VIEWS: 12 PAGES: 30 POSTED ON: 8/24/2012
Production Information Perhaps nowhere in sports is the marriage of athleticism and grace more evident than in the arena of world champion pairs figure skating—the lifts, the jumps, the routines. The perfect score results from the perfect blend of strength and sophistication, prowess and artistry, brawn and refinement. It’s an elegant world, a rarefied universe, a noble place populated by the crème de la crème of skating elite. Well, it used to be … When the macho, swaggering Chazz Michael Michaels (Will Ferrell) takes to the rink, he is the rock star of the arena, leaving a trail of thrashed ice and shrieking female fans in his wake. The only competitor who can match Michaels’ scores (on the ice, that is) is the driven former child prodigy, Jimmy MacElroy (Jon Heder). Spotted as a youth executing triple lutzes on the frozen pond of an orphanage, MacElroy was whisked away to days of endless training, and now stands as the picture of poise, the personification of the highest ideals of the men’s sport. Michaels and MacElroy have met in finals rounds before, but their latest head-to-head at the World Championships—when they tie for first—is more than either one can bear, and their longstanding rivalry erupts into a no-holds- barred fight. The ensuing brawl not only sets fire to the World Championship’s helpless mascot, but lands both athletes in hot water: Chazz and Jimmy are called before the sport’s governing board, stripped of their gold medals and banned from the sport for life. Now, three-and-a-half years later, both men are still trying to find their way in a world without competitive skating. Michaels has devolved into a drunken party machine, skating as a costumed evil wizard in a kiddie ice review, and MacElroy has been banished to the shoe department of a chain sporting goods store. But then, inspiration (in the form of an over-friendly, former stalker of Jimmy’s) strikes, and a loophole emerges. To skate again, all Chazz and Jimmy have to do is set aside their long festering hatred of one another and join forces— as the first male/male figure skating pair to compete in the history of the sport. … if the sport survives, that is. DreamWorks Pictures Presents a Red Hour/Smart Entertainment Production, “Blades of Glory,” starring Will Ferrell, Jon Heder, Will Arnett, Amy Poehler, William Fichtner, Jenna Fischer, Romany Malco, Nick Swardson, Rob Corddry and Craig T. Nelson. The film is directed by Will Speck & Josh Gordon from a story by Craig Cox & Jeff Cox & Busy Philipps and a screenplay by Jeff Cox & Craig Cox and John Altschuler & Dave Krinsky. The film’s producers are Ben Stiller, Stuart Cornfeld and John Jacobs. Executive producer is Marty Ewing. The film is edited by Richard Pearson. The production designer is Stephen Lineweaver and the director of photography is Stefan Czapsky, ASC. This film is rated PG-13 for crude and sexual humor, language, a comic violent image and some drug references. © 2007 DreamWorks LLC. All Rights Reserved. ICE FOLLIES: THE MAKING OF “BLADES OF GLORY” When Ben Stiller and Stuart Cornfeld bought the spec script “Blades of Glory” for their company, Red Hour Films, they decided, as the sporting slogan goes, to just do it. Stiller relates, “We got sent this script, which was about the first male figure-skating team pair—these two brothers had written it, and one of them was working at a Starbucks, I think. Anyway, it was one of those scripts where you go, ‘Wow, I can’t believe nobody’s done a movie of this.’ It’s just such a funny idea, so we decided to try to get it made.” “Blades of Glory” centers on the comic travails of two disgraced world champion skaters who must overcome their considerable differences and get back in the game by becoming the first competitive male pairs figure skaters in history. It seemed as if “Blades” was destined to be a film where good things come in twos—particularly when the search for a director began. Red Hour, which is committed to finding new talent, had been talking with a prominent directing pair from the field of advertising and music videos, Will Speck and Josh Gordon; the duo had made a quick reputation for themselves with their wry and hip series of Geico insurance commercials featuring a group of peeved cavemen, in addition to their Oscar®-nominated short film, “Culture." “The thing I responded to most in their work was the comedy, which was based very much in character,” says Stuart Cornfeld. “They were able to take an idiosyncratic character and were just relaxed enough to move him to a comedic place that was eccentric, but still totally relatable.” Per Stiller: “Will and Josh have directed so many commercials that they’re actually incredibly experienced. They had to come in and work with a lot of different elements—they took the skating very seriously. They took the comedy very seriously. They skated themselves. I saw them out there. They definitely got their feet dirty, as they say.” For Speck and Gordon, the world of skating presented a fertile ground for satire: a realistic setting rife with some wonderfully over-the-top elements—the sometimes overblown musical accompaniment, the lavish costumes, the behind- the-scenes personal dramas—all of which could be turned on their head to comic effect. “The commitment the two main characters have made to this sport, which has so many fantasy and fashion elements to it, opened the story up to many levels of comedic possibility. The thing we loved is that the world of figure skaters is such a specific sort of strange little universe that has its own brand of caste system, logic, sense of style, rules and celebrity,” says Speck. “The fact that there’s this little world unto itself that we can explore— that’s very interesting to us. The script also had several unique supporting characters that go a long way toward populating that world,” adds Gordon. “And that, to us, was very appealing.” While two heads are often better than one, the question does beg to be asked: how do two people direct a film simultaneously? (Answer: Any way that works.) Adds Cornfeld: “In pre-production, Josh spent a little more time on the technical issues, while Will focused more on the script. But once we started shooting, it was very much a collaboration. They were always in sync when a decision had to be made.” While the behind-the-scenes world of directing the film fell to a twosome (the pair of Speck & Gordon), the on-screen story would need to be carried by a duo of comic actors, each possessing the ability to hold his own on and off the ice, while also being able to complement each other, stylistically speaking. “One of the things that drew us to the script is the dichotomy of the two leads. They’re such opposites,” says Gordon. “Chazz Michael Michaels is a guy who wears all his emotions on his sleeve, and yet is very vulnerable, whereas Jimmy MacElroy is someone who’s led a very sheltered life.” Adds Speck: “They perfectly mirror one another, yet both are completely dysfunctional. Each needs to learn from the other guy a little bit in order to get on with his life.” Early on, Red Hour approached Jon Heder (who rose to instant stardom as the eponymous “Napoleon Dynamite”) and asked him if he’d be interested in the role of Jimmy, a young man who eats, sleeps and breathes skating … and has for almost his entire life. “What’s interesting about Jon,” says Cornfeld, “is that he’s a very, very, very physical comedian and he’s got this loveable core. One of the tough things about a character like Jimmy MacElroy is that he’s a narcissist, and when you have that kind of character, you want an actor who can play him in a loveably narcissistic way.” For the role of Michaels, one name, say the filmmakers, immediately leapt to mind: Will Ferrell, whose résumé of unforgettable comic personas includes Buddy the Elf, Ron Burgundy and, most recently, Ricky Bobby and Harold Crick, to name a few. Speck observes, “Will Ferrell has been creating great characters for years, starting with ‘SNL’ and continuing in film. He is an amazing performer who’s so good at what he does that you forget that, as the saying goes, ‘comedy is hard.’” Gordon says, ”He brings exactly the right mix to Chazz, which is part swagger and machismo, and part overgrown kid. He was really the only one we thought of in the part.” Stiller adds, “I think you look at what Will Ferrell does on the ice—skating is all about attitude. It’s much less about technical, I don’t even wanna say, ‘perfection,’ because it’s not even that level. It’s more like technical ‘ability,’ which is, you know, not very high, but not very necessary when you have that much attitude. It’s like attitude-ability. Well, if I’ve got a lot of attitude, I don’t have to worry about my ability. So for Will Ferrell, to get out on the ice and do his thing and to see him, we call it the two ‘A’s,’ attitude and ability. And Will’s got big-A, little-A. Jon Heder’s got, like, little-A, much-bigger-A on the ability. And you put it together, and you get … like, a quadruple A.” “Will is one of our most gifted actor-comedians,” finishes Cornfeld, “someone who commits himself fully to finding both the comedy and the emotional reality of a character.” Jacobs adds, “It struck me as a totally magical pairing. If you saw ‘Napoleon Dynamite,’ you know that Jon is a subtle comic who throws his lines almost over his shoulder, while Will’s brilliance is improv. We saw that they would work off each other brilliantly, picking things up from each other’s style, which would ultimately enhance both their styles.” As far as Ferrell was concerned, when they approached him for “Blades of Glory,” they had him at hello. “Just the premise of two men skating together made me laugh,” he admits. “The world of figure skating just lends itself to all kinds of comic possibilities. I’m surprised no one has ever thought of making a movie about it before.” He also found the character of Chazz impossible to resist. “He’s this kind of bad boy of skating and so sexy. And I do sexy very well.” He adds, wryly, “Plus, I get to wear little facial tattoos, which is a real perk.” What really sold Ferrell, however, was the personality differences between his character and Jimmy, and the antagonism that develops because of that. “Chazz is someone who plays to the crowd. He has his own fan section. He’s very rock ‘n’ roll, all sex and showmanship. Jimmy is all about technique and form, kind of like classical music. They’re from two separate worlds and that drives the rivalry between them.” For Heder, two factors were the main draws to signing on to “Blades of Glory”: acting across from Ferrell while on top of frozen water. “I thought it would be fun to do something as physical and weird and fun as ice skating,” he says. “I did a little bit of roller skating growing up, but I’ve only been on ice skates maybe once or twice. So, I was like, ‘All right, this’ll be fun, to really get into it and try to skate.’ And then, to get to work with a comedy giant like Will Ferrell in a movie produced by Ben Stiller … well, how could I say no to that?” Continuing to cotton to the theory that two heads are better than one, the filmmakers cast the pivotal roles of the outlandish villains Stranz and Fairchild Van Waldenberg—the brother/sister skating team whose champion status is threatened by Chazz and Jimmy—with the adept comic performers (and real-life husband-and-wife) Will Arnett and Amy Poehler. Speck and Gordon comment, “Amy and Will walk that fine line in comedy that is so difficult to tread—this kind of humor is about amplifying recognizable idiosyncrasies, and that’s what makes people laugh. If a performer gets too broad, you’re pounding people over the head with a shovel. There’s art in their subtlety, and those subtle choices combine to build larger-than-life characters. Their work is just great and hilarious.” Unlike Heder, Arnett is no stranger to ice skates. “I grew up in Canada, so I think that it’s part of your birthright to be able to skate,” he says. Arnett relishes the role of comic antagonist, which he played so memorably in the Emmy-winning “Arrested Development” and in the Robin Williams-starrer “RV.” Cornfeld observes that Arnett is more than willing to go out on a limb with his comedy: “One of the things that’s amazing about Will is that he’s really good-looking, and yet he’s willing to push, in a comedic way, way beyond that. He has this likeable personality, but he doesn’t use it to get the audience to like him. He’s willing to just go out there as far as he can. It’s really fascinating to watch.” The Stranz and Fairchild relationship is intense and a bit … well, off, according to Poehler, who has demonstrated her mastery for comic subtext during her many years on “Saturday Night Live.” But she doesn’t want the audience to get any wrong ideas about them. She reasons, “Sure, Stranz and Fairchild spend a lot of time training together. They often have to do very intricate moves in very tight spaces. And some people feel that they’re a little too close. But that’s because they both want to win. The idea of winning excites them.” The odd-girl-out in Camp Van Waldenberg is the duo’s wallflower sister, Katie, who inadvertently falls for Jimmy MacElroy. Brimming with charm and looks, she played with subtle glee by Jenna Fischer (from the hit “The Office”). After Katie’s blooming interest in MacElroy comes to the attention of her brother and sister, Stranz and Fairchild guilt her into conspiring with them to bring down the competition. Fischer relished playing the somewhat offbeat Katie, and was immediately interested in joining the impressive cast. But it was a sequence with Ferrell’s Chazz Michael Michaels that made her immediately pick up the phone and call her agent. “The scene that really made me want to do the movie is the one in which Katie reluctantly seduces Chazz. I loved the idea of a comedic seduction scene, because they really are so much fun to play—walking that tightrope between suggestive and silly. And since Will Ferrell was playing Chazz, I knew he was going to make it really funny.” When it came time to cast the role of Coach in the film, who else would the filmmakers turn to than the man who made “Coach” a household name in the long-running TV series? Coach initially is Jimmy’s trainer, but takes over the volatile Chazz and Jimmy when they decide to try pairs skating. “You just accept Craig T. Nelson as a coach,” says Speck, “not sure why. No, no. Really, he has gravitas, combined with this dry sense of humor. Isn’t that what the perfect coach has? In his films and television roles, he plays a dad or a cowboy or a professor—these authority figures. But no matter who he plays, it seems like we’re always waiting to see that flash of humor.” Gordon comments, “We thought it would be great to have his sense of weight in this offbeat, hermetic little universe. And his coach comes off as a little driven, almost a borderline, ‘blow at any minute’ guy…which is funny, when the reason you’re about to blow is about sequins or a choreographed move.” “Craig is a great actor,” adds Cornfeld, “and very committed. He’s more than willing to play the reality in an absurd situation and let the comedy come from that.” “The thing about Coach is that he’s got a lot of issues, and the guy he’s attached to is trying to help him channel them through things like stained glass and pottery classes,” says Nelson. Nelson’s main reason for taking the role, however, was the chance to skate—and get paid for it—though he hadn’t donned a pair of skates in several years. “It had been a long time since I’d skated. I played hockey as a kid and loved it—I thought I wanted to be a hockey player when I was growing up. But that was hockey, not figure skating. When I got back on the ice again, I had a great fear of falling down. Fortunately, I had a great coach, Bobby Beauchamp, who helped me get familiar with the ice again. It was a blast.” Another of the unique comic characters found in “Blades of Glory” is Hector, Jimmy MacElroy’s obsessive No. 1 fan, played by comedian and writer Nick Swardson (“Malibu’s Most Wanted,” “The Benchwarmers”). “Hector travels around with a teddy bear and a scrapbook, a photo album of Jimmy that is very in-depth, very intricate,” relates Swardson. “He’s put a lot of time into it … and a lot of glitter. Jimmy’s a little freaked out by him and has a restraining order out on him. But Hector shows up randomly throughout the movie and torments Jimmy. So, yeah, I guess you’d call him a kind of a stalker, but I think that’s a little harsh.” But Hector also serves as the impetus to set the union of Jimmy and Chazz in motion. “When Jimmy is banned from skating, Hector’s whole world crashes down on him,” says Swardson. “So he finds this loophole that Jimmy can skate again if he’s part of a pair.” Making an appearance as the head of a touring skating troupe putting on a show called “The Grublets” (think skaters in animal costumes) is “The Daily Show” veteran Rob Corddry. “My character, Bryce, takes disgraced skaters like Chazz and plugs them into the Grublets, who are sort of these magical woodland creatures, like elves or gnomes. I have a scene with Will and one with Jon. It’s all I’ve talked about for months.” Lending an air of authenticity to “Blades of Glory” is former skating champion Scott Hamilton, who is teamed with commentator Jim Lampley; both play variations on themselves as ringside analysts. Hamilton has been offered roles in skating movies before, but turned them all down, he says. “Blades of Glory,” however, was impossible to resist, he laughs, “Because I get to play a version of myself without having to be myself.” DOING LUTZES WITHOUT BEING KLUTZES Speck and Gordon had very specific ideas about how to visually tackle “Blades of Glory.” Per Speck: “It’s almost like shooting a musical in terms of how we started to think about and prep the skate numbers and the costuming. With the choreography and the stylistic element—taking our cue from the reality of the sport—it’s pageantry and it’s beautiful.” “In some of those superhero movies, since nobody knows what it really looks like to fly, you can make it look official,” says co-director Gordon. “But everybody knows what it looks like to skate. I mean, they watch it on the Olympics.” “So, what we had to do is take actors and make them look graceful,” completes Speck. “Otherwise, the whole thing would look cartoonish.” While “Blades of Glory” does take advantage of wires, greenscreen and other sophisticated effects to create the dazzling and physically impossible routines executed on-screen, Ferrell, Heder, Arnett and Poehler underwent extensive training (apart and together) to approximate the speed and agility of professional pairs skaters. (Many supporting players joined in with the pre- filming training regimen as well.) And all of them came away with newfound respect for professional figure skaters. “You don’t realize how much work it takes to ice skate,” says Ferrell, “because you watch it on TV and you figure, ‘Well, it can’t be easy,’ even though they make it look so easy. But let me tell you, it’s not easy. Jon and I trained for months and it was a big accomplishment for us just to be able to move around on the ice and look somewhat graceful.” “Will [Arnett] grew up skating, but at the start, I had to train a couple of times a week just to get comfortable standing up on skates,” says Poehler. “I have a great deal of admiration for professional skaters and how easy they make it look. That’s why they have such great butts and legs, and they’re in such great shape. And unlike actors, they never complain.” Arnett proved to be better than good at portraying a professional skater, says producer Jacobs. “He got to the point that we didn’t really need a double for him. Most of his performance he was able to do himself, which sort of blew everyone away.” Heder and Ferrell, meanwhile, were busy learning to crawl before they could walk, so to speak. “Most of our time on the ice was actually spent trying to learn the basics apart from each other,” says Heder, “because we knew, at some point, we’d have to start working together. But the biggest chunk of time was learning the basics, to really get a sense of it. It’s very specific, like math. But when you do it right, you get this kind of exhilaration.” The cast weren’t the only ones who found their admiration for the real athletes growing—the filmmakers, too, came away with a deeper appreciation for the sport and its participants. Cornfeld was particularly struck by the sport’s strict regimen and rigorous practice schedules. “These people are real athletes,” says producer Cornfeld. “But unlike other competitive sports, there’s this additional layer of music, dance, choreography and ice. It’s quite impressive.” After mastering the rudiments, the actors had to conquer the task of how to dance on the ice, solo and in pairs. They were fortunate to be able to work with one of the best professional skating choreographers around, Sarah Kawahara, who earns high praise not only from the cast, but from one of her best students, Scott Hamilton. “I worked with Sarah for 20 years and the skater I became while working with her is so much better than the skater I was when I competed in the World and Olympic level,” he says. “She’s so technical and so artistic, and her point-of-view is from such a different place that she forces you to get better each year. She takes you to your limit.” Not only did Kawahara have the skill to bring out the best in the novice actor/skaters, she also had the creative sense to do it in such a way as to enhance the film’s humor. “As serious as she is, Sarah gets the jokes,” Hamilton continues. “There was humor involved in almost every program we worked on together. Sarah is married to a stand-up comedian, so she knows how to make an inside joke work and even go for broad comedy. Whatever she did, there was always something in there that was humorous. She is the perfect choreographer for this film.” Kawahara’s contributions were essential to making “Blades of Glory” a believable ice-skating movie, say directors Speck and Gordon. Working from a script that gave them only two-line descriptions for the skating routines, the directors and the choreographer were left with the task of creating them from the ground up. “The skate numbers were very exciting for us,” says Speck, “because they helped us not only give insight into the character, but also functioned on a comic level. They helped us deliver on the promise of the story.” Kawahara was impressed by the raw material she was given to work with, particularly the film’s two main characters. “Both Will and Jon are natural athletes, in that they’ve played sports in the past. They also went through a lot of core training and physical training to learn how to skate, which helped them a great deal,” she says. “Just learning the rhythm of skating together is probably one of the most