"WANTED - DOC"
“Good reporters don‟t have friends, only sources.” - The Washington Globe editor Cameron Lynne In the chess match of Beltway politics, there is constant maneuvering between two worthy teams: politicians who seek to retain their positions of influence and journalists out to uncover corruption that accompanies unchecked power. What binds the opponents is their need for each other. And assassination - whether of a character or a life - is sometimes a means to their endgame. Oscar winner RUSSELL CROWE (Gladiator, American Gangster) leads an all-star cast in a blistering thriller about a rising congressman and an investigative journalist embroiled in a case of seemingly unrelated homicides. Crowe plays Cal McAffrey, a veteran DC reporter whose unyielding determination leads him to untangle a mystery of murder and collusion among some of the nation‟s most promising political and corporate figures in State of Play, from KEVIN MACDONALD (One Day in September, The Last King of Scotland). Ambitious, unflappable US Congressman Stephen Collins (Oscar winner BEN AFFLECK, Hollywoodland, Gone Baby Gone) is the future of his political party: an honorable appointee who serves as the chairman of a committee overseeing defense spending. High hopes are pinned to this rising star to become a leading national figure - until his beautiful young staff assistant dies tragically and buried secrets come tumbling out. McAffrey has the dubious fortune of having both an old friendship with Collins and a tough-as-nails editor, Cameron Lynne (Oscar winner HELEN MIRREN, The Queen, Gosford Park), who has assigned him to investigate the story. As he and novice partner Della Frye (RACHEL McADAMS, The Notebook, Red Eye) try to uncover the killer‟s identity, McAffrey steps into a cover-up that threatens to shake the nation‟s power structures. In a town of spin doctors and wealthy politicos, he will discover one truth: When billions are at stake, no one‟s integrity is beyond question. Joining the lead cast is an accomplished team of performers including ROBIN WRIGHT PENN (Beowulf; New York, I Love You) as Stephen Collins‟ loyal wife, Anne; JASON BATEMAN (Hancock, The Kingdom) as manipulative public relations executive Dominic Foy; and JEFF DANIELS (Good Night, and Good Luck.; The Lookout) as George Fergus, a powerful senator with the reputation of his party on the line. State of Play 2 Working with the director behind the scenes is a team of talent led by producers ANDREW HAUPTMAN (Millions, Lions For Lambs) and Working Title‟s ERIC FELLNER and TIM BEVAN (The Interpreter, Burn After Reading). Their seasoned crew includes director of photography RODRIGO PRIETO (Brokeback Mountain, Babel), production designer MARK FRIEDBERG (Across the Universe, Far From Heaven), editor JUSTINE WRIGHT (The Last King of Scotland, Touching the Void), composer ALEX HEFFES (The Last King of Scotland, Imagine Me & You) and costume designer JACQUELINE WEST (The Curious Case of Benjamin Button, The New World). State of Play is based on the BBC television series created by PAUL ABBOTT (The Girl in the Café) and from a screenplay by MATTHEW MICHAEL CARNAHAN (The Kingdom, Lions For Lambs) and TONY GILROY (Duplicity, Michael Clayton) and BILLY RAY (Breach, Flightplan). The film‟s executive producers are Paul Abbott, LIZA CHASIN (The Boat That Rocked, Atonement), DEBRA HAYWARD (United 93, Pride & Prejudice) and E BENNETT WALSH (Disturbia, Kill Bill series). State of Play 3 ABOUT THE PRODUCTION Adaptation to Action: State of Play Begins “You cannot connect anything back to me.” - US Congressman Stephen Collins From securing the film rights to finalizing the cast, the road to putting State of Play cameras on the streets of Washington DC took as many twists and turns as a political thriller. It began with brilliant source material from writer Paul Abbott, the creator of the enormously successful and critically acclaimed 2003 miniseries that aired on the BBC. The persistence of producer Andrew Hauptman - joining with Working Title‟s producers Tim Bevan and Eric Fellner - ensured the adaptation would make it to the big screen. The BBC broadcast its premiere episode of State of Play in May 2003. Audiences and critics alike were held rapt by the intertwining stories of Stephen Collins, Cal McAffrey and their associates in politics and journalism. Soon after the series aired, Hauptman began negotiating with agents in London for feature film rights to Abbott‟s work. His tenacity led him to a meeting with Abbott at his home in Manchester. There, Hauptman convinced the writer that he would be the right man to produce a movie of Abbott‟s work that would be faithful to the spirit of the source material. He closed the deal to adapt State of Play in November 2004 and began the long process of working with writers to morph Abbott‟s complex six-hour miniseries into a feature film that would shift the actions to the corridors of American power: Washington DC. Reflects Hauptman on his interest in the long-gestating project: “The original series was such a rare find in source material. It was a riveting series that grabbed you and didn‟t let go; it resonated with me in so many ways. I always thought that by moving the setting to Washington DC, its scope could be even more powerful and combustible, but just as intelligent. “The opportunity to get inside the world of the newsroom and feel the drama associated with running a paper, chasing a story and the pursuit of the truth and all of its implications brought a lot of relevance to the story,” he continues. “What made the miniseries work so well was that on the surface it was about the dance between politics and journalism - the state of contemporary news media, corporate espionage and conspiracy. But then you realize it was also about individuals and their choices and was deeply personal. It tackled issues of conflict and compromise, loyalty and love, and power and career aspirations. That made it incredibly intriguing.” Abbott was naturally keen to ensure his carefully constructed series not fall into the wrong hands for translation. “In my initial conversations with Paul, he was concerned about how we were going to turn a six-hour drama into a feature State of Play 4 film,” continues Hauptman. “We were both concerned about making a movie that lived up to the quality of the series.” Hauptman spent the next several years developing the project before bringing it to Universal Pictures, which then brought in Working Title Films - where producers Tim Bevan and Eric Fellner have made a name building the most successful film production company