RV STATISTICS by yaofenji



In Columbia Pictures‘ family-adventure comedy RV, an overworked Bob Munro
(Robin Williams), his wife Jamie (Cheryl Hines), their 15-year-old daughter
Cassie (Joanna ―JoJo‖ Levesque) and 12-year-old son Carl (Josh Hutcherson)
are in desperate need of some quality time together. After promising to take them
on a family vacation in Hawaii, Bob abruptly changes plans without telling them.
Instead of a week in a tropical paradise, they‘re going on a road trip to Colorado
in a recreational vehicle.

Dragging his wife and kids kicking and screaming into the RV, Bob‘s
togetherness plan (which is partly a ruse to keep him from losing his job) almost
immediately hits a major speed bump. Everything that can go wrong, does. Bob‘s
lame attempts to navigate the unwieldy, oversized vehicle are met with silence
and scorn from his resentful family. The RV life is a far cry from their comfortable
life in Los Angeles and every attempt Bob makes to get them into the spirit of the
vacation threatens to tear them further apart.
At an RV camp, the Munro family is befriended by the Gornicke family — an
irritatingly endearing happy-go-lucky clan of full-time RVers. The more they try to
elude the Gornickes, the more their paths seem destined to cross. But adversity
has a way of uniting even the most dysfunctional family members and each
setback the Munros experience inadvertently helps them become a true family

Columbia Pictures Presents in Association with Relativity Media A Douglas Wick
& Lucy Fisher/ Intermedia/ IMF Production RV starring Robin Williams, Jeff
Daniels, Cheryl Hines, Kristin Chenoweth, Joanna ―JoJo‖ Levesque and Josh
Hutcherson. The film is directed by Barry Sonnenfeld and written by Geoff
Rodkey. The producers are Lucy Fisher and Douglas Wick. The executive
producers are Bobby Cohen and Ryan Kavanaugh. The co-producer is Graham
Place. The director of photography is Fred Murphy, ASC. The production
designer is Michael Bolton. The editor is Kevin Tent, A.C.E. The costumes are by
Mary E. Vogt. The music is by James Newton Howard. The music supervisor is
Randall Poster.


―For a day, for a lifetime‖ is the tantalizing advertising logo that inspires a man to
take his family on the adventure of their life by assuming the helm of a deluxe
recreational vehicle and winding through the back roads of the good old U.S. A.
A vehicle with more personal amenities than a 747 jetliner, this RV is the
American dream come true.

At least that‘s the case a desperate Bob Munro (Robin Williams) makes to his
family when he announces a change of plans for their long overdue vacation.
The real reason is that his boss at Pure Vibe soda has made it clear, in no

uncertain terms, that either he closes a merger acquisition over the coming week
(his vacation week) or not to bother returning from vacation at all.

To his family‘s horror, their dreams of lounging on the beaches of Hawaii are
dashed as they are forced to board a giant, unmanageable RV for a trip to the
Rocky Mountains, and not since Stripes has a recreational vehicle featured so
prominently in a major motion picture comedy.

The genesis of the project was a real-life RV family vacation taken by the film‘s
producers, Lucy Fisher and Douglas Wick, several years back. The husband and
wife team had three very young children at the time and they were looking for a
family-togetherness outing. ―Doug is a very good vacation planner,‖ says Fisher,
―and we decided to take an RV trip. We didn‘t really know much about it, but
Doug loves to drive things and I like puttering around in the back, so it seemed
like a fun idea. We spent a long time researching it — where we were going to
get the RV, where we were going to go, etc.‖

In the end, they were joined by a group of friends and their respective families,
forming a caravan of recreational vehicles, cruising along the highways and
byways and communicating via walkie-talkies. What started out as a ―trucker
fantasy,‖ according to Wick, became a wellspring for a comedy about families.
―RV life is pretty funny because suddenly your whole family is cramped into more
or less one room for however long the trip is,‖ Wick laughs, ―and you get to know
each other in a whole different way.‖

For the film‘s director, Barry Sonnenfeld, even the look of an RV makes him
laugh. ―RVs are funny for many reasons,‖ says Sonnenfeld. ―First of all they look
funny. They‘re too tall. They‘re too long, they‘re sort of ungainly, and inside, they
are sort of weirdly full of off-versions of otherwise perfectly good colors.‖

And, as producer Wick learned, ―anything that can go wrong with an RV often
does.‖ Each member of his caravan suffered a setback with either the electricity,
the plumbing or under the hood. ―There‘s a big learning curve when you join the
RV world.‖

The real story of RV, however, is the typical American family the vehicle is
transporting. ―What was interesting about this project is that it gave me the
opportunity to explore the nature of families,‖ Sonnenfeld continues, ―and how, as
you get older and your kids get older, they make their own friends and begin to
grow away from you.‖

Sonnenfeld could also not resist the idea of mining the comic potential in what
could easily be a horror story. ―My theory has always been the worse the
experience, the better it is when you describe it in retrospect. I passed four
kidney stones. Each one was horrible, but those stories are some of my best and
funniest stories. Getting a flat tire on the Long Island Expressway on
Thanksgiving – that‘s a good story, but again, in retrospect. RV is about a family
that has sort of drifted apart — even though they all still live together. They‘ve all
got their own MP3 players, their own computers. So even when they‘re in the
same room, they‘re apart mentally. Forcing them to be together in this
recreational vehicle at first threatens to make them grow even farther apart, but
their near-disastrous experiences bring them back together in a hilarious fashion.
It‘s through adventure and adversity that they are forced to do things together as
a family again and to reconnect.‖

Also, Sonnenfeld adds, the Munro‘s shared experiences are what comes to
define them as a family. ―When you‘re all driving together and you get a flat tire,
and you‘re all standing on the side of the road in the rain laughing because
there‘s no jack and dad is using his Tool Man screwdriver to try and change the
tire – that‘s something you remember for the rest of your life.‖

For the producers, RV is also a movie about community. ―As soon as we arrived
in the first RV camp, we saw there was a community of people that were having
a really good time,‖ Fisher recalls. ―They had blenders and were making
margaritas and having parties. We really sensed that the communal life at the RV
camp was one of the major draws.‖

The experience proved so indelible for Fisher and Wick that they immediately
began contemplating a movie that would explore the RV lifestyle. ―The idea,‖
says Wick, ―was to take a family with all kinds of issues and problems and let
them be worked out within the intimate confines of an RV trip.‖

For director Sonnenfeld, the film was a way of creating a story that also reflected
his own experiences as a father and husband. He saw RV as a way to
incorporate some of his own amusing (again, in retrospect) experiences into a
motion picture comedy.


After screenwriter Geoff Rodkey (Daddy Day Care) delivered his script about a
man who has trouble juggling his personal and private life, the producers sought
out the ideal actor to play the central role of Bob Munro — the ideal being Robin
Williams. ―He‘s the first person we thought of,‖ says Fisher, ―because we wanted
someone you believe would take his family on an RV trip and would, at the same
time, be completely ill-equipped to do all the mechanical handyman work
required. And we were so happy when Robin said yes, because he has heart and
he‘s one of the world‘s most brilliant comic actors.‖

To shepherd Williams through the comic zigs and zags of RV, Fisher and Wick
also aimed high, setting their sights on the man who directed such major comedy
hits as The Addams Family and Men in Black™ films as well as Get Shorty. ―We
really wanted a director who was funny and who could bring an original touch to

the movie,‖ says Fisher. I had worked with Barry on Men in Black. He‘s incredibly
talented, and really funny.‖

―Barry is one of the funniest people you will ever be in a room with,‖ adds Wick,
―and he also has exquisite visual taste, having originally been a cinematographer
for the Coen brothers, among others. So I knew he would bring a theatricality that
you don‘t often get in these kinds of family movies.‖

While Wick saw Williams‘ character as his own alter ego, Sonnenfeld also
strongly identified with Bob Munro. ―Robin is essentially playing me,‖ Sonnenfeld
confesses. ―I‘m not sure he was even aware of it, but every time Bob was scared
or ran out of the RV screaming because of a raccoon, or wanted to be the first
guy in the meal line, he was playing me — a sort of self-centered Jewish guy,
even though the character in the movie is in no way Jewish. ―

While Williams may not have been aware of how closely Bob Munro‘s character
mirrored that of his director, he says he certainly got an inkling when Sonnenfeld
described the Munros‘ disaster-prone journey as a ―gefilte-fish-out-of-water kind
of family‖ story.