difficult things. It’s one thing to learn to skate on your own, and another thing to learn to skate in tandem with somebody and feel the other person’s rhythm. Fortunately, Will and Jon have great rapport. It’s fun to see them act and react off each other—they got to add to their characters through the choreography. “Jon’s character is very ballet and dance oriented, so it was a lot of fun for him to do all these extensions and run on his toes. He really took to the ice quite well. I think that perhaps, in his heart, he’s a dancer. Will’s character is a real rabble-rouser, and involves the crowd in his routines, playing to them. He’s amazing because he is so subtle and then, magically, those subtleties get magnified because of how he plays them. It’s never over-the-top, but just one step away from pushing over the edge.” Kawahara worked closely with the directors and their storyboard artist to break down the routines on paper. Having a six-foot-three man (Ferrell) lift a six-foot-one man (Heder) and carry him across the ice in a choreographed routine is quite a challenge. (“Just the math and the physics of it are amazing,” she laughs.) But as she knows from her many years of experience with real skaters, the challenge is what makes achieving it so exciting. Kawahara says “Blades of Glory” has enabled her to take her expertise and push the envelope into a fantasy arena. “What makes skating so special is that it brings dance and athletics together. But most of the time, when you do a film, the figure skating is within the realm everyone knows. The pair skating is traditional—jumps, spins and lifts—and presented in a traditional manner. But having two guys dancing together as a pair is totally fantastical.” Stunt coordinator Doug Coleman worked closely with the directors and the company Zero G, which provided the wire work and harnesses that enabled the actors to defy gravity. Among his many tasks on the film was coordinating a knock-down, drag-out fight between Jimmy and Chazz that results in their being ousted from the sport. His main focus, however, was to ensure that Heder and Ferrell’s pair skating was as eye-catching and real-looking as possible. “Both Jon and Will are very physical and very focused,” says Coleman. “They understood what was needed to make these stunts work. Will, in particular, did many of his own stunts — skating, falling down, fighting. Both really impressed me with their dedication and newfound skill.” Directors Speck and Gordon were not afraid to get into the fray while working with Coleman to help him devise the most visually pleasing and intricate stunts. “Will and Josh would grab me and push me around. We’d all come away sweaty,” Coleman laughs. “It was definitely interesting working with these guys, because they’re very physical. Josh doesn’t mind getting down on the ground and rolling around. It helped him understand what was going on. It was great having directors who don’t mind getting into a good fight.” THE SPECTACLE: FANTASY ON ICE Before principal photography began in Montreal, it was decided that two of the city’s prominent architectural achievements—the modernist housing complex of Moshe Safdie, Habitat ‘67, and architect Roger Taillibert’s futuristic structures of the Olympic Park—would help define the movie’s aesthetic. Initially set exclusively in an imaginary Colorado village, the script was altered so that the film’s climactic final confrontation (between Michaels & MacElroy and Stranz & Fairchild) would take place in Montreal—no need for the city to “stand in” for another. Though the Olympic Stadium (built for 1976’s Winter Games) is not without controversy locally, Speck and Gordon found it perfect for their needs. What the filmmakers didn’t find so perfect was the unseasonably warm weather that accompanied them just prior to rolling cameras. Realizing that location filming in March would present a somewhat risky situation, pre-production had spent two weeks prior to principal photography readying the ice, preparing and reinforcing it to be able to withstand above- freezing temperatures … which is exactly what transpired. The temperature rose some 20 degrees, and 48 hours of rains decimated the snowfall and melted the nearly 15 inches of ice. Luckily, their prep paid off, and with a minor reshuffling of exterior skating locations (and a brief return to colder temperatures), they were able to get their location shooting done within schedule. (Later, a digital Mother Nature added more snow and ice where needed.) After the week of filming in Canada, the production returned to Hollywood for the interior scenes, which were shot on soundstages, where interior sets were built to dovetail with the Canadian exteriors. And all the big skating sequences were filmed in sunny southern California—inside the L.A. Sports Arena. Production designer Stephen Lineweaver was faced with the challenge of making one arena serve as three different sporting venues, and color was the solution. Festooning the arena in varying Olympic color palettes, the designer and his team came up with a winning combination of design and execution that allowed them to redress the entire set and transform it in less than a day. Post- production digital effects also created differing architectural domes that massively changed the look of each arena. Sometimes a production designer’s job is not to make a set look pretty, but just the opposite. For a sequence in which the down-and-out Jimmy and Chazz are training to become pair skaters, they are forced to practice in an abandoned warehouse. Lineweaver utilized a cold storage building as the warehouse, dying the ice gray and brown and dressing the set with cases of frozen fish. The insular and sometimes otherworldly nature of the sport actually helped costume designer Julie Weiss (“Bobby,” “Hollywoodland”) in her efforts to create the right look for the cast. “The skating world is very specific and, visually, their rules have to do with what a person wants to wear and what makes him feel bigger than life,” she says. Directors Speck and Gordon were also very specific about how they wanted the characters to look, which led to a fruitful collaboration. She adds, “Will and Josh are both very visual and they had some strong ideas about the costumes. At the same time, they gave me so much freedom.” It also helped that the film’s two leading men brought such enthusiasm to wearing the outfits she created for them. “Both Will and Jon know how to wear costumes,” she explains. “Anybody who could dress like a peacock [as Heder does in his first solo routine], complete with tail feathers, and strut around in it with such aplomb that other people wanted to try it on … that makes my job easier. And Will was so excited to get into his one-piece suit with red and orange crystal flames going up the side [for his first duet with Heder]—it had a back so low that, to put it mildly, it was quite risqué,” she laughs. Stiller adds, “Will has quite a physique in the film and he really worked at it. You know, he really had the attitude that he doesn’t fit into the costume, the costume fits into him. And by that, he meant, ‘Look, I’m gonna show up. I’m gonna do my workout. I’m gonna be in the shape I’m in. The costume’s gonna be in the shape it’s in. I’m gonna slip into it … we’ll see what happens.’” The other characters were no less committed to the costumes Weiss fashioned for them. “Amy Poehler put on this chandelier dress and wore it like something she would have proudly worn to her prom,” says Weiss. “And both Will Arnett and Amy donned these ‘rap’ outfits [for their Nationals routine in competition against Chazz and Jimmy] made out of denim and leather with gold stenciling, which they wore with great joy and power. They felt like a million bucks.” Costume houses like Bill Hargate, Ray Aghayan and Bob Mackie helped construct the elaborate—and often bejeweled—costumes Weiss created. Reinforcing the grandeur of the costumes was the musical accompaniment in the skating routines—which, as anyone who has ever watched figure skating competitions knows, is as much a part of the mood of the event as the costumes and the skating are. The performers in “Blades of Glory” skate to a wide range of music, everything from The Strokes, to Aerosmith, to Marky Mark and Queen. “Music plays such an important part in this film,” says music supervisor George Drakoulias. “Of course, the selections are meant not only to provide humor, but also tell you about the characters. Chazz is a rock star, and Jimmy is all about orchestral pieces. Their first duet is to Queen’s theme to ‘Flash Gordon,’ which combines both. You see and hear that they are a pair.” Composer Theodore Shapiro was charged with scoring the film, providing musical accompaniment to “Blades of Glory’s” on-screen antics. Cornfeld notes, “It isn’t so much about sounding funny as it is punching up what’s funny on the screen.” And what would a sports film be without its own theme? Would the Super Bowl be the same without “The Super Bowl Shuffle”? A Lakers game without Randy Newman’s “I Love L.A.”? Any game without “We Will Rock You” and “We Are the Champions”? No, absolutely not … so rocker Bo Bice— ”American Idol” runner-up and national favorite—provides a rousing anthem aptly entitled “Blades of Glory.” Sweet. *** While filmmakers, cast and crew set about to make a funny movie about skating, all were also hoping for something a bit more. Cornfeld says their mission was also to “capture that world. We hope it will also appeal to sports fans, because it demonstrates what skating is all about—not only the spectacle and the competition, but the real talent and athleticism involved in pulling it off.” “Even as you’re laughing your head off,” says director Speck, “you will be admiring the blood, sweat and tears that goes into figure skating.” Gordon sums it up: “For us, ‘Blades of Glory’ is equal part comedy spoof and realistic sports movie. We hope that we paid homage to the athletes and performers who do it for a living.” ABOUT THE CAST WILL FERRELL (Chazz Michael Michaels) has come a long way since his days on “Saturday Night Live,” crossing over from television icon to motion picture star shortly after joining the “SNL” cast in 1995. Recently, in demonstrating that his dramatic gifts equal his comedic talents, Ferrell earned his second Golden Globe nomination (Best Actor in a Comedy or Musical) for his portrayal of IRS agent Harold Crick in last year’s “Stranger Than Fiction,” starring opposite Emma Thompson, Dustin Hoffman, Queen Latifah and Maggie Gyllenhaal for director Marc Forester. Last summer, Ferrell starred in the hit comedy “Talladega Nights: The Ballad of Ricky Bobby” with co-stars John C. Reilly and Sacha Baron Cohen. Earning nearly $150 million at the U.S. box office, the film became the season’s #1 comedy (non-animated) and continues to set records on DVD. In the summer of 2004, Ferrell starred in the comedy “Anchorman: The Legend of Ron Burgundy” for DreamWorks Pictures, which grossed over $85 million domestically. Ferrell co-wrote the script with “SNL” writer Adam McKay. Judd Apatow (Freaks and Geeks) produced, with David O. Russell (“Three Kings”) executive producing. Ferrell portrayed Ron Burgundy, a 1970s anchorman with an inflated ego threatened by the arrival of an ambitious female newscaster who, unlike him, has mastered journalism. Ferrell completed his seventh and final season on the legendary NBC late- night hit “Saturday Night Live” in 2002, having