in Britain. Offers Fellner of Working Title‟s desire to tackle the project: “Like everyone else, we were transfixed when we watched the miniseries several years ago. Paul created this universe that exposed the darkest side of humanity and its worst traits of greed, corruption and unyielding ambition. Tim and I knew it would be a huge challenge to distill that much material and draw a story from the series that would be engaging...as well as one smart enough to stand alone. We felt with Andrew and Kevin at our side and the right team of writers, we could do it justice.” Finding the correct director for the project was equally painstaking. The producers made an unorthodox choice when they selected an Academy Award- winning (and two-time BAFTA-winning) Scottish documentarian who was little known to the feature-film world until his explosive first feature, The Last King of Scotland, took audiences by storm. Though his film netted Forest Whitaker the Oscar for Best Actor and was roundly lauded, Macdonald was previously a fixture among the journalism community for such powerful work as his Oscar-winning analysis of the tragic murders of Munich Olympic athletes, One Day in September. His specialty was in showing an unknown side of iconic men - whether they be rock or film heroes such as Mick Jagger and Howard Hawks, or mass murderers like Idi Amin and Klaus Barbie. Recalls Hauptman of the decision: “We undertook a worldwide search looking for the right individual, and we were really lucky to come across Kevin - a guy who has a lot of integrity. He had seen the series and was moved by the themes that the work covered. As a documentarian, a lot of the themes uncovered in day-to-day news resonated with him, as did exploring those issues in the US.” “When I saw State of Play on TV, I absolutely loved it,” remarks Macdonald. “Like everybody in Britain loved it, and it won every award going. Five years later, I was sent a script. I was intrigued by it, but initially suspicious, as I loved the series so much. I thought: „It‟s six hours long. How can I make it into two hours?‟” Macdonald had no interest in simply re-shooting the work of the miniseries‟ creators. “Part of the way we got around that was that we changed it rather radically,” he says. “Although the basic story is the same, there‟s a lot that‟s very different about it. You realize you can‟t make another version of something that was good. You have to reinvent, and that‟s what we‟ve tried to do.” The filmmaker was particularly intrigued by how the script for State of Play State of Play 5 took a relevant look at the declining state of print journalism and the death to dailies in certain markets. He saw Cal McAffrey as one of the few remaining in a dying breed: a traditional journalist who scours each lead until he‟s satisfied...and a newsman who files his story the night before it is made available in the printed edition of the paper. McAffrey‟s editor shoulders the corporate demand to publish scandal or perish, and Della Frye comes from a new school of reporters who are more comfortable with multitasking and instant access to information. In her world, the blogger first to publish an opinion is often the go-to expert (and frequently cited source) on the subject for future stories. Before filming was set to begin, State of Play suffered a setback that affected productions across the United States: the Writers Guild of America strike of late 2007 and early 2008. The original two leads opted out of the production. But the producers believed they had a brilliant script, as written, with which they should proceed. So they submitted it to two Academy Award winners who would promptly give the project new life. Journalists and Politicians: Casting the Production “Did we just break the law?” - Globe blogger Della Frye “Nope, that‟s what you call damn fine reporting.” - Globe senior metro reporter Cal McAffrey When casting the role of The Washington Globe‟s veteran newsman Cal McAffrey, the filmmakers were looking for a performer who could play with grit and street smarts, but also a gruff newsman who is holding on to an old standard in the face of change. Macdonald explains of his “truth teller”: “Cal is the senior metro reporter of the newspaper - a guy who is really smart and should be the editor. He should be working in politics, but something‟s held him back. He represents the nobility of journalism...but also the decline of it.” When considering actors for the part, the team had a fortunate break. Macdonald recalls: “The studio said to me, „Who do you want?‟ I said, „I want the best actor in the world, and that‟s Russell Crowe.‟ And they said, „Okay, let‟s see.‟ So we sent Russell the script. Three days later, I was on a plane to Australia. Twenty-four hours after that, he‟d agreed to do it, and two weeks later he was on set. Russell came in, took the character by the scruff of the neck and totally understood who Cal would be.” Hauptman was as pleased as his director at the selection of Crowe to play the hard-nosed reporter who had an affair with his best friend‟s wife. “Russell feels this part; he looks it,” says the producer. “He has strong views of what journalists have become today, versus the more idealized version of what they were years back. Stepping on the other side of that notepad or tape recorder, and having the investigative mind that he does, he dug to the core of who his journalist ought to be.” Crowe found the character refreshingly atypical. “One of the things that State of Play 6 this story goes into is the ambiguity of the concept of an objective press,” he states. “They want to tell you they‟re objective and their relationships and their lives don‟t affect what they write. But in this case, that‟s not true. This was one of the things that interested me; they‟re human. They do take things personally, and sometimes they can‟t get themselves out of the story - with both good results and bad.” The actor was interested in how this character could never be 100 percent objective, as he was investigating a murder case in which a good friend was implicated. “I see Cal as a human who has one train of thought, and that pushes him into action,” says Crowe. “But it‟s not heroism; he‟s doing what he feels he should do on behalf of his friend. So, right from the beginning of the story, his point of view is polluted.” McAffrey‟s long relationship with both Stephen Collins and Collins‟ wife, Anne, draws him into wanting to tell the story from their point of view. Initially, he loses the objectivity that is drilled into members of the fourth estate from their first day