―To this day, I have personally never driven an RV,‖ says Sonnenfeld. ―In fact, I
never even drove one of the RVs in this movie around the parking lot. I think the
largest vehicle I ever drove was maybe my 1962 Lincoln convertible.‖

Williams, on the other hand, was required to get behind the wheel of an RV on a
daily basis throughout production. ―Yeah, I drove it,‖ Williams says with a roll of
the eyes, ―starting with the training sessions, which I needed because the RV is
so big. I learned that they have a very wide turning radius, and you can take out
everything around you if you‘re not careful. If you don‘t go wide on a turn you‘ll do
a lot of damage. In the movie we actually do a lot of damage both to the RV and
other things, because it takes Bob so long to get the hang of it.‖

Playing Travis Gornicke, the head of the other main family in the story, is Jeff
Daniels who, much to Sonnenfeld‘s delight, is a seasoned RV driver in real life.
―When his agent was trying to get Jeff the job, he called me up and said, ‗You
gotta hire Jeff. He really knows RVs. He drives them all the time. He even has a
song about RVs,‘ — which, in fact, he did,‖ Sonnenfeld laughs. ―It‘s an incredibly
funny song about how Jeff and his family drove from Michigan to Cooperstown,
New York in an RV during which he accidentally left his wife at a truck stop.‖

And Daniels‘ agent wasn‘t bluffing either. Once the actor had been cast, he
hopped into his own RV and drove it from Michigan to Vancouver, British
Columbia, for the start of principal photography. ―I wanted to make a point to
Barry and the whole movie crew,‖ Daniels explains. ―I wanted to them to think,
‗He‘s what? No! He‘s flying a private jet out, right?‘ You mean he‘s really driving
his RV from Michigan to Vancouver? Along the way they‘d call me for updates.
My cell-phone would ring — when it worked — and they would ask, ‗Where are
you now?‘ ‗Are you still alive?‘ It was a lot of fun. I‘ve been a fan of recreational
vehicles forever. I really like the idea of driving them. I‘ve owned several and I
keep upgrading them every couple of years.‖

Cheryl Hines is cast opposite Williams as Jamie Munro, the matriarch of the
disgruntled Munro family who, as Williams puts it, ―put the ‗funk‘ in dysfunctional.‖

―When we chose Robin, we set the bar very high,‖ says Wick, ―so everyone we
chose had to be up to his level. When we were talked about who could play his
wife, we knew we needed someone who possessed the quickness and
intelligence to keep up with him. Week after week Cheryl is subjected to Larry
David‘s onslaught of comedy on ‗Curb Your Enthusiasm.‘ She is always up to his
level and always firing back. She seemed like a great choice.‖

―I also know Cheryl‘s work mainly from ‗Curb Your Enthusiasm,‘‖ says
Sonnenfeld, ―and I‘m very proud to say that she told me I am more neurotic than
Larry David. I was thrilled to hear that.‖

Hines has a great deal of experience in improvisation, even prior to her work on
―Curb Your Enthusiasm.‖ For years, she worked regularly with the noted Los
Angeles improvisational group The Groundlings. ―Even though we have a real
script on RV,‖ says Sonnenfeld, ―her improv experience came in handy. We
could always cut to Cheryl for a wonderful reaction, which was always flat and
understated — perfect for playing off of Robin‘s big comedic moments. It was
very George Burns and Gracie Allen. They made a great comedy team, like the
one I had on the Men in Black™ movies with Will Smith and Tommy Lee Jones,
which is another example of having one guy who is goofy and the other who is
very deadpan.‖

That is one way to explain why at the end of some takes on RV, Sonnenfeld
would shout, ―Do it again — faster and flatter‖

―I had some hats made for the movie with instructions to the crew,‖ Sonnenfeld
explains, ―one of which actually read ‗Flatter, Faster.‘ The great thing about
Cheryl was that her performance was both flat and fast, which for me, is the
secret to comedy. Don‘t milk it, say it fast and move on.‖

Daniels elaborates: ―You see, sometimes the joke isn’t the joke; it‘s the reaction
to the joke – and that‘s what ‗flatter‘ means. When Barry said ‗flatter‘ it was just
like saying, ‗take it in and audience will laugh.‘‖

Much of Hines‘ humor in the film, says Williams, emanates from her reactions to
him, though he also acknowledges her other considerable comedic gifts. ―Oh
man, she is kick-ass funny,‖ he says. ―She can do it with or without a tight script.

This was kind of like a holiday for her. There were lines, but then we also had
fun. She can riff like crazy, which is great.‖

The point in the film where the ―flat‖ response became a true challenge for Hines
was when the Munros had to listen to the Gornicke family perform their
idiosyncratic rendition of ―Never Ending Song of Love.‖ ―I just couldn‘t do it,‖
Hines confesses. ―Barry said he wanted me to be deadpan. But here I was
looking at Jeff and Kristin Chenoweth (who plays Daniels‘ wife), and the kids
singing their hearts out and it was impossible. I got yelled at because I couldn‘t
keep it together. So I thought maybe I should just look past them. But then there
was Jeff with his harmonica and his little ‗doot-doot-doots.‘ And my eyes would
drift over to Kristin who was tapping her breasts with her tambourine. It was

One of the real backbones of the RV script is Bob Munro‘s relationship with his
teenage daughter Cassie, according to Wick. ―We looked at a lot of young
women and the trick here was to find someone who could handle the comedy, be
credible dramatically and hold her own against Robin Williams,‖ he says.

Sonnenfeld found that rare combination of attributes in teen recording star,
Joanna ―JoJo‖ Levesque. ―She‘s already a huge recording star and has played
on stage in front of large audiences,‖ says Fisher. ―So she has a kind of
confidence you rarely find in a teenage girl.‖

―She brings that confidence to her work,‖ adds Wick, ―and when you‘re playing
opposite someone as charismatic and larger than life as Robin, that‘s a lot to
hold up against and she had that presence.‖

Music was an element in the film that came as something of a surprise to
everyone in the cast and crew. Besides the Gornickes‘ rendition of ―Never Ending
Song of Love,‖ the movie concludes with both families singing, ―(Get Your Kicks

on) Route 66.‖ And throughout the movie there are other characters who sing.
―When we started this, I thought I might need a little bit of singing, but the movie
almost turned into a musical,‖ says Sonnenfeld.

Fortunately, the director had inadvertently hired a cast with musical chops.
Daniels recently released his first CD. Joanna ―JoJo‖ Levesque, who appears as
Bob‘s daughter Cassie, is an experienced pop singer and Chenoweth, who plays
Mary Jo Gornicke, is a classically trained opera singer.

