEL WDOWCZAK Boom Operator MICHAEL BECKER Utility JEFF KNUDSEN Key Hair NOREEN WILKIE Additional Hair LORI A. BAKER ELIZABETH FRANCIS YVETTE MEELY Make-Up Artist JESSIE BROWN Additional Make-Up Artists SHEILA TRUJILLO COREY WELK Chief Lighting Technician DANNY ECCLESTON Best Boy Electric ALAN COLBERT Rigging Key STEVE MULLEN Lighting Technicians BRUCE LEWIS LEONARD HOFFMAN ALLAN EAVES Additional Electricians PHILLIP ABEYTA MIKE PESCE Balloon Light Technician ADAM MELTZER Key Grip RANDAL TAMBLING Best Boy Grip SHAWN ENSIGN Dolly Grip JOSH STEINBERG Best Boy MICHAEL WARREN Rigging Key SHANNON SUMMERS Grips TOBIN ESPESET DAN NORDQUIST JAMES THREADGILL JASON PRENTICE GEORGE RIZZO, JR. BARRY CLINT JACOB VERNON BRADLEY BARNES Assistant Costume Designer PABLO BORGES Costume Supervisor WENDY CRAIG Key Costumer SABINA WINNINGHAM Costumers SUSAN WEESE JOULLES WRIGHT Location Manager JOHN MEADE - 25 - Key Assistant Location Manager CLAY PERES Assistant Location Manager RODERICK PEYKETEWA Location Assistants BRETT LATTER DANIEL HOLLOWAY MICHAEL PADILLA Construction Coordinator KIRK NEWREN Construction Foreman ROBIN BLAGG Head Paint Foreman RANDY E. ORTEGA Set Painters ERIC GALLEGOS GEORGE KRAFT ROBERT ORTEGA Propmakers TIMOTHY B. ABREU ALEX BRACHT STEVE CHAPMAN MIKE DAIGLE ED SAUER BRIAN STINSON Special Effects Coordinator GEOFF MARTIN On Set Special Effects SCOTT HASTINGS Special Effects DANIEL HOLT ADAM ROSEN Public Relations MICHAEL RUSSELL GROUP Still Photographer MARCO NAGEL Unit Publicist JAMES ULMER EPK Producer NATSAT LAUREN HUNTER Additional Video SCOTT HOBAN Transportation Captain MICHAEL RUSSELL Transportation Co-Captain BRIAN GRIGGS Transportation Co-Captain JAY VIGIL Drivers PEDRO AMAYA THOMAS BOROSKI NATALIE CASADOS DAN MILLER ROBERT DITZLER BOBBY RABELO KENNY HEATH JAMES WILLIAM "BILLY" RAY WILD BILL LASKO CASSIE RUSSELL JOSH LAURIO FRED STEAGALL COLLIN MEADOR HOWARD TRIMBORN JARED MEADOR SEAN WALBY WILLIAM McSHANE ANTHONY WAMEGO KIP WOLVERTON Craft Service CARL LUCAS PAUL HAAG - 26 - Catering provided by MARIO'S CATERING OF NEW MEXICO Chef JAIME RAMIREZ Set Security JLS SECURITY Set Medics DOUG ACTON PAUL BACA DAVID BETHEL Studio Teacher JULIE "DIA" HAHN Acting Coach SHERI MANN Kevin Kline Stand-In MICHAEL O'GUINNE Assistants to Roland Emmerich AARON BOYD KIRSTIN WINKLER Assistant to Marco Kreuzpaintner and Rosilyn Heller MARCO ANTONIO SHEPHERD Assistant to Michael Wimer SHAWNA HOPPES Assistant to Kevin Kline TONY SALAZAR MEXICO UNIT Line Producer MARIANO CARRANCO Unit Production Manager ERIC REID Unit Manager HECTOR VILLEGAS First Assistant Director JOHN MATTINGLY Second Assistant Director MARIA DIONI Add'l Second Assistant Director FABIAN WOLFART Casting Assistants RODRIGO URBANO RICHARD HERNANDEZ Extras Casting by ALEJANDRO CAIRO Extras Casting Coordinator ERNESTO MANUEL MARTINEZ Extras Casting Assistants DANIEL ARIEL VILLAR YANEZ GABRIEL MEDINA GUERRERO "B" Camera Operator GUILLERMO "MEMO" ROSAS First Assistant "B" Camera SERGIO GARCIA Second Assistant "A" Camera DARIELA LUDLOW Second Assistant "B" Camera JOSE JORGE ZUNIGA HURTADO