of journalism school. As Macdonald notes: “The guilt of his affair is one of the drivers for Cal, one of the things that makes him want to prove his friend innocent.” Ultimately, however, his dispassion returns and he falls back on ingrained professional instincts. When casting the role of Stephen Collins, the team looked to Ben Affleck to play the congressman struggling with the murder of his staff assistant/lover, Sonia Baker. Simultaneously, the character was dealing with the collapse of his marriage and potential halt to his ascension as a power player. The director explains of Collins: “Stephen has become chairman of this very important committee researching abuses in the Defense Department. He‟s a highflier; he‟s presidential material...the new Kennedy. Ben Affleck has those looks, that suavity and a huge interest in politics that make him such a great fit for this part.” Joining the production off his acclaimed directorial debut, Gone Baby Gone, Affleck recognized in Macdonald a filmmaker with instincts he could trust. The actor interpreted Collins as imploding with the consequences of his decisions. “The moral ambiguity attracted me to this part,” says Affleck. “Here is this powerful, successful young congressman who has absolutely everything to gain...yet he throws it away by having an affair with a woman who winds up murdered. This coincides with the falling apart of his relationship and the shattering of a code he embraced in the military. I felt that Stephen believed he was trying to do right by the people in his life he cared for...he just fell apart.” The friendship of his character with Collins leads to conflicts that Crowe found interesting to explore - especially how members of the media can leave themselves open to manipulation. He says: “Stephen Collins is a chess player who uses those skills to his advantage. He lives in a world in which agendas are pushed by friends on the inside. Same thing with the world of the press who, in their rush to beat the competition, are scrambling for inside sources who are often using them to push agendas of their own.” The cub reporter to McAffrey‟s seasoned vet, The Washington Globe State of Play 7 blogger Della Frye first begins to put together the link between seemingly unrelated deaths. Though she may be, as Macdonald puts it, “easy with her opinions and not so hard on the facts,” Frye‟s familiarity with and navigability of the world of technology makes her, initially, a most unsuitable partner for McAffrey. But the two find common ground in their drive to get to the bottom of this story. “Rachel has this fantastic ability to come across as a complete naïf, then turn that perception on its head by skewering her antagonist,” offers producer Fellner. “Her passion for this project and chemistry opposite Russell meant there was no better option to play Della. As we watched her go head-to-head with him, we knew we‟d made the ideal choice in casting.” Like many of her generation, the actor embraces emerging technology and the instant access to information that has come with it. “I was interested in the idea of new journalism versus old,” says McAdams. “It‟s a relevant issue in the face of a changing profession. But Cal‟s and Della‟s motivation is essentially the same: to write good stories. Her method is more of an instant gratification. She will get an assignment, do computer research, do a little firsthand research and write it up. Cal will skip the computer research and go straight to getting his hands dirty.” The relationship of the seasoned reporter with the fresh-faced blogger was an important one for the director to explore. Macdonald appreciated the fact that the writers had crafted a story among “two people who hate each other and end up not in love, but bonded. One of the things I love about their relationship - the central relationship of the film - is that it‟s one between an older man and a younger woman and it‟s not sexual; it‟s a mentor-mentee connection. You don‟t see that very much in film.” Robin Wright Penn was cast in the role of Anne Collins, a woman caught between loyalty to a husband whose ideals she still admires and a longing for intimacy she no longer knows in her marriage. It doesn‟t help matters for Anne that she is still in love with her husband‟s closest friend, Cal McAffrey. As an admirer of Macdonald‟s earlier work, Wright Penn was eager to join the project when she learned of the director. She was impressed by the level of intelligence and insights in his documentaries and felt he would know how to execute the steps that combine to make a successful political thriller. Hauptman was particularly impressed by the actor‟s passion to tell Anne‟s story, one that is all too common in the media: The wife of a successful political representative stands by a caught philanderer whose career is on the verge of collapse. The producer recalls a particularly moving performance. “When Robin gives a speech as Stephen‟s wife, she‟s effectively pleading to the journalists at the press conference to leave them alone and focus on the issues,” Hauptman says. “She did it with a lot of integrity and authenticity. When someone like Robin deeply believes in it, the audience can, too.” Academy Award-winner Helen Mirren was drawn to State of Play by not only the story, but also the fact that she would be representing powerhouse State of Play 8 women of the press, some of whom she met prior to her first day on set. “I liked the smartness of it, the relevance of it, the modernity of it,” notes Mirren. “Plus, I thought it was a great role. I was lucky enough to be in Ireland before this, doing an interview for The Irish Times when the journalist said, „You know, the editor of our newspaper is a woman.‟ I got very excited and I said, „Well, I have to meet her.‟ She was great.” Mirren did additional research for the role of tough-as-nails editor Cameron Lynne by joining a working session at the Los Angeles Times. “They kindly allowed us to sit in on what they call their „4:00 meeting,‟ which is when they start shaping up the next day‟s newspaper,” she recalls. “The head of each department pitches his or her own stories to try to get it on the front page. The feeling in that room was great. You felt you were in a room with very smart people, but they were also very tough with each other. No politeness, just very straightforward, very on the nose. You‟ve got to have nerves of steel in that environment.” Macdonald liked that Mirren empathized with the pressure that the paper‟s editor was under, one that is a daily experience in newsrooms across the world. He says: “The Globe has new ownership. The readership is diving like every newspaper‟s readership is diving, and Cameron needs this big, sexy story that Cal and Della are chasing. She needs that fast because that‟s going to help boost the circulation, as well as her profile with the ownership. She‟s torn between her old habits as a journalist and the more commercial tabloid instincts she has that will help the business to survive.” He was pleased the celebrated performer agreed to join the team. Macdonald says: “That was my best casting idea in the whole process, when I thought, „Who‟s better than Helen Mirren at playing controlling and intelligent? Who‟s a really strong, beautiful and admirable female who you can imagine in authority?