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VIEWS: 140 PAGES: 52


              Release Date: 6th February
                  Running time: tbc
                   Certificate: tbc

                   PRESS CONTACTS

             Kate Hudson/Becky Palmer/Matthew Dinsdale
Tel: 44 (0)207 292 8330 Email:


        John Patrick Shanley brings his play DOUBT to the screen, in a story about the
quest for truth, the forces of change, and the devastating consequences of blind justice in
an age defined by moral conviction.

        It‘s 1964, St. Nicholas in the Bronx. A vibrant, charismatic priest, Father Flynn
(Philip Seymour Hoffman), is trying to upend the school‘s strict customs, which have
long been fiercely guarded by Sister Aloysius Beauvier (Meryl Streep), the iron-gloved
Principal who believes in the power of fear and discipline. The winds of political change
are sweeping through the community, and, indeed, the school has just accepted its first
black student, Donald Miller. But when Sister James (Amy Adams), a hopeful innocent,
shares with Sister Aloysius her guilt-inducing suspicion that Father Flynn is paying too
much personal attention to Donald, Sister Aloysius is galvanized to begin a crusade to
both unearth the truth and expunge Flynn from the school. Now, without a shred of proof
or evidence except her moral certainty, Sister Aloysius locks into a battle of wills with
Father Flynn, a battle that threatens to tear apart the church and school with devastating

        DOUBT was written for the screen and directed by John Patrick Shanley. The
film stars Meryl Streep, Philip Seymour Hoffman, Amy Adams and Viola Davis. The
film is produced by Scott Rudin and Mark Roybal, with Celia Costas as Executive
Producer. Director of Photography is Roger Deakins, ASC, BSC; Production Designer is
David Gropman; Editor is Dylan Tichenor, ACE; Costume Designer is Ann Roth; Music
is by Howard Shore; Casting is by Ellen Chenoweth; Sound Mixing is by Danny
Michael, CAS, Lee Dichter, CAS and Ron Bochar, CAS; Sound Editing is by Ron


                                      About The Production

                            “What do you do when you’re not sure?”
                                         Father Flynn

           “To be in doubt is not comfortable, as anyone can attest who has ever awaited lab
  results, fretted over a test score or stood vigil over a silent telephone, awaiting a call. It's a
psychological itch, and you want to scratch your way to certainty. But it is often the first step on
    a path to greater spiritual or moral wisdom, a deeper compassion, a breaking free from
constricting dogma. The crisis that Sister Aloysius faces in the play's shattering final moment is
 one that everyone faces at one time or another: the discomfiting discovery that the world is not
                                  ordered as you thought it was.”
                             Charles Isherwood, The New York Times

        From the opening moments of John Patrick Shanley‘s DOUBT to its powerful conclusion,

uncertainty hangs in the air, drawing the audience into a provocative mystery in which two nuns, a

priest, and the mother of a young boy – as well as the audience itself -- are forced to confront their core

beliefs as they struggle with judgment and verdict, conviction and doubt. In the battle of wills that

ensues, DOUBT raises probing questions about the challenges of navigating a world increasingly

confronted by sweeping changes and moral dilemmas.

        It was the very word ―doubt‖ that first inspired Shanley to write what would become the most

acclaimed play of the last decade, and now, to adapt the story into a screenplay that enlarges the play‘s

world and uses the fluidity of cinema to plant new seeds of uncertainty.

        At the time he began writing, Shanley recalls vast numbers of polarized political pundits literally

shouting at each other on television. ―I felt surrounded by a society that seemed very certain about a lot

of things. Everyone had a very entrenched opinion, but there was no real exchange, and if someone were

to say ‗I don‘t know,‘ it was as if they would be put to death in the media coliseum. There was this mask

of certainty in our society that I saw hardening to the point that it was developing a crack – and that

crack was doubt,‖ Shanley explains.

        ―So I decided to write a play that celebrated the fact that you can never know anything for

certain. I wanted to explore the idea that doubt has an infinite nature, that it allows for growth and

change, whereas certainty is a dead-end. Where there is certainty, the conversation is over, and I‘m

interested in the conversation, especially because another word for that conversation is ‗life.‘ We‘ve got

to learn to live with a measure of uncertainty. That‘s the silence under the chatter of our time.‖

        For Shanley, the overriding challenge was incorporating not just the theme but also the very

mechanism of doubt into the fabric of his story, unraveling facts and truths the audience might think are

clear at the outset, and leaving the audience finally to explore these loose ends in their own way.

Throughout, Shanley‘s one incontrovertible dictum was to never lead the audience to any one individual

conclusion. ―What was always important to me,‖ he explains, ―is that the sense of doubt belongs to the

audience. I‘m not going to tell them what‘s right and wrong. I wanted to simply make them think and

feel something, rather than tell them what to think and feel.‖

          Once Shanley knew he wanted to write about doubt and the necessity of weathering the

inevitable challenges to one‘s beliefs, he began to ponder the setting for such a tale. ―I wanted to apply

the way I see things to a situation that was very fraught and seemingly insoluble,‖ he says, ―and this led

to a parish priest accused of taking advantage of a member of his flock. I wasn‘t interested in the church

scandals themselves, but I was looking for a polarizing situation, one in which most people would brook

no hesitation in condemning a person – and then throwing those assumptions back at the audience in a

different light.‖

          Having decided on setting the story‘s battleground issues of principle and compassion in a

religious school, Shanley‘s play took on a rich personal depth, transporting him back to his own

childhood growing up in a strict Catholic school in a predominantly Irish Catholic working-class Bronx

neighborhood.       ―I knew those people,‖ he says.     ―Sister Aloysius is certainly based on nuns I

experienced firsthand, and she is also someone I relate to – there is a certain sadness I share with her

about things that are gone now from the world, like silence and ball point pens and students reading


          Drawing further on his resonant memories, Shanley set the clash between Sister Aloysius and

Father Flynn against the volatile atmosphere of 1964, just after the Kennedy assassination and on the

cusp of the civil rights movement of the late 60s. ―That was a pivotal time of going from complete faith

in establishments and hierarchies, to questioning those establishments and hierarchies -- like the military,

and organized religion,‖ he says.

          It was also a time of sweeping changes for the Catholic Church. The establishment of Vatican II

by Pope John XXIII in 1962 ushered in a series of considerable reforms designed to make the church

more modern, more diverse and more accessible to a changing laity. By the mid-‗60s, the face of the

church would be quite different, with nuns no longer required to wear the habit and with much less

formality between priests and their parishioners.

        ―I wanted to capture something about that lost moment,‖ says Shanley. ―Walking around the

Bronx in 1964, you‘d see nuns in their bonnets and habits, but you didn‘t realize that within just a few

years, they wouldn‘t be wearing them anymore and that time would be gone forever. I also think that

Father Flynn is very much a product of the early ‗60s in the way he is questioning institutions as they

stand, while still working within the system. He wants to make the church that he loves viable in a

changing world.‖

        Race, too, was woven into the story through the character of Donald Miller, the black child

whose unusually close relationship with Father Flynn spurs Sister Aloysius‘ crusade. Shanley has vivid

memories of attending a school with just a single black student in the early, tension-filled days of school

integration. ―When you have only one black student in school, you really start to notice that person and

think, what does it feel like to be that guy? It made me see myself and my social context in a more

complex way and made me start to question those things on a deeper level,‖ he comments.

        Throughout, Shanley avoided taking sides with any of his characters – and he admits that he

relates to elements of both Father Flynn and Sister Aloysius. ―I have a tendency to agree with every one

of my characters while they are talking,‖ he confesses. ―But that‘s my experience of life. Human beings

are contradictory and paradoxical and mysterious, and they remain that way.‖

        All of this builds to the story‘s crucible moment, when Sister Aloysius finally admits she herself

has – for the first time - doubts. Her certainty has been eroded by her growing compassion and even

empathy for Donald Miller, his mother, the other students, and Sister James. She finds community in

doubt, and thus is humanized and changed. The audience is left to reconcile what they just experienced

in terms of their own beliefs and emotions. This was essential to Shanley‘s vision for Doubt. He says:

―For more than a hundred years, filmmakers have tended to ask a question and at the end of the movie,

they answer it. With Doubt, I wanted to leave the audience at the end not with an answer, but saying

rather: ‗What a beautiful question.‘ In that way, it becomes the audience‘s story.‖

        Shanley‘s play, given its world premiere off-Broadway in the fall of 2004, was swept onto

Broadway via an avalanche of rave reviews. It opened at the Walter Kerr Theater in 2005 and remained

there for a total of 25 previews and 525 performances, which then led to a lengthy national tour and

numerous international productions.

        In the wake of the play‘s international success, Shanley came to believe that Doubt, with its

ability to provoke and move audiences around the world, could inevitably do the same for movie

audiences. Shanley had been writing screenplays for two decades, and had won an Oscar® for penning

the romantic comedy ―Moonstruck.‖ Adapting Doubt, he says, would be the most difficult screenwriting

experience of all. The challenge at hand was to completely re-envision his play and allow it to become a

different creature on the screen: more visceral, more dynamic, more open to the vibrant, burgeoning

working class neighborhoods of 1960s New York.

         ―This story started with memories of growing up in the Bronx and then those memories became

a play, and I used the stage and all the materials it had to offer to tell the story that way; and now, as a

film, it has a profoundly different character,‖ Shanley says.        ―The kind of specificity you get in

filmmaking -- from the real air, the real buildings, the real things all around you -- brings a verité to the

story that the actors use to find a different level of performance. Theatre is very organized and real life

is disorganized, so part of the process was shattering the story back into pieces and making it more like

those original memories.‖

                                Another Side Of DOUBT: The Screen Adaptation

        When the play first moved to Broadway, Shanley noticed that the greater number of people who

saw ―Doubt,‖ the more intense the reaction. ―There was a dissonant thing that seemed to happen where

all the different responses people were having simultaneously every night in the theater created a kind of

common power,‖ Shanley says. ―It seemed a lot of people felt passionately that the subject of certainty

and its consequences was something they needed to talk about. And that‘s when I realized I‘d like to do

this as a film.‖

        As he began the adaptation, he saw that translating the story to the screen would allow him to

explore many elements that simply couldn‘t be addressed in the play: the live of the nuns, the children at

the school, the whole outside world of a Bronx neighborhood on the cusp of major changes. Shanley

states, ―I wanted to convey a real sense of community – because I knew that if we spent time with these

families and their kids, we would begin to track how the actions inside the church take a toll on the

world outside of it. By the end, I believe the consequences of Flynn and Aloysius‘ conflict strike a more

profound emotional resonance since we see and know who is paying the price of their battle. The film

allowed me to detail this aspect of the story which I was unable to in the play - but had always longed to


        It was also vital to Shanley to capture visually a sense of the spiritual devotion of the nuns,

whose lives were so mysterious and often misunderstood to those outside their world. ―With the film, I

had the chance to really communicate the realm that the nuns lived in – the tradition and beauty in their

world. I really wanted to use the silence of their lives as a part of the film‘s structure. It‘s a reminder in

our noisy world that there can be great meaning in quiet and stillness.‖

        He continues, ―And those silences also serve the story dramatically, allowing the audience time

to consider what has been said, and to really focus on the deliberate choice of words by our characters.

Flynn, for example, knows full well the impact of his words – he gives sermons to his congregation

every week, and uses these moments to promote change and growth and openness in the community.

His spare, precise words and his measured delivery during these sermons are freighted with meaning.