Loader JOSUE ALVAREZ Video Playback Operator GABRIEL ROMERO TRUJILLO Video Playback Assistant MIGUEL LOPEZ HEREDIA Video Playback Provided by DAVID BAHENA ESCALANTE Art Director PEDRO MORENO Assistant Art Director DANIEL HERNANDEZ Art Department Coordinator SOLVEIG DAHM - 27 - Set Decorator ELOISA FERNANDEZ MACGREGOR Assistant Set Decorator IRINA VAN HALEN MERINO On Set Dreser DIEGO TELLEZ BUENO Leadman NOYOLOTL ORRANTE MATA Swing Gang RAMON JOSUE GUERRERO JOSE ANDRADE BARAJAS MARTIN MARTINEZ MONTIEL CARLOS GARCIA TAPIA EDUARDO MENDOZA LOPEZ Warehouse Keeper PABLO MARTINEZ GARCIA Add'l First Assistant Director FEDERICO HENOCQUE Add'l Second Assistant Director VICTOR HERRERA Second Second Assistant Director BARBARA COLE Set Production Assistants EDUARDO "LALO" RUIZ FERNANDEZ JUAN CARLOS NAVARRO Add'l Set Production Assistants LUIS ENRIQUE GRANADA PATRICK HEYERDAHL ELENA FAJARDO Intern MAURICIO BAEZ Second Unit Director of Photography GUILLERMO "MEMO" ROSAS On Set Interpreter STEFAN STEINMANN Production Coordinator MARK SHULTZ Assistant Coordinator MARINA FILIPPELLI Production Accountant CECILIA MONTERUBIO Production Assistant CARLOS LARIOS Accounting Assistant LEONARDO RAMIREZ H. Payroll Clerk MARIA LUISA LAVALLE Work Permits ENRIQUETA GUIJON Tea Lady ELENA JUAREZ FLORES Gaffer LEONARDO JULIAN Best Boy Electrician CARLOS GARCIA FLORES Electricians MARTIN RAYMUNDO GARCIA MEDINA JOSE ISABEL PENA VILCHIS Key Grip ULICES GARCIA MEDINA Dolly Grip GABRIEL GARCIA SANTOS Grips HECTOR HERNANDEZ FRIAS PASCUAL ALVARADO BRAVO Costume Supervisor MONICA NEUMAIER Key Costumer JAIME ORTIZ Costumer GERARDO LEDEZMA MUNOZ Costume Assistant MA. DEL PILAR SANCHEZ ROMERO Tailor PEDRO RAUL FLORES SALAZAR - 28 - Seamstress FLORINDA GUTIERREZ RUIZ Ager ARTURO ANDRES MAYNE LIRA Location Manager CLAUDIA PUEBLA Location Assistants AGLAE ALEJANDRA NOYA MARIBEL MURO BARRIOS HUMBERTO CARDENAS MAGALI SAGARRA Hair Stylist EDUARDO GOMEZ AGUILERA Make-Up Assistant FELIPE SALAZAR Property Master GILBERTO CORTEZ Props Assistants TOMAS LOPEZ JULIAN ARISTEO RUIZ LUGO Weapons Handler RAFAEL NAVARRETE DEL TORO On Set Medic DOMINGO RAMIREZ REYES Special Effects DANIEL "CHOVY" CORDERO Boom Operator FELIPE ZAVALA Utility DOMITTILO GOMEZ HERNANDEZ Construction Coordinator ALFONSO JOEL LOPEZ Construction Foreman ABRAHAM MARTINEZ MENDEZ Construction Buyer GUILLERMO RIVERA MARTINEZ Carpenter Chief LUIS ESCOBAR MUNOZ Carpenters TOMAS RAMIREZ SERRANO ERICK RAMON RAMIREZ RANGEL FERNANDO HERNANDEZ MARTINEZ HUMBERTO TELLEZ RAMIREZ BENITO MOYA RUBIO SALVADOR CONTRERAS MARTINEZ JAVIER PEREZ SOLIS RODOLFO COLIN ALVAREZ CARLOS SALAS JUAREZ ROBERTO MARTINEZ RAMIREZ NICOLAS LOPEZ RIOS JORGE VEGA PEREZ Painter Chief LOURDES SOLIS HERNANDEZ Warehouse Keeper JOSE LUIS LOPEZ GONZALEZ Local Workers JESUS ALBERTO FLORES SOLIS VICTOR MANUEL SOTO GUZMAN CARLOS MORALES PEREA Construction Medic MA. MARTHA MENDOZA PEREA Transportation Coordinator JAVIER GUNTHER Transportation Captain XAVIER RODRIGUEZ QUIRARTE Transportation Dispatcher FERMIN LARA HERNANDEZ Picture Car Coordinator LUIS EDGAR "CHIVATA" LEZAMA