―When we talked about the part, one thing Barry asked me was ‗Can you yodel?‘‖
laughs Chenoweth. ―I couldn‘t imagine why. But yes, as a matter of fact, I can
yodel, though I never thought it would come in handy. I went to opera school for
that? I sold out Carnegie Hall so that I could come up here and yodel? But in this
film, I am given ample opportunity to show off my yodeling skills.‖

But her expert yodeling ability was only one of the reasons Sonnenfeld cast
Chenoweth. ―For the Gornicke family I was not only looking for the ‗nicest family
on the planet,‘ but people who could play big on screen. Kristin‘s really small,
about 4‘ 11‖ and Southern, but she has this big personality. She‘s a big wonderful
gal — not in size, but in largesse of personality.‖

Part of the fun of her role, Chenoweth explains, was the chance to act ―big‖ with
someone else who is playing ―big.‖ ―Probably the biggest surprise for me on this
movie was having so much fun playing opposite Jeff. We had something that
really worked. Plus, he‘s huge, very tall. I felt so little around him. Not that I don‘t
always, but Jeff was so big and I just loved it. The contrast was really funny.‖

Levesque‘s first album went double platinum — which is not bad for a 14-year
old. After finishing RV, she put the finishing touches on her follow-up album. For
her, her film debut represented the ideal intersection of acting and her musical
talents. All the members of the Munro family have their own MP3 players in the

film and, in one memorable scene, are all off in their own musical worlds. ―That
scene was fun to shoot,‖ says Levesque, ―especially since I get to act like a.
complete idiot. With the earphones on, I couldn‘t hear myself at all. And when
you can't hear yourself, you sing much louder than you‘re aware of. And that's
what I was doing. People who know me as JoJo the singer, are going to be
surprised. They‘ll be, like...‘Damn! Is she really that bad?‘ But, just so you know,
I sang that way on purpose.‖

Hines, however, though personally proud of her singing, says she doesn‘t have a
particularly good voice, though she was more than willing to sing out in a way
that turned out to be quite hilarious. ―She picked octaves that no girl should pick,‖
laughs Sonnenfeld. ―She was a basso profundo, rather than an alto or a

Adds Williams: ―Cheryl, when she sings, oh, man, a really deep voice. Then she
changes to a normal voice and she sings in a way that's hysterical.‖

This inviting blend of music and infectious laughter typified the working
experience on RV, according to Daniels, for which he gives full credit to
Sonnenfeld. ―In his career, Barry‘s worked with some of the biggest stars on
some of the biggest movies. He knows the camera. He knows how to direct. He
knows how to handle the egos. And with all that, he still brings a sense of fun to
the project and makes us all feel how lucky we are to be doing what we do for a
living. You want to come to work because Barry will say things that no other
director would say to an actor — he‘s so brutally honest. Like one day he called
out to me after a take, ‗Jeff? Act better.‘‖

―He‘s a strange mixture,‖ Daniels continues. ―He‘s Jewish and yet, he‘s a
cowboy. Robin calls him ‗The Kosher Cowboy.‘‖ (Sonnenfeld has a fondness for
cowboy hats and boots and will often even mount a saddle on the set instead of
a director‘s chair – though he says he has never been on a horse).

Rounding out the cast of the Munro family is Josh Hutcherson as Carl Munro, the
youngest member of the family. Hutcherson, who most recently starred in
Columbia Pictures‘ sci-fi family film Zathura: A Space Adventure, says he
enjoyed playing Carl, a character he describes as ―small for his age, so he tries
to make up for it by being tough and going the gangsta‘ route. He listens to
hardcore rap music and wears baggy clothes.‖

Though he may be no gangsta‘, Hutcherson says his on-screen father was still
an expert rapper. ―One day Barry said, ‗Robin, go on a riff,‘ and he just starts
rapping,‖ says Hutcherson, ―It‘s so cool how he does it because he just thinks of
words and they rhyme. It‘s almost like he‘s planned it, but he hasn‘t. It‘s

Levesque was equally impressed. ―The thing that was so interesting was that, I
knew Robin was gonna be funny when I met him, just because when you think of
Robin Williams, you think of comedy. But he‘s so much more than that. He‘s like,
an encyclopedia — anything you have a question about, whether it's sports or
politics — he knows everything.‖

The Gornicke children are played by Hunter Parrish (Earl), Chloe Sonnenfeld
(Moon) and Alex Ferris (Billy). A relative newcomer, Parrish appreciated how
Sonnenfeld went to great lengths to transform the Gornickes into ―the perfect
family,‖ he says. ―He's cared about every detail. He paid close attention to what
we were doing whether we were in the shot or just in the background.‖

The one piece of direction Parrish says he will carry with him for years to come,
was Sonnenfeld‘s instruction that ―when you‘re on the set, be there 100 percent.
That was a good lesson for me, not only for acting, but in life. It‘s an attitude that
you should have that even if you‘re not the center of attention at any particular

moment, you‘re still there, you‘re still present. So you should always be there 100

For Chloe Sonnenfeld, the movie was truly about family. She has grown up on
her father‘s movie sets. Her first visit to a Sonnenfeld shoot was her father‘s
directorial debut The Addams Family, when she was only five days old, though
she says she has no clear recollection of it. ―The first movie I remember is
probably Wild, Wild West. And all I remember about that one was that it was
very, very hot and very sandy. On Men in Black™ I just loved going to the set
because the aliens, well, I thought they were real. So, I'd go and play with them
and have a great time.‖

Susan Ringo, Chloe‘s mother and Barry‘s wife, who has served as associate
producer on several of his films, discusses her husband‘s choice to cast his
daughter in the film. ―It's the family business. She had a small part in Men in
Black™ II, one line in the post office scene with Tommy Lee Jones and Will
Smith. She loved doing it. She‘s really serious about acting and has been
involved with several theater groups over the past several years. It was really a
lucky break that this movie had a role that was right for her. She even auditioned
for it.‖

Says Sonnenfeld: ―Susan is someone who I can turn to and say, ‗Should I move
on? Do I need to do another take?‘ She's both the person who supports me and
keeps me in my place, and she's made me a calmer director.‖


Since RV is a road film, it involved the use of five look-alike RVs and two
identical vintage buses. The cast and crew spent a lot of time on the road.

Though the story is set on the highways between Los Angeles and the Colorado
Rockies, it was actually shot in and around Vancouver, British Columbia.

The first major set in the film was the desert-like Nevada Campground. The
actual location was an area south of Vancouver called the Richmond Sand
Dunes. While not the most appealing campground, for production designer
Michael Bolton it typified the reality of life on the road and also served an
important dramatic function in the story. ―The campsites we depicted at the
beginning of the movie were quite unappetizing,‖ Bolton says, ―We were in this
big sandpit, basically, so that the family really didn't know why they were RVing.
As the story progressed, the campsites became friendlier and prettier. When we
were up in the Canadian Rockies, it was genuinely beautiful. There were parts of
Alberta that were sensational.‖

The sand pit location proved to be problematic, since the months of May and
June in Vancouver are extremely rainy — not at all the look Sonnefeld had in
mind for his Nevada Campground. The production circumvented the problem
during the night scenes, which were all filmed in a covered arena that was
dressed by Bolton‘s crew to match the exterior location.

―We had this little book, a kind of ‗Barry's Bible,‘ of things he wanted to see on
the set,‖ says Bolton, ―things that you wouldn't expect to see in an RV camp, but
are actually there. We had a large package of information and photographs taken
from many different real RV camps.‖

Explains Sonnenfeld: ―RV parks are surreal. They're like golf courses, which are
also surreal. They're usually in flat spaces that are invaded with these tall,
strangely painted RVs. I wanted the Munros to have the most garish RV that
you've ever seen. I wanted it to stand out from the landscape, in a most unnatural
way, as if to say ‗here you are surrounded by natural beauty and you‘re driving
this really unnatural-looking monstrosity.‘‖

The devil, for Bolton, was always in the details, as he worked diligently to give
each campground its own character. ―Each of them is unique and there are
people for whom these campsites are their lives,‖ Bolton says. ―They have little
pens for their animals that they carry around in their RVs. They have little
gnomes and concrete deer. They have little lights strung around their vehicles.
It‘s like their own little portable backyard. They also carry around big piece of
Astroturf that they roll out like a lawn in the middle of the RV camp. When you
walk through some of these camps, everyone‘s yard looks different from the next
one. Each has its own personal touches.‖

