The Hebrew Hammer

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					                                         Presents



             The Hebrew Hammer
                                   A film by
                              Jonathan Kesselman
                                            Starring

                                     Adam Goldberg
                                       Judy Greer
                                       Andy Dick
                                    Mario Van Peebles
                                      Peter Coyote
                                       Nora Dunn




Sales:                                                 Press:
Cassian Elwes         Howard Cohen                     Jeremy Walker / Jessica Haines
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                                                       Email: jeremy@jeremywalker.com
                          CAST

Mordechai Jefferson Carver………………………………………………Adam Goldberg

Esther…………………………………………………………………….……..Judy Greer

Santa ‘Damian’………………………………………………………………….Andy Dick

Mohammed……………………………………………………………..Mario Van Peebles

J.J.L. Chief…………………………………………………………………...Peter Coyote

Tiny Tim……………………………………………………………….…….Sean Whalen

Jamal…………………………………………………………………………….Tony Cox

Mrs. Carver……………………………………………………………………..Nora Dunn

Santa………………..…….…………………………………………………Richard Riehle

Sweetback………………………………………………………….….Melvin Van Peebles

Tikva……………………………….……………………………………..…Rachel Dratch

Shlomo………………………………………………………………………Harrison Chad

Skinhead Bartender…………………………………………………………Jim Petersmith

Mrs. Highsmith……………………………………..……………………..Annie McEnroe

Young Mordechi………………………………………………………..Grant Rosenmeyer

Blonde Bombshell…………………………………………………………Elaine Hendrix

Israeli Rental Agent…………………………………………………..……Ayelet Ben-Hur

Tony…………………………………………………………………….……Alex Corrado

Jimmy…………………………………………………………………….……..Brad Duck

Adolescent Hasidic Boy…………………………………………………….…Jason Fuchs

Edward I. Koch……………………………………………………………………Himself
Head Elf…………………………………………………………………………Gary Pratt

Mun Chi…………………………………………………………………….Woodrow Asai

Teenage Gentile……………………………………………………………….Daryl Wein

Gentile Boy #1…………………………………………………………..Michael J. Mylett

Gentile Boy #2……………………………………………………………..…T.J. Sullivan

Gentile Girl #1………………………………………………….……….Audrey Twitchell

Gentile Girl #2……………………………………………………………Alexa Eisenstein

Old Woman……………………………………….…………………………..Evelyn Page

Chairman of the Worldwide Jewish Media Conspiracy………………...…George Hosmer

ADL Chairman………………………………………………………….…Ronald Schultz

JDL Member #1…………………………………………….………………Leslie Shenkel

JDL Member #2…………………………………………….…………...…Alan Nebelthau

Council Elder……………………………………………..………………Jerome Richards

Sammy Davis Jr. Jr…………………………………………………………….C.P. Lacey

Black Teen………………………………………………………………..Ephraim Benton

White Accountant…………………………………………………………….....David Lee

Addict Jewish Child……………………………………………………………Adam Rose

Blonde Gentile Girl……………………………………………………..Devin Rene Burns

Freckle Faced Gentile……………………………………………………..…Jimmy Walsh

Samples Woman…………………………………………………………….Chris McGinn

Bambi…………………………………………………………..…………Kathryn Gordon

MC Hammer……………………………………………………………………C.P. Lacey

Harriet Tubbleman……………………………………..……………………..Anna Berger

Carnival Worker……..…………………………………………………..…….Ivan Sandro
Joshua………………………………………………………………………...Jeff Marlowe

Bandleader…………………………………………………………………...Ronald Shore

Chaim Feygele……………………………………………………..……….Tom Chalmers

Elf Flunky…………………………………………………………David Joseph Steinberg

Sassy Black Prostitute……………………………………………………….Mylika Davis

Hatcheck Guy…………………………………………………….…….Moshe Kesselman

Macabee………………………………………………………..………..David Kesselman
                                                      FILMMAKERS

Written and Directed by………………………………………………Jonathan Kesselman
Producers...................................................................................................... Josh Kesselman
..................................................................................................................... Sofia Sondervan
........................................................................................................................... Lisa Fragner
Executive Producers............................................................................. Edward R. Pressman
.......................................................................................................................... John Schmidt
Associate Producers ........................................................................................Aimee Schoof
……………………………………………………………………...…………Isen Robbins
Director of Photography……………………………………………..Kurt Brabbée, A.S.C.
Production Designer................................................................................... Cabot McMullan
Art Director ......................................................................................................... David Ellis
Set Decorator ..................................................................................................... Shane Klein
Costume Designer ........................................................................................ Alysia Raycraft
……………………………………………………………………………Michelle Phillips
Hair…………………………………………………………………………Loretta Alston
Makeup……………………………………………………………….Persefone Karakosta
Casting by .................................................................................. Valerie McCaffrey, C.S.A.
Sound Recording…………………………………………………………..Theresa Radka
Sound Editing………………………………………………………………Lou Kleinman
Composer ...................................................................................................... Michael Cohen
Editor............................................................................................................... Dean Holland
Unit Production Manager ................................................................................. Yurgi Ganter
Production Supervisors .................................................................................... Moe Bardach
……………………………………………………………………...…………F.L. Wright
Production Coordinator ............................................................................... Michele Proyect
1st Assistant Director .................................................................................. Urs Hirschbiegel
Post Production Supervisor ………………………………………………..Douglas Salkin
Music Supervisor……………………...…………………………………………Andy Hill
                              THE HEBREW HAMMER


                                            ‫הה‬

“The Hebrew Hammer,” is an action-comedy written and directed by 28-year-old
Jonathan Kesselman. The film stars Adam Goldberg in the title role, with Judy Greer,
Andy Dick, Mario Van Peebles, Peter Coyote and Nora Dunn starring in supporting roles.

By creating “The Hebrew Hammer,” Kesselman has brought to life a character rarely
seen in Hollywood or off-Hollywood films: a sexy and powerful Jewish action hero.

Just as such indelible films as Melvin Van Peebles’ “Sweet Sweetback’s Baadasssss
Song” and Gordon Parks’ “Shaft” were reactions to Hollywood’s inability or
unwillingness to portray strong, sexy Black characters in the early 70s, Kesselman’s
“Hammer” is his way of creating a new hero for a new generation.

Like any exploitation film, “The Hebrew Hammer” pitches stereotypes like flaming
fastballs at a knowing audience. But it would be wrong to say that Kesselman, by
creating a “Shaft” with peyos, is satirizing the Blaxploitation genre. Instead, Kesselman
is honoring the genre, proud that he, too has made a picture with a built-in audience in
mind.

Kesselman is also a huge fan of slapstick comedy, worshiping at the altar Zucker/Abrams
and Mel Brooks movies. By having Adam Goldberg exaggerate the Hammer’s
Jewishness the same way that Leslie Nielsen pushed his character’s utterly white-bread
naivete, Kesselman is hoping to break new comedic ground.

Written and directed by Jonathan Kesselman, “The Hebrew Hammer” was shot on 33
New York City locations in four and a half weeks in the spring of 2002. Kesselman’s
brother, Josh Kesselman of Jericho Entertainment, produced the film with R&BFM’s
Lisa Fragner and ContentFilm’s Sofia Sondervan. ContentFilm’s Edward R. Pressman
and John Schmidt are executive producers.

                                            ‫הה‬
                                      GOOD GUYS



MORDECHAI JEFFERSON CARVER, a.k.a. THE HEBREW HAMMER

What drives ordinary men to greatness? Why are heroes made, not born? What does it
take to get a guy into a really pimpy, knee-length black leather coat and a low-riding baby
blue Caddy with white fur interior?

For Mordechai Jefferson Carver, it started when he was the only Jewish boy in school.

Every December, Mordechai looked on while his gentile peers got pricey presents under
brightly-lit trees, while all Mordechai got was a dreidel and their disdain.

But Carver stayed true to his heritage.

Today, Mordechai Jefferson Carver is known throughout the world as The Hebrew
Hammer, the baddest Heeb this side of Tel Aviv, a stylish strongman, a protector of the
innocent, a man’s mensch in these troubled times.

A hero on his hometown Brooklyn streets following a “situation” he “took care of” on the
West Bank in the not-too-distant past, the Hammer runs a quiet business as a private
investigator – he’s a certified circumcised dick – when he’s not protecting the traditions
of his people from destructive outside forces.

But still, his mother wishes he’d done more with his life.


BLOOMENBERGANSTEINTHAL, Head of the J.J.L. (Jewish Justice League)

A hard-line Heeb who oversees a secret, Senate-like organization comprised of the
influential heads of such powerful forces as the Anti-Denegration League, the Worldwide
Jewish Media Conspiracy and various Sage Elders, Chief Bloomenbergensteinthal is
charged with defending the Jewish people and its traditions in times of crisis. His word
can move mountains, motivate world leaders, or get another Adam Sandler movie made.

Though deeply respectful of his heritage, the J.J.L. Chief has liberal views and is a
relatively open and accepting person. His deputy, for example, is Sammy Davis Jr. Jr.


ESTHER BLOOMENBERGANSTEINTHAL

Like the child of any great leader, Esther has grown up understanding power and the
privilege and responsibility it brings. But Esther also knows her power as a young
woman, and uses it to manipulate the Hammer into helping her father’s cause. As handy
with a 9mm as she is with her feminine wiles, Esther will become the Hammer’s sidekick
before he knows he needs one.
MOHAMMED, Head of the KLF (Kwanzaa Liberation Front)

As head of the Kwanzaa Liberation Front, Mohammed is smart enough to know that a
threat to one alternative to the Christian holiday is a threat to his. But he is also one of
the Hammer’s oldest and closest friends, brothers in their fight against oppression and in
their sense of fashion. Mohammed leads a group of Panther-like activists who, though
enveloped in clouds of acrid purple smoke, a cache of heavy artillery and a harem of fine
ladies, are on “full alert mode” once they hear that Santa’s “got a brand new bag and it’s
velvety red and it ain’t gonna be overnight fedexed to Jerusalem.”