‟ Fortunately, Helen agreed to do it.” Several key players were needed to introduce audiences to Pointcorp, a private military contractor that has been using its power to set up the only man who stands in its way of even more lucrative contracts with the Department of Defense, Stephen Collins. Explains Macdonald of the firm‟s pull: “Pointcorp is a mercenary company. There‟s been a fashion over the last two decades for privatization of life in America. And that privatization has now even reached into the military, into the CIA and the FBI, spying, wiretapping, all that.” Asked to join State of Play as Sonia‟s contact at Pointcorp, flashy publicist Dominic Foy, was Jason Bateman. The actor Macdonald calls “the most brilliant ad-libber I‟ve come across” portrayed the sleazy operator who helps ensnare the young intern into the world of political espionage. To do so, Bateman would have to pull out all the stops as a performer. Though it was challenging for Bateman get into the part of the self-absorbed, whiny, despicable man who leeches off anyone he can to fuel his addiction to power, drugs and youth, his co-stars loved watching him revel in the part. As he found the dynamics relevant to today‟s relationship between State of Play 9 journalism and our political leaders, Jeff Daniels was drawn to the role of cutthroat Senator George Fergus. He states: “What‟s interesting about the film are the parallels between what‟s going on today with the media and politics. It‟s a strange time because of 24/7 cable networks and all-day every-day journalism - whether there‟s anything to cover or not - that they need to feed the monster.” Supporting the cast of the political thriller is an accomplished team of performers. Together, they help the audience, as Macdonald puts it, “examine the various clues, the bread crumbs that Cal and Della follow together.” They include Doubt‟s VIOLA DAVIS as McAffrey‟s contact at the DC coroner‟s office, Dr Judith Franklin; Quantum of Solace‟s DAVID HARBOUR as Pointcorp insider Red Six; Garden State‟s MICHAEL WESTON and Knockaround Guys‟ JOSH MOSTEL as, respectively, The Washington Globe‟s pot-smoking reporters Hank and Pete; Miami Vice‟s BARRY SHABAKA HENLEY as the paper‟s harried metro editor, Gene Stavitz; Four Christmases‟ KATY MIXON as Sonia‟s seductive roommate, Rhonda Silver; Ray‟s HARRY LENIX as McAffrey‟s contact with the DC police, Detective Bell; Artificial Intelligence: AI‟s MICHAEL BERRESSE as hit man Robert Bingham; and Forgetting Sarah Marshall‟s MARIA THAYER as Sonia Baker, the gorgeous congressional staffer who meets an untimely end. Corridors of Power: Design and Locations “A newspaper can slant this any which way they want to.How do you think that‟s gonna go down?” - Cal McAffrey Los Angeles Creating the intricate newsroom and print shop where Cal, Della, Cameron and co-workers work at The Washington Globe required not only exhaustive research, but also two sound stages at Culver Studios in Culver City, California, to host the newspaper. It was the most detailed set on which the filmmakers could remember shooting. To imagine the work environment of the writers and editors of The Washington Globe, production designer Mark Friedberg and five-time Oscar- nominated set decorator CHERYL CARASIK toured the offices of several newspapers, including The Washington Post and the Los Angeles Times, took endless photos and reviewed archival documents that would give them inspiration. Nowhere was authenticity more important to the film than in this newsroom. “Our special effect is our newspaper set,” the director proudly notes. “We put all our love into that set. It was built over a vast area of two stages, opened up to be together, and it was double height. Some days, we had 250 journalists in there. I don‟t think anyone who‟s seen the film doesn‟t believe this is a real place.” State of Play 10 Says designer Friedberg of the process: “Most people think they know what a newspaper office looks like. Ninety percent of all newsrooms do look the same in certain respects: dropped ceiling, oppressive lighting and endless perspective. So we had to make it more real than what the average person can imagine. We also had to do a little improvising to make the fluorescent lighting more beautiful. We were using it to light our scenes, not just type copy.” While working with film crews for more than two decades should have prepared him for what he‟d find, Friedberg was still surprised by the surroundings. He laughs: “Mostly what we found is how messy reporters are. Filing is something they don‟t have much time for; filing means just piling your papers in a particular stack. Our technical advisor‟s main criticism about our newsroom was that it wasn‟t messy enough.” That advisor was RB BRENNER, respected editor of The Washington Post‟s metro section. Like anyone who watches as his profession receives the Hollywood treatment, Brenner was initially skeptical of how serious the filmmakers took their responsibility to accuracy. Those apprehensions were abated in his first meeting with the director. “When I first met with Kevin, I was struck by how knowledgeable he was about newspapers,” recalls Brenner. “He had really done his homework. He comes from a documentary background and he obviously had a real interest in journalism, as well as a respect for it. Mostly, in that first meeting, he was looking for precise detail in understanding what we would do in certain situations.” Offers Macdonald: “We tried to be as accurate as possible to what it‟s like to be a journalist for the film. The Washington Post was enormously useful and helpful, and they really took us under their wing. Every actor went on a tour and spent half a day there. They let us film their printing presses and advised us. They also gave us RB Brenner, who we met while we were touring the place. He really kept us on the straight