As these parishioners sit in silence, listening, I was able to show the audience how his words affect other

characters, as well as provide space to reflect on what is going on in their own hearts and minds.‖

        There was one overarching concern with the adaptation: conveying a sense of energy and

urgency, and bringing the story‘s deeply embedded issues to the surface. ―Flynn and Aloysius are

dynamic, shrewd and verbal people, and they are not afraid to use words as weapons. So much of the

drama of this story is in the dialogue – especially in the confrontation between Flynn and Aloysius. I

needed to figure out a way to make that work cinematically,‖ Shanley says. ―In the beginning I wrote

half a draft and threw it away because I felt I was failing at translating the story – and for a while I was


        Then, came a creative breakthrough. It happened while Shanley was writing the scene in which

Father Flynn gives his ―pillow sermon,‖ about a woman instructed by her priest to gather pillow feathers

scattered from a rooftop. ―Instead of simply having Father Flynn speak, I shifted to images of the story

he was telling, so you would actually see the feathers floating, and I found that very freeing,‖ Shanley

explains. ―I started writing the rest of the screenplay with that kind of spaciousness in mind. It helped

me to get the past the characters‘ words and focus on the physical reality they inhabit. In a movie you

can really explore the relationship between humanity and the natural world, the environments we move

through. So things like a light bulb going out, or the blinds being adjusted, or a napkin blowing in the

breeze began to take on great significance for me and the characters in the screen adaptation. Once I

made that shift, I had hope again.‖

        ―The other big revelation for me,‖ continues Shanley, ―in not only writing the script but also in

directing the film, was that I was able to utilize the conventions of a genre – in this case a mystery – to

provide a propulsive energy to the narrative. The film begins with a simple question: did he or didn‘t

he? And while I never lost sight of this question, I was resolute from the moment I started writing the

script that I would never answer that question at the end – which, obviously betrays the convention of the

genre. So, while it was incredibly challenging to structure the film with an emphasis on mystery and

suspense, I also benefited from this unexpected liberation of not being obligated to provide a conclusive

ending. The audience would decide for themselves what their ending is. This yielded tremendous

satisfaction for me as a filmmaker.‖

        Shanley wrote very much with the camera in mind, adding many visual flourishes to the

screenplay. ―One of things I wanted to do in the movie was to build a big visual entrance for Sister

Aloysius so that the battle is immediately joined by the audience --- you see the two opponents in

juxtaposition from the earliest moments and you see immediately her impression of herself as the priest‘s

peer,‖ he comments.

        One of the many new scenes Shanley added to the film comes after the story‘s climax, and

features a third, departing sermon from Father Flynn. ―In a movie, you want that defining moment that

brings you full circle to where it all started. So once again, you‘re in the Cathedral with Father Flynn

giving his sermon –this time a farewell -- and you see how much the landscape has shifted for

everyone,‖ he explains, ―and you are left to draw your own conclusions as to what actually happened to

each of the players in the story.‖

        By the time he finished the screenplay, Shanley was excitedly anticipating returning to his

childhood stomping ground to shoot -- and to having the nuns and neighbors he grew up with participate

in the production. ―We didn‘t just go back to places,‖ says Shanley, ―we went back to people. Kids I

knew growing up are now playing congregation parents in the movie, and it was all very resonant.‖

        Shanley had originally dedicated the play to the Sisters of Charity, the order of nuns who ran St.

Anthony‘s, the Bronx school he attended and on which St. Nicholas is modeled – and he also wanted

them to be a significant part of the motion picture production. In direct contradiction of the stereotypical

portrait of the rebellious Catholic schoolboy who lives in sheer terror of nuns, Shanley still holds great

affection and deep admiration for the teachers of his youth. ―I‘ve actually had enormously formative

experiences with the nuns I‘ve known, ―he says, ―and I wanted to communicate my respect for them and

for their selfless devotion to people who need their help, most especially children.‖

        One nun who was especially integral to the production was Sister Mary Margaret McEntee --

also known as Sister Peggy -- who taught Shanley at St. Anthony‘s when he was a feisty first grader and

she a fresh-faced 21 year-old on her first teaching assignment. Sister Peggy made such an indelible

impression on the young Shanley that she would later inspire the creation of Sister James, and he was

very pleased to bring her on as a consultant. ―She‘s enormously knowledgeable and she‘s also a vibrant

force who brought something completely unique to the production,‖ says Shanley. ―She helped out with

everything from showing Meryl how to wear her rosary beads, to the proper way to put on a bonnet. The

Sisters of Charity were enormously supportive. They‘re a rare and beautiful group of people.‖

        Sister Peggy worked closely with Streep, Adams and Hoffman, answering questions on attire,

ritual and tradition and, more importantly, lending her spirit and memories to the players and crew as

inspiration. She generously shared her own experiences teaching at St. Anthony‘s with the filmmakers.

―I thoroughly enjoyed teaching there,‖ she says. ―Everything was very uniform and very rigid – but it

was very peaceful.‖

        Her recollections of the church‘s sudden changes in the early 1960s further helped everyone to

understand the tinderbox atmosphere at the fictional St. Nicholas – the two generations battling over how

best to reach children in a manner that might instill values, and faith, in a time of great social and

religious upheaval.

        ―I always felt John XXIII had a beautiful vision,‖ Sister Peggy says. ―He wanted to open the

windows and let in fresh air. Of course, once opened, it was very difficult to close them. Many people

had mixed emotions about it. Some loved the changes and some were rather staid in their ways and they

didn‘t want changes. And by changes, I guess some of the most noticeable would be liturgical changes,

how we worshipped. The priest would no longer have his back to the people; he turned and faced us. The

altar was brought down. And there was more involvement of laity. I thought the message from Vatican II

was a beautiful invitation to be more inclusive. And sometimes we forget that.‖

        Sister Peggy also had memories of young priests emerging with a new point of view in the

1960s. ―I saw many young priests who were moved by the changes of the times and were becoming

friendlier, more open, very much like Father Flynn,‖ she comments.

        As for the difference in approach between the fearsome, absolutist Sister Aloysius and kind-

hearted, open-minded Sister James, Sister Peggy is reluctant to take sides, despite how close she might

be to the latter character. ―I think each is really being true to who she is, to how she was trained and to

what life offered her,‖ she observes. ―Sister James‘ formation was at a time when Vatican II was first

happening, when the church was more sensitive to people and wasn‘t so authoritarian. Sister Aloysius‘

formation happened many years before that, when the church was stricter and very definite in its rules

and regulations. Personally, I like Sister Aloysius, I guess because of my real life experience as the real

Sister James. She is very firm but she is also deeply kind. She feels it‘s her most basic and absolute duty

to be very protective of her students and to be very alert to any threat that might be happening.‖

        Finally, Sister Peggy admits to taking pride in all that John Patrick Shanley has accomplished.

―I taught him how to read and write,‖ she comments, ―so I‘m very happy to know that a student of mine

has done so well with words.‖

                                  Portraying DOUBT: Casting The Film

        When it came to casting the film, Shanley might easily have turned to the some of acclaimed

actors who appeared in the stage play but he wanted, instead, to start fully anew, with actors who would

bring a fresh and unexpected -- even to him -- perspective on the characters. ―I never wanted to simply

recreate the stage experience in a film and I felt very strongly that I did not want to simply lift the terrific

work of the director of the play, Doug Hughes, and call it my own,‖ he says. ―I wanted to achieve a new

work and put together a very creative, intelligent ensemble of film actors with great screen instincts.‖

        Early on in development, he started envisioning Meryl Streep taking the role of Sister Aloysius.

He knew he needed an actress of unusual skill and subtlety, someone who could go well beyond the

simple trope of the dictatorial, heartless nun – someone who could allow the audience, measure by

measure, to glimpse the sister‘s inner passion, and ultimately her doubts about her quest for justice and

even her faith. With Streep, he felt, he would be assured of a performance that details and honors all that

makes Sister Aloysius compelling and complex, even in her righteousness and certainty.

        ―In fact, I love Sister Aloysius,‖ says Shanley. ―And I think that she is right about a tremendous

amount, even the things that she fights for that are hopeless, like fountain pens over ballpoint pens. She

is fighting battles we know she will lose, because these changes have already taken place in our culture -

- but that doesn‘t mean she isn‘t a valiant figure for doing so. I agree with her that something beautiful

is lost in those kinds of changes. It‘s also important to understand that Sister Aloysius became a nun

during World War II, and she saw herself as part of the battle between good and evil that was very much

a part of those times but which became something quite different in the 60s. The posture that she has

worked perfectly in 1944, but in 1964 and especially now, it can seem rather stark and outmoded. But is

it really? I‘m not sure.‖

            Streep, says Shanley, was full of extraordinary surprises in the role, and illuminated Sister

Aloysius in ways even he hadn‘t foreseen. ―Meryl is a protean actress. She has so many colors coming

out of her and makes so many intriguing choices, all justified within the parameters of her character,‖ he

says. ―I didn‘t realize how thrilling it was going to be to work with her. Her heart and her soul and her

imagination are wide open. She‘s like a six-lane highway.‖

            He continues: ―It‘s like capturing lightning in a bottle when you‘re shooting with her because

every take is completely different, yet each one is justified and grounded in the very depths and truths of

the character.‖

            Streep came to the production excited by the expansiveness of Shanley‘s screen adaptation.

―This story is a living organism and John took the opportunity to come in and both expand and distill it

to its strongest incarnation. And the astounding thing is the way he opened the screenplay up in a

different way, adding characters, adding scenes, adding in the children who become so important and

central, the fulcrum of all these events,‖ she says. ―I thought it was amazing and brave. In getting more

specific, the story becomes more true, and it applies to everybody everywhere, and is filled with things

that are familiar to you from your own family, your own business, your own relationships with the


            Yet the story‘s ability to provoke on a personal level remained the big draw, says the actress.

―This is a story that people really see through the prism of their own biases and experiences, their own

emotional connection to authority, both celestial and temporal,‖ Streep remarks. ―To me, I think the

story is about the quality of mercy, and our understanding of and relationship to that quality in human


            For all the discussion the story sparks, Streep was also impressed by Shanley‘s willingness to

not say anything at all at times, to leave stark, powerful silences -- moments rife with spiritual reflection

or emotional shock -- in the body of film. ―Sometimes the eloquence comes when nothing is said, when

the moment is filled with possibility or menace or even grace – and John understands silence,‖ she says.

        In her preparation for the role, Streep worked closely with the nuns at the College of Mount St.

Vincent, which she says was a distinct pleasure. ―The discipline, the purity, the clear intelligence of

these women was fascinating to me, and they were very helpful,‖ she says.

        She also learned a great deal from them about another reality depicted in Doubt – the power gap

between the priests, who could wield their complete authority in church matters, and the nuns who had to

eke out power in very different and subtler ways. ―Coupled with their sense of great capability, what I

also got was a sense of their hierarchy in the church, how they were always second-tier to the male

hierarchy of the priests and how some chafed against that,‖ Streep observes. ―All of that was very

valuable for Sister Aloysius. And all of it drives the narrative.‖

        Indeed, Streep says that she looked at Sister Aloysius from every conceivable angle to arrive at

her portrait. ―I wanted to look beyond the habit at the question of who is she? Where did she come

from? Why did she spend her life in service in this way? What are her secrets? What is wonderful in

her background? What is terrible? That was my job,‖ she says.

        That job was enhanced, Streep notes, by Shanley‘s way of working with actors. ―Throughout,

John was very open to invention, and he‘d very happily say, ‗I never saw it that way before.‘ He would

say that quite often and it made us feel wonderful and free, which is what you want from actors,‖ she


        With Streep as Sister Aloysius, Shanley felt his options for Father Flynn were narrowed to those

few actors powerful enough to truly stand up to her in the climactic one-on-one confrontation. Shanley

says, ―Phil was the only actor I could think of who could make Meryl sweat through every scene. And

when they had their big scene, it was a battle royale; it was gladiatorial, it was outsized, and it was

thrilling to watch. It was one of the most electrifying weeks I‘ve ever had.‖

        Shanley also thinks the two actors share something key in common that was essential for the

roles. ―They both have that quality where you can see a long way into them when they‘re performing

but you can‘t see to the bottom. You can‘t unravel the last knot in the yarn, you can‘t open the last door

– and those are eternally tantalizing, attractive qualities,‖ he observes.