                                             ‫הה‬

                                       BAD GUYS



DAMIAN CLAUS – As the only heir to the red suit in the Claus family lineage,
Damian is not looking to follow in his father’s footsteps as a tolerant Santa, one who
embraces the other cultures and holidays. Instead, the bitter and angry Damian believes
that only Christmas should be allowed to exist. To put his diabolical plan into action, he
murders his father and sets about to destroy Hanukkah by any means necessary, even if it
means killing his father’s old friend and ally, The Hebrew Hammer.


TINY TIM – The young sweet optimistic boy from a Christmas Carol has grown up into
a common street criminal and Damian Claus’s right hand man…did you really believe
Ebeneezer Scrooge would always take care of the Cratchets?

                                             ‫הה‬
                              A GLOSSARY OF TERMS


BAR MITZVAH – n. Hebrew (BAR MIS-vah) Literally, “son of the commandment.”
When a Jewish boy becomes 13, he is bound “by the commandment”; in other words, he
is now responsible for fulfilling Jewish law. The phrase also refers to the boy himself.
Although not mandated by Jewish law, the Bar Mitzvah ceremony has become an
established custom. At a Bar Mitzvah ceremony, which usually takes place at Shabbat
morning service, the young man will generally read from the Torah and give a speech..
During the Torah reading, family members and friends are honored. The ceremony is
usually followed by a joyous party in the afternoon or evening that includes a meal,
music and candle lighting.

BEITZAH- n. Hebrew (bay-TSAH) The roasted egg placed on a seder plate during the
Pesach seder. The egg is symbolic of several things, including the sacrifices in the
ancient Temple in Jerusalem, rebirth in the spring, and the Israelites’ new lives in
freedom after the Exodus from Egypt.

BOCA RATON- n. A location in Florida populated by a lot of Jews, many of whom are
retired.

BOYCHICK- n. Yiddish (BOY-chick) A young boy. Used as an affectionate way to
address a man or boy; the equivalent of the American expression “buddy” or “kiddo.”
Old fashioned usage.

BUBBELEH – n. Yiddish (BUH-beh-leh) Literally, “little grandmother.” A term of
endearment for women of any age, similar to “darling” or “honey.”

CHAIM POTOK’S ‘THE CHOSEN’- The 1981 film adaptation of Chaim Potok’s
novel centering on the friendship between Americanized Jew Miller and Hassidic Benson
set in 1940s Brooklyn.

CIRCUMCISION- n. English A surgical procedure to remove the foreskin of the penis.
In Jewish tradition, circumcision is performed at a religious ritual called a brit milah or
bris.

DREIDEL – n. Yiddish (DRAY-duhl) A small, four sided spinning top used in a game
during Hanukkah. Every dreidel has a Hebrew letter on each side – nun, gimmel, hay and
shin – that together stand for the phrase nes gadol hayah sham, meaning “ a great miracle
happened here). The phrase reminds Jews of the Maccabees’ battle for religious freedom
and the Hanukkah miracle of the oil.

Dreidels can be made of almost any material. Children make them of clay or paper;
artists make them of silver, wood, or porcelain. In the game of the dreidel, each player
takes a turn putting money, candy, or some other small object in the center of the circle.
Then each spins the dreidel to find out what se or she wins: nun means none, gimmel
means all, hay means half, and shin means put one in. In the story of Hanukkah, legend
has it that when King Antiochus forbade Jews to study the Torah, they would do their
lessons with a dreidel close at hand. When soldiers approached, they could quickly begin
to play the dreidel so as not to be caught studying Jewish texts. Today, dreidels and foil-
wrapped chocolate coins (gelt) are traditional Hanukkah gifts.

FIDDLER ON THE ROOF- 1971 Academy Award winning film musical based on the
Broadway play. Ukrainian milkman Tevye clings desperately to the old Jewish traditions
while all around him the world changes, day by day. His three daughters marry men he
considers more and more unacceptable, and the ruling Russian government's anti-
Semitism threatens to drive him from his home.

GENTILE- n. English The word Jews use to refer to anyone who is not Jewish. Unlike
goy, the Yiddish word for non-Jew, gentile has no negative connotations.

G-D – n. English (GEE-DASH-DEE) Another way to write the name of God. This form
is often used by traditional Jews, in keeping with Jewish law, to avoid writing God’s
name on paper or something else of a temporary nature that might be thrown away or
erased. Some people consider it unnecessary to use a hyphen in the word “God” because
this is simply another name for the Tetragrammaton-the letters yud, hay, vav, hay – which
is the name of God.

GOY- n Hebrew (GOY); pl. goyim (GOY-eem) Common biblical word meaning
“nation” or “people.” Today, it is most often used among Jews to refer to someone who is
not a Jew. Unlike “gentile,” is it often used disparagingly.

HANUKKAH- n. Hebrew (HAH-noo-kah) Literally, “dedication.” Beginning on the
25th of Kislev, which corresponds to late November or sometime in December, Hanukkah
is a joyous holiday that celebrates the victory of the Maccabees over the Syrians and the
rededication of the Second Temple in Jerusalem in ancient times. Hanukkah is often
called the Festival of Lights. The Syrian king, Antiochus, who ruled ancient Israel from
175 to 176 B.C.E., wanted to wipe out Judaism and convert the population to his Greek
ways. Citizens were forced to speak Greek and worship Greek gods. It was forbidden to
practice Judaism, celebrate Jewish holidays, or study Torah. A Jew named Mattathias,
and his son Judah, known as Judah Macabee, led a revolt against the Syrian army. Called
Maccabees, the revolutionaries fought for three years against the much stronger Syrian
army and finally prevailed. Jerusalem was liberated and the Temple returned to Jewish
control. But when the Jews entered the Temple, the found that it had been desecrated
with the statues of Greek gods and discovered that there was only enough pure oil to
rekindle the eternal flame, the ner tamid, for one day. Miraculously, the oil lasted for
eight days, long enough to purify new oil and rededicate the temple.

Today, Hanukkah is celebrated for eight days. Each night another candle is lit and placed
in a special eight-branched candelabra called a menorah. A shamash candle is lit first
and used to kindle the others. Families often place their menorahs in a window or other
visible spot to bear witness to the miracle. Special blessings are said to thank God for the
wondrous events and religious freedom that Hanukkah recalls. Families exchange gifts;
play dreidel; and give Hanukkah gelt to children. It is also traditional to eat foods cooked
in oil, like latkes or sufganiyot (Israeli jelly donuts), to remember the miracle of the oil.
HAVA NAGILA- n. Hebrew (HAH-vah nuh-GEEL-ah) Traditional Jewish melody,
often played at the simchot (Bar and Bat Mitzvah celebrations and weddings). Guests
often dance the hora, a circle dance, to the tune.

HEEB – n. (slang) Formerly a slur used to describe a Jewish person, this term has come
into vogue among younger Jews who use it to describe themselves and each other, much
like other ethnic slurs have been “taken back” by African Americans. It is also the title
of a quarterly magazine about contemporary Jewish culture.

HEBREW- n. English 1. The scholarly and holy language of the Jews, used in prayer.
A Semitic language, Hebrew was spoken by the ancient Israelites until the 2nd century
B.C.E. when Aramaic took its place as the everyday language. It was not spoken again in
the vernacular until modern times, when the State of Israel adopted Hebrew as its
national language. 2. The term for Israelites and Judeans before the Babylonian exile in
586 B.C.E. From the Hebrew root ivri, perhaps meaning “one from the other side (of the
Jordan River).”

HORA- n. Hebrew (HOE-rah) A traditional Romanian circle dance. This folk dance is
the national dance of the State of Israel. The hora is a favorite dance at Jewish weddings
and at Bar and Bat Mitzvah receptions. It is often danced to the song “Havah Nagila”

KWANZAA- n. Swahili An African-American cultural festival, celebrated from
December 26 to January 1.

LATKE- n. Yiddish (LOT-kah) A fried pancake. The most common type is the potato
latke, traditionally eaten on Hanukkah. These latkes are fried in oil to remind Jews of the
Hanukkah miracle of the rededication of the Temple, when a tiny bit of oil lasted for
eight days. There are many other varieties of latkes, such as carrot, zucchini, and sweet
potato. On Pesach, latkes are made from matzah meal.

L’CHAIM- int. Hebrew (luh-KHYE-eem) Literally, “to life.” An age-old Jewish toast –
“to your health”- said over wine or liquor with glasses raised.

MANISCHEWITZ- proper noun A sweet flavored 100% Kosher wine made and
bottled under the strict Rabbinical supervision of the Union of Orthodox Jewish
Congregations of America and traditionally served on most Jewish holidays.

MATZAH – n. (MAH-tsah) pl. matzot (mah-TSOTE) The unleavened, flat cracker
made from flour and water that is eaten during Pesach. Matzah is symbolic of the haste
with which the Israelites fled from slavery in ancient Egypt. Because they did not have
time to allow bread to rise, they packed flat bread to take with them. There are many
religious regulations regarding it manufacture. It must be mixed, kneaded and baked
within a time span of 18 minutes so that fermentation (and yeast rising) does not occur.
Matzah has tiny holes in each sheet to retard the swelling during baking. Today, most
matzah is made in factories and is available in supermarkets in a variety of flavors,
including whole wheat, onion, and egg. Handmade matzah is often called shemurah
matzah.
MAZEL TOV- int. Hebrew (MAH-zul TOVE) “Good luck!” An expression of
congratulations and best wishes used by Jews on happy occasions and achievements.


MENSCH- n. Yiddish (MENCH) Literally, “person.” A caring , decent person – man or
woman – who can be trusted.

MESHUGGE- adj. Yiddish (meh-SHOO-gah) Crazy, nuts, cuckoo. N. meshuggener
(male), meshuggeneh (female): An affectionate term for a crazy, nutty person.

MONOTHEIST- n. English – One who believes there is only one Supreme Being (or g-
d).

NOSH- v. Yiddish (NOSH) 1. To have a little snack between meals, or to eat a little
something before a meal is ready. 2. N. A snack, a small portion.

OY- int. Yiddish (OY) Perhaps the most popular Yiddish expression, oy conveys dozens
of emotions, from surprise, joy, and relief to pain, fear and grief. Sometimes used as oy
vay (short for oy vay iz mir), meaning “Oh, woe is me,) and oy gevalt, a cry of desperate
protest.

PISSER- n. Yiddish (PISH-er) A bed-wetter, but more commonly used to describe a
young, inexperienced person, similar to a “young squirt.”