taken the nation by storm during “Indecision 2000” by impersonating President George W. Bush on the show. Some of his most memorable “SNL” characters include Craig the Spartan Cheerleader, musical middle school teacher Marty Culp, and Tom Wilkins, the hyperactive co-host of “Morning Latte.” Among his many cross-gender impressions are Janet Reno, Alex Trebek, Neil Diamond and the late, great Chicago Cubs sportscaster Harry Caray. His work on “SNL” earned two Emmy nominations in 2001 (Outstanding Individual Performance in a Variety or Music Program, and Outstanding Writing for a Variety, Music or Comedy Program). Ferrell is currently in production for New Line Cinema on the basketball comedy “Semi-Pro,” set in the last year of the now-defunct American Basketball Association. Previous film credits include “Zoolander,” “Elf,” the Woody Allen feature “Melinda and Melinda,” the comedies “Bewitched” and “Old School,” and the screen adaptation of “The Producers,” which earned Ferrell his first Golden Globe nomination in 2006 for Best Supporting Actor. Raised in Irvine, California, Ferrell attended USC and graduated with a degree in sports information. Upon graduation, he worked as a sportscaster on a weekly show broadcast over a local cable channel. Soon after, he enrolled in acting classes and stand-up comedy workshops at a nearby community college and was eventually asked to join the esteemed comedy/improv group The Groundlings after just one year of training. It was at The Groundlings that Ferrell was discovered for “Saturday Night Live.” JON HEDER (Jimmy MacElroy) is perhaps most widely recognized for his critically acclaimed performance as the title character in the independent hit for Fox Searchlight, “Napoleon Dynamite.” The film premiered at the 2004 Sundance Film Festival and was nominated for the Grand Jury Prize. What resulted was a major bidding war that saw Fox Searchlight and MTV Films partner up to distribute a film that has grossed over $40 million domestically since its release, as well as becoming a top-selling DVD. Heder’s portrayal as an alienated teen helping his new friend win the class presidency in their small town high school (while also dealing with his bizarre family at home) has practically certified Heder with cult icon status. “Napoleon Dynamite” was also named Best Feature Film at the 2004 U.S. Comedy Arts Festival and has garnered several additional awards for Heder. In the 2005 MTV Movie Awards, Heder went home having won Best Musical Performance for the “Election Dance,” as well as the award for Breakthrough Male; the movie also won for Best Movie. Heder was also nominated for a Teen Choice award for Choice Movie Actor in a Comedy, while the film was nominated for Choice Movie. Next up for Heder is the recently-wrapped feature “Mama’s Boy,” in which he stars opposite Diane Keaton, as well as the animated feature for Columbia Pictures due out this summer, “Surf’s Up.” Most recently, Heder was seen in “School for Scoundrels,” opposite Billy Bob Thornton for director Todd Phillips. He also starred in the broad comedy “The Benchwarmers,” with Rob Schneider and David Spade, which follows three athletically-challenged men who form a baseball team of misfits when they are challenged by the local elementary school bullies. Late last year, it was announced that Heder, along with his twin brother Dan and older brother Doug, have formed production company Greasy Entertainment, with a first-look deal at Universal Pictures. The company has begun developing projects that include star vehicles for Heder, as well as animation properties. The company is the actualization of a long-held goal for the brothers, each of whom studied film at Brigham Young University (Heder holds a degree in computer animation). He has acted in several student productions and was the lead in the award-winning short film “Peluca,” which was written and directed by “Napoleon Dynamite” helmer, Jared Hess. Heder’s previous film credits include “Just Like Heaven” with Reese Witherspoon and Mark Ruffalo, and the animated feature “Monster House.” Raised in Salem, Oregon, in a family of six children, Heder recently relocated to Los Angeles with his wife. WILL ARNETT (Stranz Van Waldenberg) has been an extremely busy man of late. Following “Blades of Glory,” he will be seen in Bob Odenkirk’s “The Brothers Solomon” for Screen Gems, the ensemble comedy “Hot Rod,” and will then re-team with Will Ferrell in “Semi-Pro.” Arnett recently lent his voice to the 20th Century Fox animated sequel “Ice Age 2: The Meltdown,” and also co- starred opposite Robin Williams in “RV,” the family road trip comedy directed by Barry Sonnenfeld. Arnett was most recently seen in “Let’s Go to Prison” with Dax Shepard and Chi McBride. Upcoming for Arnett, he is currently attached to star in “Most Likely to Succeed” for Universal, “Dad Can’t Lose” and “Get ‘Em Wet” for Paramount, as well as “The Ambassador” for DreamWorks and Paramount, which he will also executive-produce. Arnett recently earned his first Emmy nomination for his work on the critically acclaimed Fox sitcom “Arrested Development,” where he portrayed Gob Bluth. The show also garnered an Emmy nomination for Outstanding Comedy Series for its final season. The series previously earned a Golden Globe nomination and won an Emmy for Outstanding Comedy Series in its first season. The show also gained a cult-like following of loyal fans. Before “Arrested Development,” Arnett was a regular on the NBC comedy series “The Mike O’Malley Show.” His additional television credits include guest-starring roles on “Sex and the City,” “The Sopranos,” “Boston Public,” “Third Watch” and “Law & Order: Special Victims Unit.” Arnett also guest-starred on NBC’s “Will & Grace,” playing Jack’s dance nemesis while auditioning to become a backup dancer for Janet Jackson. Arnett’s feature credits include roles in “Monster-In-Law,” “The Waiting Game,” “The Broken Giant,” “Southie” and “Ed’s Next Move.” Additionally, he served as the narrator for the film “Series 7: The Contenders” and can be heard in a variety of commercials, most notably as the voice of GMC Trucks. Arnett currently splits his residency between Los Angeles and New York, where he lives with his wife, actress and “Saturday Night Live” star Amy Poehler. AMY POEHLER (Fairchild Van Waldenberg) is in her sixth season on “Saturday Night Live” and her third as the co-anchor of “Weekend Update.” 2007 will also be the year that Poehler hits the big screen with several feature films. In addition to “Blades of Glory,” Poehler will star in both New Line Cinema’s “Mr. Woodcock” opposite Billy Bob Thornton and Seann William Scott, and the Warner Bros. comedy “Spring Breakdown,” opposite Parker Posey. May 18th, 2007 will see Poehler lend her voice to the successful “Shrek” saga, when “Shrek the Third,” comes out. She will also appear in “Fast Track” with Zach Braff, Jason Bateman and Amanda Peet, and “Southland Tales” for director Richard Kelly (“Donnie Darko”). Renowned as “a brilliantly inventive sketch comedian” (Entertainment Weekly, 11/19/05), Poehler boasts an impressive arsenal of outrageous characters, from the hyperactive Caitlin and one-legged reality show contestant Amber to a manic host of “Good Morning Meth.” Poehler has also contributed memorable impressions of Kelly Ripa, Avril Lavigne, Sharon Osbourne, Paula Abdul, Senator Hillary Clinton, Sharon Stone and Michael Jackson. Poehler joined the “SNL” cast from the Upright Citizens Brigade, a sketch/improv troupe originally formed in Chicago. Poehler and the U.C.B. relocated to New York, where they had a sketch show on Comedy Central for three seasons on which she was both a writer and performer. In addition, they opened a theater currently regarded as the premiere sketch/improv comedy venue in New York City. Poehler and the U.C.B. were featured in “A.S.S.S.S.C.A.T.: Improv,” an improvised comedy special on Bravo. Other feature credits include in the hit comedy “Mean Girls,” opposite Lindsay Lohan and Tina Fey; “Tenacious D in The Pick of Destiny,” with Jack Black; “Deuce Bigalow: Male Gigolo”; “Wet Hot American Summer”; and “Envy.” Poehler has made memorable appearances on television, ranging from “Late Night with Conan O’Brien” (as recurring character Stacey, Andy Richter’s little sister), “Arrested Development” (playing the wife to real-life husband Will Arnett), “Wonder Showzen” and “Undeclared.” She also was a voice on “O’Grady” and “The Simpsons.” Poehler is married to actor Will Arnett and lives in New York City. The multi-talented CRAIG T. NELSON (Coach) starred recently with Sarah Jessica Parker and Diane Keaton in Fox’s “The Family Stone,” portraying the Stone patriarch in this romantic comedy revolving around the annual holiday gathering of a bohemian family. In 2004 audiences got to “hear” a new side of the man. He voiced Bob Parr or, as he was known in his superhero days, Mr. Incredible, in the Oscar®-winning and DVD bestseller Walt Disney Pictures/ Pixar Animation Studios’ “The Incredibles.” Nelson starred as Jack Mannion on CBS-TV’s “The District,” a drama that was inspired by the experiences of real-life police crime fighter Jack Maple. Mannion was an equal opportunity antagonist and champion of the underdog who became the new Police Chief of Washington, D.C., a city in desperate need of a shakedown. “The District” aired for four seasons, 2000-2004, and Nelson also served as co-executive producer and directed multiple episodes. In 1997, he completed his eighth and final season on “Coach,” starring as Hayden Fox. He directed numerous episodes and received three Emmy nominations: 1990, 1991 and 1992 for Outstanding Lead Actor in a Comedy Series, which led to a win for the 1991-1992 season. He has also been honored by the Hollywood Foreign Press Association with four Golden Globe nominations. Upon completion of his successful series “Coach,” Nelson had a chance to vary his projects, including making his Broadway debut as Nat Miller in Eugene O’Neill’s “Ah, Wilderness!” at the Vivian Beaumont Theater/Lincoln Center, in the spring of 1998. The show played to rave reviews during its limited run. Nelson was born in Spokane, Washington, on April 4. He has always been interested in music, playing drums and guitar through high school and college. He attended the University of Arizona and studied at the Oxford Theater in Los Angeles. Beginning his career as a writer/performer on the “Lohman and Barkley Show,” his talent as a writer garnered him a Los Angeles Emmy Award for the show. Nelson’s writing credits include “The Alan King Special” and “The Tim Conway Show.” He guested on “The Mary Tyler Moore Show” and “Private Benjamin,” and starred in ABC- TV’s critically acclaimed series “Call to Glory,” directing its final episode. His television movies include Showtime’s award-winning “Dirty Pictures,” NBC’s “Take Me Home Again” with Kirk Douglas , “Rage,” “Toast of Manhattan,” “Alex: The Life of a Child,” CBS’s “The Switch” and “The Fire Next Time” and HBO’s “The Josephine Baker Story.” Mini-series include NBC’s “To Serve and Protect” and ABC’s “Creature.” He also co-hosted with Paula Zahn on the CBS special “The Ultimate Driving Challenge.” Combining his talent for writing, directing, producing and performing, Nelson formed Family Tree Productions to develop and produce motion picture and television projects, including “Ride with the Wind.” The ABC movie of the week was scripted by Nelson, who also served as executive