        For Streep, the choice of Hoffman was especially interesting because she and Hoffman had

previously played mother and son on stage in ―The Seagull.‖ ―In this story, we‘re adversaries, but it‘s

also much more complicated than that and that‘s what Phil brings to it – all these layers of humanity,‖

she says. ―So many people want to reduce the role to ‗who‘s right, who‘s wrong,‘ but with Phil, you‘re

never able to pin him down because his passionate interest is in bringing out all the contradictions.‖

        Shanley notes that the duo created an electric, yin-and-yang presence whenever they were

together on the set. ―The set became like the ring that prizefighters go into,‖ he observes. ―They would

just sit in their respective corners when we weren‘t shooting, with their heads hanging down, in some

private universe of some very, very tormented place, and get ready to do that scene. And then when they

were called to do it, they would get in there and the walls would shake.‖

        Hoffman had enjoyed the play numerous times from the audience, and its intricate web of

themes had always attracted him. ―I really like that there are no absolutes in this story, except people‘s

passions. I love that it‘s a battle between the old and the new and, in the midst, religious issues, ethical

issues, political and gender issues, and racial issues are all left up in the air,‖ he says. ―I think that‘s an

astounding and rare thing.‖

        Still, he was taken aback when he was offered the role. ―When John Shanley called, it did take

me by surprise because I‘d never thought of myself in the part,‖ he says. ―But I knew it was a

challenging, interesting piece and if John was offering me the role there must be a good reason for it. So

it was one of those times when you say yes because it feels right and only then do you start to figure out

what the role‘s really about.‖

        Once Hoffman began to peer beneath the surface of Father Flynn, he became even more

fascinated by the character, the ways in which he is both revealing and those in which he conceals

himself. ―I would describe him first as a modern thinker,‖ he says. ―He has a way of looking at faith,

religion and a lot of things in life that I think challenges the status quo of how the church is run.‖

         That modernity rankles Sister Aloysius well before she ever has reason to accuse him of

anything and makes them natural enemies – and yet, Hoffman sees them as sharing much in common. ―I

think they‘re similar in a lot of ways,‖ he offers. ―They‘re both very strong individuals who see things

one way. She sees him as a threat to her way of life, her identity and her view of the church; and he sees

her as a threat to how he wants to relate to the parishioners. And neither one is someone who will back


         There‘s one key difference between them. ―Sister Aloysius can‘t really live in the world of

doubt, in the world of the gray; she needs a right and a wrong, and she needs absolutes, ― Hoffman notes,

―while Father Flynn actually tries to exist in the world of the unknown, which is not an easy place to be.‖

         Hoffman says that he came to his own private conclusions as to Father Flynn‘s actual guilt in the

matter at hand but he never shared them with Streep or Adams and he, like Shanley, prefers to let the

audience come to their own decisions. ―One of the wonderful things about this story is that at any given

point, you might have empathy for any one of the characters, and I think people will be split over Father

Flynn,‖ he says. ―It‘s an unsolved mystery. It isn‘t necessary to always offer the answer.‖

         To further prepare, Hoffman spent time behind the scenes of a Catholic church learning the

duties of a parish priest. ―A lot of what I wanted to know was about the physical, logistical movements

of a priest, and also knowing about the history of the church and the transformation it was going through

at the time was important. But at heart,‖ he hastens to add, ―the story is not really about the church at all

but about human beings in general. Father Flynn and Sister Aloysius could be anyone in any setting.‖

         The catalyst of all the unsettling doubts about Father Flynn is Sister James, the idealistic young

teacher who first shares with Sister Aloysius her vague worries about Donald Miller‘s unusual private

meetings with the Father – and who never is sure if what she saw adds up to anything at all and who

lives with tremendous guilt over her own culpability in the events that follow. As the battle between

Father Flynn and Sister Aloysius accelerates, Sister James comes to mirror the audience, weighing both

sides of the argument while trying to figure out if there can be any just conclusion.

         Says Shanley of the character: ―Sister James has something to learn from everybody in the story,

and the people in the story have something to learn from her. Nobody in this story is right. Nobody is

wrong. Everybody in this story has to change, and everybody does change, including Sister James.‖

         Taking the role of Sister James is Amy Adams, the actress who garnered an Academy Award®

nomination for her breakout role in ―Junebug‖ followed by the lead role in Disney‘s smash hit

Enchanted. It was Shanley‘s screenplay that compelled Adams to go after the part fervently. ―I was

familiar with the play and just loved the way he adapted it for screen,‖ she says. ―I also fell in love with

the character, and it became something that I felt very strongly about doing. So I really fought for the


         Adams was deeply moved by Sister James‘ decency and by the profound internal changes she

goes through. ―She‘s someone who really operates from her heart, from her soul and her faith. She

believes in goodness,‖ says Adams, ―but the events that occur with Father Flynn shake her whole sense

of reality and her sense of self. They make her question things in a new way, and reveal how just one

little seed of doubt can change everything. It‘s not that she loses her faith, but the way she sees things –

her teaching, her sense of self, the way she understands God -- is forever altered. She comes to see that

what is true for one person is not necessarily true for another and I think she is able to move forward

from there with a renewed and profound sense of her own faith.‖

         On the set, Adams found her real-life anxieties about starring with Streep and Hoffman echoing

the nerves Sister James feels as she stands between Father Flynn and Sister Aloysius. ―I was with these

two enormously talented, enormously powerful actors which was frightening and intimidating. So I let

that work toward how I built Sister James,‖ she comments. ―Sister James wants to please them both and

hopes to learn from them both. So did I.‖

         The building tension between the threesome comes to a boil in the ―tea scene,‖ in which Sister

Aloysius first confronts Father Flynn with her unsavory accusations, while Sister James squirms with

concern and guilt – a scene that Adams remembers vividly: ―I have to tell you that with the discomfort

and the awkwardness of it all, I felt nauseated with all the tension – and I hope the scene will create that

same sense of urgency and discomfort in the audience.‖

        Streep – who would go on to star in Nora Ephron‘s Julie & Julia with Adams right after

production of Doubt -- was equally taken with Adams‘ gifts. ―There are very few people who can

convey truly innocence, who have the quality of untrammeled snow,‖ she says. ―She can create the

feeling of a girl who truly believes - and that‘s why she is where she is. Amy is the real deal.‖

        Another deep influence on Adams was the presence of Sister Peggy, on whom her character was

originally based. Adams notes that she did not set out to become Sister Peggy, but rather to get at her

fundamental nature. ―I wasn‘t interested in her mannerisms or doing an impersonation of her,‖ says

Adams, ―but it was her spirit that made such an impression on me. She‘s so full of life and has such a

twinkle in her eye and you can still see the girl in her. That‘s the essence that I wanted to emulate.‖

        She also found that simply wearing the nun‘s habit was transforming. Says Adams: ―It‘s a really

interesting universe when you‘re in the bonnet. You don‘t have a lot of peripheral vision so it gets you

focused. It removes all sense of vanity -- and Sister James has no vanity. It‘s all truly about the soul with

her, and that was so refreshing.‖ It was also challenging, admits Adams. ―Playing someone in doubt

sounds simple, but it really shakes up your universe when you‘re doing it.‖

        Adams says she and the rest of the cast were immeasurably helped by Shanley‘s openness to that

learning process. ―John did not bring any preconceptions to this,‖ she explains.        ―He made that very

clear to us, saying I don‘t need anything from you that I‘ve seen before. He was so open to learning

something new about the piece through what we brought. He didn‘t ever force me into an analytical

place in my brain; he always kept it in an emotional place that was very, very true.‖

        The most unexpected piece of the puzzle in Doubt is Mrs. Miller, Donald‘s mother, who comes

to St. Nicholas at Sister Aloysius‘ behest and takes the Sister by surprise with her urgent insistence on

what she believes is necessary for her son‘s survival. ―Mrs. Miller gets at the terrible, difficult bargains

people sometimes have to make to survive and for their children to survive,‖ says Shanley.

        When it came to casting Mrs. Miller, the director was won over by the audition of Viola Davis –

the Tony Award-winning actress who garnered an Independent Spirit Award nomination for Antwone

Fisher. ―I have to say that I feel she is one of the most talented actresses I‘ve ever seen,‖ says Shanley.

        Although Mrs. Miller has but one extended scene, her confrontation with Sister Aloysius is the

crucible of the story, creating a net of complexity and doubt, the aftermath of which will change the

Sister far more than she expects. ―It‘s a very human moment that transcends any time period,‖ Davis

says of their encounter. ―Mrs. Miller is, most of all, a mother trying to save her child. She‘s not going to

toss him aside and say, ‗well, he‘s gay, I don‘t have any scope of understanding of it so I‘m not getting

involved.‘ No, she has decided she is going to love him and accept him, even if she has no way of

knowing what he is going through. And I think in many ways she has more courage than any other

character in the story.‖

        She goes on: ―Her day-to-day life is pretty much hell: watching her son beaten by his father,

working her fingers to the bone to pay for him to go this Catholic school. And the only source of

happiness she has is her love for her child. So when the phone call comes from Sister Aloysius, she

knows and fears that it could blow even that bit of happiness away.‖

        While Davis sees the character‘s impulses as timeless, she also notes that Mrs. Miller is

hamstrung by the realities of the culture in 1964. ―She knows that as a black, gay, young man, her son

doesn‘t have a lot of options. What choices were open to a young black male in 1964, especially one

who is confused about his sexuality? She‘s fighting huge obstacles -- the fact that his father hates him,

the fact that no other school wants him, the fact that he is being picked on and beaten,‖ Davis explains.

―So she sees Sister Aloysius as very threatening. All she hears from her is: I‘m going to destroy your

son. She sees her as someone willing to destroy lives just to be right.‖

        Davis notes that such a confrontation between teacher and parent would be quite different in

2008, but circumstances leave Mrs. Miller with little power other than trying to communicate the depths

of her sheer human struggle. ―Nowadays, she would probably just cuss Sister Aloysius out, but I came

with very specific mannerisms that were dictated by those times. Because the Sister is not only a nun

but a white woman, Mrs. Miller knows she has to try a different approach to get some space in her heart,

to try to let her to see her point of view. Ultimately, she is begging for her son‘ s life in the best way she

feels she can.‖

        As Sister Aloysius approaches Mrs. Miller with such absolute conviction, Davis observes, Mrs.

Miller becomes the very embodiment of her own wrenching doubts. ―There is a lot of doubt in Mrs.

Miller that I hope you can see, doubts about whether what she is doing is best for her son or if it is going

to screw him up in ways she can‘t even understand. She is put in a terrible position by Sister Aloysius.