and narrow. RB. is so responsible and ethical and sees journalism as an important public institution. He believes, as a reporter, you are responsible for the society you‟re living in, and you can do so much harm by printing an untruth.” Brenner became a key part of the filmmaking team, taking a sabbatical from his job at the Post for the month of filming newsroom sequences in Los Angeles. Also, he spent full days on set when in Washington - even while continuing to edit his newspaper‟s daily metro section. His advice on details would extend to minutiae no designer could imagine. Brenner says: “Cheryl would get parking tickets from DC and have them pinned up, as well as laundry receipts with a Washington address and garage repair slips. Even things that went in the drawers were authentic because she and Mark believed it was all part of making a character out of the set.” What struck many on the production was how much traditional journalism was changing as readers and reporters alike primarily received their information online. “We are also reflecting the downsizing of American newspapers,” Friedberg notes. “These are people almost literally buried under their paperwork, State of Play 11 now doing the work of what three or four of them used to do. Another sign of the times was that a lot of desks were going out the door, leaving open spaces.” The Washington Globe‟s newsroom took up about 20,000 square feet, using almost every square foot of the soundstages. The high ceilings at the Culver stages were particularly well suited for the job at hand. This was important, as the offices at the Globe were two-tiered, with editor Cameron Lynne‟s office strategically perched in a corner of the second floor. Cinematographer Rodrigo Prieto used this design to capture another perspective. He angles his cameras to shoot through Cameron‟s glass window and capture the ant farm that was below her. Relates Friedberg: “It gave that mid-70s film perspective of oblique angles and being far away from the characters. It was also important to provide a space for her that was integral to the rest of the newsroom. She‟s not in an ivory tower; she‟s a working reporter like the others.” This was at the direction of Macdonald, who explains his rationale: “There are things in our movie which are a homage to All the President’s Men, one of the great American journalism movies ever made.” In addition to detailing the office with hundreds of reams of paper, the effects team had to feed different images onto hundreds of desktop computers. A sprawl of cables and wires ran under the newsroom floor from a back booth where screen images were conjured. They were then transmitted to the hub of the newsroom, flash-feeding monitors. After a month of filming the interior Globe sequences, the production moved off the studio lot to shoot at various locations around Los Angeles. These included the downtown Bonaventure Hotel, as well as the Mayfield Senior High School for Girls and Centinela Hospital in Inglewood, where Della goes to check on a hospitalized deliveryman caught in the assassin‟s line of fire. The production returned to the Culver stages for two more weeks of LA. filming. There, the team built the interior of Cal‟s equally messy apartment and the motel room where Dominic Foy is interrogated by Cal, Della and Stephen. Washington DC State of Play filmed in the District of Columbia longer than any recent production in the memory of veteran location manager CAROL FLAISHER. The filmmakers were looking for locales that showed the DC where citizens live and work, not just the monuments that tourists come to visit. Flaisher battled multiple bureaucracies to provide State of Play with the working person‟s version of the nation‟s capital. She is the first person to admit that Washington is not an easy place to shoot a film. Admits Flaisher: “There are endless agencies you have to go through for permits: district, district police, park service, park service police, US Capitol, secret service, general services administration, to name a few. Security, for obvious reasons, is tight and there are certain places you can‟t film. The district police, though, are fabulous. They were what made filming here even State of Play 12 possible.” The Maine Avenue Fish Market, near the waterfront - one of the few remaining open-air fish markets along the East Coast - was among the first locations the film used in Washington. There, Cal meets with Pointcorp insider Red Six to track down the mercenary doing Pointcorp‟s bidding. Days later, the production shot on a street in front of the World Bank Building. It was a study in contrasts that represented the diversity of DC. Another key location was the Library of Congress, the nation‟s oldest historical and cultural repository, where the production filmed the scene in which Stephen and Collins hold a press conference after it is revealed he had an intimate relationship with Sonia Baker. Included in the audience were actual members of the press, such as Watergate icon BOB WOODWARD, BOB SCHIEFFER of CBS, MARGARET CARLSON of Bloomberg News, The Washington Post‟s EJ DIONNE JR and blogging journalist STEVEN CLEMONS. The Andrew W Mellon Auditorium was also the site of several days‟ filming. Considered by many to be one of the finest examples of classical architecture in America, the building is located on Constitution Avenue across from the National Mall. One scene shot on the balcony incorporated views of the mall museums and the congressional dome. From these historical edifices, the company moved to a storefront that played a key role in Washington‟s past and remains a DC pop culture landmark. Ben‟s Chili Bowl on U Street, near the historic Lincoln Theatre, is renowned for both its food and the part it played in quelling the riots following Martin Luther King Jr‟s assassination in 1968. It was an island of calm during that storm along U Street, a primarily African-American area where Duke Ellington and other jazz greats performed at the Lincoln. The history-rich section of Mount Pleasant, in DC‟s northwest area, provided the modest brick building that served as the exterior of Cal‟s apartment. Shooting at night, the production turned into a big block party over one weekend, as businesses along Mount Pleasant Street remained open and local residents stayed up all night watching the filming. Among the federal agencies that offered the production their headquarters were the Department of the Interior and the Department of Housing and Urban Development. The latter was turned into the exterior of the hospital where Cal comforts a shaken