producer. Craig T. Nelson/Family Tree Productions acquired the rights to several projects, including that of the life and times of five-time land speed record holder Craig Breedlove, with Nelson planning to pen and executive-produce the project. His additional feature film credits include: “The Skulls,” “All Over Again,” “Devil’s Advocate,” “Ghosts of Mississippi,” “I’m Not Rappaport,” “Poltergeist “ and “Poltergeist II - The Other Side” (he contributed to the screenplay), “Action Jackson,” “The Killing Fields,” “Silkwood” and “The Osterman Weekend.” Outside of show business, Nelson is also an accomplished race car driver and avid, champion golfer. Nelson has three children and six grandchildren. He and his wife, Doria, make their home in Los Angeles. JENNA FISCHER (Katie Van Waldenberg) is one of the funniest people you may not have heard of. This fall she returned to the critically acclaimed NBC comedy “The Office,” playing Pam Beesly, the receptionist at Dunder Mifflin paper supply company. The show, which has built steadily in ratings, recently won the 2006 Emmy for Best Comedy Series and is now a permanent staple on the NBC Thursday night line-up. Fischer recently completed a role in “Quebec,” a comedy for Dimension Films, co-starring Seann William Scott and John C. Reilly. Upcoming for Fischer is a starring role in the Jake Kasdan-directed “Walk Hard,” opposite John C. Reilly. Fischer is no stranger to television. Her credits include guest-starring roles on “Six Feet Under,” “That ‘70s Show,” “Cold Case,” “Miss Match,” “Strong Medicine,” “What I Like About You,” “Off Centre,” “Undeclared” and “Spin City.” Her feature film credits include “Employee of the Month,” “Lucky 13” and “The Specials.” She also completed a role in the horror movie “Slither,” which was released by Universal Pictures in January 2006. Fischer recently wrote and directed the feature film “LolliLove,” starring herself, Linda Cardellini (NBC’s “ER”), Judy Greer and her husband, James Gunn. As a result, Fischer was awarded the Screen Actors Guild Emerging Actor Award at last year’s St. Louis Film Festival. In addition, she received the Tromadance Independent Soul Award at the American Film Market. “LolliLove” was recently released on DVD. Fischer was raised in St. Louis, Missouri, where, at the age of five, she took her first acting class with Sean Gunn (Kirk on the “Gilmore Girls”). Gunn and Fischer stayed in touch over the years and in October 2000, she married his brother – writer/director James Gunn. Much like her “Office” character Pam, Fischer has a talent for administrative work and toiled for many years as both a receptionist and administrative assistant. She can type 85 words-per-minute with 90-percent accuracy. A former volunteer with the animal rescue organization Kitten Rescue as a foster parent for sick and injured cats, Fischer has a passion for animals. She currently lives in Los Angeles with her husband, their dog Wesley and cat Andy. WILLIAM FICHTNER (Darren MacElroy), an actor of extensive talent and range, was recently seen on the big screen in the Academy Award®-winning film “Crash,” from writer-director Paul Haggis, for which he won a Screen Actors Guild Award for Best Ensemble Cast in a Feature Film. Last summer, he also starred opposite Adam Sandler and Chris Rock in the remake of the comedy “The Longest Yard.” Segueing effortlessly between television and feature films, Fichtner was recently seen in HBO’s critically acclaimed “Empire Falls,” opposite Paul Newman and Ed Harris. Fichtner’s other television roles include NBC’s “The West Wing” and ABC’s “MDs.” Currently, Fichtner plays the role of FBI Agent Alexander Mahone on Fox’s hit drama series “Prison Break.” His character is as brilliant as the escaped convicts Lincoln Burrows (Dominic Purcell) and Michael Scofield (Wentworth Miller), but as the plot unfolds during the season, viewers learn that he is haunted by his own demons. Fichtner will next be seen in the comedy “The Amateurs,” opposite Jeff Bridges and Ted Danson, as well as the independent film “First Snow,” with Guy Pearce. Fichtner had two films premiere at the 2005 Sundance Film Festival – Rodrigo Garcia’s “Nine Lives” and DreamWorks’ “The Chumscrubber.” Fichtner’s additional film credits include Ridley Scott’s “Black Hawk Down,” “What’s The Worst Thing That Could Happen?,” Wolfgang Petersen’s “The Perfect Storm,” “Drowning Mona,” “Ultraviolet” for writer-director Kurt Wimmer, “Passion of Mind,” “Armageddon,” Michael Mann’s “Heat,” “Contact,” Doug Liman’s “Go,” Steven Soderbergh’s “The Underneath,” Agnieszka Holland’s “Julie Walking Home,” “Equilibrium,” “The Settlement” alongside John C. Reilly, and Kevin Spacey’s directorial debut “Albino Alligator.” As a member of the Circle Repertory Theatre, Fichtner won critical acclaim for his role in “The Fiery Furnace,” directed by Norman Rene. He has also appeared on the stage in “Raft of the Medusa” at the Minetta Lane Theatre, “The Years” at the Manhattan Theatre Club, “Clothes for a Summer Hotel” at the Williamstown Theatre Festival and “Machinal” at The Public Theatre. Fichtner currently resides in Los Angeles. ROMANY MALCO (Jesse) was most rec ently seen on the big screen in the surprise hit “The 40 Year-Old Virgin,” opposite Steve Carrell, Catherine Keener, Paul Rudd and Seth Rogan. His role in that film brought him two 2006 MTV Movie Award nominations—for Best Breakthrough Performance and Best On- Screen Team. He can currently been seen on the hit Showtime series “Weeds,” starring as Conrad Shepard—his work in the series brought him an Image Award nomination and a shared SAG nomination for this year’s Outstanding Performance by an Ensemble in a Comedy Series. Prior to that, Malco also co-starred in the independent film “Churchill: The Hollywood Years,” opposite Neve Campbell and Christian Slater, and in the action comedy “The Tuxedo,” opposite Jackie Chan and Jennifer Love Hewitt. His other feature film credits include Jesse Peretz’s comedy “The Château,” opposite his “Virgin” cast mate Paul Rudd, and “The Prime Gig.” Malco began his career at the age of seven, when he picked up a microphone and started rapping, calling himself Kid Nice. As a teen, he formed the rap group R.M.G. and moved to Los Angeles, where they were signed to a record deal by Virgin Records and changed their name to College Boyz. Their first big hit, “Victim of the Ghetto,” went to #1 on the rap charts. Originally from Baytown, Texas, Malco was working as a music producer on the feature comedy “The Pest,” starring John Leguizamo, when the actor, impressed by Malco’s gift of gab, encouraged him to pursue acting. Malco’s rapping background came in handy when he landed the lead in the VH-1 telepic “Too Legit: The MC Hammer Story.” NICK SWARDSON (Hector) started performing stand-up comedy in 1996 at the age of 19. Within his first year of stand-up, he performed at the U.S. Comedy Arts Festival as one of the top new comedians in the country. In 2000, at the age of 22, Nick reached his biggest achievement in stand- up, when he was given his own half-hour comedy special on Comedy Central, which became one of the highest-rated specials to air on the channel. He relocated to Los Angeles and soon made appearances on “The Tonight Show,” “Late Night with Conan O’Brien,” “The Late Late Show” and “Jimmy Kimmel Live.” In the summer of 2003, Swardson hit another milestone when a script he wrote with Jamie Kennedy—”Malibu’s Most Wanted”—was green lit by Warner Bros.; the movie went on to triple its cost at the box office. Since that time, Nick has continued to develop, write and star in a variety of projects for some of the business’ leading production entities, including Adam Sandler and his Happy Madison Productions; Swardson starred in, co-wrote and co-produced the comedy “Grandma’s Boy.” He also co-starred and co-produced “The Benchwarmers,” starring Rob Schneider, David Spade, Jon Heder and Jon Lovitz, co-writing the project with Sandler and Allen Covert. Swardson also developed his own show for Comedy Central called “Gay Robot,” and wrote and performed another highly-rated half-hour installment of “Comedy Central Presents.” Swardson has also starred in a recurring role on Comedy Central’s hit “Reno 911!” as the flamboyant Terry Bernedino, and will reprise his role in the upcoming feature film “Reno 911!: Miami.” His additional feature film credits include “Art School Confidential” and “Click.” ROB CORDDRY (Bryce) was a regular on “The Daily Show with Jon Stewart” from 2002 through September 2006 as a political correspondent. He has also appeared on episodes of “Curb Your Enthusiasm,” “Arrested Development,” “Late Night with Conan O’Brien” and “Upright Citizens Bridgade.” In addition to “Blades of Glory,” Corddry will be seen in “The Pleasure of Your Company,” a comedy starring Jason Biggs and Isla Fisher; “The Ten,” featuring an ensemble cast including Jessica Alba, Famke Janssen and Amanda Peet; “Patriotville,” with Justin Long for director Talmage Cooley; and the Untitled Farrelly Brothers Project, with Ben Stiller for directors Peter and Bobby Farrelly. Corddry previously starred as Bobby Dukes in the indie comedy “BlackBalled: The Bobby Dukes Story.” He also appeared in Todd Phillips’ hit comedy “Old School,” with Will Ferrell and Vince Vaughn, and Tom Dey’s “Failure to Launch,” starring Matthew McConaughey and Sarah Jessica Parker. Rob is also the star of his own Fox television series, “The Winner,” from writer/producers Seth McFarlane and Ricky Blitt, which debuts just about any moment. Clearly one of the most popular figure skating stars in the world today, SCOTT HAMILTON (Sports Anchor) is a role model, a humanitarian and a cancer survivor. As a figure skater, he is forever bridging the gap between sport and entertainment. As a role model, he contradicts the saying that “good guys finish last.” As a humanitarian, he avails himself to any plight that will improve mankind. And as a cancer survivor, he is a constant reminder that with determination, anything is possible. Scott recently hosted and served as the consulting producer for the Fox Television Network’s 2006 primetime television series “Skating With Celebrities.” He also served as the NBC lead analyst for the 2006 Winter Olympics in Turin, Italy. He is a spokesperson for Target House at St. Jude Children’s Research Hospital; is a member of the Board of Directors for Special Olympics; and in 1999, he established the Scott Hamilton CARES (Cancer Alliance for Research, Education and Survivorshop) at the Cleveland Clinic Taussig Cancer Center. Scott is a much sought after on-air personality, motivational speaker and corporate spokesman. Since 1986, audiences have seen him perform in his own Scott Hamilton’s America Tour; with numerous U.S. symphony orchestras; and 15 national touring seasons in “Stars on Ice,” which he also co-created and for which he served and still serves as co-producer. As the winner of 16 consecutive championships after the 1980 Winter Olympics, Scott was heavily favored to take the gold medal at the 1984 Olympic Games in Sarajevo … and that is precisely what he did. A month later, he went on to score a stunning victory at the World Championships in Ottawa, Canada. To add to a remarkable list of achievements that now includes more than 70 titles, awards and honors, Scott was inducted into the United States Olympic Hall of Fame in July of 1990. Setting a precedent as the first star in ice skating history to combine skating, acting, singing