Mrs. Miller just wants her son to get through the school year to have a shot at a life he deserves, so how

is she to respond to Sister Aloysius‘ suspicions, when there is no evidence of wrongdoing?‖

        Davis doesn‘t feel ill will towards Sister Aloysius – on the contrary, she was fascinated by the

journey she makes. ―Sister Aloysius has lived her whole life believing there‘s a right and a wrong way

to do things. She doesn‘t know any other way to live and she holds onto that because without it, it feels

to her like she‘s going to die. I think that‘s why she breaks down in the end. It‘s very hard for her. But,

you know, it‘s not a bad thing to feel doubt, to delve into the unknown. That‘s when you grow.‖

        The key for Davis was making Shanley‘s words come alive with all the confusion, desperation

and vulnerability of a real mother in mortal pain over her son‘s plight. ―I didn‘t want to make her just a

social mouthpiece,‖ she says. ―I wanted her to be fully realized, and to really discover her.‖ To do so,

Davis says that she talked with a lot of people about the dilemma Mrs. Miller faces, looking for authentic

reactions. ―I asked different mothers what they would do to save their children if they found themselves

in similar circumstances and I got a lot of revelations from that.‖

        Shooting outside in the elements brought additional flavors to Davis‘ performance. ―It was so

cold when we were shooting that it made me close up a little bit, hold myself tighter,‖ she observes. ―It

was also this very private moment that we shot in public, in a housing project with lots of people around

and that informed the scene in a completely different way, helping me to bring out Mrs. Miller‘s

desperation and the hope for intimate communication with Sister Aloysius.‖

        Working with Meryl Streep for the first time was a thrill for Davis. ―It was terrifying and I was

awestruck,‖ she remarks, ―but Meryl couldn‘t have been any more beautiful. She‘s such a fantastic

actress, I really wanted to meet her at her level. She so humanized Sister Aloysius that it really affected

me. She wasn‘t just this relentless, hard-core person -- you could see this woman‘s vulnerability.‖

        Streep says it was Davis who took her breath away: ―Mrs. Miller defies every one of the Sister‘s

expectations and I thought Viola was perfect. Her work was so fully realized and revelatory that it was

hard for me, because I saw how exposed and desperate this mother was, and I felt so much for her.‖

        Of all the things that inspired her, though, Viola Davis says the greatest inspiration was

Shanley‘s insight into Mrs. Miller and all the characters. ―All the power and impact of this story were in

his head,‖ she says. ―Only he could really bring it to life because he knows each and every one of these

characters. He knew Mrs. Miller -- I imagined her.‖

                                       Manifesting DOUBT: The Design

        To open Doubt outwards from the narrower confines of the theatrical stage to the broader, more

fluid, three-dimensional energy of the screen, John Patrick Shanley had a very specific stylistic vision, at

once minimalist and visually engaging. ―I wanted the environment around the characters to be stark, yet

very vibrant and alive, so that against it, their humanity would really register,‖ he explains. ―The

physical environment of the film became a way to reinforce the drama, the tension, the emotions. So the

ringing of a phone that isn‘t answered becomes like the sinking of the Titanic to Sister James and Father

Flynn adjusting the Venetian blinds in Sister Aloysius‘ office becomes a parry in the battle between

them. Every single camera move had to be justified by either adding something to the storytelling or to

the portrayal of the characters. Everything in the design of the film exists as a reflection of what the

characters are saying, thinking and feeling.‖

        For Shanley, there was never any doubt that Doubt would be shot on location in the Bronx, in

the very same working class, Catholic neighborhood that had been the raw inspiration for his play in the

first place. ―This is a New York story,‖ says Shanley, ―and I wanted to go back and shoot in those same

locations where I grew up. It adds a richness and a texture that you can‘t replicate anywhere else.‖

        Ultimately, the fictitious St. Nicholas church and parochial school would be created by knitting

together several different locations throughout New York City. Most of the interiors were shot at the

College of Mount St. Vincent in the Bronx, which was founded by the Sisters of Charity as the first

women‘s college in New York City. Standing in for the school‘s exterior is St. Anthony‘s, Shanley‘s

original grade school in the Parkchester area, while the church exterior is St. Augustine‘s, also in the

Bronx. Classrooms were filmed at the original Girls High School (now the Brooklyn Adult Learning

Center), a Bedford-Stuyvesant landmark before the Civil War. Meanwhile, the courtyard, garden and

nuns‘ dining rooms are those of St. Luke in the Fields on Christopher and Hudson Streets; and the

basement, gym and lunchroom scenes were shot at St. Mark‘s Lutheran School in Yonkers.

        For the film‘s interiors, especially inside St. Nicholas Church and School, Shanley took his cues

from the idea of a season of change. ―This is a film that takes place in the autumn -- not just the autumn

of the year, but the autumn of an era in which ideas that were once vibrant and green have now turned

brown and are falling to the ground,‖ he explains. ―They‘re about to be replaced by the fresh sprigs of a

new time, a new zeitgeist in the culture. So we emphasized that with the use of surprising colors in the

interior scenes. The feeling of Sister Aloysius‘ office is that is you‘re looking from a very vibrant green

room out the window to a drained-away world of leafless trees and sidewalks scorched by the cold.‖

        The elements themselves are suddenly intruding on this world, as Sister Aloysius is plagued

throughout the story by a fierce wind she tries to keep at bay. ―Windows keep opening and the wind

keeps getting into places it shouldn't be and Sister Aloysius keeps closing those windows,‖ Shanley

remarks. ―It seems to be the winds of change.‖

        To capture all of this on celluloid, Shanley worked closely with his director of photography,

seven-time Academy Award® nominee Roger Deakins, who he says was able to beautifully compose the

sharp and stark angles that create the film‘s overarching ambience of disorientation. ―Roger is not only

one of the best cameramen alive,‖ comments Shanley, ―he also has very pure aesthetic and a kind of

austerity in camera movement that was so important for what I wanted to do for Doubt. He understood

that I had something very specific I wanted to express visually and was very intelligent about lighting

and moving the camera in ways that always evoked that.‖

        Early on, Deakins asked Shanley for storyboards, but Shanley would only provide them for the

entrance of Sister Aloysius. He explains, ―I told Roger that I didn‘t want to storyboard the rest of the

film because I wanted the camera to follow the lead of the actors. I didn‘t want to put the cast in a cage;

I wanted us to be free to be inspired by what they were doing in the moment.‖

        Deakins rose to that challenge. ―Roger is not a technician, he is an artist and it was great to

work with him on that level,‖ summarizes Shanley.

        Deakins found working with Shanley invigorating too. He says, ―Since John lived with his story

for so long, he was extremely confident and precise in how he wanted to film it. His assuredness

allowed us to moved with a fleetness and agility that I enjoyed.‖

        During pre-production, Shanley emphasized to Deakins that he wanted the audience to be aware

of the world outside the church and the school, in the pivotal scenes between Sister Aloysius and Father

Flynn. Deakins notes, ―John wanted to convey the idea of the natural world impinging on this cloistered

world – from leaves blowing in the window, driving rain, lightning, sunlight coming through the blinds.

He wanted the audience to really feel the force of the elements and how our characters reacted

instinctively to this as a way to peer inside their psyche at that moment. I found this idea to be

incredibly effective, and it gave the action in our interior scenes a palpable sense of foreboding.‖

         When it came to lighting the scenes, Deakins took a less heightened approach, as he wanted to

maintain the focus on the actors‘ faces. He says, ―I felt the light needed to be more naturalistic so the

audience would not be distracted by any sense of artifice. Photographing the faces in this kind of

environment is important so the audience can absorb the full strength of the performances. We knew

that audiences would never want to take their eyes off of these characters.‖

        Shanley then brought in Oscar®-nominated production designer David Gropman who focused

on forging Shanley‘s palette into sets that came alive with character and period details. ―I came to David

with very strong opinions about colors and set design and he took that task on in an extraordinarily

creative way,‖ says Shanley. ―And while doing that, he also was able to create a palpable sense of the


         Gropman recalls, ―John was very precise in what he wanted. There‘s a clarity and preciseness to

the whole palette – it feels honest to the time and place but is also purposefully very sharp and striking.

The idea was that with exteriors we would use the organic colors of the surrounding Parkchester

neighborhood. But when the camera comes inside, John wanted to use a color scheme that would bring

the audience back out of the period and into this world of clashing ideas. For example, we used a really

rich green in Sister Aloysius‘ office – where much of the film takes place. John kept saying ‗we have to

be bolder with that color.‘ So it‘s a truly striking green that elevates the drama that takes place there. It‘s

a color that takes your breath away and I think John‘s instincts were so right because it brings an extra

intensity to the characters‘ interactions.‖

         Vibrant colors also come into play in other rooms. ―Another example is in the convent where

the nuns live, there‘s a sitting room and John said, ‗let‘s paint that room Virgin Mary blue.‘ I showed

him a range of blues and he picked the strongest blue, which really makes you sit up when the camera

enters that room,‖ adds Gropman.

         At the center of Shanley‘s design ethos was the concept of constantly reinforcing the state of

doubt for the audience. ―That‘s one of the reasons we used so many unexpected colors,‖ says Gropman,

―because John wanted that feeling that every time you entered a room, you had no idea of what to

expect. It‘s a way of keeping the audience from every being sure of itself, which goes to the heart of the


         A further strong and defining influence on the palette was the local architecture of the Bronx.

―There‘s a lot of this kind of tan or yellow brick and that became a strong feeling in the flavor of the film

as well,‖ Gropman explains.        ―The warmth and hardscrabble strength of that brick reflects these

traditional institutions that supported the community yet were in a moment of change.‖

         Shanley and Gropman also discussed creating a stark design contrast between the traditional

ascetic lives the nuns lead in their cells and the more social life of Father Flynn and the other priests.

―The room where we see Father Flynn having dinner with the Monsignor and the other Fathers has an

almost clubhouse atmosphere,‖ notes Gropman. ―It makes an interesting statement about Father Flynn‘s

desire to relate to people in a new way.‖ This warm, intimate setting also served another purpose: to

convey a sense of authority and power enjoyed by the male hierarchy of the Church, as they had the

liberty to put aside temporarily the rituals and rules of their faith. The nuns, on the other hand, respected

their restrictions at all times, and never waivered from their devout, prescribed lifestyle. Gropman adds,

―We see the room in which the nuns eat – stiff white linen, minimal decoration, a solitary, formal room,

the complete antithesis of the priests‘ dining room.‖

         One of Gropman‘s most challenging tasks was transforming the cathedral in which Father Flynn

gives his sermons back to the typical church style of 1964. ―The church was very much in transition at

the time,‖ he observes, ―and today everything is different. ―We used the chapel at Mt. St. Vincent, but

we had to do things like recreate the high altar and put an altar rail back in. The big changes were

difficult and emotional for the nuns on the set – seeing the church go back to the way it had once been

brought back memories of harder and less forgiving times. They were very happy when we restored it to

its current state.‖

         The costumes of Doubt were equally important to Shanley‘s visual conception, forging a world

of contrasts between the soon-to-be-obsolete nun‘s habits and the more expressive clothing of the

working-class parents and students. To create them, Shanley brought in Academy Award® winner Ann

Roth. Says Shanley: ―Ann has a very elegant, Old World sense of style that was a great match with this

story.   She also has a way of building a very personal relationship with actors and giving them

everything they need, which she did with Meryl, Amy, Phil and Viola.‖

         Roth‘s biggest task was recreating the traditional, medieval-style Sisters of Charity habit, which

was phased out in the late 1960s, and is now hard to find, save for among a few elderly nuns who chose

to keep wearing it. The unique habit, with its somber bonnet and black cape, had remained unchanged

from the one worn by Mother Seton, the founder of the Sisters of Charity, in the early 19th century.

         ―The habit we use in the film is exactly the habit as prescribed in the time of Mother Seton and

the same one nuns wore in 1964,‖ says Roth. ―We copied it exactly, but what I learned from meeting

with the Sisters is that there are a lot of little rules about how it must be worn so the focus was on getting

all those details right. There are very exacting rules about how much shows at the wrist, where it touches

the ground, what is worn under it, the way the stockings are held up with garters. It was all very specific

and, for the most part, terribly uniform.‖

        In 1964, each nun would have stitched her own personal habit upon joining the order, so Roth

and her crew sewed habits for Streep, Adams and the rest of the nuns that had that same authentic home-

made essence. The actors in turn found putting on the habits transforming. Says Streep: ―It would take

a long time to get dressed because it‘s all very intricate and precise and there are so many layers that you

don‘t see underneath everything. I began to feel that the ritual of putting on the habit was part of the

spiritual ritual of the day. You get ready to be this servant of God and it begins the minute you get

dressed in the morning. Wearing the habit was a big part of the preparation for the role and I loved

wearing it.‖

        Roth then injected another element of change into the visual design with the well-groomed

outfits worn by the school children.         ―They are still wearing school uniforms but there‘s a certain

sharpness to the way they dress that was emerging at that time. You see it in their haircuts, their shoes,

the way they wear their uniforms,‖ she says. ―A lot of that was based on conversations I had with John

about his memories of the working-class kids he grew up with and that moment when fashions were

changing, when individualism was emerging, even within this very traditional environment.‖

        Adding to the seasonal palette, Roth further contrasted the black-and-white outfits of the nuns

with an autumnal range of colors for the film‘s extras. Finally, Roth focused on the one lay adult who

figures so prominently in the story: Mrs. Miller, whose clothes speak to her driving desire for a better

life for her son. ―In that era, if you were a black lady who cleaned houses, you wore a hat and a nice

coat and you knew you had to look good to come into these wealthier neighborhoods,‖ says Roth. ―That

was what we wanted to get at with Mrs. Miller -- the way she wears her clothes with pride is a part of

who she is and what she is striving for in trying to get her son into another world where he will be safer.