To capture locations that resembled everything from the flatlands of Utah to the
majesty of the Colorado Rockies, the production spent nearly a month traveling
through in Southern Alberta, Canada. ―We shot all over in places that look just
like the U.S.,‖ recalls Williams. ―There was one location called Milk River where
they have hoodoo (weathered, eccentrically shaped rocks) like they do in the
Utah desert. There are places that look just like Idaho and Colorado, except
when you see signs in English and in French, which they don‘t have in Idaho —
or maybe only in Coeur d'Alene. But it's gorgeous, and you realize that you can
go there in your own RV. It‘s like the next step above camping.‖

RV was indeed a step above camping. The production entailed a great deal of
travel and multiple locations, wrapping on a soundstage south of Vancouver
where the Munro and Gornicke families were dressed in their garish cowboy-best
and sang ―(Get your Kicks on) Route 66‖ for use over the closing credits. The
crew enjoyed a final meal together listening — along with honoree Sonnenfeld —
as Daniels sang his composition, ―The Ballad of the Kosher Cowboy.‖ And yes,
the director wept openly because someone had actually written him a theme

Apart from the many talented cast members, the other very real characters in RV
are the recreational vehicles themselves. The Gornicke bus in particular, says
picture car coordinator Rick Rasmussen, ―attracted more attention and stopped
more traffic than any other single vehicle I‘ve ever worked with and that includes
Vipers, Concept Vehicles and some other fairly exotic vehicles.‖

The script originally called for a 1990s recreational vehicle, but Sonnenfeld
wanted something more classic and asked Rasmussen to help him find it. His
searched yielded two 1948 ―Flxible Clippers,‖ which were used in the ‗40s and
‗50s by such companies as Greyhound and Trailways. At one time there were
more than 5,000 ―Clippers‖ in use by the fleets of about 1,000 bus companies.
Since then, the ―Flxibles‖ have been used in federal parks as shuttles and
remained popular with many smaller bus operators. Nowadays, ―Flxible Clippers‖
are extremely popular as recreational vehicles, so much so that it has spawned
an international organization of ―Clipper‖ owners.

Of the two buses Rasmussen found, one was being used for a tour company,
Cumberland Tours, in Nashville, Tennessee, while the other had been put out to
pasture. Both were in reasonablly good shape when the production acquired
them and were then overhauled to suit the demands of the film. The seats were
stripped away, the bodies restored and painted an eye-catching red and cream
(they were originally blue and white) and outfitted like vintage motor homes.
Other exterior appointments included ―eyelid‖ shades over the headlights, a
chrome ladder up the back and a wooden roof rack to complete its distinctive
classic look. The second bus was completely rebuilt, including engine and
drivetrain, with only about 60 percent of the interior restored. It was used mainly
for stunt work and second unit exterior shots.

The Munro RV was — at least at the start of the film — brand new and hot off the
showroom floor. But it is unlikely that anything like it could be found in a real
showroom. ―I wanted the Munros to have the most garish RV that you‘ve ever

seen,‖ says Sonnenfeld. ―I wanted this RV to stand out from the landscape in an
unnatural way.‖

So the first thing Sonnenfeld did ―was pick colors that don‘t exist in nature, so the
greens are strangely too primary, too bright.‖ To push his idea even farther,
Sonnenfeld opines, ―How embarrassing would it be if the RV not only had
embarrassing colors but also had the words ‗RENT ME‘ on it? So we used the
most glowing yellow for that. Then I said why not put a huge picture of me, Barry
Sonnenfeld, in western garb (though I call myself ‗Irv‘) on the side of the RV,
advertising ‗For a day or a lifetime.‘‖

The Munro RV is a Forest River, Georgetown 359 TS. The production actually
purchased five of them for the film, two of which were the RVs we see the
Munros driving and living in throughout the film. Two others were fitted with
special suspension hydraulics to tackle some of the extreme driving moments.
The fifth RV, dubbed ―Wild Thing‖ was fully functional with entire sections that
were ―wild‖ and could be removed so interior scenes could be filmed.

There was actually a sixth RV, which Rasmussen ordered from the factory in
pieces. The special effects department built the frame to allow hydraulic rams to
raise and lower the RV once it was placed into the lake.

To complete the re-outfitting of the RV, all the interiors were stripped out and
replaced with a different color scheme and larger windows. Skylights were
added, as were new cabinets. Not only did all of the RVs look exactly alike at the
start of the film but as the motor home gets progressively trashed, all the other
vehicles had to be progressively deteriorated to match.


ROBIN WILLIAMS (Bob Munro) is an Academy Award®-winning actor and a
multiple Grammy-winning performer unparalleled in the scope of his imagination
who continues to add to his repertoire of indelible characters.

In 1997, Williams received Academy® and Screen Actors Guild Awards for his
performance as Sean Maguire, the therapist who counsels Matt Damon's title
character —a math genius — in Gus Van Sant's Good Will Hunting. The Motion
Picture Academy previously nominated Williams for Best Actor in The Fisher
King, Dead Poets Society, and Good Morning Vietnam. Williams garnered a
special honor from the National Board of Review for his performance opposite
Robert DeNiro in Awakenings. In 2004, Williams received the prestigious Career
Achievement Award from the Chicago International Film festival and, in 2005, the
Hollywood Foreign Press Association honored him with the Cecil B. DeMille
Award for outstanding contributions to the world of entertainment.

Williams first captured the attention of the world as Mork from Ork on the hit
series ―Mork & Mindy.‖ Born in Chicago and raised in Michigan and California, he
trained at New York's Juilliard School under John Houseman. Williams made his
cinematic debut as the title character in Robert Altman's Popeye. Additional early
motion picture credits include Paul Mazursky's Moscow on the Hudson, in which
he played a Russian musician who decides to defect, and The World According
to Garp, George Roy Hill's adaptation of John Irving's acclaimed best-selling
novel about a writer and his feminist mother.

Williams' filmography includes a number of blockbusters. In 1993, he starred in
Chris Columbus' Mrs. Doubtfire. For Mike Nichols, Williams portrayed Armand
Goldman in The Birdcage, for which the cast won a SAG ensemble award. In
1996, both The Birdcage and Jumanji reached the $100 million mark in the U.S.
in exactly the same week. Williams went on to assume the dual roles of Peter
Pan/Peter Banning in Steven Spielberg's Hook, play a medical student who
treats patients with humor in Patch Adams and star in Disney's Flubber.

In a departure from the usual comedic and family fare he is best known for,
Williams collaborated with two accomplished young directors on dramatic
thrillers. In Insomnia, for Christopher Nolan, he starred opposite Al Pacino as the
reclusive novelist Walter Finch, the primary suspect in the murder of a teenaged
girl in a small Alaskan town. In Mark Romanek's One Hour Photo, Williams
played a photo lab employee who becomes obsessed with a young suburban

Using only his voice, Williams created one of the most vivid characters in recent
memory - the Blue Genie of the Lamp in Disney's Aladdin. The performance
redefined how animated movies were voiced. Recorded versions of his one-man
shows as well as the children's record "Pecos Bill," have won him a total of five
Grammy Awards. Most recently Williams lent his vocal talents to the blockbuster
hit animated feature Robots.

Williams' stage credits include a landmark production of Samuel Beckett's
"Waiting for Godot" directed by Mike Nichols and co-starring Steve Martin and,
most recently, a short run in San Francisco of "The Exonerated," which tells the
true stories of six innocent survivors of death row.

Williams, who began his career as a stand-up comedian, is well known for
monologues in which he makes free-associative leaps punctuated by one-liners
about subjects as varied as politics, history, religion, ethnic strife and sex.
Williams did just that when he toured in a critically acclaimed indefatigable one-
man show that visited 36 cities. The final performance was filmed by HBO and
broadcast live from New York on July 14, 2002.

Offstage, Williams takes great joy in supporting numerous causes covering the
spectrum from health care and human rights, to education, environmental
protection and the arts. He has toured the Middle East three times in as many
years to help raise morale among the troops and is perhaps best known

philanthropically for his affiliation with ―Comic Relief,‖ which was founded in 1986
as a non-profit organization to help America's homeless.