Drivers - 29 - OSCAR JOEL CARLOS URRUTIA JORGE SANDOVAL MIGUEL UBALDO MIGUEL ORDUNA GABRIEL CARO FRANCISCO RODRIGUEZ DURON CRISTIAN MORALES MIGUEL ALPIZAR ESPINOZA JUAN ANTONIO FLORES JOSE GUADALUPE ORTIZ RUBEN LUGO LOPEZ ROGELIO SANCHEZ RODRIGUEZ VICTOR SANDOVAL Catering Coordinator CLEMENTE MECINAS CRUZ Catering Assistants MARIO PALESTINA AYALA JIMMY SANCHEZ HERNANDEZ LUIS HUMBERTO CARRETERO VICENTE ROSALES AGUSTIN SALGADO JUAN MANUEL CARRETERO CRISTIAN QUIROZ BOBADILLA MARCO ALBERTA BANDA RAUL ARRIAGA RAUL ARRIAGA MAURICIO DORANTES Security Coordinator NORBERTO NAVA Driver/ Security "Veronica" RAUL GARCIA AGUILAR Security "Veronica" VICTOR MANUEL VARGAS Driver/ Security "Ray" RAFAEL ARMANDO FALCON Security "Ray" VICTORINO LUNA GONZALEZ Security Hotel ROBERTO LARA FOURNIER ANDA Delegate MARIA DEL CARMEN JIMINEZ POST PRODUCTION Post Production Supervisor ANJA-KARINA RICHTER LA Post Production Supervisor JANET FRIES ECKHOLM Delivery Supervisor CHRISTINE JAHN Post Production Coordinator CAROLIN VON FRITSCH Consultant AMELIE SYBERBERG Business Manager PETER DRESS Post Accountant THOMAS RUHLAND System Coordinator STEFAN PANTÉN LA Post Production Assistant BOBBY WHISNANT, JR. Additional Editor BERND SCHLEGEL First Assistant Editor BERND HANTKE Assistant Editor, Mexico ARTURO BATIZ Editing Room BERND RILLICH POSTPRODUKTION Supervising Sound Editor DIRK W. JACOB Dialog Editor DOMINIK SCHLEIER Sound Editor KUEN IL SONG ADR Editor SABRINA NAUMANN - 30 - Music Editor ANDRE BENDOCCHI-ALVES ADR Mixers - LA ROBERT DESCHAINE, CAS RON BEDROSIAN GREG STEELE ADR Mixer - NY BOBBY JOHANSON ADR Mixer - Mexico GERARDO QUIROZ MATEOS ADR Mixers - Munich GERO GOERLICH BERNHARD VOGEL ADR Voice Casting BARBARA HARRIS Mexico ADR Coordinator LEON SERMENT Munich ADR Coordinator FRANZISKA STRIEBECK ADR Recorded at TODD-AO STUDIOS, LA SOUND ONE, NY MANHATTAN BEAT, MEXICO CITY A.R.T. STUDIOS, MUNICH BAVARIA MUSIK STUDIOS, MUNICH Foley Stage TONBÜRO BERLIN Foley Artist GÜNTER RÖHN Foley Mixer CHRISTIAN RIEGEL Re-Recorded at ARRI SOUND POST PRODUCTION Re-Recording Mixer MARTIN STEYER Assistant Sound Engineer MATHIAS PASEDAG Sales Sound FLORIAN VON FRENCKELL Project Coordinator Sound MONIKA PETRINIC Score Produced by LEONARDO HEIBLUM JACOBO LIEBERMAN Additional Music by EMILIANO MOTTA Score Edited by ALEJANDRO CASTANOS Orchestra PHILHARMONISCHES FILMORCHESTER MUNCHEN Contractor MAX SPENGER Conductor ENRIQUE UGARTE Scoring Studio BAVARIA MUSIK STUDIOS HERBERT LEHMLER Scoring Engineer CLAUS ÜBLACKER Scoring Engineer Assistant SEBASTIAN RÖDER Score Mixed at DORIAN GRAY STUDIOS Engineer GERHARD WÖLFLE Recording Studio Mexico AUDIOFLOT Bass ANDRES SANCHEZ Voice LEIKA MOCHAN - 31 - Guitars JACOBO LIEBERMAN Tabla LEONARDO HEIBLUM Digital Intermediate & Visual Effects by ARRI MUNICH Head of Feature & TV Drama JOSEF REIDINGER Project Manager Lab CHRISTIAN LITTMANN Project Coordinators DI and Lab ANGELA REICHENBERGER CHRISTIAN HERRMANN Key Account Managers ANGELA REEDWISCH WALTER BRUS VFX Supervisor DOMINIK TRIMBORN Senior Compositing Artists DAVID LAUBSCH ABRAHAM SCHNEIDER