PUTZ- n. Yiddish (PUHTS) Vulgar slang for “penis.” Used as a derogatory term.

RABBI- n. Hebrew (RAB-eye) Literally, “my teacher.” The title given to the spiritual
leader of a Jewish congregation. A rabbi leads services, gives sermons, educates children
and conceals the congregants in a synagogue.

SEDER- n. Hebrew (SAY-der) Literally, “order.” The traditional, ceremonial dinner on
Pesach. The seder includes prayers, songs, and the ancient retelling of the Passover story
of the Exodus.

SHABAT- n. Hebrew (shah-BAHT) The Jewish Sabbath; the day of rest. Shabbat
begins at sunset of Friday night and ends Saturday evening when three stars are visible in
the night sky. Shabbat is considered the most important day on the Jewish calendar.

SHABAT SHALOM- n. Hebrew (shah-BAHT shah-LOME) Literally, “Sabbath of
Piece.” The greeting exchanged on Shabbat. It is customary for Jews to say “Shabbat
Shalom” and kiss or shake hands with each other sitting around them in synagogue at the
end of services.

SHEKEL- n. Hebrew (SHEH-kuhl) 1. The Silver coin, equal to about half an ounce, that
used by the Jews in biblical times. Today it is the name for the monetary unit in the State
of Israel. 2. Slang for cash or money.
SHIKSA- n. Yiddish (SHICK-sa) A gentile girl or woman. The word is a distortion of
the Hebrew root sheketz, which refers to the flesh of a taboo animal in the Torah. Since
intermarriage to non-Jews was taboo, this word applied to them. This is a derogatory
term.

SHLEP- n. Yiddish (SHLEP) – 1. To carry, lug. 2. To drag someone someplace they
don’t want to go. 3. To move slowly, to drag one’s heels.

SHPIEL- n. Yiddish (SHPEEL) A long, involved story or tale. Sometimes refers to a
sales pitch or persuasive argument.

SHTUP- v. Yiddish (SHTOOP) Vulgar word for sexual intercourse.

SHVITZ- v. Yiddish (SHVITS) To sweat heavily.

TORAH- n. Hebrew (toe-RAH) The first five books of the Bible, also called the Five
Books of Moses or the Pentateuch. The Torah is the most revered and sacred book of
Judaism.

TUCHIS- n. Yiddish (TUH-khiss) Literally, “underneath.” A vulgar term for the rear
end or buttocks.

YARMULKE- n. Yiddish (YAH-mih-kah) The small, round head covering worn by
Jews as a symbol of respect and religious observance.

YENTA- n. Yiddish (YEN-tah) A gossipy woman; a blabbermouth. Someone who can’t
keep a secret.

YENTL- Oscar nominated 1983 film based on a short story by Isaac Bashevis Singer
starring Barbra Streisand. The story follows the adventures of Yentl, a courageous young
woman growing up in Eastern Europe at the turn of the 20th century. Inspired by her
father's teaching to become a Talmudic scholar--despite the religious restrictions against
her doing so--she manages to make her dreams come true by disguising herself as a boy
and entering an orthodox Jewish school. But her masquerade causes big problems when
she falls in love with her fellow scholar Avigdor and his fiancée falls in love with her.


                                            ‫הה‬
         Q & A WITH WRITER / DIRECTOR JONATHAN KESSELMAN

Q: How did you come up with the idea for the character of The Hebrew Hammer?

The Hammer came from a place where a lot of comedy comes from: anger.

The first time I applied to film school at USC, I didn’t get in. I felt as if the wind had
been sucked from my sails. So, for some kind of cathartic release, I began writing a black
comedy about two idiotic film students who get caught up in a war of attrition over a
screenplay. Part of it took place in a film school class with the screening of a
‘Jewxploitation’ film called “Maccabee Rising.” In the scene, a baffled African-
American student comments that he didn’t think the Jews were necessarily exploited.
That was the joke. That was it.

I went on a ‘Walkabout’ to Australia to figure out how I was going to become a
filmmaker. On my way out of town, out of spite, I turned in the exact same application to
USC as a way to make some sort of point/statement (don’t ask me exactly what that
point/statement was). When I got back from Australia, lo and behold I’d been accepted.

So, at the end of my first semester, I did a spy comedy short called “Subterfuge” which
involved a number of superagents who pass around a briefcase which later on turns out to
be a porn video. One of the agents was “Mordechai Jefferson Carver” a.k.a. “The Hebrew
Hammer.” The Hammer was a “master of disguise,” and in one of the sight gags he walks
into a bathroom stall. I cut outside the stall as he begins to strip off his tallis, unbutton his
shirt, etc. When we cut back inside, as the Hammer is zipping up, we learn that he has
transformed himself into a black man. The class went nuts for the character. For the
following semester, I had to write a short film over the winter break. Although at first, the
notion of a ‘Jewxploitation’ film was a joke, it dawned on me that a baaad-ass Hassidic
Jew with guns, fucking up the program, was the ultimate comedic discrepancy.

On the surface, it seemed like combining these two ideas was next to impossible (even
those two words -- Jew/Exploitation -- fit awkwardly together), but it was a challenge I
wanted to tackle. With that, I rented a whole bunch of Blaxploitation films to figure out
how the genre worked. The only thing I needed was some twist on the source of
oppression. So I asked myself, what as a Jew really pisses me off? It was late in the year
and as I was walking around a mall, it hit me. I hated Christmas time. Every December
25th the streets emptied, all of my gentile friends were busy, stores were closed, and ‘It’s
A Wonderful Life’ played ad nauseum on TV. The whole thing reminded me of that 80’s
zombie movie ‘Night Of The Comet.’ So, the Hammer short film was born.

The Hammer short premiered in March 2000, and the response was unbelievable. It
became somewhat of a legendary short at USC. The archivists screened it in one of their
programs of some of their favorite shorts since the 50’s. I was getting Internet work and
Educational Video stuff offered to me. Almost overnight at school, I became nicknamed
the Hebrew Hammer.
Then I put the Hammer away for about a year. But people at school would constantly
approach me for copies to send to their dentists in Ohio, or for their parents in Miami.
The idea struck something in people, and so I decided it was probably time for me to
write the feature.

I told myself I would do it in 4 weeks. To be honest, the experience was a blur, because
when I finished, I looked up to my wall calendar and only 17 days had gone by. The
movie practically wrote itself. I just hung on for the ride.


Q: You were only 27 years old when you directed THE HEBREW HAMMER, just
barely out of USC film school. Did what you study there have an influence on the
film?

USC’s strength as a film school is that you make a lot of movies over the course of the
program, and you get your hands in all areas of filmmaking: writing, directing,
cinematography, editing, sound, producing, and so on. Nobody can teach you how to
make a movie – you learn by doing, and constantly trying to improve on what you’ve
done before. By having that foundation I believe it allowed me to better collaborate with
and articulate my ideas to my crew and actors. After I wrote the film, I did take a class in
the history of Blaxploitation to get some more insight into what I had written. I definitely
think the class was helpful in terms of getting a better sense of what surrounded the genre
(music, politics, dress, etc) for when I went to make the movie.


Q: You could say that the Hammer character is a Jewish ‘Naked Gun.’

I’m a big fan of guys like Sam Raimi, Barry Sonnenfeld, Tim Burton – who make great
‘Comic Book’ movies. I love the bigger than life worlds they create in their films. They
use every aspect of the medium (picture, sound, music, etc.) to create a total experience.
I’ve always seen the Hammer as a comic book movie, and it seemed to me that
presenting the movie in this manner would take some of the edge off of the material.

Although I was doing Exploitation, I’m also making a broad comedy, and I wanted the
audience to be aware that this was definitely not the real world. To me, a comedy should
come out swinging for the fences and never relent. I grew up obsessed with
Zucker/Abrams films. I owned ‘Naked Gun’ and watched it repeatedly. I also love the
irreverence and satire of Mel Brooks’ movies. There’s a point in “The Hebrew Hammer”
in which the Hammer is asked by Esther if she can see his certified circumcised dick
credentials, prompting him to look directly at the camera. That was my nod to Brooks’
‘History Of The World Part I’ – “It’s good to be the king.”

What I love about comedy is that you can get away with expressing views or ideas that
you’d never be able to get away with in a drama. The way I see it, no matter how closely
I come to crossing ‘The Line,” if the audience is laughing they’re laughing for a reason -
and I win. Comedy is great for me because I’m an insecure filmmaker, and the instant
gratification of a laugh is probably the only thing that enables me to watch my movies
with other people in the room.
Q: Speaking of “The Line,” were you ever afraid you would offend anyone, either
Jews or Blacks, or was that the point? Were you trying to offend people?

That’s where I think the beauty of the Hammer lies. I really did want to make a
‘Jewxploitation’ film. Early Blaxploitation films were made by black filmmakers who
were sick and tired of their portrayal in American Cinema and made those films in
reaction to that. Beginning with Melvin van Peebles’s ‘Sweet Sweetback’s Baad Ass
Song,’ Blaxploitation films operated by taking common stereotypes of Blacks in
American society and then greatly exaggerating them. In a sense, they were taking away
the power of the stereotype (sort of like Richard Pryor introducing the word ‘Nigga’ into
black vocabulary – by owning the word the power of the word is lessened). If black men
and women were viewed as overtly sexual and violent by white America, then the heroes
of the Blaxploitation films would play into that. And they would antagonize the crap out
of the white man as well. For the first time in the history of film, the black man was
collecting dues and getting back at the white man. Onscreen, Black superheroes were
kicking honky ass all up and down God’s great earth. These films essentially were telling
white America, if this is how you’re going to see and portray us then fuck you – you’ll
have Shaft, Sweetback, and Superfly to contend with.

Although the Hammer lacks the overt violence and sex of those films, it operates on the
same ideas of exaggerated stereotypes. I wanted it to be ‘raw’ in concept, in language.
Blaxploitation films pushed buttons and didn’t apologize. I wanted the Hammer to do
that as well.