I especially enjoyed working with Viola Davis because I think she is one of our greatest actresses.‖

        Following production, Shanley turned the footage over to Academy Award® nominated editor

Dylan Tichenor for a first assembly that took him by surprise. ―When you‘re a writer, you‘ve already cut

the film to a certain degree in your head,‖ says Shanley, ―but when I saw what Dylan had done in his first

cut I was impressed because it was so superior to what I had envisioned. Dylan was able to put it all

together with all the musicality of the script. We worked very well together because he also has an almost

rabbinical talent for communication.‖

        Next, Academy Award® winner Howard Shore came aboard to work with Shanley on the film‘s

subtly building, emotionally rich score. ―Howard had perhaps the toughest assignment of all on this

film,‖ says the writer-director.    ―I asked him to create music that would allow the audience the

spaciousness to feel strong emotions without telling them what they should feel. That‘s a tremendous

challenge, but Howard did a masterful job of being a jury who considered all the elements of the story

without coming in with a judgment or any finite sense of conclusiveness.‖

        Shore recalls his initial sessions with Shanley: ―We talking about wanting to develop the

emotional arc of the film musically; to reflect the thematic relationships between the characters in music;

and also to give a sense of the old giving way to the new inside the score. For me it was about trying to

create a score that would mirror the feeling of John‘s writing. As I was composing, I felt like I was in his

slipstream, turning his ideas into sound.‖

        To begin that process, Shore started with the central details of Doubt – its ‗60s time period and

Bronx Catholic school setting. ―That brought me back to a lot of ideas based on traditional hymns, and I

was also influenced by my knowledge of sacred music,‖ he explains. ―I used a lot instrumentation that

would evoke the traditionalism of that time period, including dulcimers, zithers, pan flutes, mandolins,

different recorders, of course lots of harmonium and also Irish Bouzouki.‖

        Shore also kept the natural world in mind. ―Climate and wind are big characters in the film – the

winds of change, the coming of storms – and I used orchestration that would shape those kinds of

environmental sounds,‖ says Shore.

        Throughout, Shanley and Shore kept the focus for the score on a spare but vibrant minimalism

that echoes the film‘s visual style. Summarizes Shore: ―We used a chamber music approach that is in

synch with the cinematography, the palette, the lighting, the editing. John‘s underlying idea in Doubt was

never to use too big a force to tell the story, and this was equally true with the music. It was very exciting

working with John. His ideas are so strong that it made the compositions stronger.‖

                        Behind DOUBT: The Sisters of Charity Remember Life in 1964

        In bringing Doubt to the screen, John Patrick Shanley moves well beyond the stereotype of the

parochial school nun and reveals these remarkable women as rich human characters who have chosen to

lead spiritual lives devoted to love, prayer, compassion and service.

        To do so, he had a lot of help from the Sisters of Charity who had taught him as a child at St.

Anthony‘s, several of whom shared their own recollections of what moved them to embrace vows of

poverty, chastity and obedience, and what life was like in the convent and parochial school.

        Then, as now, the lives of the nuns moved to a deep, devotional rhythm focused on finding God

in the midst of serving the poor and needy. For these sisters, the very choice to become a nun in a cloister

was so radically different from what most of the girls around them were doing that it was sometimes

clearly questioned by friends and family. ―I felt I was answering a direct call. I just knew this was

something God wanted,‖ says Sister Irene Fugazi, who has been a Sister of Charity for 71 years. ―But it

was very hard to explain that to other people. My father eventually agreed, but very reluctantly. And he

gave me three weeks before quitting . . . of course, he was wrong and many years later, he admitted that.‖

        The nuns‘ lives back then were simpler, stricter and more isolated than they are today. They

adhered to a rigid schedule, the horarium, which began at the break of dawn when the women were

awakened by a bell for morning prayers, followed by time for silent, personal meditation. After mass at 7

a.m., the nuns would have a small, silent breakfast before the teaching day would begin. Sister Peggy

recalls that, after the workday was done, the women looked forward to dinner. ―Afterwards we took turns

washing the dishes and then we would go in for our night prayers,‖ she says. ―They would ring a night

silence bell at 8:10 and by 9 p.m. it was supposed to be lights out, although I remember I kept a secret

flashlight for reading.‖

        In those days, the nuns were often kept apart from the rest of the world, including their families.

When they did have to leave the cloister for a doctor or dentist appointment, they always had a

companion. ―It was rather austere,‖ Sister Peggy notes. ―We couldn‘t have wine or go to parties. We

were allowed to go funerals but not weddings. They were very strict about that. I couldn‘t even go to my

brother‘s wedding, which was sad, but you accepted that this was the life to which you committed.‖

        Outside of the classroom, silence was way of life, a way of staying closer to God. ―We were

pretty much in silence unless the sister in charge had mercy on you or had something good to chat to you

about,‖ recalls Sister Fugazi.

        Inside the classroom these women were dedicated to their young charges, even as they struggled

with the rigors of teaching classes of 42 children or more. Notes Sister Fugazi, ―I love teaching and I love

children. But if you really wanted them to learn, you had to have order. And you learned to keep order.

But my students also knew that I really loved them, even the scamps. I would go out at lunchtime and

teach them to play basketball or hockey.‖

        In 1964, when the film takes place, the sisters were acutely aware that changes were coming to

the church, changes that did not always appeal to the older nuns but were welcomed by the ones just

beginning. The liberalizations that followed Vatican II allowed them more freedom and contact with the

world. The strictness of their life inside the convent was gradually relaxed. They were allowed to get

drivers licenses, to vote, and they became as Father Flynn says, ―friendlier.‖ ―I think Vatican 2 has

helped us in our relationship with the laity. Now I can really get to know the families of my students,‖

continues Sister Peggy.

         Still, many of the nuns approached the changes cautiously, reluctant to give up the rigorous

spirituality or to modify how they expressed the devotion to God that led them to be nuns in the first

place. Says Sister Rita King, who has been a Sister of Charity since 1948: ―I‘ve seen a lot changes. And

when times change, you always have people who want to go back and also those who want to go forward

– but I‘ve always hoped to stay somewhere in the middle.‖ ―Sometimes I wish someone would ring a bell

now and put us into silence,‖ adds Sister Peggy, ―because the phone is always ringing and people are

coming and going, and you really have to seek out peace.‖

         Even the gradual disappearance of the habit was looked on with mixed feelings. Sister Fugazi

comments: ―I remember as a young sister really taking pride in the habit. There was a certain joy in

being part of a community where we all had the same aims. Once we were out of the habit, things were

different, although it was just as happy in another way.‖

         As the church changed so too did society and, most visibly, the children the nuns were teaching.

Today, the sisters all agree, children live in a entirely new reality. ―They‘re definitely different, they‘re

more outspoken, more sophisticated,‖ says Sister Fugazi. ―But to say that they‘re different doesn‘t mean

that they‘re not as good or as kind or as interesting. They just live in a world so unlike the one that

existed when we started teaching in the 1960s. Now, they‘re all walking around with earplugs in their


         Yet, the most essential elements of the nun‘s lives -- expressing their love for God through

teaching and caring about children in tough neighborhoods -- remain very much the same.                ―The

children‘s lives have changed but not their needs,‖ sums up Sister Peggy. ―They still need the support

and encouragement of adults and teachers. They count on us— and that part hasn‘t changed.‖

                                 ABOUT THE CAST


        Meryl Streep is a two-time Academy Award winner and recipient of a record-breaking

fourteen Oscar nominations.

        Most recently, Streep starred in the box office smash Mamma Mia, a film adaptation of

the hit Broadway musical based on the songs of ABBA. She will next appear in Nora Ephron‘s

Julie & Julia as the famed master chef, Julia Child and will lend her voice to Wes Anderson‘s

animated Fantastic Mr. Fox based on the novel by Roald Dahl.

        Streep made her film debut in 1977‘s Julia opposite Jane Fonda and Vanessa Redgrave.

In her second screen role, she starred opposite Robert De Niro and Christopher Walken in The

Deer Hunter which earned Streep her first Academy Award nomination. The following year,

she won an Academy Award for her role opposite Dustin Hoffman in Kramer vs. Kramer. She

then received her third Academy Award nomination for The French Lieutenant’s Woman and

later went on to win the Oscar for Best Actress for her role in Sophie’s Choice, where she starred

alongside Peter MacNicol and Kevin Kline.

        Other early film credits include Oscar-nominated performances in Mike Nichols‘

Silkwood, Sydney Pollack‘s Out of Africa, and Fred Schepisi's A Cry in the Dark, which also

won her the Best Actress Award at the Cannes Film Festival, The New York Film Critics Circle,

and an AFI award. She also appeared in Mike Nichols' Heartburn and Woody Allen‘s


        In 2003, Streep‘s work in The Hours won her SAG and Golden Globe nominations. That

same year, her performance in Spike Jonze‘s Adaptation won her a Golden Globe for Supporting

Actress and BAFTA and Oscar nominations. Streep‘s other recent works include The

Manchurian Candidate; Lemony Snicket’s A Series of Unfortunate Events; Robert Altman‘s A

Prairie Home Companion and The Devil Wears Prada, which earned her a Golden Globe Award

for Best Actress as well as Academy Award, SAG and BAFTA nominations.

       In theater, Streep appeared in the 1976 Broadway double-bill of ―27 Wagons Full of

Cotton‖ and ―A Memory of Two Mondays,‖ the former which won her the Outer Critics Circle

Award, the Theater World Award and a Tony nomination. Other theater credits include ―Secret

Service;‖ ―The Cherry Orchard;‖ the New York Shakespeare Festival productions of ―Henry V‖

and ―Measure for Measure‖ opposite Sam Waterston; the Brecht/Weill musical ―Happy End;‖

―Alice at the Palace‖ which won her an Obie; Central Park Productions of ―The Taming of the

Shrew;‖ ―The Seagull,‖ and most recently in the Tony Kushner adaptation of ―Mother Courage.‖

       In TV, Streep won Emmys for the eight part mini-series ―Holocaust‖ and for the Mike

Nichols directed HBO movie Angels in America, which also won her Golden Globe and SAG


       In 2004, Streep was honored with an AFI Lifetime Achievement Award and in 2008 was

honored by the Film Society of Lincoln Center.


       Philip Seymour Hoffman has completed production on Richard Curtis‘ latest project The

Boat That Rocked and recently appeared in Charlie Kaufman‘s Synecdoche, New York, which

Kaufman wrote and directed. Last year Hoffman starred in the independent film The Savages, for

which he won a Best Actor Spirit Award; Mike Nichols‘ Charlie Wilson’s War which earned him

an Academy Award nomination for Best Supporting Actor and Sidney Lumet‘s Before the

Devil Knows You're Dead. Prior to that, Hoffman starred in Capote, which he executive produced

through his company, Cooperstown Productions. In addition to winning the Academy Award®

for Best Actor, Hoffman earned a Golden Globe and SAG Award for his performance.

       Other film credits include Mission Impossible: III, Along Came Polly, Cold Mountain,

25th Hour, Red Dragon, Punch-Drunk Love, Love Liza, Almost Famous, State and Main, The

Talented Mr. Ripley, Magnolia, Happiness, The Big Lebowski, Boogie Nights, Nobody’s Fool,

Scent of a Woman and HBO‘s Empire Falls.

        Hoffman joined the LAByrinth Theater Company in 1995 and became its Co-Artistic

Director in 2001. As an actor, his theater credits include LAByrinth's production of ―Jack Goes

Boating‖ (The Public Theater), ―Long Day‘s Journey Into Night‖ (Broadway), ―The Seagull‖

(The Public Theater/New York Shakespeare Festival), ―True West‖ (Broadway), ―The Merchant

of Venice‖ (directed by Peter Sellars), ―Shopping and F*cking‖ (New York Theatre Workshop)

and ―The Author‘s Voice‖ (Drama Department).