Upcoming for Williams are Mark Mylod's The Big White a black comedy co-
starring Holly Hunter, Woody Harrelson and Giovanni Ribisi, Patrick Stettner's
The Night Listener a drama co-starring Toni Colette and Man of the Year in
which he is re-teamed with director Barry Levinson. Williams recently began
shooting August Rush co-starring Freddie Highmore and Liv Tyler.

JEFF DANIELS (Travis Gornicke) made his feature film debut in Milos Forman‘s
Ragtime, but it was his portrayal of Debra Winger‘s husband in Terms of
Endearment that catapulted him to stardom. Woody Allen was among the first to
recognize the actor‘s talent and comic ability and cast Daniels in a starring role in
The Purple Rose of Cairo. He then went on to star in a number of films, including
Something Wild, The Butcher’s Wife, Checking Out, Fly Away Home, 101
Dalmatians, Speed, Pleasantville, Arachnophobia, Gettysburg, Dumb and
Dumber, Blood Work, The Hours, Gods and Generals, Imaginary Heroes and
Because of Wynn-Dixie. His most recent appearances were in George Clooney‘s
Goodnight, and Good Luck and his acclaimed role in Noah Baumbach‘s The
Squid and the Whale, which earned him his third Golden Globe nomination as
Best Actor. He was previously nominated for Jonathan Demme‘s Something Wild
and Woody Allen‘s The Purpose Rose of Cairo. He will next be seen in Doug
McGrath‘s Infamous, scheduled for an October 2006 release.

Television credits include the recent ―Five People You Meet In Heaven‖ (based
on Mitch Albom‘s best-selling novel), TNT‘s remake of Neil Simon‘s ―The
Goodbye Girl,‖ Robert Altman‘s ―The Caine Mutiny Court Martial,‖ Lee Grant‘s
―No Place Like Home,‖ A&E‘s ―The Crossing,‖ NBC‘s ―Saturday Night Live‖ and
―Cheaters‖ for HBO.

Daniels‘ appearances on Broadway include Lanford Wilson‘s ―Redwood Curtain‖
and ―Fifth of July,‖ for which he won a Drama Desk Award for Best Supporting
Actor. Off-Broadway, Daniels received a Drama Desk nomination for ―Lemon
Sky,‖ as well as an Obie for his performance in the Circle Repertory Company
production of ―Johnny Got His Gun.‖

Back home in Chelsea, Michigan, he has continued his passion for the theater by
founding the Purple Rose Theater Company, which is dedicated to encouraging
and developing mid-western actors, playwrights, directors and designers. All of
Daniels‘ own plays have premiered there: ―Shoe Man‖ (Detroit News Critics
Award for Best New Play), ―The Tropical Pickle,‖ ―The Vast Difference,‖ ―Thy
Kingdom‘s Coming,‖ ―Apartment 3A,‖ ―Boom Town,‖ ―Escanaba in da Moonlight,‖
―Across the Way‖ (which was nominated for Best New Play by the American
Theatre Critics Association), ―Norma & Wanda‖ and most recently, ―Guest Artist.‖

Since the 1970s, Jeff has been composing songs, and recently recorded ―Jeff
Daniels – Live and Unplugged,‖ a collection of live performances which
humorously and touchingly reflect on his life and career. Proceeds from the sale
of this CD go to support The Purple Rose Theater.

In 1999, Daniels formed Purple Rose Films, a Michigan-based independent
production company. His first film as writer/director/actor was Escanaba in da
Moonlight, a comedy about deer hunting based on his hit play. His second film,
Super Sucker, a comedy about mid-western vacuum cleaner salesmen, won the
Audience Award for Best Feature at the U.S. Comedy Arts Festival in Aspen.

CHERYL HINES (Jamie Munro) stars on HBO‘s Golden Globe Award-winning
series (2003 Best Comedy Series), ―Curb Your Enthusiasm,‖ the brainchild of
Larry David, co-creator of ―Seinfeld.‖ The show, which has been nominated for

numerous Emmy Awards, including Best Supporting Actress for Hines and Best
Comedy Series, recently completed its fifth season.

Last summer Hines starred opposite Michael Keaton and Lindsay Lohan in
Herbie: Fully Loaded. Hines also appears in the independent feature Bickford
Schmeckler’s Cool Ideas for writer/director Scott Lew, which premieres at this
year‘s Aspen Comedy Festival. Hines has completed production on several other
features including Lucky 13, an independent family comedy directed by Scott
Marshall that also had its debut at the Aspen Comedy Festival in February, 2005.
In addition, Hines co-stars in the romantic comedy Cake with Sandra Oh and
Taye Diggs and Our Very Own with Allison Janney, Keith Carradine and Jason

Hines has broadened her experience in television to include producing, directing
and voice-over. This year, she executive produced and directed an improvised
comedy series titled ―Campus Ladies‖ for the Oxygen Channel about two
housewives in their 40s who decide to enroll in college and live in the freshman
dorms, and she had a lead voice in the animated series “Father of the Pride.‖

As a member of The Groundlings Theater, Hines has spent a great deal of time
writing and performing sketch and improvisational comedy. This experience
made her feel very much at home with the improvised dialogue format of ―Curb
Your Enthusiasm.‖ Earlier in her career, The Los Angeles Times wrote, ―And, in
her hilarious ‗One Woman Show,‘ Cheryl Hines portrays a surreally untalented
solo performer at her self-indulgent worst – a laugh riot for anyone who has ever
suffered through the real thing.‖ Variety concurred, adding ―Cheryl Hines‘ ‗One
Woman Show‘ offers up five of the funniest minutes in any theater anywhere …
you will want to watch her onstage for three hours.‖

Hines resides in Los Angeles with her husband Paul and their daughter
Catherine Rose.

KRISTIN CHENOWETH (MaryJo Gornicke) is a versatile singer and Tony
Award-winning actress who has made her mark on film and television. She
recently starred in The Pink Panther with Steve Martin and Bewitched opposite
Nicole Kidman and Will Ferrell. She also enjoyed a recurring role on TV‘s
acclaimed White House drama ―The West Wing.‖

Upcoming for Chenoweth are Stranger Than Fiction from director Marc Forster
(Finding Neverland) with Ferrell, Emma Thompson and Maggie Gyllenhaal, the
film version of Augusten Burroughs‘s Running With Scissors, written and directed
by Ryan Murphy (TV‘s Nip/Tuck), with Annette Bening, and the title role in the
film biography of singer Dusty Springfield.

A classically trained singer who is equally at home with pop, old standards and
Broadway musicals, Chenoweth recently made her solo recording debut with the
release of "Let Yourself Go" for Sony Classical. Chenoweth's next album ―As I
Am,‖ was released in April on Sony Classical/Integrity. ―As I Am‖ brings together
a rich and deeply felt collection of songs that range from classic hymns to
contemporary pop hits – songs that are all about faith and love in its most
spiritual and renewing sense.

Chenoweth‘s last visit to Broadway was in the production of ―Wicked,‖ in which
she played Glinda, the Good Witch and earned a Tony nomination. She went on
to star with the New York Philharmonic in Leonard Bernstein‘s ―Candide.‖
Chenoweth is also gearing up for the lead as a spoiled rich girl in the
independent movie-musical Asphalt Beach, written and directed by Peter Spears,
who made a splash at last year‘s Sundance Film Festival with his standout short
film Ernest & Bertram.

Chenoweth recently appeared on the 22nd annual ―A Capitol Fourth Concert‖ on
PBS, and she was seen this past spring in the ABC movie-version of Meredith
Wilson‘s ―The Music Man‖ as Marian the librarian opposite Matthew Broderick.

Chenoweth can also currently be seen on ―Sesame Street‖ as Ms. Noodle and in
Elmo‘s video/DVD ―Elmo‘s World: Happy Holidays!‖ the first ever Elmo‘s World
Holiday special.