It’s always been interesting to me that Hollywood is a town full of Jews, but that Jews in
Hollywood films are typically depicted in a not so flattering light. I remember seeing
Lethal Weapon 2 or 3 – the one in which Joe Pesci plays the annoying neurotic Jewish
accountant Leo Goetz, and just being appalled. I grew up in LA, and I know some pretty
interesting Jews. Not all of us are shifty, or pathetic, nervous creatures. Granted, I’m sure
there’s going to be people who see this movie who will be offended, people who won’t
get the joke. However, this film is truly an equal opportunity offender. Jews, Christians,
Asians, Blacks, Homosexuals…well the list goes on and on and on. I joked with my
editor that the only group of people left unscathed was the French…and that was only
because I was saving them for the sequel.

Although I am not a religious Jew, I was concerned that my Orthodox Jewish relatives in
NYC wouldn’t get the film. I gave the script to my uncles and cousins, and they all
flipped over it - two of my cousins are actually even in the film. We also showed a rough-
cut to some of our cousins who are settlers on the West Bank in Israel. They laughed their
asses off.

Q: Adam Goldberg seemed to have a lot of fun with the role. Can you talk about
how you found him and what it was like to work with him?

When we started talking about casting the Hammer, I began asking my friends I grew up
with in Los Angeles who they felt was the ‘coolest’ Jew. Repeatedly, Adam’s name came
up, although Adam is in reality only half-Jewish. During my first preliminary visit to
New York, Adam, who was living there at the time, had a meeting with one of our
producers, Sofia Sondervan, about another project. While in her office, she slipped him a
copy of the script. He called her back two hours after reading it on the subway and the
first thing he told her was “Shabbat Shalom, Motherfucker.” I met Adam the next day to
talk about the part. One of the first things I said to him was that for two years after the
short I became the Hebrew Hammer to everyone I knew. The nickname haunted me. I
warned him that if he did this part, the baton was going pass to him – that he would
become “The Hammer.”

Adam Goldberg is every bit the movie star. He is a brilliantly funny guy, but as he has
proven time and time again, he can also handle any kind of role whether it be dramatic or
comedic. He’s not a sketch comedy actor or a stand up comedian. When we first spoke I
told Adam it was important to me to keep the movie grounded - not just to play things for
laughs. The challenge of the Hammer was to be equal parts cooler than cool and yet also
absolutely the stereotypical neurotic Jew. Adam absolutely nailed that. He brought an
edge to the Hammer that wasn’t in the script: the same sort of underlying rage and
darkness that Blaxploitation film heroes have. The Hammer could’ve been all goofy
swagger and wink. Adam plays comedy the way it’s supposed to be played, and because
of it the Hammer didn’t turn into a 2-D caricature.

Q: We noticed that you were able to get Melvin Van Peebles to do a walk-on. Did
you approach him the same time you approached his son, Mario, to play the head of
the KLF? What did it mean to you to get them to be in your movie?

When I learned that Mario was interested in playing Mohammed, I was really excited not
only because I’ve grown up watching him, but also because of what he and his father
represent to Blaxploitation. When we first sat down to meet, I told Mario I was going to
start the movie off with almost the exact same quote from ‘Sweetback’s’ (“This film is
dedicated to all the Jewish brothers and sisters who had enough of the gentile.”) Melvin
Van Peeble’s ‘Sweetback’ was the first Blaxploitation film ever made, and Mario plays
the young Sweetback in the opening scene. It was perfect casting. Right off the bat Mario
told me that his dad would love the script and spirit of the movie, and he knew he’d be
into doing a cameo. Having the two of them in the movie was incredible. Not only did it
give the film some additional validity and credibility, but Mario and Melvin are both
incredibly talented and generous. I remember Melvin offering to bring his own costume
to the set, and telling me he how he knew what I was going through in terms of not
having any money or time. I just kept thinking that Melvin might very well be the coolest
human on earth.

I remember hearing of all of those incidents between Blacks and Jews that went down in
New York on the news, and it baffled me. I’ve always felt that Blacks and Jews are
basically one in the same. Here are two groups of people who have always been
somewhat outsiders to mainstream white American culture. Two groups that share a very
similar history of fighting oppression and prejudice. Over the years people have either
hated us or have been curious about us. We even share a similar sense of humor and
comedy. That was something I wanted to address in the script with the first meeting of
the Hammer and Mo at the KLF and the white accountant’s reaction to it. Also, if you
notice, the Hammer can at times be as cool as Mohammed and at times Mohammed can
be as neurotic as the Hammer.

Q: How did you help the actors prepare for their roles?

On the first day of rehearsal Adam and I conducted Jew School for Judy Greer, going
through the script and teaching her the proper pronunciations of things like latke
(previously pronounced ‘lot-key’ by Ms. Greer) and also explaining to her the
significance of Hanukkah and how we get 8 days of gift giving, but that on day 3 or so
you start getting shit presents like pencil erasers and puffy stickers. At the end of the
week Nora flew into town, and my brother Josh and I took Adam, Judy, and Nora to my
Orthodox relatives’ house in Long Island for Shabbat dinner. It was a lot of fun. My
Uncle Bernie made sure that everyone had a prayer book, and at one point one of my
cousins turned the prayer book around for Nora because she was reading it backwards.
Adam asked them about the Jewish law of not being allowed to turn a light on or off
during the Sabbath. My relatives explained that the lights were all on timers allowing
them to not have to turn a switch on or off. Adam then jokingly asked what would happen
if he were to just turn all the lights off and leave them sitting in the dark. Some of the
lines from the movie came out of that dinner. There’s a bit during the Shabbat dinner
scene in which Adam says he’s stuffed from eating ‘Four kinds of chicken.’ Literally, we
were served four kinds of chicken for dinner that night.


Q: The film has a very sharp, stylized look. How did you decide on that, and how
did you achieve it?

The people who financed the movie, Ed Pressman and John Schmidt of ContentFilm, let
me hire my crew, and I had some amazingly talented people who believed in me and
helped me make the movie as polished as it is. Cinematographer Kurt Brabbée,
production designer Cabot McMullen, editor Dean Holland, composer Michael Cohen,
costume designer Alysia Raycraft, and sound supervisor Lou Kleinman are all incredibly
talented, creative people. They are among many that gave so much of themselves and
their energy to help make the Hammer the movie it is.

It was never my intention to make a “precious” indie film, though The Hammer is
certainly independent in its ideas and content. I wanted to make a film looked and felt
like it could be a blockbuster. Not only am I the Godfather of the Jewxpolitation genre,
but I also think I may have revolutionized the low-budget independent film world with
the use of a newfangled device called the ‘tripod.’



Q: Pressman and Schmidt are industry veterans. How did they come to be involved
in the project?

Through one of the eventual producers on the Hammer, Lisa Fragner, whom I had met
through my brother when the Hammer short was semi-finaled at the 2000 Austin Film
Festival. After she saw the short, Lisa asked if she could read the feature, which I’d
finished just weeks prior. She in turn gave the script to Sofia Sondervan, who was then
hired by Ed Pressman and John Schmidt when they formed ContentFilm. Ed called my
brother Josh and me in and said ‘I’ll finance your movie and you can direct it.’ Oh yeah,
and on top of that, he told me that he hates development, and that I could just go ahead
and make my movie. Thank God for Pressman and Schmidt for having vision. For
recognizing something as good and having the balls to make it. I truly believe that’s why
Ed’s got so many great, interesting films under his belt. He finds good material that isn’t
everyday cookie cutter crap, and then hires creative people and trusts them. Although
having no budget and time was miserable, I’ve been spoiled by Pressman and Schmidt.
The Hammer was made by me, my crew, and my actors. Not 15 development executives
just out of the mailroom who know with great certainty that on page 19 you need a car
chase, and that all comedies have to a heart and a message of love – just like ‘Liar! Liar!’
(sorry, I hear that a lot around town).

My brother Josh was also one of the producers on the movie, and he busted his ass to
help us get what we needed to do what we did. I couldn’t have done this without my
brother. Not only did he produce the shit out of the movie, but he also protected me from
a lot of the BS that’s typical to a production, and encouraged me to keep my head up and
keep on keepin’ on when I was ready to quit. Every morning, he’d drag my exhausted ass
out of bed and bring me vitamins and some coffee. I don’t think he has any idea how
much I appreciated that.

Q: What would you like to do next?

Stop asking me that question! Enough with the pressure for god sakes! Isn’t the fact that
I’m here good enough for you people! “What’s next, what’s next.” That’s all I ever hear.
Vultures, all of you! Leave me be!

I would love to show what I could do with a bigger budget and a shooting schedule
longer than 22 days.

                                             ‫הה‬
                                        SYNOPSIS

“The Hebrew Hammer” begins with a diabolical assassination: pushed over the edge by
his father’s liberal policies, Santa Claus’ evil son Damian (Andy Dick) murders the
Christian patriarch and, stepping into the role, launches a worldwide campaign to
eradicate the Jewish Holiday of Hanukkah.

At an emergency session of the Jewish Justice League (J.J.L.), Chief
Bloomenbergensteinthal (Peter Coyote) calls for fast action. Made up of representatives
from the Anti-Denegration League, the Worldwide Jewish Media Conspiracy and various
Sage Elders, the League debates which international superstar they should call upon to
stop Damian and save Hanukkah.

The Chief shoots down talk of Steven Spielberg for the job – “He made ET! We need
someone tough, people!”

How about Itzahk Perlman? “He’s in a wheelchair, for crying out loud!”

Henry Kissinger? Allan Greenspan? “Too old.”

Joseph Leiberman? “Missing in action.”

Robert Shapiro? David Copperfield?

Finally, the chief’s beautiful daughter Esther (Judy Greer) suggests Mordechi Jefferson
Carver—The Hebrew Hammer.

The Hammer is “the only Jew in the world too extreme for the J.J.L.,” the Chief
grumbles. But knowing that he is their only hope, he allows Esther to try to bring the
Hammer in.

Esther visits the Hammer at his office, where she tries in vain to elicit his help in defense
of Hanukkah. He refuses, citing the brutal politics at the J.J.L., but Esther persists and
will not leave him until he at least agrees to talk with her father.

“Be my guest,” the Hammer replies. “But I have to warn you, I’m going to my mother’s
for dinner tonight. And if you think I’m difficult, wait till you meet her.”

At one point during the massive Sabbath dinner, when the Hammer is away from the
table, Esther and his eccentric mother (Nora Dunn) negotiate a complex trade. In
exchange for a vow to look after the Hammer’s happiness (and “maybe a blowjob here
and there”), mother skillfully guilts her son into accepting the J.J.L.’s dangerous mission.