Della after she nearly becomes another victim during an assassination. A dozen rainbirds (sprinkler systems) lined the roof of the enormous complex, providing suitably dreary ambiance for the scene. The Scottish Rite Temple on 16th Street, in the Dupont Circle area, is one of the grander architectural accomplishments most tourists in the nation‟s capital don‟t see. A recreation of the Mausoleum of Halicarnassus, the landmark has front doors that are guarded by two sphinxes representing wisdom and power. It was designed by John Russell Pope, also known as the designer of the Jefferson Memorial. The film shot several scenes there, including the interior of State of Play 13 Congressman Collins‟ office and an exterior sequence in which Cal and Della walk past a rehearsing marching band. Both the lesser-known Americana Hotel in Arlington, Virginia, and the infamous Watergate Hotel served as key scene locations. Likewise, the Kennedy Center opened its doors to the production, allowing it to re-create a children‟s ballet - at which Cal confronts Senator Fergus - in one of its marbled reception areas. Even the Metropolitan Transit Authority allowed the movie to film a couple of key scenes. This was not a permission that was easy to come by, considering content, safety and service restrictions. For the end-title sequence, the crew was actually able to print its own copies of The Washington Globe. Explains Macdonald of one of his proudest moments in production: “It‟s The Washington Post‟s printing press. They allowed us to print our newspaper at their shop in Virginia. You see the Globe with the headline that is the end of our story going through their printing press.” Cameras and Costumes As they worked with designer Friedberg, cinematographer Prieto and Macdonald ensured that every decision was in service of the director‟s desire to, “visually show the change from journalists being the glowing stars - investigative heroes in the 70s - to being now sometimes thought of as the lowest of the low.” Adding to the distinct look of the film, Prieto used two different kinds of cameras: the standard Panavision - fitted with a new generation of anamorphic lenses that had not yet been tried in a feature film - and a Genesis digital camera. “We made the decision that we were exploring two worlds, and they should each be distinct,” Prieto explains. “We used anamorphic lenses for the world of journalism and digital for the world of politics - partly because whenever we, as average citizens, see politics, it‟s through a video camera.” It was also important to the DP and Macdonald to differentiate the characters through use of lenses. “Cal is more sloppy in his demeanor, in the way he keeps his apartment,” says Prieto. “Stephen‟s world is more formal, with sharper edges. Of course, it doesn‟t look super-obvious. The hope is that the audience will feel differently when they see different parts of the movie. Then they come together and the climactic scene is on film, handheld, because the congressman is entering Cal‟s world.” Jacqueline West selected State of Play‟s costumes with the same attention to gritty realism. “Kevin had a very definite feeling and look and mood he wanted for the movie,” she notes. “We were both inspired by movies from the 70s and the colors in them. Kevin likes the realism that you see on the streets.” Universal Pictures and Working Title Films Present - In Association with StudioCanal and Relativity Media - An Andell Entertainment/Bevan-Fellner Production: Russell Crowe, Ben Affleck, Rachel McAdams, Robin Wright Penn, Jason Bateman, Jeff Daniels and Helen Mirren in State of Play. The music is by Alex Heffes; the costume designer is Jacqueline West. The editor is Justine Wright, and the production designer is Mark Friedberg. State of Play‟s director of State of Play 14 photography is Rodrigo Prieto, ASC, AMC; the co-producer is Eric Hayes. The film‟s executive producers are Paul Abbott, Liza Chasin, Debra Hayward and E Bennett Walsh. The producers are Andrew Hauptman, Tim Bevan and Eric Fellner. State of Play is based on the BBC television series created by Paul Abbott. The film is from a screenplay by Matthew Michael Carnahan and Tony Gilroy and Billy Ray, and it is directed by Kevin Macdonald. © 2009 Universal Studios. www.stateofplaymovie.net “Journalism has a more rigorous standard: What is printed is believed to be true, not merely unsuspected of being false. The first rule of journalism is don‟t invent.” - Martin Arnold, The New York Times, November 12, 1988 ABOUT THE CAST Academy Award winner RUSSELL CROWE (Cal McAffrey) recently starred in Ridley Scott‟s Body of Lies and American Gangster, and the western 3:10 to Yuma, for director James Mangold. American Gangster and 3:10 to Yuma received 2008 Screen Actors Guild Award nominations for Outstanding Performance by a Cast in a Motion Picture. Body of Lies marked Crowe‟s fourth movie with Scott, the first being his Oscar-winning turn in Gladiator. He also starred in Scott‟s romance A Good Year, based on the book by Peter Mayle. His 2000 Academy Award-winning performance as the Roman General Maximus in Gladiator was book ended by two other Best Actor Oscar nominations: The Insider (1999) and A Beautiful Mind (2001). His role in Gladiator also earned him Best Actor award honors from several critics‟ organizations, including the Broadcast Film Critics Association. Additionally, he received nominations from the Hollywood Foreign Press Association, the Screen Actors Guild and BAFTA. In Ron Howard‟s A Beautiful Mind, Crowe‟s masterful portrayal of Nobel Prize-winning John Forbes Nash Jr garnered Best Actor awards from the HFPA, the Broadcast Film Critics Association, SAG, BAFTA, as well as critics groups. For his work in Michael Mann‟s nonfictional drama The Insider, as tobacco company whistle-blower Dr Jeffrey Wigand, he earned Best Actor awards from the Los Angeles Film Critics Association, Broadcast Film Critics Association, National Society of Film Critics and the National Board of Review, and nominations for a Golden Globe Award, a BAFTA Award and a Screen Actors Guild Award. Crowe reconnected with Howard, producer Brian Grazer and screenwriter Akiva Goldsman in Cinderella Man. His performance as the courageous, Depression-era boxer Jim Braddock earned him another Golden Globe nomination, among other honors. Prior to that, he starred as Capt. Jack Aubrey in Peter Weir‟s historical action-adventure Master and Commander: The Far Side of the World. State of Play 15 Crowe first made his mark on Hollywood in Curtis Hanson‟s crime drama LA. Confidential, as vice cop