Docstoc

notesrtf - Visual Hollywood.rtf

Document Sample
notesrtf - Visual Hollywood.rtf Powered By Docstoc
					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.

				
DOCUMENT INFO
Shared By:
Categories:
Tags:
Stats:
views:12
posted:8/24/2012
language:English
pages:30
shensengvf shensengvf http://
About