and dancing in one stage production, he has successfully segued into producing for television and has co-produced not only his own television special—the 1996 Emmy Award-winning “Disney’s Scott Hamilton... Upside Down” (CBS)—but the 1997 CBS holiday hit “Snowden on Ice” and its 1998 Emmy Award-winning sequel, “The Snowden, Raggedy Ann & Andy Holiday Special” (CBS). In 1998, Scott also produced Olympic Champion Tara Lipinski’s first network special for CBS, “Tara Lipinski ... From This Moment On.” In 2002, he produced “Scott Hamilton & Friends” with special guest stars Susan Anton and Jack Mack & The Heart Attack (which aired on NBC), and in October 2003 produced an all-new “Scott Hamilton & Friends” with special guest stars Michael Feinstein and Darlene Love (which aired January 11, 2004, also on NBC). During early summer of 2005, the special received an Emmy Award nomination for Outstanding Variety Special. Scott received notable critical praise for the writing of his autobiography Landing It … My Life On and Off the Ice (Kensington Books, October 1999), an intimate, candid and insightful look at his professional and personal life on and off the ice. During the summer of 1999, he made his feature motion picture acting debut in “On Edge,” starring Jason Alexander, Kathy Griffin and Wendie Malick, a hilarious mockumentary of figure skating in which Scott portrays Ricky Metford, a frenzied, offbeat former coach and judge. He later created a character voice for a segment of the popular animated television series “King of the Hill,” and appeared as a special guest star in a 2003 television pilot, “Hench at Home,” written and produced by popular actor Michael J. Fox. Scott continues to appear regularly on various television talk shows, national news shows and variety shows. During a 14-year tenure with the CBS Television Network as one of their most articulate sports analysts, Scott’s coverage of the figure skating competition at the 1998 Winter Olympic Games in Nagano, Japan, the 1994 Olympic Games in Lillehammer, Norway and the 1992 Games in Albertville, France was heralded as incisive, exuberant and refreshing. Scott lives in Franklin, Tennessee, with his wife, Tracie, and their son, Aidan. NANCY KERRIGAN (Attractive Official) is a two-time Olympic figure skating medalist, mother of two sons (ages one and nine) and a member of Mothers Who Make a Difference. She was named an “Outstanding Mother of the Year” in 2001 by the National Mother’s Day Council. Nancy first came to prominence when the United States team scored a medal sweep in the ladies’ event in the 1991 World Figure Skating Championships, where she received the bronze medal. Her career headed steadily upward from there, as she received a bronze medal in the 1992 Winter Olympics, and the silver medal at the 1992 World Championships. In 1993, Nancy became United States Champion. In 1994, following the attack on her in Detroit at the U.S. National Championships, Kerrigan made a courageous comeback to finish as the silver medalist in one of the closest Olympic competitions in history. The event was the third most-watched sports event ever, making Kerrigan a household name. Kerrigan turned her attention to exhibitions, shows and corporate endorsements after the Olympics. Nancy toured for 10 years with “Champions on Ice” and performed in dozens of live and made-for-television shows, including Disney’s “Dreams on Ice,” Feld Entertainment’s “Grease on Ice,” StarGames’ production of “Footloose on Ice” and her own show, “Halloween on Ice,” which is now in its 11th year. She created The Nancy Kerrigan Foundation to raise awareness and support for the vision-impaired in honor of her mother, and has authored two books on skating, including Artistry on Ice, an instructional work published by Human Kinetics. More recently, in addition to her role as wife and mother of two, Kerrigan appeared in the 2006 FOX television program “Skating with Celebrities” and served as a correspondent for “The Insider” at the Turin Winter Olympics. She also currently hosts her own television show, “Nancy Kerrigan’s World of Skating,” on Comcast’s CN8. Few athletes have enjoyed the artistic and popular success that figure skater BRIAN BOITANO (Federation Judge) has achieved since winning the gold medal for the United States at the 1988 Winter Olympics Games in Calgary, Canada. After the Olympics, Brian continued skating and touring with fellow Olympic gold medalist Katarina Witt in three successful ice shows, which he created: .Skating,. .Skating II. and .Skating ’92.. In 1994, he starred in “Nutcracker on Ice” with Oksana Baiul and Victor Petrenko. For 15 years he toured with Champions on Ice around the country, headlining 25 national tours. On television, Brian was awarded an Emmy for his starring role in the HBO movie “Carmen on Ice.” Brian has also provided expert commentary on televised skating shows for ABC, NBC and Turner networks. Brian was an Olympic alternate in 1980 and a member of the ‘84, ‘88 and ‘94 U.S. Olympic teams. After turning professional in 1988, Brian won six world professional titles, placing first and scoring perfect 10’s in each of ten consecutive professional championships. As a professional, he won the first 20 out of the 24 competitions he entered, a record unmatched in the history of skating In total, Brian has won more than 50 titles, including 23 international gold medals, two World titles, two Pro/AM titles, 16 professional titles, four U.S. National titles, as well as the Olympic gold medal. Boitano has been inducted into the World Figure Skating Hall of Fame, the U.S. Figure Skating Hall of Fame and the National Italian-American Hall of Fame. Brian’s book, Boitano’s Edge: Inside the Real World of Figure Skating (Simon & Schuster, November 1997), is currently in its third printing and is considered one of the finest skating books ever published. When 19-year-old figure skater DOROTHY HAMILL (Federation Judge) won her gold medal at the 1976 Winter Games in Innsbruck, Austria, not only did she capture the gold, she also transcended the sport and captured the world’s imagination. Not satisfied with Olympic gold, Dorothy went on to win the World Championship title in Gothenburg, Sweden. As a professional, Dorothy has skated with many productions, including eight years with the company she helped bring to preeminence among touring ice shows, the Ice Capades. She had an unprecedented four ABC television prime time specials produced in her honor. Along with winning five consecutive World Professional titles, Dorothy has produced and starred in her own touring productions of “Cinderella – Frozen in Time,” “Hansel, Gretel, the Witch and the Cat” and “Nutcracker on Ice” and won an Emmy for her starring role in “Romeo and Juliet.” Dorothy was inducted into the Olympic Hall of Fame and the Figure Skating Hall of Fame and was very proud to run the torch into the Olympic Stadium in Salt Lake City with her friend Dick Button, as well as skate the closing ceremonies with vocalist Harry Connick, Jr. In addition to her skating roles, Dorothy was the first recipient of the Stars of Madison Avenue Award for her continued roles in successful advertising campaigns. Recently, Dorothy served as a judge on “Skating with Celebrities” on FOX TV, which aired during prime time beginning Winter 2006. She continues to tour with “Champions on Ice” and “Broadway on Ice” throughout the country. When PEGGY FLEMING (Federation Judge) first began skating as a nine year-old girl, she had no way of knowing then that she would soon shoulder much of the responsibility for keeping the sport of figure skating alive in this country. Two years later, in 1961, the entire United States Figure Skating team (including Peggy’s coach) were killed in a plane crash on their way to the Prague World Championships. With all of her role models gone, it would be up to her to create an image of style and grace that would carry her to five U.S. Titles, three World Titles and, in 1968, to an Olympic gold medal. ABC televised the 1968 Winter Games live and in color for the first time ever, and the enduring image from that coverage will always be of Peggy’s free- skating program. It was a program that won her the gold medal by 88.2 points over her closest competitor, and it would be the only gold medal the United States brought home from Grenoble. Six months after those Olympics, Peggy would star in the first of five TV specials. Her “Sun Valley Special” won two Emmy Awards, and in 1973 her fourth special became the first joint production by Soviets and Americans filmed entirely in the USSR. Her career has continued to expand, not only in television appearances ranging from “Diagnosis Murder” and “Newhart” to hosting a special on poaching in East Africa, but also into commercial endorsements. She has been invited to the White House by four different administrations, and, in 1980, was the first skater ever invited to perform there. The 1986 unveiling of the Statue of Liberty was a national celebration and again Peggy was asked to perform. She was also one of the honored athletes to carry the Olympic flame into the 2002 Opening Ceremonies in Salt Lake City. In 1999, Peggy was honored at the Sports Illustrated 20th Century Awards. She was in an elite group of seven named “Athletes Who Changed the Game,” which included Arnold Palmer, Billie Jean King and Jackie Robinson. Since 1981, Peggy’s career as an on-air analyst for ABC Sports has taken her to national, world and Olympic competitions, and she continues to provide warm and knowledgeable commentary to an ever-growing audience. Of course, her primary source of balance and joy has always been her family. In 1970 she married dermatologist, Dr. Greg Jenkins. They live in the San Francisco Bay Area and have two sons, Andy and Todd. Peggy is also a proud grandmother to three grandsons. In the 2005-2006 competitive skating season, 21-year-old SASHA COHEN (Sasha Cohen) won the Olympic silver medal, triumphed in her first U.S. National Championships and captured the bronze medal at the World Championships. She has placed among the Top Three in 20 consecutive competitions since 2003. Cohen now has three World medals – two silvers and one bronze, in addition to the Olympic silver, one U.S. title and four U.S. silver medals. While skating success helped her attract the attention of corporate America and producers, her model-like appearance and polished public presentation make her one of the most marketable celebrity athletes in the world, and one of the most popular; Sasha is among the top 10 female athletes in all sports in the U.S., according to an online Harris Interactive Poll conducted in May 2006. Her public career began when photographer Mario Sorrenti spotted the young athlete skating at a rink in New York City and invited her to pose for a high-fashion layout in New York for French V magazine. Since then, Cohen has been featured in Vogue and Seventeen, among others. She was a model for the Wilhelmina agency. She has been featured in commercials and public service announcements, including the Citizen Watch Eco-Drive model. Her “Got Milk?” commercial launched a new Web site featuring her as a role model for younger women and girls. Her autobiography Fire On Ice sold out in hardback and paperback. The multi-talented rising star’s credits include “Moondance Alexander,” now in post- production, and the teen-oriented “Bratz.” In TV, she has appeared on “Las Vegas,” “CSI: New York” and “Nickelodeon Kids’ Choice Awards ’06.” She lives in Corona Del Mar, California. The skater is very involved in charity work. She participated in the New York Cares coat drive in January, and she has been invited to join the Board of Directors of Figure Skating in Harlem, which provides public schoolgirls with after-school winter sports activities. ABOUT THE FILMMAKERS WILL SPECK & JOSH GORDON (Directors) have been directing since they met in the New York University / Tisch School of the Arts undergraduate film program (1991 - 1995). Their senior thesis film “Idyllwild” (which they wrote and directed together) was a Finalist for the 1994 Student Academy Award. “Idyllwild” was also awarded in numerous film festivals. Post-graduation, they wrote and directed another short film, “Culture,” which was nominated in the live action short film category at the 1999 Academy Awards®. “Culture” also won the Silver Hugo at the Chicago Film Festival, as well as the Fade-In Magazine Best Short Screenplay Award in 1998. Shortly thereafter, they joined the DGA as a joint directing team to pursue directing commercials through Ridley and Tony Scott’s RSA/USA Productions (Tony Scott was a signature on their original application for membership in 1998- 99). The team then sold a script to Twentieth Century Fox Television, with them attached to direct. During a seven-year run as commercial directors, Speck and Gordon’s work has been widely respected, having received an impressive array of recognition: a 2003 Clio for a campaign for Sears; inclusion in 2005’s Communication Arts Best in Advertising; an award honoring excellence in Talent/Performance from the Association of Independent Commercial Producers in 2003 for Budweiser, and an additional one for Talent/Performance in 2005 for Geico; gold, silver and bronze Arrows from the British Television Advertising Awards for their work on Levi’s in 2004; a pencil in the one-show for Geico, 2005; and the ABA 50 for 2004, Levi’s. Their commercial work has been short-listed at the Cannes Film Festival three years running (2003-2005) and two of their spots are in the permanent collection of “Excellence in Advertising” in the Museum of Modern Art. They have directed consistently, creating well-regarded work for a wide range of clients, including Pepsi, IKEA, Budweiser, Sears, Geico, Sega, Coca- Cola, Samsung and Levi’s, among others. The duo have also been highlighted in numerous publications, including Shoot magazine (“Directors to Watch”), Boards magazine (directors spotlight) and Creativity magazine (a profile on their work for BBH/London and Levi’s). They recently sold a pilot based on the Geico cavemen to ABC, which they are currently shooting. Brothers JEFF COX & CRAIG COX (Screenwriters/Story Writers) were raised in Chicago and Phoenix. Jeff is an NYU graduate, where he studied dramatic writing, while Craig attended acting school at DePaul University. The brothers really irritate people when they tell them “Blades of Glory” is the first screenplay they ever wrote together. Yet, it is the truth. Currently, they are writing a comedy about the first Olympics in Ancient Greece for director Peter Segal and producers Mary Parent and Scott Stuber. After graduating from the University of North Carolina at Chapel Hill, JOHN ALTSCHULER & DAVE KRINSKY (Screenwriters) began their career in Hollywood as production assistants. Their first writing opportunity came on the HBO show “The High Life.” When that wrapped, they were heavily recruited and landed on FOX’s “King of the Hill,” where they have risen to the Executive Producer/Showrunner position. Altschuler & Krinsky have received several nominations for Emmys and won an Environmental Media Award. In addition to their TV work, they are also developing pilots and features. With her memorable performance as Kim Kelly in the critically praised series “Freaks and Geeks,” actress BUSY PHILIPPS (Story Writer) crafted one of the most compelling young characters in contemporary television. That role lead to feature work in “Anatomy of a Hate Crime” and “Home Room,” along with a series regular role on “Dawson’s Creek” and the “Freaks and Geeks” follow-up, “Undeclared.” More recently, she starred in the Wayans’ comedy “White Chicks” and in the UPN’s “Love, Inc.” She can currently be seen on “ER” as the devout Christian intern, Hope Bobek. BEN STILLER (Producer) is an innovative actor, director, producer and writer who continues to imprint his unique comedic and dramatic perspective on film, television and stage. He recently wrapped production on the Untitled Farrelly Brothers Comedy, which re-teams Stiller with the writing/directing team of Peter and Bobby Farrelly. Loosely inspired by the 1972 classic hit “The Heartbreak Kid,” the film tells the story of a man who hastily weds a woman who he thinks is perfect--until he falls in love with another woman during the honeymoon. Michelle Monaghan and Malin Ackerman will co-star with the Farrellys’ Conundrum Entertainment producing for DreamWorks. Stiller has agreed to reprise his role in “Madagascar 2.” He was recently heard in the original 2005 DreamWorks’ animated film, along with co-stars David Schwimmer, Chris Rock and Jada Pinkett Smith. In the spring of 2005, Stiller completed a successful run off-Broadway in Neil LaBute’s play “This Is How It Goes” at New York’s Public Theatre. Directed by George C. Wolfe and co-starring Jeffrey Wright and Amanda Peet, the play explores an interracial romance involving two men and a woman in small-town America. Stiller was last seen on the big screen in record-breaking “Night at the Museum.” Previous to that, Stiller starred in the worldwide blockbuster comedy sequel “Meet the Fockers” with Robert DeNiro, Dustin Hoffman and Barbra Streisand. Directed by Jay Roach, the film introduces Stiller’s in-laws to his parents, played by Hoffman and Streisand, to hilarious results. In 2004, Stiller starred in the hit comedies “Dodgeball: A True Underdog Story,” “Starsky & Hutch” and “Along Came Polly.” Other films include the comedy “Zoolander,” based on the story of ‘Derek Zoolander,’ the male model character Stiller co-created with Drake Sather for the VH-1 Fashion Awards. Stiller co-wrote, directed, starred in and also produced the film through Red Hour Films with partner Stuart Cornfeld. Prior to that, Stiller starred in Jay Roach’s “Meet the Parents,” which won a People’s Choice Award, earned Stiller an American Comedy Award for Funniest Male Performance and an MTV Movie Award for Best Comedic Performance. Additionally, he was nominated for Best On-Screen Team with Robert DeNiro. Stiller also starred in Wes Anderson’s eccentric comedy “The Royal Tenenbaums.” Having firmly established himself as a successful filmmaker, Stiller has an exclusive, three-year, first-look film and television production deal with DreamWorks, in which he will write, produce and direct films under his own banner, Red Hour Films. Stiller made his feature-length motion picture directorial debut in 1994 with the critically acclaimed “Reality Bites,” in which he also co-starred with Winona Ryder, Janeane Garofalo and Ethan Hawke. He went on to direct Jim Carrey and Matthew Broderick in “The Cable Guy.” Stiller’s film credits as an actor also include Peter and Bobby Farrelly’s smash hit “There’s Something About Mary,” “Permanent Midnight” (based on Jerry Stahl’s controversial Hollywood memoir), Neil LaBute’s “Your Friends & Neighbors,” Jake Kasdan’s “Zero Effect,” David O. Russell’s “Flirting With Disaster” and Steven Spielberg’s World War II epic “Empire of the Sun.” Stiller made his professional acting debut on Broadway in 1985 starring opposite John Mahoney in John Guare’s “The House of Blue Leaves.” While appearing in the play, Stiller persuaded Mahoney and fellow cast members Swoosie Kurtz, Stockard Channing and Julie Hagerty to appear in a short comedy film, his first true directorial effort, “The Hustler of Money.” A parody of Martin Scorsese’s “The Color of Money,” the film eventually aired on “Saturday Night Live,” where it was so well received Stiller was subsequently hired as a featured player and apprentice writer for the NBC comedy series. Following his stint at “Saturday Night Live,” Stiller directed a comedy special for MTV called “Back to Brooklyn.” Stiller followed that project by creating “The Ben Stiller Show,” also for MTV, and later collaborated with Judd Apatow for a 13-episode run on FOX. It was a critical success and Stiller, along with the rest of the writing staff, was awarded an Emmy for outstanding comedy writing. Stiller also co-edited the photo book Looking at Los Angeles, a pictorial representation of Los Angeles from the last three-quarters of a century. The book was ranked among Amazon.com’s “Best Books of 2005.” STUART CORNFELD’s (Producer) career includes producer, co-producer and executive producer credits on an eclectic slate of films, including “The Elephant Man,” “National Lampoon’s European Vacation,” “The Fly,” “Wilder Napalm,” “Kafka” and “Mimic.” Cornfeld is Ben Stiller’s producing partner at Red Hour Films. Their credits include “Zoolander,” “Starsky & Hutch” and “Dodgeball: A True Underdog Story.” JOHN JACOBS (Producer) is the President of Smart Entertainment and has produced a number of high-grossing films. The former President of Dawn Steel’s company, Steel Pictures, during the release of the hit comedy “Cool Runnings,” Jacobs also previously served as the President of Atlas Entertainment, which produced “12 Monkeys” and “City of Angels.” In 2003, he produced “Anger Management” (along with Happy Madison) for Revolution Studios and Sony Pictures, starring Adam Sandler, Jack Nicholson and Marisa Tomei. In 2004, he produced “My Boss’s Daughter,” starring Ashton Kutcher, for Dimension Films. In 2005, he produced “The Ringer” with the Farrelly brothers for Fox Searchlight; the film, which starred Johnny Knoxville and Brian Cox, was Fox Searchlight’s most profitable movie of the year. In addition to completing “Blades of Glory,” he is in pre-production on “South of the Border” for Touchstone. Jacobs has worked with some of the biggest names in comedy, including Adam Sandler, the Farrelly brothers, Johnny Knoxville and David Zucker, among others. MARTY EWING (Executive Producer) made the transition to producing following a long career as a production manager and assistant director. He most recently executive-produced the comedy “She’s the Man,” starring Amanda Bynes; the drama “The Prize Winner of Defiance, Ohio,” starring Julianne Moore; the comedy “Man of the House,” starring Tommy Lee Jones; and the drama “Ladder 49,” starring Joaquin Phoenix and John Travolta. Ewing had previously been an executive producer on the critically acclaimed family films “Holes” and “My Dog Skip.” His producing credits also include serving as a co-producer on “Stealing Harvard” and “Sweet November,” and associate producer on “Almost Famous” and “The Haunting.” The work of cinematographer STEFAN CZAPSKY, ASC (Director of Photography) has been seen on both the large and small screens for three decades; he began working as a gaffer and assistant camera on feature films in the late 1970s, including “The Private Files of J. Edgar Hoover,” “Sitting Ducks” and “Union City.” Following additional work in other capacities, including chief lighting technician, he debuted as a cinematographer on Rob Nilsson’s 1985 “On the Edge,” starring Bruce Dern. He followed with work on such features as the award-winning