Last year, Chenoweth received rave reviews for her ―Lincoln Center‘s 5th
American Songbook.‖ She also received critical acclaim for her performance in
―City Center Encores! 10th Anniversary Bash.‖

Chenoweth was in London for a theater production of ―Divas at Donmar‖ for
director Sam Mendes. She also appeared in the Actor‘s Fund Benefit Concert of
the musical ―Funny Girl‖ in New York City.

Chenoweth made her Broadway debut in a production of Moliere‘s ―Scapin‖
starring Bill Irwin, followed in the spring of 1997 by the Kander and Ebb musical
―Steel Pier,‖ for which she won a Theatre World award. During the 1998-99
season, she created the role of Sally in the first Broadway production of ―You‘re a
Good Man, Charlie Brown,‖ sweeping the Tony, Drama Desk and Outer Critics
Circle Awards as the season‘s Best Featured Actress in a Musical.

JOANNA “JOJO” LEVESQUE (Cassie Munro) is a multi-platinum recording
artist who made her professional acting debut at the age of eight at the
Huntington Theater in Boston in Shakespeare‘s ―A Midsummer Night‘s Dream‖

Levesque was appearing in several local Boston-area television and radio
commercials when offers for recording contracts started to flood in. Relocating
with her mother to California, she landed a singing/acting role in the musical
―Nuncrackers‖ at the Freemont Centre Theatre in Pasadena.

When she was 12, she was cast in a Nickelodeon show and signed her first
contract with Da Family/Blackground/Universal Records. Her debut album ―JoJo‖
went multi-platinum, breaking the record for the youngest solo artist ever to have
a #1 hit on the Billboard Pop Charts as well as the youngest artist ever to be
nominated for an MTV Video Music Award. She toured Europe with Usher to
promote the album.

In December 2004, Levesque performed for President Bush and First Lady Laura
Bush. She was invited back again to perform for America‘s Youth Rocks the
Nation at the Washington D.C. Armory in 2005. She also performed the national
anthem at the Orange Bowl.

Levesque made her feature film debut in Aquamarine.

JOSH HUTCHERSON (Carl Munro) has worked with many of Hollywood's finest
actors and directors. He has starred in Kicking and Screaming opposite Will
Farrell and Robert Duvall, Little Manhattan with Bradley Whitford and Cynthia
Nixon, and more recently, in Columbia Pictures‘ sci-fi family film Zathura with Tim
Robbins and directed by Jon Favreau. In addition, Hutcherson voiced a lead
character in Hayao Miyazaki's anime Howl's Moving Castle and appeared as
Hero Boy in The Polar Express.

Upcoming films for Hutcherson include Firehouse Dog and A Bridge to

Hutcherson's television credits include the TNT telepic "Wilder Days" with Peter
Falk, the Animal Planet feature "Miracle Dogs" and guest appearances in NBC's
"ER," Lifetime's "The Division" and ABC's "Line of Fire."

His hobbies include cars, bowling, soccer and competing in triathlons.
Hutcherson resides in Kentucky with his parents and younger brother Connor.

CHLOE SONNENFELD (Moon Gornicke) is making her third appearance in one
of her father Barry Sonnenfeld‘s films. She had a brief cameo in Men in Black™
and a small role in the hit film‘s sequel.

Having trained on the stage since 1999 when she started with Shakespeare and
Company, she has performed in several productions including ―Macbeth‖ (twice),
―The Tempest,‖ ―A Midsummer Night‘s Dream,‖ ―Twelfth Night,‖ ―Hamlet‖ and
―Romeo and Juliet.‖ She studied with Stages in Sag Harbor, NY, where she
appeared at the Bay Street Theater in ―Frankenstein Follies‖ and ―Pippi
Longstocking.‖ After several seasons with Mudd Butts Mystery Theater Troup in
Telluride Colorado, she traveled with the group recently to Listowel, Ireland
where she performed in ―Tatterhood,‖ an original Irish/American co-production.


BARRY SONNENFELD (Director) has, since his directorial debut with the box
office hit The Addams Family, amassed an impressive array of hit feature films
including Men in Black™ starring Will Smith and Tommy Lee Jones, Addams
Family Values, which reunited the ensemble cast of Raul Julia, Angelica Huston
and Christopher Lloyd, Get Shorty starring John Travolta and Rene Russo and
Men in Black™ II. Other credits include Wild, Wild, West and Big Trouble.

Sonnenfeld has served as executive producer on Lemony Snicket's A Series of
Unfortunate Events and Out of Sight and as producer on The Lady Killers and
The Crew.

On the small screen Sonnenfeld executive produced and directed pilot episodes
for both ―The Tick‖ and ―Maximum Bob.‖ He also served as producer on the
television series ―Karen Sisco.‖

Sonnenfeld began his career as a cinematographer with the Coen brothers on
their first film Blood Simple and continued his collaboration with them on Raising
Arizona and Millers Crossing.      In addition, Sonnenfeld served as director of
photography on Penny Marshall‘s Big, Danny DeVito‘s Throw Mama from the
Train, as well as two films for Rob Reiner, When Harry Met Sally and Misery. He
has also directed numerous Clio Award-winning commercials for Nike, Reebok
and Isuzu.

Sonnenfeld attended New York University, where he received a BA in political
science and an MFA in film. He lives in East Hampton, New York and Telluride,
Colorado with his wife ―Sweetie‖ and daughter Chloe.

GEOFF RODKEY (Written by) most recently wrote the screenplays for The
Shaggy Dog starring Tim Allen and Revolution Studios‘ hit comedy Daddy Day
Care starring Eddie Murphy.

Rodkey was previously a staff writer on the comedy series ―Lateline‖ starring Al
Franken, a contributing writer for the Emmy-nominated ―Politically Incorrect‖ and
a co-writer of two episodes of ―Beavis and Butthead.‖ He is also author of the
book Newtisms: The Wit and Wisdom of Newt Gingrich, as well as a fictional
character in Franken‘s best-selling Rush Limbaugh Is a Big Fat Idiot and Other

LUCY FISHER (Producer) the former vice chairman of the Columbia Tri-Star
Motion Picture Group, is partnered with Oscar®-winning producer Douglas Wick
as co-head of Red Wagon Entertainment. Together they have worked with some
of the most accomplished filmmakers in the world, most recently on Memoirs of a

Geisha directed by Rob Marshall, (which received six nominations and won three
Oscas®), and Academy Award-winner Sam Mendes' Jarhead starring Jamie
Foxx and Jake Gyllenhaal.

Fisher served as vice chairman at Sony Pictures from 1996-2000. During her
tenure, the studio broke all-time industry records for biggest domestic and
worldwide gross in history with films she supervised, which included Men in
Black, My Best Friend’s Wedding, Air Force One, Jerry Maguire, Zorro, As Good
As It Gets and Stuart Little.

After leaving the executive suite in 2001, Fisher‘s first producing effort with Wick
was Stuart Little 2, which reunited the original creative team and cast from the
blockbuster Stuart Little. Fisher and Wick and their Red Wagon Entertainment
also produced Peter Pan and Bewitched.

Before moving to Sony, Fisher served 14 years as executive vice president of
worldwide production at Warner Bros. There, she developed and supervised a
diverse range of commercially successful, critically acclaimed films, including The
Fugitive, The Color Purple, Gremlins, The Goonies, Malcolm X, The Bridges of
Madison County, Space Jam, Empire of the Sun, The Outsiders, The Witches of
Eastwick and The Secret Garden. She also shepherded the pickup of Michael
Moore‘s debut, Roger and Me. Fisher began her career as a reader at United
Artists. She then served as vice president of production at Twentieth Century Fox
before being named Head of Worldwide Production for Francis Ford Coppola‘s
Zoetrope Studios.