Seeking information about Damian and his next move, The Hammer turns to his close
friend and ally Mohammed (Van Peebles), whose Kwanzaa Liberation Front (KLF) is a
Black Panthers-style organization that fights for the advancement of the African-
American holiday. At KLF headquarters, Damian’s assassination of his father has
brothers “in high alert mode” through mushroom clouds of pot smoke and a cache of
heavy artillery. And though Mohammed has only heard that “Santa’s gonna f*ck
Hanukkah’s sh%t up,” a small black elf named Jamal, recently fired by Damian, is said to
have more information.

Smoking a blunt and flanked by two gorgeous sisters in the back room of KLF
headquarters, Jamal relays all he knows about Damian and his operation. The intel sends
the Hammer to a bar, Dukes, where Damian is said to have a meeting with a business
partner.

But Dukes turns out to be a neo-Nazi skinhead bar, and after ordering a Maneschewitz
straight up The Hammer single-handedly blasts his way out. In the meantime, Damian
begins his diabolical assault on Hanukkah by manufacturing mass quantities of bootleg
videos of It’s A Wonderful Life and pushing them like heroin to young Jews.

In order to reverse the ghastly effects the film has on the Jewish kids in the
neighborhood, who are singing carols on street corners and bringing home Christmas
trees, the Hammer and the J.J.L.’s Worldwide Media Conspiracy must rush out the
antidote. Copies of Yentl, Fiddler on the Roof and Chaim Potok’s The Chosen hit the
streets.

The Hammer and Esther are then sent by the J.J.L. Chief to take care of Damian at a mall
appearance. The two convince Damian’s goons to let them in to see Santa by posing as a
Gentile couple looking for their child.

Although they briefly hold Damian in their grasp, he manages to get away by turning all
the children in the store against the Hammer and Esther. The only escape for the two
from the mobs of angry Gentile children comes from a secret passage that leads to the
Jewish Underground Railroad, run by Harriet Tubbleman, a.k.a. Moses. The amusement
park-like trip depicting Jewish history ensures a safe escape for the Hammer and
Esther… this time.

Their brush with danger brings the Hammer and Esther closer together, close enough for
Esther to truly check out the Hammer’s credentials. But it also leads to their first fight.

Before anything can be resolved the two are called to J.J.L. Headquarters, where a
transmission from the North Pole has been received. In the transmission, Damian maps
out his evil plan for the elimination of Hanukkah. He will destroy the Jewish Atomic
Clock, obliterating thousands of years of Jewish tradition in the process.

The Hammer has no choice but to go to Israel, to face Damian in the ultimate battle for
his people. Though he refuses to allow Esther to accompany him, she will not be
dissuaded. But will they have what it takes to conquer Damian and his army of elves?

                                            ‫הה‬
                                   ABOUT THE CAST

ADAM GOLDBERG, “Mordechai Jefferson Carver,” a.k.a. “The Hebrew
Hammer” - With a creative vision and boundless passion, actor and filmmaker Adam
Goldberg has become one of the industry's most promising talents in front of and behind
the camera. His flourishing career includes a breakout performance in the independent
classic "Dazed and Confused," roles in numerous studio and independent features, and
his own directorial debut "Scotch and Milk."

In director Steven Spielberg's "Saving Private Ryan" for DreamWorks/Paramount,
Goldberg portrayed 'Private Mellish,' the cynical New Yorker who taunts the German
soldiers with his Jewish heritage. In one of the film's more heart-wrenching death scenes,
'Mellish' has a knife mercilessly plunged into his heart while his buddy cowers on the
stairs.

Goldberg recently co-starred opposite Russell Crowe in Universal Pictures' and Imagine
Entertainment's Academy Award-winning film, "A Beautiful Mind," for director Ron
Howard. The casting marks Goldberg's second collaboration with Howard, having
previously worked together on "EDtv." "A Beautiful Mind" is the story of 'John Forbes
Nash Jr.' a brilliant mathematician (Crowe) whose life and career suffers a devastating
blow when he succumbs to schizophrenia. Goldberg plays 'Sol,' a sharp, up-and-coming
mathematician who is a fellow student with 'Nash' at Princeton and later a co-worker.

The busy actor has most recently landed a starring role opposite Kate Hudson and
Matthew McConaughey in Paramount Pictures' romantic comedy "How to Lose a Guy in
10 Days" for Lynda Obst Productions and The Robert Evans Company. He plays the
best friend of a ladies man (McConaughey) who he bets cannot stay in a relationship for
more than 10 days. Unluckily for him, the girl he picks (Hudson) just happens to try to
get rid of him almost immediately (using many of the "rules" from the book "How to
Love a Guy in 10 Days.") Production just wrapped in New York City and Toronto.

He recently had a supporting role opposite Val Kilmer in Castle Rock Entertainment's
"The Salton Sea," for Warner Bros. He plays a delusional speed freak in this character-
driven thriller about an unlikely hero's search for redemption following the murder of his
wife.

Goldberg made his directing and screenwriting debut with "Scotch and Milk," a neo-noir
drama on which he also served as executive producer, co-editor and star. Shot in black
and white, the jazz-laden film tells the story of a group of disaffected and lovelorn friends
in their twenties who, unable to cope with the banality of everyday life in contemporary
Los Angeles, model their lives on hipster films of the '50s and '60s. Goldberg stars in the
film with fellow "Dazed and Confused" alumni Nicky Katt and Cole Hauser as well as
Clea Lewis, Giovanni Ribisi, Rio Hackford, Robert Pastorelli, jazz great Jimmy Scott,
Hubert Selby, Jr., and director Richard Linklater. "Scotch and Milk" made its world
premiere at the 1998 L.A. Independent Film Festival to rave reviews and continues to
garner acclaim as it makes the film festival circuit. The film won the Grand Jury First
Prize as Best Feature at the 1998 Idyllwild Film Festival, and took top honors at the 1998
Flagstaff Film Festival as well.

In its review of "Scotch and Milk," Daily Variety proclaimed, "Goldberg, whose evident
influences include not only film noir but early Cassavetes and the French New Wave, has
delivered a picture dripping with intoxicated, romantically forlorn malaise."

Born in Santa Monica, California and raised in Hollywood, Goldberg was six years old
when he started performing plays for his parents. At the age of 14, he began studying
with Tracy Roberts, and the following year he enrolled in the Lee Strasberg Institute in
Los Angeles. While attending Sarah Lawrence College, he starred in a number of stage
productions, including "Six Characters in Search of an Author," "In Search of Justice"
and "The Informer" before returning to Los Angeles to pursue his career.

Goldberg made his feature film debut in 1991 as Billy Crystal's younger brother-in-law in
"Mr. Saturday Night." In 1993, he starred in Richard Linklater's critically acclaimed
coming-of-age film "Dazed and Confused," about high school in the 1970s. "I had been
completely obsessed with getting a part in this movie because the people involved were
so genuine. I remember blasting Neil Young on the way to every audition," says
Goldberg, who landed the role of 'Mike,' a neurotic high school junior who tries to
reconcile his intellect with his machismo.

To date, Goldberg's extensive feature credits include John Singleton's "Higher Learning,"
"The Prophecy" with Christopher Walken, "Sunset Strip," Lions Gate Films' romantic
comedy "All Over the Guy" and Universal's "Babe: Pig in the City," in which he lent his
voice to the wheelchair-bound Jack Russell terrier 'Flealick.'

For television, he recently appeared in a recurring role on NBC's "Will & Grace," playing
an attorney who bullied 'Will' in grade school. Goldberg was previously a regular on the
ABC series "Relativity," playing roommate 'Doug Kroll.' On NBC's "Friends," Goldberg
had a recurring role as 'Eddie,' the obsessive new roommate of 'Chandler' (Matthew
Perry). He has also guest starred on such series as "ER," in which he played a
schizophrenic patient, "NYPD Blue," "Love and War," "Murphy Brown," and "Designing
Women," and was a series regular on "Double Rush," playing 'Leo,' a role created for him
by Shukovsky/English Entertainment.

On stage, Goldberg appeared opposite Robert Pastorelli in "Act One," the critically hailed
series of one-act plays at the Met Theater in Los Angeles.

Goldberg recently completed his latest screenplay, "I Love Your Work," which he will
direct.

A jazz aficionado, Goldberg spends his rare free time listening to favorites like John
Coltrane, Bill Evans and Charles Mingus, or playing his guitar. When he's not racing to
the editing room or on a film set, he'll go see a movie or a band, play his guitar or "just
stare at the wall like everyone else."
JUDY GREER, “Esther” - Judy Greer has quickly made a successful name for herself.
She currently appears in Spike Jonze’s (Being John Malkovich) “Adaptation,” starring
Nicolas Cage and Meryl Streep. She will also be seen in the soon to be released
“Without Charlie.” Written and directed by Adam Rifkin (Detroit Rock City,
Mousehunt), his feature was originally titled “Without Vicky” and centered on a young
man dealing with his first heartbreak after a relationship ends with his girlfriend Vicky.
Greer auditioned to play Vicki but impressed Rifkin so much that he decided to rewrite
the project, changing the lead male to a lead female role and re-titling it. “She was so
funny and so lovable and so unique that we all decided, ‘Why not make it a female lead,
cast her and make it about a girl’s first heartbreak?” Rifkin said. “Judy was so awesome
(that) we just felt compelled to reconfigure the whole movie.”

She was recently seen as the co-starring role of “Penny” in the “The Wedding Planner,”
opposite Jennifer Lopez and Matthew McConaughy. Penny is Mary’s (Lopez) best
friend and confidant as well as one of the wedding planners at the ‘Here Comes the
Bride Agency.’ It is ‘Penny’ that ‘Mary’ confides in that she has fallen in love, and
‘Penny’ is the one who advises her to forget about ‘Henry’ (McConaughy)

Greer is also credited for her role Paramount’s feature “What Women Want” with Mel
Gibson, Helen Hunt, and Marissa Tomei. This film is a romantic feature about a man
who can hear women’s thoughts. Greer portrays “Erin,” the office ‘mouse’ of whom
Gibson’s character saves from committing suicide.