documentary “The Thin Blue Line,” the dark “Vampire’s Kiss,” the shattering period drama “Last Exit to Brooklyn,” “Fear, Anxiety & Depression,” “Flashback,” “Child’s Play 2,” Tim Burton’s “Edward Scissorhands,” “The Dark Wind,” “A Brief History of Time,” “Batman Returns” and “Prelude to a Kiss.” His lensing of Burton’s “Ed Wood” garnered him best cinematography awards from the New York Film Critics Circle, the National Society of Film Critics and the film critics of both Los Angeles and Boston. More recently, Czapsky has filmed the children’s comedy “Matilda,” the big screen western “Wild Wild West” and the motion picture adaptation of the graphic novel “Bulletproof Monk.” STEPHEN LINEWEAVER (Production Designer) had been an art professor and painter at the Albany campus of the State University of New York before commencing his film career in New York City as an art director on such films as John Sayles’ allegorical “The Brother From Another Planet” (1984), Martin Scorsese’s “After Hours” (1985), Jonathan Demme’s comedy-thriller “Something Wild” (1986) and Emile Ardolino’s blockbuster hit “Dirty Dancing” (1987). In 1988, producer/director James L. Brooks approached the upstate New York native about designing innovative sets for his new TV series, “The Tracey Ullman Show,” for which Lineweaver won a 1990 Emmy Award for Best Production Design. He also served as a visual consultant for Matt Groening on FOX-TV’s “The Simpsons” (also a Brooks production) during its formative years. After returning to the motion picture screen to design the independent film “Rosalie Goes Shopping,” Lineweaver hooked up with director Cameron Crowe for his 1992 drama “Singles,” and re-teamed with Crowe on his Academy Award®-nominated 1996 film “Jerry Maguire.” During this period, he also reunited with Brooks on his 1994 film “I’ll Do Anything”; collaborated with such filmmakers as Ivan Reitman on the hit comedy “Junior,” toplining Arnold Schwarzenegger and Danny DeVito; Michael Caton-Jones on the searing drama “This Boy’s Life,” starring Robert De Niro and Leonardo DiCaprio; Peter Segal on his comedy “Tommy Boy,” with Chris Farley and David Spade; and designed the hit sequel “Ace Ventura: When Nature Calls,” starring Jim Carrey. Lineweaver has also designed such big screen productions as Garry Marshall’s “The Other Sister,” Brian Levant’s “Snow Dogs” and Are We There Yet?”, “Caught in the Act,” “City Slickers 2: The Legend of Curly’s Gold,” “The Girl Next Door,” “How to Kill Your Neighbor’s Dog” and “Double Take.” RICHARD PEARSON (Editor) most recently served as editor (along with Clare Douglas and Christopher Rouse) on Paul Greengrass’ acclaimed “United 93.” His work on that film garnered him an Academy Award® nomination for Best Achievement in Editing, along with a BAFTA win for Best Feature Film Editing and an A.C.E. nomination from the American Cinema Editors. Previous to “United 93,” Pearson edited the motion picture adaptation of the groundbreaking Broadway musical “Rent”; the dark ensemble comedy “A Little Trip to Heaven”; and the international hit “The Bourne Supremacy” (with Christopher Rouse). Pearson also edited the jungle-set action-adventure “The Rundown,” starring The Rock and Seann William Scott, and the hit sequel “Men in Black II” (with editor Steven Weisberg). His other motion picture credits include “The Score,” “Drowning Mona,” “Bowfinger” and “Muppets from Space.” Pearson received an Emmy nomination for his work on the 1998 miniseries “From the Earth to the Moon.” He also created the title design for the acclaimed series. Esteemed, award-winning costume designer JULIE WEISS (Costume Designer) has made a name for herself as an artist whose designs have won recognition in every medium—stage, television and film. Weiss’ work gained early acclaim when her costumes for the lauded, original Broadway production of “The Elephant Man” garnered the Tony (the designs for the 1982 television adaptation netted Weiss her first of seven Emmy nominations). Weiss has twice been nominated for an Academy Award®, for 2002’s “Frida” (also CDG and BAFTA-nominated) and 1995’s “12 Monkeys.” Weiss’ most recent costumes were seen in the period ensemble dramas “Bobby,” “Hollywoodland” and “The Missing”; in the international blockbuster “The Ring”; and in the comedy romp “Fun with Dick and Jane.” Her additional motion picture costuming credits include “Auto Focus,” “Hearts in Atlantis,“ “The Gift,” “American Beauty” (Costume Designers Guild Award winner), “A Simple Plan,” “Marvin’s Room,” “It Could Happen to You,” “Searching for Bobby Fischer,” “Honeymoon in Vegas,” “The Freshman,” “Steel Magnolias,” “Tequila Sunrise,” “F/X” and “The Mean Season.” On television, Weiss’ work was seen in the recent HBO Original “Mrs. Harris,” for which she received an Emmy nomination and a Costume Designers Guild Award nomination. Weiss won the Emmy for Outstanding Costume Design for a Limited Series or Special for “The Dollmaker,” starring Jane Fonda, and for “A Woman of Independent Means.” Her other Emmy-nominated work includes “Liza Minelli Live from Radio City Music Hall,” “Evergreen” and “Little Gloria … Happy at Last.” Weiss has served on the faculty of Stanford University and as a visiting professor at UCLA. Her goal has always been to allow those people who walk by to be given a moment to turn around and be acknowledged for who they wish to be. GEORGE DRAKOULIAS (Music Supervisor), a veteran musician, record producer and music industry executive known for discovering and helming albums for such artists as the Black Crowes and the Jayhawks, has supervised the select tracks, scores and soundtracks of 15 feature films and television series. Those feature credits include two Todd Phillips comedies, “School for Scoundrels,” starring Billy Bob Thornton, and “Starsky & Hutch,” with Ben Stiller, Owen Wilson and Snoop Dogg; “Blade: Trinity,” the third installment of the hit vampire thriller franchise starring Wesley Snipes, Kris Kristofferson and Jessica Biel; “Dodgeball: A True Underdog Story”; and “Zoolander,” Ben Stiller’s comedy starring Stiller, Owen Wilson, Will Ferrell and Jon Voight. He also produced the soundtrack for “Zoolander” and received a “special thanks” for his work on “The Life Aquatic with Steve Zissou.” He supervised the television series “Wonderland” and the episode “A Tale of Two Cities” for the hit TV series “Lost.” His work was most recently heard in David Fincher’s latest thriller, “Zodiac,” starring Jake Gyllenhaal, Mark Ruffalo and Robert Downey, Jr. He has produced cuts on six feature film soundtracks, including two Richard Linklater comedies: “Bad News Bears,” starring Billy Bob Thornton, Greg Kinnear and Marcia Gay Harden; and “The School of Rock,” starring Jack Black and Joan Cusack. He also produced the soundtrack cuts for “Herbie Fully Loaded,” Trey Parker’s twisted animated adventure “Team America: World Police” and “Big Daddy.” A bass player as a youth, Drakoulias would grow up to become a staff producer and A&R executive at the Def American label. It is there he discovered and later produced albums for such bands as the Black Crowes and the Jayhawks. THEODORE SHAPIRO’s (Composer) versatility and talent are evident in his scores for a wide range of feature films, as well as his works for the concert hall. His most recent work includes scores for Mike Judge’s comedy “Idiocracy”; the worldwide hit “The Devil Wears Prada”; the caper comedy “Fun with Dick and Jane”; “The Baxter”; “13 Going on 30”; and the Ben Stiller comedies “Dodgeball: A True Underdog Story,” “Starsky & Hutch” and “Along Came Polly” (BMI Film Music Award winner for all three). His additional feature film composing credits include the Todd Phillips hit comedy “Old School,” as well as the comedies “View from the Top” and “Not Another Teen Movie”; the David Mamet projects “Heist” and “State and Main”; the indie circuit hit “Girlfight” for director Karyn Kusama; Peter Mattei’s “Love in the Time of Money”; Morgan Freeman’s “Hurricane Streets”; and John Hamburg’s feature film screenwriting/directing debut, “Safe Men.” Shapiro also scored “Wet Hot American Summer” and “On the Ropes.” His work will soon be heard in the Seann William Scott/Billy Bob Thornton-starrer “Mr. Woodcock” and in the thriller “The Girl in the Park,” starring Sigourney Weaver and Kate Bosworth. Among Shapiro’s symphonic compositions are: “Chambers” (for small orchestra), recently performed by the L.A. Philharmonic and St. Paul Chamber Orchestra; “Avenues” (concerto for piano and orchestra), performed by both the Seattle Symphony and the Milwaukee Symphony Orchestra; and “Of Blood and Carnations” (for orchestra), premiered by the N.Y. Chamber Orchestra and later performed by the Ft. Worth Symphony Orchestra. SARAH KAWAHARA’s (Choreographer) work as an ice choreographer is widely acclaimed within the world of international figure skating and, in 1997, was brought to the attention of a larger audience when she was the first ice skater ever to receive an Emmy Award in Best Choreography for ABC’s “Scott Hamilton Upside Down.” She has choreographed Scott’s programs since the beginning of his professional career. By the age of 10, Montreal-born Kawahara began to concentrate entirely on figure skating, later studying at the National Ballet School of Canada and attending the Banff Centre of Fine Arts in Alberta, Canada, for six seasons. Kawahara joined Ice Capades as a principal skater at the age of 17, staying for seven years and soon becoming resident coach. Sarah became Toller Cranston’s muse for the Canadian Broadcasting Company (CBC) TV special “Strawberry Ice” and choreographed and starred in Toller’s CBC special “A True Gift of Christmas,” going on to skate in John Curry’s PBS special “Peter and the Wolf.” Following her work with Toller, Kawahara choreographed Peggy Fleming’s “An Evening on Ice” for the headliner room at Harrah’s, Lake Tahoe. Sarah went on to choreograph and have a featured skating role in Shipstad Productions’ “Ice,” which was produced for Radio City Music Hall and starred Peggy Fleming, Robin Cousins and Toller Cranston. Her distinguished career includes choreography for “Concert on Ice,” starring Dorothy Hamill, Tai and Randy and Scott Hamilton; the national theater tour of “Festival on Ice,” starring Scott Hamilton; and serving as principal choreographer at Ice Capades for five seasons. She has choreographed programs for skaters such as Kurt Browning, Ilia Kulik, Michelle Kwan, Kristi Yamaguchi, Dorothy Hamill, Tai Babilonia and Randy Gardner, Gordeeva and Grinkov, Oksana Baiul, Klimova and Ponomarenko, and Victor Petrenko. In 1996 Sarah was asked to choreograph Oksana Baiul and Victor Petrenko for the Rickmill/Disney TV special “The Wizard of Oz on Ice.” That led Kawahara to several touring show productions: “The Spirit of Pocahontas,” ”Hercules on Ice,” “Disney’s 75th Anniversary” and Feld’s “Anastasia on Ice.” Kawahara’s extensive work with Olympic champion Michelle Kwan includes three ‘Reflections on Ice’ ABC TV specials (1999’s “Michelle Kwan Skates to the Music of Mulan,” 2000’s “Michelle Kwan Skates to Disney’s Greatest Hits” and 2001’s “Michelle Kwan, Princesses on Ice”). Sarah also choreographed Kwan’s long and exhibition programs for the 2002 Winter Olympics. Additionally, Kawahara completed the staging and choreography for the Opening and Closing Ceremonies of the 2002 Salt Lake Winter Olympics.
Pages to are hidden for
"notesrtf - Visual Hollywood.rtf"Please download to view full document