        His LAByrinth directing credits include the world premieres of ―The Last Days of Judas

Iscariot,‖ ―Our Lady of 121st Street,‖ ―Jesus Hopped the ‗A‘ Train‖ and ―In Arabia, We‘d All Be

Kings,‖ each written by Stephen Adly Guirgis. Hoffman‘s celebrated New York production of

―Jesus Hopped the ‗A‘ Train‖ was presented at the Edinburgh Fringe Festival, where it won the

2001 Fringe First Award, and London‘s Donmar Warehouse, where it was nominated for an

Olivier Award for Best Play of 2002. It then moved on to London‘s West End for an extended

run at The Arts Theatre. Similarly, his acclaimed production of ―Our Lady of 121st Street‖

transferred Off Broadway to the Union Square Theater, where it ran for nearly six months.

        Hoffman also directed Rebecca Gilman‘s ―The Glory of Living‖ at MCC Theater in

2001. He traveled to Australia to direct Andrew Upton‘s ―Riflemind‖ at the famed Sydney

Theater Company and most recently he directed the Stephen Adly Guirgis play, ―The Little

Flower of East Orange” for LAByrinth.


        Academy Award nominated actress Amy Adams recently wrapped production on

Shawn Levy's Night At The Museum 2: Battle at The Smithsonian starring as Amelia Earhart

opposite Ben Stiller. Twentieth Century Fox is scheduled to release the film in May 2009.

        Adams will star in Nora Ephron's Julie and Julia opposite Meryl Streep. The Columbia

Pictures film is adapted from Julie Powell's book Julie and Julia: 365 Days, 524 Recipes, 1 Tiny

Apartment Kitchen. The film is scheduled to be released in August 2009.

        Adams will also star in Christine Jeffs and Karen Moncrieff's Sunshine Cleaning opposite

Emily Blunt and Alan Arkin. The dark family comedy film is about two lost sisters (Adams,

Blunt) who find themselves after starting an unlikely business in crime-scene cleanup. Overture

Films is scheduled to release the film in March 2009.

        Adams most recently starred in Bharat Nalluri's Miss Pettigrew Lives for a Day opposite

Frances McDormand. She also starred in Kevin Lima's Enchanted opposite James Marsden, Idina

Menzel, Patrick Dempsey and Susan Sarandon. The film grossed over 400 million dollars

worldwide and garnered her a Golden Globe nomination for Best Actress. Adams also recently

starred in Mike Nichols' Charlie Wilson's War opposite Tom Hanks, Julia Roberts and Philip

Seymour Hoffman. Adams role in Phil Morrison's Junebug in 2005 earned her nominations for an

Academy Award and a SAG Award. She won an Independent Spirit Award, Broadcast Film

Critics Association Award, National Society of Film Critics Award, a San Francisco Film Critics

Society Award, as well as the Breakthrough Gotham Award. Adams also won the Special Jury

Prize for Acting at the 2005 Sundance Film Festival for her role as the pregnant, childlike

'Ashley,' who is awe-struck by the arrival of her glamorous sister-in-law.

        Adams' other film credits include Adam McKay's Talladega Nights: The Ballad of Ricky

Bobby with Will Ferrell, and Steven Spielberg's Catch Me If You Can with Leonardo DiCaprio.


        Viola Davis made an indelible impression on the screen with her heart-wrenching

performance in Denzel Washington‘s Antwone Fisher, which earned her an Independent Spirit

Award nomination.

           Immediately upon wrapping production on Doubt, Davis began production on State of

Play, with Russell Crowe and Rachael McAdams. The film, directed by Kevin Macdonald (The

Last King of Scotland), will be released in April 2009.

           Davis had a supporting role in the thriller Disturbia starring Shia LeBeouf for director

D.J. Caruso. Additional film credits include Far From Heaven with Dennis Quaid and Julianne

Moore, and Solaris, Traffic and Out of Sight.

           In 2001, Davis earned rave reviews for her performance in August Wilson‘s ―King Hedley

II,” directed by Marion McClinton. She went on to win the Tony Award that year for Best Featured


           In 2004, Davis lit up the stage in the Roundabout Theatre Company‘s production of Lynn

Nottage‘s play, ―Intimate Apparel,” directed by Tony Award-winning director Daniel Sullivan.

She garnered the highest honors for an off-Broadway play, including Best Actress awards from

the Drama Desk, the Drama League, the Obie and the Audelco Award. Davis was nominated for

the Lucille Lortel Award as well. She reprised her role at the Mark Taper Forum in Los Angeles

where she was recognized with the Ovation, Los Angeles Drama Critics and the Garland Awards.

           Davis is a graduate of The Juilliard School and holds an Honorary Doctorate of Fine Arts

Degree from her alma mater, Rhode Island College.

           Davis resides in Los Angeles with her husband, actor Julius Tennon.

                                   ABOUT THE FILMMAKERS

      JOHN PATRICK SHANLEY (Writer-Director) had previously been critically lauded as

an off-Broadway playwright (―Danny and the Deep Blue Sea,‖ ―Italian American

Reconciliation,‖ ―Four Dogs and a Bone,‖ among many others) and as an Oscar-winning

screenwriter (Moonstruck, starring Cher, Nicolas Cage, and Olympia Dukakis). In 2004, his play

―Doubt‖ received unanimous rave reviews off-Broadway at the Manhattan Theater Club, and

became Shanley's first play to transfer to Broadway. There, it swept all of that year‘s major

awards, winning the New York Drama Critics Circle Award, the Lucille Lortel Award, the Outer

Critics Circle Award, the Drama League Award, the Drama Desk, the Tony, and the Pulitzer. In

the third decade of a highly successful career, Shanley's first Broadway play went on to a national

tour and launched productions across the country and around the world.

          Shanley was born and raised in the Parkchester neighborhood of the Bronx, where Doubt

is set. Educated at parochial schools by the Irish Christian Brothers and the Sisters of Charity, he

eventually did a stint in the Marines before attending New York University and receiving his


          Shanley¹s long list of acclaimed plays, many of which he directed in their original

productions, includes ―Defiance,‖ ―Savage in Limbo,‖ ―the dreamer examines his pillow,‖

―Beggars in the House of Plenty,‖ ―Where‘s My Money?,‖ ―Italian American Reconciliation,‖

and ―Dirty Story.‖ The latter premiered almost simultaneously with ―Doubt” and earned him a

Drama Desk nomination.

          Shanley has had four original screenplays produced: Five Corners, Moonstruck (Oscar

and Writers Guild Award), The January Man, and Joe Versus the Volcano which he also directed.

Five Corners won the Special Jury Prize for its screenplay at the Barcelona Film Festival.

          SCOTT RUDIN (Producer) Upcoming films include: Wes Anderson‘s Fantastic Mr.

Fox, Sam Mendes‘ Revolutionary Road, and Nora Ephron‘s Julie & Julia, Peter Weir‘s The Way

Back, Nancy Meyers‘ untitled film, and the next Coen Brothers film. His films include: No

Country for Old Men (Academy Award – Best Picture), Reprise, There Will Be Blood (Academy

Award Nominee – Best Picture), Stop-Loss, Margot at the Wedding, The Darjeeling Limited, The

Queen (Academy Award Nominee – Best Picture), Notes on a Scandal, Venus, Closer, Team

America: World Police, The Life Aquatic with Steve Zissou, The Village, School of Rock, The

Hours (Academy Award Nominee – Best Picture), Iris, The Royal Tenenbaums, Zoolander,

Sleepy Hollow, Wonder Boys, South Park: Bigger, Longer & Uncut, The Truman Show, A Civil

Action, In and Out, Ransom, Mother, The First Wives Club, Clueless, Nobody’s Fool, The Firm,

Searching for Bobby Fischer, Sister Act, He Makes Me Feel Like Dancing (Academy Award–

Best Documentary), and The Addams Family.

        Theatre includes: ―Passion‖ (Tony Award – Best Musical), ―Hamlet‖, ―Seven Guitars,‖

―Skylight,‖ ―The Chairs,‖ ―The Blue Room,‖ ―Closer,‖ ―Amy’s View,‖ ―Copenhagen‖ (Tony

Award – Best Play), ―The Designated Mourner,‖ ―The Caretaker‖ (London), ―The Goat‖ (Tony

Award – Best Play), ―Caroline, or Change,‖ ―The Normal Heart,‖ ―Who’s Afraid of Virginia

Woolf?,‖ ―Doubt‖ (Tony Award – Best Play), ―Red Light Winter,‖ ―Faith Healer,‖ ―The History

Boys‖ (Tony Award – Best Play), ―Shining City,‖ ―The Year of Magical Thinking‖ and the current


      MARK ROYBAL (Producer) is the President of Scott Rudin Productions. He produced

Stop-Loss, was Executive Producer on the 2008 Best Picture winner No Country For Old Men

and was Associate Producer on Shaft, Bringing Out the Dead, Sleepy Hollow and South Park:

Bigger, Longer & Uncut.

        ROGER DEAKINS (Director of Photography), ASC, BSC was born in Torquay, Devon,

England. He began working as a stills photographer before enrolling in Britain‘s National Film

School in 1972. His association with fellow student Michael Radford led to director of

photography work on three features directed by Radford: Another Time, Another Place, 1984 and

White Mischief.

        Roger has been nominated seven times for Academy Awards®, including double

nominations last year for The Assassination of Jesse James by the Coward Robert Ford and No

Country For Old Men, the later marking his tenth collaboration with the Coen brothers. They

have previously worked together on: The Ladykillers, Intolerable Cruelty, The Man Who Wasn’t

There, O Brother Where Art Thou?, The Big Lebowski, Fargo, The Hudsucker Proxy, Barton

Fink and the recently shot A Serious Man.

           Additional honors include four BAFTA nominations and two wins (The Man Who Wasn’t

There and No Country for Old Men), seven ASC Award nominations and two wins (Shawshank

Redemption and The Man Who Wasn’t There) and four BSC Award nominations and three wins.

Last year he received the National Board of Review‘s Award for Career Achievement in


           For his work on Martin Scorsese‘s Kundun he received Best Cinematography citations

from the New York Film Critics Circle, the Boston Society of Film Critics and the National

Society of Film Critics, as well as Academy Award® and American Society of Cinematographers

Award nominations.

          Deakins‘ feature documentaries include When the World Changed and Eritrea: Behind the

Lines; and the music documentaries Blue Suede Shoes and Van Morrison in Ireland. Deakins has

also shot music videos for Eric Clapton, Marvin Gaye, Herbie Hancock and Madness among


          His other director of photography credits include Alex Cox‘s Sid and Nancy, Bob

Rafelson‘s Mountains of the Moon, John Sayles‘ Passion Fish, Agnieszka Holland‘s The Secret

Garden, Tim Robbins Dead Man Walking, Edward Zwick‘s Courage Under Fire, Norman

Jewison‘s The Hurricane, Ron Howard‘s A Beautiful Mind, M. Night Shyamalan‘s The Village,

Sam Mendes‘ Jarhead, and Paul Haggis‘ In the Valley of Elah.

           Recently, Roger was the visual consultant for Pixar‘s Animation‘s WALL•E. Roger lives

with his wife in Santa Monica, returning to England (and the fishing!) as frequently as possible.

           DYLAN TICHENOR, A.C.E. (Editor) got his start in editing with Geraldine Peroni and

Robert Altman, who brought him on as apprentice editor on The Player. Continuing those

collaborations he went on to be assistant editor on Short Cuts, Prêt-à-Porter [Ready to Wear],

and Alan Rudolph's Mrs. Parker and the Vicious Circle; he then served as technical coordinator

on Altman's Kansas City, and finally as co-editor on the documentary Jazz '34, for which he

garnered an Emmy nomination. Mr. Tichenor subsequently worked on four films with

writer/director Paul Thomas Anderson, beginning as post-production supervisor on Sydney (Hard

Eight), and then editing the features Boogie Nights, Magnolia and most recently There Will Be

Blood, for which he was nominated for an Academy Award. Mr. Tichenor's other credits as

editor include The Royal Tenenbaums (Wes Anderson), Brokeback Mountain (Ang Lee), and The

Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik).