 Judy’s other feature credits include: “Kissing a Fool” with David Schwimmer and Mili
Avital, “Jawbreaker” with Rose McGowan and Rebecca Gayheart, “Three Kings” with
George Clooney and Mark Walhberg, “The Specials” with Jamie Kennedy, Rob Lowe
and “What Planet Are You From?” with Garry Shandling.

Born and raised in Detroit, Greer is recent graduate of The Theatre School at Chicago’s
De Paul University, where she starred in such productions as “Yellow Boat,”
“Insignificance,” and “House of Bernarda Alba.” While living in Chicago, Greer was
cast in the Universal feature “Kissing a Fool.” Greer eventually packed her bags and
moved to Los Angeles with a development deal at Paramount television already in
progress. Greer’s television credits include a series regular on CBS’s “Love or Money,”
guest-starring roles on CBS’s “Early Edition,” Lifetimes “Oh Baby” and a starring role in
the NBC pilot “Ice.”

Greer currently resides in Los Angeles.


ANDY DICK, “Damian” - A multi-hyphenate in every sense of the word, Andy Dick is
the rare performer who can transition between film, television, theater and most recently
music without missing a beat. Dick recently returned to television in the hit ABC show,
“Less Than Perfect.” He stars as Owen Kronsky, a friend and colleague to Clauia Casey
(Sarah Rue), who works at the GBN Television Network.

Dick is best known for his memorable roles in which the characters he plays vary from
the uncanny to the creepy. His talent for creating scene-stealing performances has built
with each film, culminating with the creation of his show, MTV’s “The Andy Dick
Show” in which he created bizarre, but original characters. He appeared in “Zoolander,”
Ben Stiller’s parody of the fashion industry, as Olga the Masseuse. His ongoing
relationship with Stiller has led to appearances in “Reality Bites,” “The Cable Guy,” and
“Permanent Midnight.” They first met when Dick appeared in his short film, “Elvis
Stories.” He will also appear in Todd Phillips’ next film, “Old School” with Will Ferrell
and Luke Wilson, which follows his hilarious appearance in Phillips’ “Road Trip.”

Dick was seen last year in “Scotland, PA,” an outrageous remake of Shakespeare’s
“Macbeth” set in the 1970’s fast food industry. Billy Morrissette’s film also starred
Maura Tierney, Christopher Walken and James Le Gros. Dick’s other film credits
include “Larceny,” “Bongwater” with Luke Wilson and Jack Black, Amy Heckerling’s
“Loser,” “Inspector Gadget” opposite Matthew Broderick, “Picking Up The Pieces” with
Woody Allen, “Best Men,” “The Independent” with Jerry Stiller and Janeane Garofalo,
and as himself in Spike Jonze's “Being John Malkovich.”

Recently starring in, writing and directing his own series for MTV, “The Andy Dick
Show,” Andy displays his amazing comedic talents in various sketches. Along with
acting as host of the show, he created such characters as “Daphne Aguilera” and “The
Boogie Man.” His other television credits include a five-year role as the nervous and
accident-prone reporter Matthew Brock on the critically acclaimed comedy,
“NewsRadio,” the Emmy Award-winning comedy series “The Ben Stiller Show,” the
short-lived NBC series, “Go Fish” and a co-starring role on the series “Get Smart.” He is
also known for his frequent appearances on “Late Show with David Letterman” as
Donnie, “the page who likes to suck up,” and Ben, “the guy who really likes milk.”

Dick’s theater credits include “The Best of Second City,” “Andy Dick’s Circus of Freaks
and “Without a Net.” His avant-garde performances in “The Best of Second City” spun-
off, creating his band “The Bitches of the Century.” They are preparing for a fall tour
beginning with a performance at Los Angeles’ famed Key Club in late July in support of
their debut album due out this August on Milan Records.

Born in Charleston, South Carolina, Andy learned early in life, as a traveling “Navy
brat,” to use his sense of humor to gain friends and to keep the attention centered on him.
His love for the theater quickly grew after he saw his first stage production. By the end
of high school, the young theater fan was president of his drama club and on his way to
Illinois Wesleyan University and Columbia College in Chicago where he also studied
with Del Close at Second City.

Andy Dick currently resides in Los Angeles.

MARIO VAN PEEBLES, Mohammed-Mario Van Peebles has established himself as
one of the industry's most versatile actors while also earning acclaim as a director, writer
and producer.

Van Peebles recently portrayed political icon Malcolm X in Columbia Pictures’ epic
feature "Ali" directed by Michael Mann. He next appeared in the Showtime telefilm "Ten
Thousand Black Men Named George" as the historical figure Ashley Totten, who helped
start America’s first Black union of Pullman train porters.

His feature-directing debut came with the critically acclaimed, Warner Bros. box office
hit "New Jack City," in which he also starred. Next, he would redefine the Old West
directing and starring in the multicultural western "Posse." Mario received a Director’s
Guild Award Nomination for his telefilm, “Malcolm Takes A Shot.” He directed and co-
produced the controversial, historical drama "Panther," a film about the Black Panther
Party written by his father, Melvin Van Peebles for which he would win the Silver
Leopard Award (among others) at the Locarno Film Festival.

Van Peebles' other acting film credits include "Raw Nerve," “Love Kills,” "Solo," "Los
Locos," "Stag," "Gunmen" and Clint Eastwood’s "Heartbreak Ridge," for the last of
which he won a NAACP Image Award. Van Peebles has starred in the acclaimed
telefilms, Alex Haley’s "Mama Flora's Family," "The Ricky Bell Story," "The Sally
Hemmings Story," "The Emperor Jones," "Gang in Blue" and "Riot." He earned a Cable
ACE Award nomination for his work in "Third & Oak: The Pool Hall," co-starring with
James Earl Jones and was awarded the Bronze Halo Award for "Children of the Night."
He also starred in NBC’s “Sonny Spoon” and Showtime's comedy series "Rude
Awakening."

Van Peebles’ most recent stage work includes “War Letters,” produced by the Sundance
Theatre Lab at the Canon Theatre and his portrayal of the acclaimed turn-of-the-century
poet Paul Laurence Dunbar in the play "Oak and Ivy" at the Vineyard Playhouse in
Martha's Vineyard. His additional theatre credits include "1000 Clowns," "The
Champeen," "The Legend of Deadwood Dick," "Mozart and Salieri" and "Take Me
Along." He also appeared on Broadway in "Waltz of the Stork," which was directed by
his father.

A graduate of Columbia University with an economics degree, Van Peebles has also been
awarded a doctor of humane letters degree from Hofstra University, where he has
established a scholarship for film studies. In addition, Van Peebles was recently honored
as Columbia's Southern California Alumnus of the Year.

PETER COYOTE, J.J.L. Chief - Peter’s involvement with both politics and acting
began in high school. At fourteen he was a campaign worker in the Adlai Stevenson
presidential campaign, in his hometown of Englewood, New Jersey. Two years later, he
began acting classes at the Neighborhood Playhouse in New York. These twinned
preoccupations have remained current until this day.

As a student at Grinnell College in Iowa, Peter was one of the organizers of a group of
twelve students who traveled to Washington, DC during the Cuban Missile crisis, fasting
and picketing for three days; protesting the resumption of nuclear testing, and supporting
President Kennedy’s “peace race.” President Kennedy, invited the group into the White
House (the first time protesters had ever been so recognized) and they met for several
hours with MacGeorge Bundy. This meeting received national front-page media
attention, and the Grinnell group Xeroxed the coverage and sent it to every college in the
United States, precipitating the first mass student demonstration of 25,000 in
Washington, in February of 1962.

At the end of his junior year, Peter was elected President of the Council of House
Presidents, the governing student body at his college.

After graduating with a BA in English literature in 1964, he moved to the West Coast to
pursue a Master’s Degree in Creative Writing at San Francisco State University. After a
short apprenticeship at the San Francisco Actor’s Workshop, Peter joined the San
Francisco Mime Troupe, a radical political street theater, which had recently been
arrested for performing in the City’s parks without permits.

In the Mime Troupe, he was acting, writing, and directing, and directed the first cross-
country tour of The Minstrel Show, Civil Rights in a Cracker Barrel, a highly
controversial piece closed by the authorities in several cities. The cast was arrested
several times before a triumphal tour of eastern seaboard colleges and universities,
culminating in New York City, where they were invited and sponsored by comedian Dick
Gregory.

The following year, the Troupe toured again, and a play, Olive Pits, that Peter co-wrote,
directed and performed in, won a Special OBIE from New York’s prestigious newspaper
The VillageVoice

From 1967, pursuing ideas that had germinated within the Mime Troupe, Peter left the
theater for ten years, to “pursue absolute freedom.” He was a founding member of “The
Diggers” an anarchistic group who supplied free food, free housing, and free medical aid
to the hordes of runaways who appeared in the Haight Ashbury district of San Francisco
during the Summer of Love. The Diggers evolved into a group known as the Free Family,
which established chains of communes around the Pacific Northwest and Southwest.
Many stories of that period are included in his book, Sleeping Where I Fall, published
May 1998 by Counterpoint Press and released in June of 1999. The book received
universally excellent reviews and a chapter, “Carla’s Story,” was awarded the 1993-1994
Pushcart Prize, a national prize for excellence in writing. It appeared on three California
best-seller lists, including the San Francisco Chronicle’s, where it remained for seven
weeks, selling out five printings in hardback. He is currently stressing work as a film-
writer, developing a feature film he has written to direct, called Crimes of Opportunity.
He also sold a pilot show to CBS television for series called 5150.

These political victories encouraged Peter’s decision to honor a life-long curiosity about
cinema, and raised his confidence about his ability to work in that field. Beginning in
1978 he began to work at San Francisco’s award-winning Magic Theater, doing plays
back-to-back, “to shake out the rust.” While playing the lead in the World Premiere of
Sam Shepard’s True West, he was spotted by a Hollywood agent who asked to represent
him. Fifty plus films later, Peter is still acting, and now preparing to direct his own
projects.
He maintains his political activity in a number of ways. Along with author Peter
Mathiessen, he is one of two, non-native advisors to imprisoned Native American leader
Leonard Peltier, a close personal friend. He is an active environmentalist, proud to
support Earth First, Wild Earth magazine, the Sacred Lands Project, among a host of
others, and he is still passionate about the political process. In 1994 he was a special
Delegate to the Democratic National Convention, and also reported on the convention for
Mother Jones Magazine. He is a member of the Academy of Motion Picture Arts and
Sciences, The Screen Actors Guild, American Federation of Radio and Television Artists,
Actor’s Equity, and The Player’s Club, a professional club for performers and artists in
New York City.