KLAUS WUCHTA Senior 3D Artists ADAM DUKES NANDO STILLE PHIL DECKER Titledesign LUTZ LEMKE Digital Colorist RAINER SCHMIDT Assistant Colorist MANFRED TUREK Colorgrading Lab MARY-ANN OTEMAN Lustre Assistants CHRISTOPHER CHABER ALEX KLIPPE MARTIN SIPPEL Digital I/O Supervisor GEOFFREY GRAFWALLNER ARRISCAN Film Scanning STEVEN STUEART DANIEL PLAPPERT WILLY DELGADO ARRILASER Film Recording SASCHA STILLER KATHI KLIPPE HD Transfer ANJA SENCKPIEHL ULRICH HOCHLEITNER Negative Reports & Preparation SILVIA ZWECKINGER MARION EISENSCHMIDT SABINE RADLMEIER FEDERICO UMETELLI Screenings PETER VIT MARKUS MASTALLER Subtitles FILM UND VIDEO UNTERTITELUNG GERHARD LEHMANN AG Legal Services Provided by REDER & FEIG LLP BENJAMIN R. REDER, ESQ. TARA A. SENIOR, ESQ. NOOR AHMED German Legal Services Provided by POLL STRAßER VENTRONI FEYOCK DR. MARIN FEYOCK - 32 - DR. ROBERT STRAßER DR. DANIEL HEINTEL Financial Legal Services Provided by RICHARDS BUTLER LLP RICHARD PHILIPPS Immigration Legal Services Provided by RALPH EHRENPREIS LAW CORPORATION JIM SAUNDERS RALPH EHRENPREIS Clearances / Product Placement DAVE GARE Stock Footage Provided by FOOTAGE BANK GETTY IMAGES Production Insurance DeWITT STERN OF CALIFORNIA Completion Guarantor FILM FINANCES, INC. KURT WOOLNER Payroll Company ENTERTAINMENT PARTNERS VIP Production Controller EVA-MARIE NEUFAHRT VIP Production Manager KERSTIN DYROFF VIP Production Assistant SYLVI WOITUSCH VIP Legal Advisor BERIT WETZEL FLORIAN HARMS SECOND UNIT NEW YORK / NEW JERSEY Unit Production Manager BRIAN BELL First Assistant Director ROGER LEE Production Supervisor MELISSA MILLER SONGS "MALO" "LAS MANANITAS" Written by BEBE Traditional Song Published by BEBE Trovador Ediciones S.L. (Espana) "CHECA WEY" Performed by BEBE Written by Eduardo Davalos de Luna (Babo), Courtesy of EMI Music, Spain S.A. Alan Alejandro Maldonado Tamez (Dharius), Roman Leonardo Rodriguez (Mono), "2da DE MUJER DESNUDA" Emeri Daniela Terrones (Mary Dee), Written by Abdul Manuel Mauricio Garza Villanueva Burgos Published by EMI Musical S.A. de C.V. Published by Caiman Music Performed by Cartel de Santa Publishing Mexico, S.A. de C.V. Featuring Mary Dee Performed by Los Tahos Courtesy of Sony BMG Music Courtesy of Producciones Burgos Entertainment (Mexico) S.A. de C.V. Administered by Straight Songs S.A. de C.V. "A MIS AMIGOS" Written by Alberto Pedraza Islas "MEDICINA DE AMOR" Published by Jasper - 33 - Written by Anthony Santos Performed by Alberto Pedraza Published by Still on Top Publishing y Su Ritmo y Sabor Administered by Caiman Music Publishing Courtesy of Producciones Mexico, S.A. de C.V. Fonograficas Jasper, S.A. de C.V. Performed by Anthony Santos Courtesy of Platano Records "JUNTO A TI" Administered by Caiman Music Publishing Written by Victor Manuel Rangel Castro Mexico, S.A. de C.V. Published by Caiman Music Publishing Mexico, S.A. de C.V. "FUMA MOTA" Performed by Aaron y Su Grupo Ilusion Written by Gogo Razz and MC Luka Courtesy of D'Disa Latin Music Published by Mantequilla Publishing S. de R.L. de C.V. Performed by Gogo Razz and MC Luka "Los Reyes