In addition to her creative achievements, Fisher is considered a pioneer for
women and working mothers in the entertainment industry. She was the driving
force behind the on-site Warner Bros. Studio Children‘s Center, which opened its
doors in 1992. It has since provided care for over 1000 children and served as a
prototype for day care centers at other studios.

Fisher‘s many awards include last year‘s Hollywood Film Festival ―Producer of
the Year‖ award as well as the Hollywood Award for Outstanding Achievement in
Producing, the Crystal Award from Women in Film, Premiere magazine‘s Icon
Award and the Jewish Image Awards‘ Industry Leadership Award. She was also
listed as one of Fortune magazine‘s 50 Most Powerful Women in American

A cum laude graduate of Harvard University, Fisher founded and serves as board
member of the Peter Ivers Artist-in-Residency Program at Harvard. She is an
advisor to the Los Angeles Chapter of the Juvenile Diabetes Research
Foundation International and is Co-Founder of CuresNow, an organization that
promotes regenerative medicine and stem cell research. She also served as Co-
Chairman of The California Stem Cell Research and Cures Initiative (Prop 71,
which was passed in the November 2004 election) and is now is on the board of
the Alliance of Stem Cell Research.

DOUGLAS WICK (Producer) has produced movies that have cumulatively
earned more than $1.5 billion at the box office and been nominated for 20
Academy Awards with seven Oscar wins. Wick is partnered with Lucy Fisher,
former vice chairman of the Columbia Tri-Star Motion Picture Group, as co-head
of Red Wagon Entertainment. Together they have worked with some of the most
accomplished filmmakers in the world, including Rob Marshall on Memoirs of a
Geisha (which received six nominations, and won three Oscars®) and Academy
Award-winner Sam Mendes on Jarhead starring Jamie Foxx and Jake

In 2000, Wick produced Gladiator, which was directed by Ridley Scott and
starred Russell Crowe, and received 12 Academy Award nominations and won
five Oscars, including Best Picture for Wick. Gladiator also won two Golden
Globe Awards, including Best Motion Picture for Wick; four British Academy of

Film and Television Awards (BAFTA), again including Best Film; AFI‘s Movie of
the Year, the MTV Movie Awards‘ Best Movie and the Producers Guild‘s Golden
Laurel Motion Picture Producer of the Year Award.

Wick‘s beloved blockbuster Stuart Little, released in 1999, starred Academy
Award winner Geena Davis and featured the voices of Michael J. Fox and
Nathan Lane. Stuart Little became an instant classic, a top-selling video, and a
family franchise. Together, Wick and Fisher produced Stuart Little 2, which
reunited the entire original creative team and cast, earned a BAFTA nomination,
and like its predecessor, became a worldwide hit.

As well as having produced Peter Pan and Bewitched with Fisher and their Red
Wagon Entertainment, Wick‘s other films include Spy Game, which paired movie
icons Robert Redford and Brad Pitt under the direction of Tony Scott, Hollow
Man directed by Paul Verhoeven and Girl, Interrupted, which won Angelina Jolie
both an Academy Award® and a Golden Globe for her breakthrough

Working Girl, directed by Mike Nichols, marked Wick‘s first solo producing effort.
Starring Harrison Ford, Melanie Griffith and Sigourney Weaver, Working Girl
earned six Academy Award nominations, one Oscar and five Golden Globe
Awards, including a first Best Motion Picture for Wick. Nichols later teamed with
Wick to produce Wolf starring Jack Nicholson and Michelle Pfeiffer. Wick
followed it with The Craft, the original teenage witch sensation. After graduating
cum laude from Yale University, Wick began his career as a coffee boy for
filmmaker Alan Pakula. He earned his first credit as associate producer on
Starting Over.

Wick has served on the Board of Trustees for The Center for Early Education in
Los Angeles, and the Board of Directors for the Producers Guild of America. He
is Co-Founder of CuresNow, an organization that promotes regenerative

medicine and stem cell research, and was Co-Chairman of The California Stem
Cell Research and Cures Initiative (Prop 71, which was passed in the November
2004 election). He is now is on the board of the Alliance of Stem Cell Research.

Wick has been awarded the Saturn Award, the Los Angeles Father of the Year
Award, Santa Barbara International Film Festival‘s Producer of the Year, the
Motion Picture Club‘s Producer of the Year, the 2002 NATO ShoWest Producer
of the Year, and 2002‘s Hollywood Award for Outstanding Achievement in
Producing, and most recently, last year‘s Hollywood Film Festival ―Producer of
the Year‖ Award.

BOBBY COHEN (Executive Producer) has, as President of Red Wagon
Entertainment, combined filmmaker's sensibility with an executive's eye for detail
as he oversees the company‘s wide-ranging slate of projects from pre-production
through release.

Cohen served as Executive Producer on Nora Ephron's Bewitched starring
Nicole Kidman and Will Ferrell. He also served as executive producer on Oscar®
winner Sam Mendes' Jarhead starring Jake Gyllenhaal, Peter Sarsgaard and
Jamie Foxx and Rob Marshall‘s highly lauded film adaptation of Memoirs of a
Geisha, which won three Academy Awards®.

Prior to joining Red Wagon, Cohen co-produced Don Roos' Happy Endings
starring an ensemble cast including Lisa Kudrow, Maggie Gylenhaal, Steve
Coogan, Tom Arnold, Bobby Cannavale, Jason Ritter and Jesse Bradford. The
film was the Opening Night selection at the 2005 Sundance Film Festival.

In 1999, Cohen founded Cohen Pictures, which had a multi-picture deal at
Miramax. During that time, he produced the comedy View From the Top starring
Gwyneth Paltrow, Christina Applegate, Candice Bergen, Kelly Preston, Mark
Ruffalo and Mike Myers. He also was a co-producer on the romantic drama

Bounce starring Ben Affleck and Gwyneth Paltrow. He executive produced the
romantic comedy Down to You starring Freddie Prinze, Jr. and Julia Stiles and
Lasse Hallström's The Cider House Rules starring Tobey Maguire, Charlize
Theron, Paul Rudd and Michael Caine, which took home Academy Awards® for
Best Screenplay and Best Supporting Actor for Caine.

Previously, Cohen was the Senior Vice-President of Production at Miramax
Films. During his tenure at Miramax, Cohen served as Executive Producer on
Rounders starring Matt Damon and Edward Norton and 54 starring Mike Myers,
Neve Campbell and Salma Hayek. In addition, he was the executive on many
other films including Clerks, Wide Awake, Smoke, The Pallbearer, Scream and
Beautiful Girls.

Cohen began his career at The Writers and Artists Agency in New York. He
currently lives in Los Angeles with his wife Katie and children Jack and Molly.

RYAN KAVANAUGH (Executive Producer) is a principal of Relativity Media,
LLC, an entertainment industry boutique that uniquely blends film financing and
structured finance as its core businesses. Prior to his work with Relativity,
Kavanaugh started a venture capital company at the age of 22, and raised and
invested hundreds of millions for venture and private equity transactions.

While at Relativity, Kavanaugh has been responsible for creating business and
financial structures for a number of studios, production companies and
producers, and introduced over $2 billion in capital to such structures.
Clients/deals include Marvel Entertainment, Atmosphere Entertainment MM, the
French distributor/sales agent Exception-Wild Bunch S.A., Warner Bros., Sony
and Universal, among others. Relativity also consults and advises a number of
bulge bracket banks and hedge funds as to their investment activities in the film

One of the most recent deals at Relativity, and perhaps most notable, was its
work on the $525 million revolving credit facility for Marvel Entertainment, the
structure of which has been hailed by Wall Street as one of the most innovative
and elegant ever created in the entertainment field. This structure was the
creation of Kavanaugh, along with his partner Lynwood Spinks, and was
ultimately consummated by them with Merrill Lynch.

Kavanaugh was also the creator of Relativity Film Finance, an entity which
finances three to four single-picture independent films per month, including Land
of the Dead, Full of It and producer Laura Ziskin‘s upcoming Bruce Willis film
Morgan’s Summit.