Peter has made over 70 films for Television and movie theaters and performed in many
European films for some of Europe and America’s greatest directors including: Barry
Levinson (“Sphere”); Roman Polanski (“Bitter Moon”); Pedro Almodovar (“Kika”);
Steven Spielberg (“E.T.”); Walter Hill (“Southern Comfort”); Martin Ritt (“Cross
Creek”); and Diane Kurys (“A Man in Love”). Recently he has appeared in “Patch
Adams,” (Robin Williams) and “Random Hearts” (starring Harrison Ford and Kristen
Scott Thomas – his co-star from “Bitter Moon”) for Sidney Pollack. He played Harvey
Milk in “Execution of Justice” a Showtime special for Cuban director, Leon Ichaso, and
Kurt Potter in Steven Soderbergh’s “Erin Brockovich,” starring Julia Roberts and Albert
Finney. His two films most recent films are “Femme Fatale” by Brian DePalma starring
Antonio Banderas and Rebecca Romijn Stamos, and “AWalk to Remember" starring
singer Mandy Moore.

NORA DUNN, Mrs. Carver - Nora Dunn cut her teeth in cabaret theater and
improvisation in Chicago and worked with defectors from the famous Second City
Comedy Troupe where she was spotted by visiting ‘Saturday Night Live’ casting
directors. She joined the SNL cast in 1984 and entertained audiences for five years on
the NBC late night hit.

A graduate of the Art Institute of Chicago, Dunn also studied at San Francisco’s Jean
Sheldon Acting Workshop. She has acted in countless films and was just recently seen in
the Disney feature, “Max Keeble’s Big Move.” She was also in “What’s The Worst That
Could Happen?,” opposite Danny DeVito and Martin Lawrence and “HeartBreakers,”
opposite Sigourney Weaver. Nora received critical acclaim for her work opposite George
Clooney and Mark Wahlberg in “Three Kings” and in Mike Nichols’ “What Planet Are
You From?” with Annette Bening and Garry Shandling. Other feature credits include
“Drop Dead Gorgeous,” “Bulworth,” “Father of the Bride Part 2,” “I Love Trouble,”
“Born Yesterday,” “Passion Fish” and “Working Girl.”

In addition to her roles on television and film, Dunn performs her critically acclaimed
‘one woman’ show in theaters around the country. She recently completed a screenplay
that she will direct and is the author of a book, Nobody’s Rib.

                                           ‫הה‬
                             ABOUT THE FILMMAKERS

Jonathan Kesselman, Writer/Director - Jonathan Baruch Kesselman (he is Jewish),
was born and raised in the San Fernando Valley. He received his Bachelors degree from
the University of Colorado, graduating Magna Cum Laude in Psychology. After college,
Jon spent a miserable two years wasting away in the corporate world as an Information
Systems Consultant before being accepted into graduate school at the University of
Southern California School of Cinema/Television, from which he graduated in December
of 2001.

While at USC, Jon's second semester short film, “The Hebrew Hammer,” went on to the
semi-finals at the 2000 Austin Film festival, and was chosen and screened by the USC
Archivists in a selection of ten of their favorite student shorts from the 1950's to the
present. It was licensed by the website Neurotrash.com, and can now be viewed on the
Internet site Hypnotic.com. While at USC, Jon also wrote, directed, edited, and produced
a web serial for Doug Liman's Internet film site Nibblebox.com as well as wrote
educational films for the James Stanfield Company in Santa Barbara, CA.

“The Hebrew Hammer” is Jon’s first feature.

Edward R. Pressman and John Schmidt, Executive Producers - Pressman and
Schmidt launched ContentFilm on September 7, 2001. A fully-financed production and
distribution company based in New York, ContentFilm is financing and producing an
initial slate of twelve to fifteen director-driven feature films that take advantage of new
technology to keep budgets low.

Launched in September of 2001,ContentFilm has financed and produced a number of
high-profile projects. The first ContentFilm production to play before an audience was
“The Guys,” the film version of Anne Nelson’s acclaimed post-9/11 play of the same title
starring Sigourney Weaver and Anthony LaPaglia. “The Guys” had its world at the 2002
Toronto Film Festival, after which Focus Features acquired worldwide rights to the film.
Focus will release the film in February 2003. Other ContentFilm projects in post-
production include “The Cooler,” a dark comedy set in Las Vegas starring William H.
Macy and Alec Baldwin, and “Love Object,” a creepy psychological thriller starring
Desmond Harrington and Melissa Sagemiller.

ContentFilm also co-financed and owns U.S. rights to “Party Monster,” the chilling story
of New York club-kid killer Michael Alig, starring Macaulay Culkin and Seth Green.
Produced with Killer Films and Fortissimo, “Party Monster” is directed by Randy
Barbato and Fenton Bailey.

In early 2002, the company acquired worldwide rights to Larry Fessenden’s acclaimed
cult thriller “Wendigo,” working with Magnolia Pictures on the film’s domestic release.

Pressman is a veteran producer of over 60 films, from “Badlands,” “The Bad Lieutenant”
and “Wall Street” to “The Crow” and “American Psycho.” Schmidt was a founding
partner of October Films.
Josh Kesselman, Producer - Josh Kesselman is a producer/manager with a first-look,
overhead producing deal with John Davis’ Davis Entertainment. Josh started his
illustrious career as John Davis’ assistant working on such films as “Grumpier Old Men,”
“Courage Under Fire,” “Out to Sea,” “The Chamber” and “Dr. Dolittle.”

In 1998, Josh created Jericho Entertainment where he has produced three films and is
currently in development on several others. His produced credits are “Fall” directed by
Daniel Baldwin, starring Michael Madsen, Joe Montegna, Chad McQueen and Daniel
Baldwin, and “Bobbie’s Girl” for Showtime/Paramount starring Rachel Ward,
Bernadette Peters, and Jonathan Silverman.

In development, Jericho is producing the broad comedy "Drake Baldwin, Parking
Enforcer" with Eddie Griffen to be directed by Tim Hill ("Sponge Bob"); "Five Fingers"
a counter-terrorism thriller which Jericho is co-producing with Nicholas Cage’s Saturn
Films; "Living and Breathing" to be directed by Lou Pepe and Keith Fulton ("Lost in La
Mancha") starring Tom Wilkinson and Janeane Garofallo; "Fortunate Son" written by
Ernie Contreras for Disney; and "Chuck and the Empire of Punani" written by Greg
Feldman with Jonathan Kesselman attached to direct.

As a manager, Jericho represents such writers and directors as Sam Bernstien (“Bobbie’s
Girl”); Jonathan Kesselman (“The Hebrew Hammer”); Dana Lustig (“Wedding Bell
Blues,” “Kill Me Later”); and Lou Pepe and Keith Fulton (“Lost in La Mancha”).

Sofia Sondervan, Producer - Sofia is currently Head of East Coast Production for Ed
Pressman and John Schmidt’s ContentFilm where she produced “The Hebrew Hammer”
as well as “Party Monster” and where she oversees all original East Coast and European
productions. She is also producing David Bar Katz’ (Freak on Broadway, The Pest, To
Wong Fu, With Love Julie Newmar…) feature film debut entitled “The Untitled British
Spy Project” starring Lukas Haas, Nora Dunn and Charlotte Gainsbourg among others,
which will shoot in the UK in the spring of 2003.

Previously, Sofia was Sr. VP of Acquisitions and Productions for POP.com, a joint
venture between Dreamworks SKG and Imagine Entertainment, where she set the
creative agenda and controlled all the programming while managing the company’s bi-
coastal acquisitions and specialized production departments. Prior to POP.com, Sofia
acted as a consultant for Sloss Special Projects, where she helped solicit, represent and
sell a large slate of independent films at the 2000 Sundance Film Festival.

Sofia’s industry experience also includes the post of Head of Acquisitions for Cary
Woods’ Independent Pictures, where she oversaw all original feature acquisitions for the
company while developing strong ties to innovative European filmmakers.

Sofia also served as Director of Business Affairs/Delivery Administration for Miramax
Films for four years, negotiating delivery schedules for acquisitions and productions, and
ensuring the clearance of legal rights for music, clips and chain of title.

A native of Amsterdam, The Netherlands, Sofia earned a Bachelor of Fine Arts in Film
and Television from New York University where she directed and produced many short
films and two features. She is fluent in Dutch and French languages and has a working
knowledge of German.


Lisa Fragner, Producer - Lisa Fragner, born and raised in Los Angeles, graduated from
Stanford University with a degree in History and a minor in Drama. She went on to study
British Social History at Saint Catherine's College at Oxford University. After returning
from the UK, Fragner began as a production assistant on feature films, music videos and
commercials, quickly working her way up to production coordinator and second assistant
director. She then took a job as the assistant to the director Alek Keshishian (“Truth or
Dare,” “With Honors”). When Keshishian signed on to commercial production house
Atherton & Associates, Fragner followed him to the company, acting as in-house
production coordinator and bid researcher for their commercials. While at Atherton, Lisa
Fragner produced the award winning short film “Blue City” by USC film school graduate
David Birdsell.

In the spring of 1996, Fragner began her career at Fox Searchlight Pictures and was
promoted to Creative Executive in March of 1998. In July of 1999, Lisa Fragner was
upped to Head of East Coast Production/Development for Fox Searchlight Pictures and
relocated to New York City where she ran Fox Searchlight East Coast until ankling in
January of 2001. In the spring of 2001, Fragner partnered with Steven Beer of Rudolph
& Beer, LLP where she is currently heading up their producing/packaging division, R&B
FM. R&B FM (Rudolph & Beer Film and Music) is currently producing/packaging
music convergent feature films and television projects as well as producing projects for
the firm's music celebrity client-base, including Britney Spears, Ashanti, Aaron Carter,
Samantha Mumba, and No Secrets. The firm also represents and has strategic
associations with many urban and hip-hop artists. In addition to “The Hebrew Hammer,”
R&B FM’s producing credits include “Aaron Carter Pay Per View Special Live” on In
Demand, and the feature film “Death of a Dynasty” by writer Blue Moreno and directed
by rap impresario Damon Dash, a co-production with Roc-A-Fella Films, on which
Fragner is credited as producer. Prep will begin in the late winter of 2003 on two
additional fully financed feature projects, “True to the Game” by writer/director Chris
Slater, and “The Breaker Upper,” by writer/director Adam Kleid and writer Christine
Scowley.