        DAVID GROPMAN (Production Designer) was born and raised in California, where he

studied scenic design at San Francisco State College. He went on to receive his Masters Degree in

Theater from the Yale School of Drama. After graduating, he began working in regional theatres

and off-Broadway. His first Broadway play was The 1940s Radio Hour, which was followed by

several other shows including Mass Appeal and Lena Horne: The Lady and Her Music. In

addition, he designed three pieces for the Paul Taylor Dance Company as well as the world

premiere of Leonard Bernstein‘s opera A Quiet Place, which was a joint production of Houston

Grand Opera, La Scala and the Kennedy Center.

        In 1982 he designed Robert Altman‘s Broadway debut, Ed Graczyk‘s Come Back to the

Five and Dime, Jimmy Dean, Jimmy Dean, and went on to design the film version, as well as

Altman‘s O.C. and Stiggs and his TV film The Laundromat. Over the years Gropman has also

formed strong working relationships with Robert Benton (Nobody’s Fool, Twilight, The Human

Stain), Steve Zaillian (Searching for Bobby Fischer, A Civil Action), and Lasse Hallstrom (The

Cider House Rules, Chocolat). Among his other films are Mr. and Mrs. Bridge, A Walk in the

Clouds, Waiting To Exhale, Marvin’s Room, Little Children, Hairspray, and Ang Lee's

upcoming Taking Woodstock

      Gropman received an Academy Award nomination for his work on The Cider House Rules,

a BAFTA nomination for Chocolat, and an Art Directors Guild Award for excellence in

production design for Chocolat.

       ANN ROTH (Costume Designer) designs for both motion pictures and theater. She has

received four Academy Award® nominations for her work on The Hours, The Talented Mr.

Ripley, Places in the Heart and The English Patient, for which she won the Oscar. Her

additional film credits include: The Word of Henry Orient, Midnight Cowboy, Klute, Day of the

Locust, Goodbye Girl, Hair, Sweet Dreams, Working Girl, The Birdcage, The Unbearable

Lightness of Being, Primary Colors, Angels in America, Cold Mountain, The Village, Closer,

The Good Sheperd, and the upcoming Julie & Julia.

       Her theatre credits include productions for Broadway, Lincoln Center, The Kennedy

Center, San Francisco Opera, American Conservatory Theatre, Manhattan Theatre Club and

Circle in the Square. She has received three Drama Desk and four Tony nominations.

       HOWARD SHORE (Composer and Conductor) is among the most respected, honored

and active film composers and music conductors at work today.

       Shore began his career as a founding member of the group Lighthouse, with whom he

recorded and toured from 1969 to 1972. He then went on to serve as the original Musical Director

of ―Saturday Night Live,‖ conducting the live broadcasts from 1975 to 1980. At the same time,

Shore began establishing his reputation, collaborating with David Cronenberg on his

groundbreaking films. To date, Shore has scored 12 Cronenberg films, including The Fly, Dead

Ringers, Videodrome, Naked Lunch, A History of Violence and the 2007 crime drama Eastern

Promises, starring Viggo Mortensen, Naomi Watts and Vincent Cassel.

       Shore continues to distinguish himself with a wide range of projects, from Martin

Scorsese‘s Academy Award-winning The Departed, The Aviator, Gangs of New York and After

Hours to Tim Burton‘s Ed Wood, Jonathan Demme‘s The Silence of the Lambs and Philadelphia

to Chris Columbus‘ Mrs. Doubtfire. In 2002, Shore won his first Oscar for Best Score and a

Grammy Award for The Lord of the Rings: The Fellowship of the Ring. Following another

Grammy Award for The Lord of the Rings: The Two Towers, Shore was honored with two

Oscars, two Golden Globes and his third and fourth Grammy Awards for his score for The Lord

of the Rings: The Return of the King and Best Song for Into the West.

        The soundtracks for The Fellowship of the Ring, The Two Towers, and The Return of the

King have sold more than six million copies worldwide. British radio station Classic FM named

The Lord of the Rings the ―Best Film Soundtrack of All Time‖ for five consecutive years.

        Shore has recently written his first opera ―The Fly,‖ a joint commission by Théâtre du

Châtelet in Paris and The Los Angeles Opera, with libretto by David Henry Hwang, directed by

David Cronenberg. The world premiere was in Paris on July 2, 2008 and U.S. premiere in Los

Angeles on September 7, 2008.




        A film by








       Casting by

       Music by

     Costume Designer
       ANN ROTH


    Production Designer

               Director of Photography
             ROGER DEAKINS, ASC, BSC

                   Executive Producer
                    CELIA COSTAS

                     Produced by
                    SCOTT RUDIN
                    MARK ROYBAL

                 Based on the Play by

          Written for the Screen and Directed by

                   This film is dedicated
            to Sister Margaret McEntee, S.C.,
             formerly known as Sister James.


Sister Aloysius Beauvier            MERYL STREEP
   Father Brendan Flynn             PHILIP SEYMOUR HOFFMAN
             Sister James           AMY ADAMS
              Mrs. Miller           VIOLA DAVIS
          Sister Veronica           ALICE DRUMMOND
         Sister Raymond             AUDRIE NEENAN
             Mrs. Carson            SUSAN BLOMMAERT
         Christine Hurley           CARRIE PRESTON
          Warren Hurley             JOHN COSTELLOE
           Jimmy Hurley             LLOYD CLAY BROWN
           Donald Miller            JOSEPH FOSTER II
         William London             MIKE ROUKIS
            Zither Player           HAKLAR DEZSO
                    Kevin           FRANK SHANLEY
                 Organist           ROBERT RIDGELL
            Choir Singers           SARAH GIONVANIELLO
                                    KATIE SHELNITZ
                                    AARON O‘NEILL
                                    THOMAS J. MEEHAN

                                      ABIGAIL L. DYER
                                      SAMANTHA CHADBOURNE
                                      CHRISTINA ANGELINA CELONE
                                      MELISSA VIEZEL
                                      EMILY SWIMMER
                                      KATELYN SNELL
                                      SHAYNE FISCHMAN
                                      COBY D. MORAN
             Girl in Church           ALANNAH IACOVANO
                      Ralph           FRANK DOLCE
           Tommy Conroy               PAULIE LITT
                  Raymond             MATTHEW MARVIN
             Noreen Horan             BRIDGET CLARK
    Sister James‘ Students            PHILIP POST
                                      THOMAS J. KENNEDY
                                      THOMAS A. VARRONE
                                      SABRINA COSTA
                                      SAMANTHA BUCZEK
                                      GABRIELLA RENEE DIMARIA
                                      ARIANA SILVESTRO
                                      MICHELE CIAGO
                                      ANNA LONCZAK
                                      BRANDY PANFILI
                    Sarah             MOLLY CHIFFER
                    Alice             LYDIA GRACE JORDAN
              Mrs. Kean               SUZANNE HEVNER
            Sister Teresa             HELEN STENBORG
      Monsignor Benedict              TOM TONER
         Father Sherman               MICHAEL PUZZO
            Mrs. Shields              MARGERY BEDDOW
           Mr. McGuinn                JACK O‘CONNELL
           Mrs. Deakins               MARYLOUISE BURKE
             Parishioner              VALDA SETTERFIELD
       Stunt Coordinator              PETE BUCOSSI

                  Unit Production Manager
                     CELIA COSTAS

                   First Assistant Director
                        JOHN RUSK

                 Second Assistant Director
                    AMY LAURITSEN
       Associate Producer           NORA SKINNER

Post Production Supervisor            JENNIFER LANE

             Production Supervisor           DEB DYER

                        Art Director         PETER ROGNESS
              Assistant Art Director         ADAM SCHER
                      Set Decorator          ELLEN CRISTIANSEN

               A-Camera Operator             ROGER DEAKINS
         First Assistant A-Camera            ANDY HARRIS
       Second Assistant A-Camera             ANGELA BELLISIO
                           Loader            SCOTT LIPKOWITZ
                   Camera Trainee            JEFF PINETTE

                  Script Supervisor          DIANNE DREYER

           Production Sound Mixer            DANNY MICHAEL, CAS
              First Boom Operator            KIRA SMITH
            Second Boom Operator             GREGG HARRIS

       Assistant Costume Designer            MICHELLE MATLAND
              Costume Supervisors            DAVID DAVENPORT
                                             J. KEVIN DRAVES
                     Set Costumers           BEN WILSON
                                             NICOLE GREENBAUM
           Costumer for Ms. Streep           NINA JOHNSTON
              Additional Costumer            MEGAN ASBEE
                Costume Assistant            JONATHAN SCHWARTZ
             Costume Coordinator             REMY PEARCE
                           Tailors           DAIN KALAS
                                             LEE PURDY

                 Key Makeup Artist           TODD KLEITSCH
     First Assistant Makeup Artist           LOUISE McCARTHY
                     Key Hairstylist         ALAN D‘ANGERIO
          First Assistant Hairstylist        JERRY POPOLIS
              Additional Hairstylist         KAREN SPECHT
Meryl Streep‘s Hair & Make Up by             J. ROY HELLAND

              First Assistant Editor         IAN BLUME
           Second Assistant Editors          JORDAN LINDBLAD
                                             DANIEL TRILLER
          Post Production Assistant          LOUISA FORNI

         Chief Lighting Technician           BILL O‘LEARY
                 Best Boy Electric           JOE GRIMALDI
                    Rigging Gaffer           RICHIE FORD
         Best Boy Rigging Electric           LOUIS PETRAGLIA
                  Lamp Operators             JEREMY KNASTER
                                             ROB VUOLO

                                               SCOTT GREGOIRE
                                               MICHAEL J. MAURER
             Dimmer Board Operator             ERIC BONCHER
                    Genny Operator             MIKE WACKS
          Base Camp Genny Operator             MIKE RUDOLPH
                   Rigging Electrics           LANCE A. SHEPHERD
                                               JASON LANCI

                            Key Grip           RICHARD GUINESS, JR.
                       Best Boy Grip           GLEN ENGELS
                          Dolly Grip           BRUCE HAMME
                    Key Rigging Grip           BILLY KERWICK
               Best Boy Rigging Grip           JOSEPH A. VIANO
                     Company Grips             WES BATTLE
                                               BRENT A. POLESKI
                                               VICTOR HUEY
                                               CESAR BAPTISTA
                                               SAL LANZA
                                               CHARLIE PRICE
                        Rigging Grips          KEVIN KERWICK
                                               MIKE OATES
                                               CHRIS PRIMAVERA

                      Property Master          TOM ALLEN
           Assistant Property Masters          KRIS MORAN
                                               SANDY HAMILTON
                          Props Buyer          ANN EDGEWORTH
           Special Effects Supervisor          STEVE KIRSHOFF
          Special Effects Coordinator          JOHN STIFANICH
             Special Effects Foreman           ROY SAVOY
                      Special Effects          DEVIN MAGGIO

                Production Coordinator         PATTY WILLETT
First Assistant Production Coordinator         CHRISTINE PUTNAM
                  Production Secretary         JIM PELLIGRINELLI
     Second Second Assistant Director          JOHN SILVESTRI
      Executive Assistant to Mr. Rudin         ADAM KLAFF
                Assistants to Mr. Rudin        DAMON CARDASIS
                                               ANDREA COLES
                                               DAVID KENNEDY
                                               FANNY SCHWARTZ
                                               NICK ZAYAS
             Assistant to Mr. Shanley          SARAH MILES
              Assistant to Mr. Roybal          LUCY SHAPIRO
              Assistant to Ms. Costas          KERI LEDERMAN
               Assistant to Ms. Streep         KORI WILSON
            Assistants to Mr. Hoffman          ELIZA CZANDER
                                               SARA MURPHY