Bud White. He later starred in Jay Roach‟s Mystery, Alaska and in Taylor Hackford‟s Proof of Life, opposite Meg Ryan. In 1995, he made his American film debut in the western The Quick and the Dead, with Gene Hackman and Sharon Stone, and then starred as the cyber- villain SID 6.7 in Virtuosity, opposite Denzel Washington. Additional film credits include Heaven’s Burning, Breaking Up, Rough Magic, The Sum of Us, For the Moment, Love in Limbo, The Silver Brumby (based on the classic Australian children‟s novel), The Efficiency Expert and Prisoners of the Sun. Born in New Zealand, Crowe was raised in Australia, where he has also been honored for his work on the screen. He was recognized for three consecutive years by the Australian Film Institute (AFI), beginning in 1990, when he was nominated for Best Actor for The Crossing. The following year, he won the Best Supporting Actor Award for Proof. In 1992, he received Best Actor Awards from the AFI and the Australian Film Critics Association for his performance in Romper Stomper. In 1993, the Seattle International Film Festival named Crowe Best Actor for his work in both Romper Stomper and Hammers Over the Anvil. Crowe currently resides in Australia with his wife and two children. In 2007, BEN AFFLECK (Stephen Collins) received the Best Directorial Debut Award from the National Board of Review for his film Gone Baby Gone. He first came to prominence in 1997 with the acclaimed Good Will Hunting, in which he starred and co-wrote with Matt Damon. For their work, they won an Academy Award for Best Original Screenplay, a Golden Globe Award and the HUMANITAS Prize. He has since starred in films, including John Madden‟s Academy Award- winning Shakespeare in Love, Michael Bay‟s Pearl Harbor, Roger Michell‟s Changing Lanes and Kevin Smith‟s Jersey Girl. Affleck was recently seen in Joe Carnahan‟s stylish thriller Smokin’ Aces and in the critically acclaimed Hollywoodland, in which he played George Reeves, and for which he garnered numerous accolades including the Venice Film Festival‟s Volpi Cup for Best Actor in 2006, and a Golden Globe Award nomination in 2007. Affleck recently appeared in the ensemble cast of Warner Bros.‟ He’s Just Not That Into You and will be seen next in Miramax‟s Extract, which is slated for release in fall 2009. His upcoming projects include starring in The Company Men and The Town, the latter of which he will also direct. Some of his additional film credits include Ben Younger‟s Boiler Room; Richard Linklater‟s Dazed and Confused; the screen adaptation of Marvel Comics‟ “Daredevil”; The Sum of All Fears; Armageddon; and Forces of Nature. In addition to being a successful actor, writer and director, Affleck is a long-time political activist and strong supporter of many charitable organizations, including ONEXONE, A-T Children‟s Project, Feeding America, the Jimmy Fund and the ONE Campaign. State of Play 16 Affleck is a passionate advocate who travels the world to gain a deeper understanding of the complexity of issues facing Africa today. In the last year alone, he has made four separate trips to numerous countries on the African continent, with a focus on the Great Lakes region. Affleck has focused on understanding the causes and consequences of conflict in Africa, along with learning specifically about African solutions to the problems affecting the Great Lakes region and Horn of Africa. Most recently, Affleck traveled to the Democratic Republic of the Congo, where he directed the short film and public service announcement Gimme Shelter, which focused on the humanitarian crisis in that area. In partnership with the United Nation Office of the High Commissioner for Human Rights, this film is part of the international campaign to aid those displaced by violence. Canadian-native RACHEL McADAMS (Della Frye) made a double impact on the film world with her starring film debut in Disney‟s The Hot Chick and Nick Cassavetes‟ The Notebook, for New Line Cinema. McAdams followed this auspicious bow with a star turn, opposite Lindsay Lohan, in Paramount Pictures‟ Mean Girls, written by Saturday Night Live‟s Tina Fey and produced by Lorne Michaels. In 2005, McAdams joined Owen Wilson, Vince Vaughn and Christopher Walken and starred in New Line Cinema‟s Wedding Crashers. The film made more than $250 million at the domestic box office. She next tackled DreamWorks‟ thriller Red Eye, directed by Wes Craven, which co-starred Cillian Murphy. McAdams followed this with the holiday drama The Family Stone, which starred Diane Keaton, Sarah Jessica Parker and Claire Danes. McAdams then explored the independent film world with Married Life, which also starred Pierce Brosnan, Chris Cooper and Patricia Clarkson. The film, directed by Ira Sachs, premiered at the Toronto International Film Festival in 2007. McAdams next starred with Tim Robbins and Michael Peña in the Neil Burger-directed film The Lucky Ones. This summer, she will be seen in New Line Cinema‟s The Time Traveler’s Wife, starring opposite Eric Bana. The film is a romance based on the best- selling novel about a Chicago librarian (Bana) and his artist wife Clare (McAdams). Bana‟s character has a rare gene disorder that causes him to involuntarily time travel, and this creates complications for his marriage and life with Clare. McAdams has just finished filming Sherlock Holmes for Warner Bros. She plays Irene Adler, one of the most notable female characters in the original Sherlock Holmes stories. She is a spirited character who holds her own opposite the charming but cagey Holmes. She stars opposite Robert Downey Jr and Jude Law. The film is directed by Guy Ritchie and is scheduled for release this Christmas. State of Play 17 In 2005, McAdams received ShoWest‟s Supporting Actress of the Year Award as well as the Breakthrough Actress Award at the Hollywood Film Awards. McAdams was born and raised in a small town outside of London, Ontario. Involved with theater growing up, she went on to graduate with honors with a BFA in theater from York University. ROBIN WRIGHT PENN (Anne Collins) made her film debut in Rob Reiner‟s cult classic The Princess Bride, and has since become one of cinema‟s most acclaimed actors. Wright Penn has received many kudos for her outstanding performances throughout the years. Two of her first nominations were for Golden Globe and Screen Actors Guild (SAG) Awards and came in 1995 for her unforgettable role as Jenny, starring opposite Tom Hanks, in Robert Zemeckis‟ Best Picture Oscar winner Forrest Gump. Wright Penn earned her second SAG Award nomination for Outstanding Performance by a Female