Del Pulmon" "LA COYOTITA" Courtesy of Mantequilla Records, Written by Dionisio Arreola S.A. de C.V. Published by Jasper Performed by Los Forasteros "QUE DARIA" Courtesy of Written by Saturnino Garcia Producciones Fonograficas Jasper, Published by Jasper S.A. de C.V. Performed by Los Telez Courtesy of "DESTILANDO AMOR" Producciones Fonograficas Jasper, Written by Santa Benith S.A. de C.V. Published by Edimusa Publising Group (Edimusa) / Vander Music "EL EMIGRANTE" Performed by Aron y Su Grupo Ilusion Written by Sara Arjona Gomez Courtesy of D'Disa Latin Music Published by Jasper S. de R.L. de C.V. Performed by Rafael y Su Onda Chicana Courtesy of "CONTRA VIENTO Y MAREA" Producciones Fonograficas Jasper, Written by Manny Benito S.A. de C.V. Published by Nota Publishing Inc. Administered by Caiman Music "VIEJO VERDE" Publishing Mexico, S.A. de C.V. Written by Juan Alfonso Mostro Domecq Performed by Maelo Ruiz Published by Caiman Music Publishing Courtesy of Musical Productions Inc. Mexico, S.A. de C.V. Administered by Straight Songs Performed by Continental Show Band S.A. de C.V. Courtesy of Straight Songs, S.A. de C.V. "JINETEANDO" "LA NOCHE QUE TE VI" Written by Joachin Martinez Mireles Written by Filiberto Garcia Duarte Published by Los Compositores Published by Disa Latin Publishing LLC Publishing (BMI) (BMI) Performed by Banda del Sol Performed by El Chapo de Sinaloa Courtesy of D'Disa Latin Music Courtesy of D'Disa Latin Music S. de R.L. de C.V. S. de R.L. de C.V. - 34 - "QUARTET FOR OBOE AND STRINGS" "PIANO CONCERTO NO. 15 IN Written by Wolfgang Amadeus Mozart B FLAT MAJOR K450 - ALLEGRO" Performed by Alex Klein and Written by Wolfgang Amadeus Mozart Cuarteto Latinoamericano Performed by Jeno Jando, Piano Courtesy of Cuarteto Latinoamericano and Concentus Hungaricus Conducted by Matyas Antal "CONCERTO FOR OBOE, VIOLIN, Courtesy of Naxos Rights International STRINGS AND B.C. Limited, by Special Arrangement with IN D MINOR BWV 1060: ADAGIO" Spark Marketing Entertainment, LLC Written by Johann Sebastian Bach Performed by Netherlands Bach "EVIL ONE" Ensemble, Krijn Koetsveld Written by Myrtle Killough, Courtesy of Joan Records BV, Robert Mosely The Netherlands Published by Brunswick Music Publishing (BMI) "THE HIGHLAND BLUE AND GOLD" Performed by The Dundees Written by Kenneth Anderson Courtesy of Tru-Gems Records by Arrangement through "AGNUS DEI" pigFACTORY USA Written by Rufus Wainwright Published by WB Music Corp. (ASCAP) "CIUDADANO A" o/b/o itself and Put Tit on Music Written by Amaro Ferreiro / Performed by Rufus Wainwright Ivan Ferreiro Courtesy of Geffen Records Published by Warner Chappell Music Under License from Spain S.A. Universal Music Enterprises Performed by Ivan Ferreiro Courtesy of Warner Music Spain S.A. VERY SPECIAL THANKS TO: Jonathan Ruiz Gloria Steinem Ute Emmerich Ben Smith Doug MacLaren Eva Lontscharitsch AND "Andrea" "Nicole" Eduardo Paulin Aguirre Kenneth Anderson Elena Azaola Jorge Azaola Rick Berg Gabriela Bacher Kim Berner Rüdiger Böss Clive Breton Kit Carson Pat Chapman Luciana Moreno Contreras Ricardo Del