 Isen Robbins and Aimee Schoof, Associate Producers - Intrinsic Value Inc. is a New
York based production company founded by Isen Robbins and Aimee Schoof. Intrinsic
has served as a management / packaging service and fund raising entity for the
production of feature films. The company first co-produced George Spyros’s “Last Days
of May,” which played the February 1998 First Look Series, won Best Actress at 1998
AFI awards, and South by Southwest in 1999. Intrinsic produced Philip Dolin’s “B-
Movie” staring James Urbaniak and Missy Yeager, soon to begin its festival life. Intrinsic
produced Michael Simon’s short, “Every Messiah is a Liar,” New York Film and Video
Film Festival 2000, sold to IFILM. Intrinsic co-produced DW Maze’s “Ten Hundred
Kings” staring Bill Camp and Elizabeth Marvel (Austin Film Festival 2000 First Look
1/2001). The company produced Tony Pemberton’s “Beyond the Ocean,” an America /
Russian Austrian co-production which premiered at the 2000 Sundance Dramatic
Competition and sold to Outrider Films, opened in NYC in January 2002. The company
associate produced Sergio Castilla’s sixth feature “Te Amo” that went to Sundance 2001
foreign film section, and was nominated for Best Latin Director. The company produced
Austin Chick’s “XX/XY” starring Mark Ruffalo, and Kathleen Robertson, produced with
Robbins Entertainment (“Next Stop Wonderland”) - 2002 Sundance Dramatic
Competition-sold to IFC Films to be released in Feb. 2003 and “Standard Time,” directed
by Robert Cary, starring Andrew McCarthy, Cameron Bancroft, and Eartha Kitt.
Completing post is the micro budget “Exist” directed by Esther Bell Goddass (Showtime
and Sundance Channel). Intrinsic just wrapped the co-production of “Death of a
Dynasty” directed by Damon Dash starring JZ, Puffy, Camron, Stacy Dash, produced by
Rudolph and Beer Film and Roc-a-Fella records. Intrinsic is in production on “Brother to
Brother” written and directed by Rodney Evans produced with C-One Hundred Films
staring Anthony Mackie (“8 Mile”), Aunjanue Ellis (“Men of Honor,” “Girls Town,”
“Undercover Brother”), Larry Gilliard Jr.(HBO’s “The Wire,” “Gangs of New York”),
Duane Boutte (“Stonewall”) and Alex Burns (“13 Conversations About One Thing”).

Isen Robbins earned his M.S. in Cinema Studies from CUNY in 1993. He was a teacher
of theory and history before he began his work in film as a production designer for
multiple independent feature films. In 1996 he produced his first feature film “The Sticky
Fingers of Time” directed by Hilary Brougher with Good Machine. Sticky has been to
over one hundred Film Festivals including the Venice, Toronto, and Rotterdam and was
distributed by Strand Releasing theatrically and DVD/video. He has also line
produced/associate produced other features, music videos and commercials.

Aimee Schoof graduated in 1993 from Florida State University with a Bachelors degree
in Communications/Film. She moved to New York and started working in production on
low-budget independent films as a production coordinator, location manager, and
production manager. After joining the Production Company Cavin Artists Ltd., in 1994,
she produced several shorts, music videos, industrials, and her first feature film Vertical
City. She is the Co-creator of an interactive website for the film industry entitled, Global
Film & Media Access, launched in 1996. She has also line produced/ production
supervised other features, music videos and commercials.

Kurt Brabbée, Director of Photography – Looking for a visual voice photography was
Kurt’s calling. He graduated from Rochester Institute of Technology with a BFA in fine
arts with emphasizes in photography and painting. His work as a photographer/painter
was in several major exhibitions in the US and Canada. During this time he also worked
shooting interior/exterior work for various interior designers and architects. That work
appeared in a number architectural magazines. Then Kurt decided to relaunch his
interests and study film at the American Film Institute. A revelation...equipped with film
savvy he worked with Roger and Julia Corman, the king and queen of interesting B
projects. Each project allowed art and technology to extend his visual vocabulary. The
scripts got better the budgets expanded along with promising reviews of his photographic
style. One of the many highlights to date was a run at Sundance with a film entitled,
“After Image,” staring John Melloncamp. He recently shot a film entitled
“Kaante,(thorn)” with a cast the equivalent of Paul Newman and Brad Pitt, the only
difference was this film was shot with the leading actors of India, one of the first all
Indian cast films to be shot in the states. A release date is expected some time in
December 2002. After many film type projects, “The Hebrew Hammer” was the first film
Kurt has had the opportunity to shot on HDTV.

Cabot McMullen, Production Designer - Cabot McMullen is a renowned production
designer and creative director for the entertainment industry. His work as a designer and
entrepreneur has helped launch new entertainment brands and franchises across multiple
platforms for production companies, advertising agencies, record labels, television
networks and the major studios.

Cabot has provided creative direction and production design for many award-winning
television programs, interactive media and feature films. He has collaborated with the
most talented producers, directors and performing artists of a generation.

After designing many successful shows including ABC’s “Spin City” and NBC’s
“Scrubs,” Cabot has become one of the most sought after production designers in
network television. He recently designed “Queens Supreme,” executive produced by
Julia Roberts and her Shoelace Productions for CBS starring Annabella Sciorra, Oliver
Platt, and Robert Loggia.

Cabot recently made the transition to the big screen. In addition to “The Hebrew
Hammer,” Cabot designed “Heaven’s Pond” for Splendid Pictures starring Kip Pardue
and Tara Reid, “Max and Grace” starring Natasha Lyonne, Lorraine Bracco and David
Paymer for FilmNext and is currently shooting “If You Were My Girl” for Alcon
Entertainment and Warner Bros. Starring Nick Cannon, Christina Milian and Steve
Harvey.

Cabot has provided Creative Direction and Production Design for such Artists as Michael
J. Fox, Jerry Seinfeld, Gabriel Byrne, John Malkovich, Gary Sinise, James Caan, Mariah
Carey, Whitney Houston, Bette Midler, The Backstreet Boys, Carly Simon, Elton John
and many others. He has been retained and or commissioned by Warner Bros.,
DreamWorks, Disney, Paramount Pictures, Imagine, ABC, CBS, FOX, NBC, HBO,
Studios USA Network, Imagine Television, Jim Henson Productions, Sony Music,
Universal Music, Bertelsmann, Jive Records and many others to help forge the careers of
today’s top artists through careful imaging and innovative productions.

Cabot has been an advocate of Interactive technologies since 1989 and a practicing
visionary in the convergence of entertainment and digital technology, his exploration and
embrace of Digital Media has produced new applications and groundbreaking concepts in
the unique space where broadcast converges with broadband. Cabot has designed and
produced interactive properties for Universal Music, Disney Imagineering, Jim Henson
Productions and Nickelodeon. He created the Production Design for Disney’s “Bear In
The Big Blue House” television series and subsequently was commissioned to extend the
brand online producing the show’s Disney.com website for Disney Interactive. Cabot has
recently collaborated with Mitchell Kriegman’s Shadow Projects and Douglas Trumbull
on the creation of the world’s first real-time virtual sets for the Disney Channel’s series
“The Book of Pooh” and is currently building interactive enhanced CD content for
NBC’s “Scrubs.”
Cabot has developed theatrical, media intensive architectural interiors for Donna Karan,
Sony USA Corp, DreamWorks SKG, J.Walter Thompson and Messner, Vetere, Berger,
McNamee, Schmetter Euro RSCG, all using immersive media networking technology.

Cabot’s work has been profiled in Entertainment Weekly, Interiors, Harper’s Bazaar,
Variety, The Hollywood Reporter, Variety, Print Magazine, Sony Style, Theater Crafts
International, The New York Times, New York Times Sunday Magazine, The Daily News,
The NY Post, New York Magazine, The Observer and he has been featured on Good
Morning America and The Metro Channel’s “The Fall Preview”. A portfolio of projects
can be found online at the CMI website at : http://www.cmi-nyc.com

He is a member of The Society of Motion Picture & Television Art Directors, Local 876,
in Hollywood and The United Scenic Artists Union, Local 829 in New York City and is
represented by Hilarie Roope of the Broder Webb Chervin Silbermann Agency.


Alysia Raycraft, Costume Designer - Alysia Raycraft is a costume designer of both
stage and film residing in New York City. She began as a painter/sculptor classically
trained moving from fine art into fashion ending with a M.F.A. in Costumes from
N.Y.U.'s Tisch School of the Arts. Current projects include an Artist in Residency at The
New York City Ballet with Ballet Master in Chief Peter Martins to assisting Deborah
Scott on the film “Bad Boys II” in Miami. She is represented by Kara Baker-Young and
The Gersh Agency in New York.

Michelle Phillips, Costume Designer - Michelle Phillips most recently designed a
commercial for Coke, a music video for Tina Arena and “Bought and Sold,” a feature
film to be released in spring of 2003 directed by Mike Tolajian and starring Joe Grafasi,
David Margulies, and Anthony Chisholm. Upcoming New York stage productions
include the world premier of a new opera Rain, by Richard Owen, directed by Sam
Helfrich at Alice Tully Hall, Lincoln Center as well as two modern dance productions at
The Joyce Theater and Joyce Soho. Ms. Phillips holds an MFA in costume design from
Tisch School of the Arts at NYU.

Dean Holland, Editor - Dean Holland began his editing career five years ago, after
working in television promotion. Dean began editing for TV on "Behind the Music," the
popular documentary series on VH-1. He has worked on concert specials for MTV and
Fox, as well as pilots for HBO, The WB Network, and Comedy Central. “Run Ronnie,
Run" was Dean's first feature film. Since "Run Ronnie, Run," Dean has worked on two
other films, "The Country Bears" for Disney, as an additional editor, and "The Three
Amigos" for Miramax. Dean will soon start work on "American Fighter Pilot," a series
for CBS.

                                            ‫הה‬

				
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