GRAHAM PLACE (Co-Producer) was executive producer on The Addams
Family and co-producer on For Love or Money. Additionally, he worked with Joel
and Ethan Coen as line producer on Miller’s Crossing and as co-producer on
Barton Fink and The Hudsucker Proxy.

Place served as co-producer on Nell with Jodie Foster and also co-produced
Barry Sonnenfeld‘s Get Shorty, Men In Black™, Wild, Wild West, Big Trouble
and Men in Black™ 2.

FRED MURPHY, ASC (Director of Photography) previously photographed
Dreamer, David Koepp‘s Secret Window and Stir of Echoes, Auto Focus, The
Mothman Prophecies, October Sky, Dance With Me, Metro, Faithful, The
Fantasticks, Murder in the First, Jack the Bear, Enemies: A Love Story, Fresh
Horses, Full Moon in Blue Water, Best Seller, The Dead, Five Corners, Hoosiers,
The Trip to Bountiful, Eddie and the Cruisers and Heartland, among others. He
was co-cinematographer with Henri Alekan on The State of Things, which won
The Golden Lion at the 1983 Venice Film Festival. His first feature film was
Girlfriends in 1978.

His TV work includes ―Witness Protection,‖ ―The Final Days,‖ ―Sessions,‖ ―The
Gardener‘s Son‖ and the pilot for ―Nothing Sacred.‖

Born and raised in New York City, Murphy attended Columbia University and The
Rhode Island School of Design.

MICHAEL BOLTON (Production Designer) most recently provided the
production design for the thriller White Noise starring Michael Keaton. He created
the stylized look for the cult classic Romeo Must Die directed by Andrzej
Bartkowiak. Other films on which he served as production designer include the
thriller Final Destination II, Saving Silverman, White Fang, Out Cold, Wrongfully
Accused, Homeward Bound II, Look Who’s Talking Now and The Fly II, among

For television Bolton did the designs for two of the very popular Muppet series
including, ―The Muppets‘ Wizard of Oz,‖ and ―A Very Muppet Christmas‖ — both
for director Kirk Thatcher. Other television projects include ―Noah,‖ ―Goldrush,‖
―A Christmas Star‖ and ―A Stranger In My Bed.‖

As art director, Bolton worked on such films as Fire With Fire, The Journey of
Natty Gann, Iceman and Star 80.

KEVIN TENT, A.C.E. (Editor) most recently marked his fourth collaboration with
writer/director Alexander Payne on Sideways for which he was nominated for an
A.C.E. award. He had previously been nominated for two other acclaimed Payne
projects, About Schmidt and Election. He first worked with Payne on his feature
debut Citizen Ruth starring Laura Dern, which premiered at the 1997 Sundance
Film Festival.

In 2004, Tent edited the psychological thriller The Clearing starring Robert
Redford, Helen Mirren and Willem Dafoe. He worked for the late director Ted

Demme on his drug epic Blow starring Johnny Depp and Penelope Cruz, and
with James Mangold on Girl, Interrupted, starring Winona Ryder and Academy
Award®-winner Angelina Jolie (Best Supporting Actress).

His other credits include Homage (a 1996 Sundance Festival premiere),
Guncrazy directed by Tamra Davis and Since You’ve Been Gone directed by
David Schwimmer. Tent began his career with Roger Corman's New Horizons
Studio, where he edited countless classics such as Not of This Earth and
Hollywood Blvd. II. He was also the editor on Frankenhooker.

MARY E. VOGT (Costume Designer) marks her fourth film collaboration with
director Barry Sonnenfeld on RV, having previously designed the costumes for
Men in Black™, Men in Black™ 2 and Big Trouble. She also designed the
costumes for Sonnenfeld‘s TV pilot ―Maximum Bob.‖

Vogt most recently did the costumes for Son of the Mask starring Jamie
Kennedy, as well as Looney Toons – Back in Action for director Joe Dante,
Unconditional Love and Inspector Gadget. Vogt designed costumes for five films
directed by John Badham, Nick of Time, Stakeout, Short Circuit, The Hard Way
and Drop Zone. For director David Zucker she worked on The Naked Gun and
The Naked Gun 33 1/3. She also designed the costumes for Hocus Pocus
starring Bette Midler and Sarah Jessica Parker and co-designed the clothes for
Batman Returns with costume designer Bob Ringwood.

JAMES NEWTON HOWARD (Music by) is one of Hollywood‘s most versatile
and prolific composers, with more than 90 films to his credit. He has received six
Academy Award nominations, two Golden Globe nominations, and one
Grammy nomination. In addition, he has won 24 ASCAP Awards for film and
television shows scored from 1994 to 2002. His credits include films as diverse
as The Sixth Sense, Signs, The Fugitive, Pretty Woman, The Prince of Tides,

Grand Canyon, Dave, Primal Fear, America’s Sweethearts, Glengarry Glen
Ross, The Devil’s Advocate, and Dinosaur.

Howard‘s most recent projects include Peter Jackson‘s King Kong, Revolution
Studios‘ Freedomland starring Samuel L. Jackson and Julianne Moore,
Christopher Nolan‘s Batman Begins, starring Christian Bale, Sydney Pollack‘s
The Interpreter starring Nicole Kidman and Sean Penn, the live-action Peter Pan,
Hidalgo starring Viggo Mortensen, M. Night Shyamalan‘s The Village, for which
Howard received his sixth Oscar nomination for Best Original Score and
Michael Mann‘s Collateral. Upcoming projects include M. Night Shyamalan's
Lady In The Water.

Howard attended the Music Academy of the West in Santa Barbara, California
and the University of Southern California‘s Colburn School of Music. He
completed his formal education studying under legendary arranger Marty Paich.
Though his training was classical, he nurtured an interest in rock and pop. His
early work in the pop arena really honed his talents as a songwriter, musician,
arranger, producer and composer.

He spent two years doing session work for a variety of performers, from Carly
Simon to Ringo Starr, and also recorded two solo albums. In 1975, he joined
pop superstar Elton John‘s band on the road and in the studio doing
orchestrations and string arrangements. One of the most sought-after musicians
in the industry — as a songwriter, record producer, conductor, keyboardist and
film composer — Howard has racked up a string of studio collaborations with
some of pop‘s biggest names, including Barbra Streisand, Randy Newman,
Rickie Lee Jones, Chakha Khan, Olivia Newton-John, Earth Wind and Fire, Bob
Seger, Rod Stewart and Glen Frey, among others.

―ACADEMY AWARD®‖ and ―OSCAR®‖ are the registered trademarks and service
marks of the Academy of Motion Picture Arts and Sciences.‖

                            RV STATISTICS

1. There are nearly 8 million households with an RV in the United States,
according to a University of Michigan study.

2. The typical RV owner is 49, married, owns a home and has an annual
household income of $68,000.

3. RV vacations are the least expensive type of family vacation by up to 75%,
according to major travel and tourism-consulting firm PFK.

4. Approximately 12% of all RV owners spend their winters in the southern
hemisphere of the U.S. They go by the nickname "snowbirds."

5. According to Baseball Hall of Famer Bob Gibson, the key to a successful
marriage is to "take your spouse RVing."

6. Nineteen Professional Golfers Association (PGA) players travel in RVs while
on the golfing circuit.

7. RVs fall into two main categories: Towables and motorized.

8. RV rentals bring an estimated $350 million annually — a 36% increase from
the previous three years.

9. There are more than 8,500 privately owned RV parks and campgrounds
adjacent to U.S. national parks and forests.

10. In 2004, the #1 search item on E-bay was "RV."

11. The annual retail value of RV shipments is $14 billion.

12. RVs range in price from $4,000 to $400,000.

13. One in 12 vehicle-owning households own an RV.

14. At any given time, there are as many as 7.2 million RVs on the nation‘s

15. RV star Jeff Daniels is an actual RV owner and arrived on location in his own


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