Rio Jeff Dickens John Diemer Marc Federman - 35 - Ken Fix Lily Flaschner Annette Focks Jane Galton Annie Granatstein Larry Greaves Bob Gutwillig Annie Heller-Gutwillig Ileana Ruiz Guzman Benedict Hoerman Judy Hofflund Kevin Iwashina Hans-Peter and Lisa Kleiner Alfons and Heike Kreuzpaintner Manuel Kreuzpaintner Linda Lichter George Naschke Rick Nicita JP Pettinato John Ptak Brad Ross J. Mark Rowland Marie-Luise Schmidt Anton Senftl Doug Stokes Lilia S. Velasquez Pablo Watson Lisa Wilson Richard Williams Kimberly Acquaro - Photographer Luis Alvarez - I.C.E. Attache, U.S. Embassy, Mexico City Apple Computer Angela Bennett - Albuquerque Residence Inn & Natalie Hoff - Embassy Suites Dean Boyd - Department of Homeland Security Janet Brutsche at Studio 41 Albuquerque Sheriff Rick Castro - San Diego Sheriff's Department Cibola National Forest - Sandia Ranger District City of Albuquerque Mayor's Office City of Albuquerque Film Office - Ann Lerner and Carrie Wells Claudia Colimoro - Casa de Mercedes Comision Nacional de Filmaciones - Mexico A.C. El Paso Film Commission Jay Lee Evans - New Mexico Parks & Recreation, Open Space Division Gruet Winery Herve Hurtado - Chief Inspector, Policia Federal Preventiva The Highland High School Band International Justice Mission Laura Lederer - U.S. State Department Lauren Mack - I.C.E. Middle Rio Grande Conservancy District PIAA Aurelio Rascon - Department of Homeland Security, Mexico City Chief Victor Rodriguez - McAllen, Texas Police Department The Route 66 Casino and Travel Center, a wholly owned subsidiary of the Pueblo of Laguna The Weather Channel Marisa Ugarte - Bilateral Safety Corridor Wells Fargo Bank of Albuquerque - 36 - Cameras by OTTO NEMENZ ARRI MUNICH Camera Cranes & Dollies by CHAPMAN/LEONARD STUDIO EQUIPMENT, INC. New Mexico Grip & Lighting Equipment TM MOTION PICTURE EQUIPMENT Mexico Grip & Lighting Equipment REVOLUTION 435 D & C, S.A. de C.V. Dailies Laboratory DELUXE HOLLYWOOD Film Stock KODAK MUNICH Financially Supported by FilmFernsehFonds Bayern - 37 - ASOCIACION NACIONAL DE ACTORES MEXICAN TECHNICIAN UNION SECTION 49 OF S.T.I.C. Iatse LOGO Dolby LOGO DTS LOGO ARRI LOGO MPAA LOGO with Certification No. 42856 FilmFernsehFonds LOGO Filmed on Location in Mexico City Albuquerque, New Mexico New York and New Jersey Copyright 2006 Film & Entertainment VIP Medienfonds 4 GmbH & Co. KG Film & Entertainment VIP Medienfonds 4 Gmbh & Co. KG is the author of this film for the purpose of copyright and other law. THESTORY, ALL NAMES, CHARACTERS AND INCIDENTS PORTRAYED IN THIS PRODUCTION ARE FICTITIOUS. NO IDENTIFICATIONS WITH ACTUAL PERSONS, PLACES, BUILDINGS OR PRODUCTS IS INTENDED OR SHOULD BE INFERRED. ALL MATERIAL IS PROTECTED BY THE COPYRIGHT LAWS OF THE UNITED STATES AND ALL COUNTRIES THOUGHOUT THE WORLD. ALL RIGHTS RESERVED. ANY UNAUTHORIZED EXHIBITION, DISTRIBUTION, OR COPYING OF THIS FILM OR ANY PART THEREOF (INCLUDING THE SOUNDTRACK) IS AN INFRINGEMENT OF THE RELEVANT COPYRIGHT AND WILL SUBJECT THE INFRINGER TO SEVERE CIVIL AND CRIMINAL PENALTIES. TRADE www.tradethemovie.com - 38 - - 39 -