         Office Production Assistants         JODI ARNESON
                                              JOEY COHEN
                                              ETHAN DUFFY
         Key Set Production Assistant         CHRISTIAN VENDETTI
            Set Production Assistants         GLENN FERRARA
                                              STEVEN OPPENHEIM
                                              JENNIFER ROBERTS
                                              MAUD STREEP
                        DGA Trainee           MARCOS GONZALEZ PALMA

                   Location Manager           JOE GUEST

         Assistant Location Managers          LIZ KLENK
                                              MATTHEW KANIA
                  Location Assistants         JASON FRITZ
                                              SARAH FOLLETT
                                              PHUONG-THUY PHAM
                                              FLETCHER ELKINGTON
                      Location Scouts         JOHN SPADY
                                              ZORAN BLAZEVIC
                   Set Unit Assistant         BOB NOONAN
                 Parking Coordinator          KERRY CLARK

               Production Accountant          SAL CARINO

           First Assistant Accountant         RAMON A. RODRIGUEZ
         Second Assistant Accountant          SCOTCH CRISOSTOMO
                  Payroll Accountant          JUSTEN BENNETT-MACCUBBIN
                    Accounting Clerk          DANIEL J. ALTIERI
          Post Production Accountant          TREVANNA POST
                                              MICHELLE SARAMA

Production Legal Services Provided by         CHRISTOPHER TRICARICO
                                              TRICARICO CHAVEZ LLP

                     Graphic Designer         DAWN MASI
          Art Department Coordinator          KAY MICHAELS
               Assistant Set Decorator        BECCA MEIS DEMARCO
                         Lead Dresser         DICK TICE
                       On Set Dresser         ARI D. SCHWARTZ
                          Set Dressers        JOAN FINLAY
                                              BRUCE SWANSON
                                              JAMES ARCHER
                                              HELEN G. RIPPLE
                                              CLIFF KLATT
                                              JON F. HOPKINS
                                              JON CARTER
                                              STEVE GAMIELLO

Art Department Production Assistant         IMOGEN LEE
  Construction Production Assistant         JEANNINE SLOANE
                  Storyboard Artist         JOHN DAVIS

              Technical Consultant          SISTER MARGARET McENTEE
                    Dialect Coach           TIM MONICH
                         Tutoring           ON LOCATION EDUCATION
                            Tutors          SALLY RUSK
                                            KALLIOPE MAMIAS
                                            ALANA SERIGNESE
                                            MERYL FINGER
           Meryl Streep‘s Stand-In          KIM RIDEOUT
Philip Seymour Hoffman‘s Stand-In           TIM WILSON
            Amy Adams‘ Stand-In             BIANCA BELMONTE GIANCOLI
                       Clearances           WENDY COHEN – PRODUCTION

         Supervising Sound Editor           RON BOCHAR
              Sound Effects Editor          SEAN GARNHART
                    Dialogue Editor         BRANKA MRKIC-TANA
                        ADR Editor          RUTH HERNANDEZ
                   Foley Supervisor         KAM CHAN
                        Foley Editor        HEATHER GROSS
       First Assistant Sound Editor         ALEXA ZIMMERMAN
       ADR Assistant Sound Editor           DEBORA LILAVOIS
          Apprentice Sound Editor           CLEMENCE STOLOFF

                       Music Editor         JENNIFER DUNNINGTON
             Assistant Music Editor         BEN PEDERSEN
         Foley Mixer and Recordist          GEORGE LARA
                       Foley Artist         MARKO COSTANZO
                       ADR Mixer            BOBBY JOHANSON
                    ADR Recordist           MIKE HOWELLS
                  ADR Recorded at           SOUND ONE CORP.
               ADR Voice Casting            SONDRA JAMES

              Re-Recording Mixers           LEE DICHTER, CAS
                                            RON BOCHAR, CAS
    Additional Re-Recording Mixer           ROBERTO FERNANDEZ
                  Mix Technicians           HARRY HIGGINS
                                            ERIC HIRSCH
                     Mix Engineer           AVI LANIADO
                         Strategist         JIM GARDNER
                    Re-Recorded at          SOUND ONE CORP.

          Construction Coordinator          NICK MILLER
            Key Shop Craftsperson           GORDON KRAUSE
            Shop Craft Foreperson           DERRICK ALFORD

            Shop Craftspersons          BETSY TANNER
                                        DAVID A. POSES
                                        RAYMOND REDDY
                                        PAUL DIVONE
                                        JAMES WALKER
                                        RONALD MILLER
                                        GENNARO PROSCIA

         Key Construction Grip          JONATHAN GRAHAM
     Construction Grip Best Boy         KENNETH J. BURKE
             Construction Grips         GLENN FJOTLAND
                                        DANNY WOODS
                  Shop Electric         PAUL STEINBERG
          Construction Electrics        BRANDON ODEGAARD
                                        RICHARD COHN

                 Charge Scenic          BOB TOPOL
               Scenic Foreman           DIANE RICH
                 On Set Scenic          M. TONY TROTTA
               Scenic Shopman           ADAM JONES
                       Scenics          RAND ANGELICOLA
                                        JUDIE JURACEK
                                        YONGXI CHEN
                                        STEPHEN CALDWELL

               Head Greensman           WILL SCHECK
                 Greenspersons          GORDON GERTSEN
                                        JOE MARTIN

                  Unit Publicist        ERIC MYERS
             Still Photographer         ANDY SCHWARTZ
        Production Video Assist         JOEL HOLLAND

         Transportation Captain         JAMES WHALEN
     Transportation Co-Captain          TIMOTHY SHANNON
            Ms. Streep‘s Driver         ED BATTISTA
Mr. Hoffman/Ms. Adams‘ Driver           PAT HOGAN
            Mr. Rudin‘s Driver          WES PETERSEN
                        Drivers         RUDY M. ARIETTA
                                        THOM AQUINO
                                        BARRY T. SWEENEY
                                        ROBERT J. GALLAGHER
                                        ROBERT DWYER
                                        WILLIAM E. CURTIN, JR.
                                        MIKE BUCKMAN
                                        JOSEPH W. KELLY
                                        JOSEPH J. BUONOCORE, JR.
                                        PETER A. KREINBIHL

                                             PAUL WEINER
                                             MIKE CANALE
                                             WILLIAM ESPAND
                                             MIKE BUONOCORE
                                             JOE RISO
                                             LEONARD LUIZZI
                                             PAUL KANE
                                             RYAN COOKE
                                             JIM POPPER
                                             JOE PAPROTA
                                             JIM CHARLESTON

Second Unit Director of Photography/         PAT CAPONE

                   Casting Associate         AMELIA RASCHE

                      Extras Casting         SYLVIA FAY/LEE GENICK
                                             & ASSOCIATES CASTING
            Extras Casting Associate         SOPHIA COSTAS

                      Craft Service          THE WILSON RIVAS COMPANY
                           Catering          TRIBE ROAD CATERING
                               Chef          SEAN CARROLL
                  Catering Manager           ANDREW CROWLEY
                           First Aid         KATHY & RICH FELLEGARA
                   Security Captain          C.L. MEGA STERLING
                   Animal Handlers           ANIMAL ACTORS
                                             INTERNATIONAL, INC.
                    Animal Trainers          STEVE McAULIFF &
                                             KIM KRAFSKY

         Visual Effects and Titles by        BIG FILM DESIGN
           Visual Effects Supervisor         RANDALL BALSMEYER
            Visual Effects Producer          ADRIENNE WINTERHALTER
           Lead Digital Compositor           J. JOHN CORBETT
                Digital Compositors          ELLA BOLIVER
                                             WILLIAM FRAZIER
                                             ALLISON KOCAR
                                             DAVID PIOMBINO
                                             MICHAEL QUEEN
                                             CARLOS ROSARIO

                   Visual Effects by         PACIFIC TITLE
           Visual Effects Supervisor         DAVID SOSALLA
             Visual Effects Producer         LADD LANFORD
   Associate Visual Effects Producer         EMILY FENSTER
         Visual Effects Coordinator          JOHN COMPUZANO

            Visual Effects Compositors           MAUREEN HEALY
                                                 MICHAEL BOGEN
                                                 ROBERT MONTGOMERY
                                                 JOSH MOSSOTTI

                       Visual Effects by GUERILLA EFFECTS

             Visual Effects Supervisors          JOHN BAIR
                                                 MARK RUSSELL
               Visual Effects Producer           VIVIAN CONNOLLY
                   Digital Compositor            JESSE HOLMES
                       Particle Effects          VANCE MILLER
                   Digital Compositor            SCOTT WINSTON

                              Opticals           EFILM
                       Negative Cutter           EXECUTIVE NEGATIVE
                         Color Timer             GEORGE CHAVEZ
               Dolby Sound Consultant            STEVE F.B. SMITH

                Digital Intermediate by          EFILM
          Digital Intermediate Producer          MIKE KENNEDY
Digital Intermediate Assistant Producer          MICHAEL DILLON
           Digital Intermediate Colorist         MIKE HATZER
 Digital Intermediate Colorist Assistant         CHRIS JENSEN
             Digital Intermediate Editor         AMY PAWLOWSKI
             Technical Service Manager           JESSICA MAZZER
                           Smoke Artist          PAT CLANCEY
                    Data I/O Supervisor          ANGIE ALAVEZ
           Video Deliverables Manager            KYLE BARRETT
               Client Services Manager           CYNTHIA POULSEN

                         Music Orchestrated and Conducted by
                                 HOWARD SHORE

        Music Recorded and Mixed by              SIMON RHODES
              Recorded and Mixed at              WARNER BROS., LA
                                                 LEGACY RECORDING, NY
            Score Production Manager             ELIZABETH COTNOIR
         Score Production Coordinator            ALAN FREY
                  Music Programmers              GREG LAPORTA
                                                 JAMES SIZEMORE
                     Auricle Operators           RICHARD GRANT
                                                 TIM STARNES
                    Protools Operators           TOM HARDISTY
                                                 ANGIE TEO
                     Music Preparation           SUE SINCLAIR

                      Music Librarian              MARK GRAHAM
                 Orchestra Contractors             SANDY PARK
                                                   GINA SIMMITTI


       ―Reginella Campagnola‖                      ―Is It Me?‖
Written by Eldo Di Lazzaro, C. Bruno        Written by Joe Lervold, Adryan Russ
                                                   Performed by Joel Evans
―Blame It On The Bossa Nova‖                       Courtesy of Cinemasters
Written by Barry Mann, Cynthia Weil                By arrangement with MS-Pro
       Performed by Eydie Gorme
       Courtesy of GL Music Inc.                   ―March For Russell‖
                                            Written and Performed by Steven Morrell
       ―Ubi Caritas‖
       From the Taize Community
Performed by The Trinity Choristers of Trinity     ―It Came Upon A Midnight Clear‖
       Wall Street                                 Written by Richard John Cottle
       Courtesy of Trinity Wall Street             Courtesy of APM Music
       Choir Director Robert Ridgell

      ―Silent Night‖                                      ―The First Noel‖
Arranged by Alan Ett, Scott Liggett                Arranged by Simon Benson
      Courtesy of Opus 1 Music                     Courtesy of APM Music

                          ―Come, thou Redeemer of the earth‖
                  Traditional melody arranged by Sir David Willcocks
                   Performed by The Choir of Christ‘s Hospital, UK
                         Courtesy of Guild GmbH, Switzerland

    Major League Baseball footage used with permission of Major League Baseball
                                  Properties, Inc.

               World War II Newscast Courtesy of CBS News Archives

                                Special Thanks to
                                CHERRY JONES
                              BRIAN F. O‘BYRNE
                           HEATHER GOLDENHERSH
                               ADRIANE LENOX
                                DOUG HUGHES
                          MANHATTAN THEATRE CLUB
                           NEW YORK STAGE & FILM

                        NICO MUHLY
                        LT APPAREL
                  ADULT LEARNING CENTER
                  NYPD MOVIE AND TV UNIT

         This motion picture was created by Miramax Film Corp. for
              purposes of copyright law in the United Kingdom.

     The characters and events depicted in the photoplay are fictitious.
    Any similarity to actual persons, living or dead, is purely coincidental.


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