Actor in a Leading Role for Nick Cassavetes‟ She’s So Lovely, and she received her third SAG nomination for Outstanding Performance by a Female Actor in a Television Movie or Miniseries for Fred Schepisi‟s Empire Falls. She has received three Independent Spirit Award nominations for her performances in Erin Dignam‟s Loved, in which she starred opposite William Hurt; Rodrigo García‟s ensemble Nine Lives; and Jeff Stanzler‟s Sorry, Haters. Additionally, Wright Penn starred in and served as an executive producer on Deborah Kampmeier‟s Virgin, which received an Independent Spirit Award nomination for the John Cassavetes Award. Her other film credits include Anthony Minghella‟s Breaking and Entering, in which she starred opposite Jude Law; Robert Zemeckis‟ Beowulf, opposite Angelina Jolie and Anthony Hopkins; Keith Gordon‟s The Singing Detective, opposite Robert Downey Jr; Peter Kosminsky‟s White Oleander, opposite Alison Lohman; Anthony Drazan‟s Hurlyburly, opposite Kevin Spacey; Sean Penn‟s The Pledge, opposite Jack Nicholson; Luis Mandoki‟s Message in a Bottle, opposite Kevin Costner and Paul Newman; M Night Shyamalan‟s Unbreakable, opposite Bruce Willis and Samuel L Jackson; Pen Densham‟s Moll Flanders, opposite Morgan Freeman; Barry Levinson‟s Toys, opposite Robin Williams; and in the short film Room 10, directed by Jennifer Aniston for Glamour magazine‟s Reel Moments series, in which she starred opposite Kris Kristofferson. Wright Penn was last seen in Barry Levinson‟s What Just Happened, opposite Robert De Niro, and Deborah Kampmeier‟s Hounddog, opposite Dakota Fanning, which Wright Penn also executive produced. She will next be seen in Robert Zemeckis‟ A Christmas Carol, her third collaboration with the director and slated for release on November 6, 2009. Wright Penn was recently seen in Rebecca Miller‟s drama The Private Lives of Pippa Lee, in which she starred as the title character opposite Julianne Moore, Alan Arkin, Keanu Reeves and Blake Lively. The drama premiered at the 2009 Berlin International Film Festival. State of Play 18 In 2004, actor, producer and director JASON BATEMAN (Dominic Foy) was honored with a Golden Globe Award for Best Actor in a Comedy Series, and earned an Emmy Award nomination and two Screen Actors Guild (SAG) Award nominations for his irreverent portrayal of Michael Bluth on the Mitchell Hurwitz- created, multi-award-winning comedy series Arrested Development. Since then, Bateman has attained leading-man status on the big screen while returning to his roots in television by continuing to produce, write and develop projects for the small screen. One can easily surmise, by the prestigious array of studios, directors and producers that are hiring Bateman, that he is a valuable commodity. While Bateman‟s starring role in the Emmy Award-winning FOX comedy series Arrested Development brought a newfound appreciation from the public, it also caught the attention of the motion picture industry and reinvigorated interest in Bateman. Since the show ended in 2006, Bateman has secured one major film role after the next. Bateman recently wrapped production on the Universal Pictures comedy Couples Retreat, in which he stars alongside Vince Vaughn, Jon Favreau and Kristen Bell, and which is slated for release on October 9, 2009. He also filmed the Miramax Films feature Extract, directed by Mike Judge, which Bateman headlines and produced through his F+A Productions banner. Extract co-stars Mila Kunis and is slated for release in fall of 2009. Bateman will be seen in the Ricky Gervais-penned and -directed comedy This Side of the Truth, due in theaters late 2009 or early 2010. Currently, Bateman is filming Up in the Air, starring George Clooney, for Paramount Pictures with director Jason Reitman. Soon thereafter, he will begin production with Jennifer Aniston on the Mandate Pictures romantic comedy The Baster, in which he plays the lead role. The film is set to shoot in New York in March 2009. Bateman is also producing and starring in a film for Universal, which is based on an original idea of his, called The Remarkable Fellows, and which Joe Carnahan is writing and directing. Bateman reteams with Carnahan after working with him on Universal Pictures‟ Smokin’ Aces, in 2006. The film is an action- comedy about two elite revenge specialists, who are hired by the most powerful and wealthy people all over the world to exact revenge on those who have wronged them. The film will begin production in late summer or fall 2009. On the small screen, Bateman‟s company F+A Productions secured a first-look production deal to develop, direct and write original content for 20th Century Fox Television. The deal came to fruition after Bateman directed for the network the comedy pilot Do Not Disturb, which premiered in the 2008 fall lineup. Bateman also reteamed with Arrested Development creator Mitchell Hurwitz to voice a character in the FOX animated comedy series Sit Down, Shut Up, which premieres April 19, 2009. This summer, Bateman will direct and produce the pilot for FX Network‟s The Merger. Last year, Bateman co-starred in the Peter Berg action film Hancock, State of Play 19 alongside Will Smith and Charlize Theron, which had one of the biggest worldwide box-office openings in 2008. Hancock arrived on the heels of one of the biggest success stories in independent filmmaking, Fox Searchlight‟s gem Juno, in which Bateman had a pivotal role as the potential, yet uncertain, adoptive father to Juno‟s unborn child. Directed by Jason Reitman, the film was nominated for Best Picture by most major film critics‟ groups as well as by the Hollywood Foreign Press Association and Academy of Motion Picture Arts and Sciences. In 2007, Bateman co-starred opposite Jamie Foxx, Chris Cooper and Jennifer Garner in the Universal Pictures drama The Kingdom, an action-thriller set in Saudi Arabia that was also directed by Berg. Prior to The Kingdom, Bateman starred opposite Dustin Hoffman and Natalie Portman in the 20th Century Fox/Mandate Pictures family-fantasy film Mr Magorium’s Wonder Emporium, for ingénue director and writer Zach Helm. Bateman‟s other recent films include the comedy The Ex, in which he starred with Zach Braff and Amanda Peet, and a supporting role in The Break- Up, with Vince Vaughn and Jennifer Aniston. Prior to those, he portrayed a loose-lipped sports commentator in 20th Century Fox‟s comedy Dodgeball: A True Underdog Story, which starred Vince Vaughn and Ben Stiller. Bateman also co-starred in the Warner Bros. film Starsky & Hutch, opposite Ben Stiller, Owen Wilson and Vince Vaughn. In 2002, he starred with Cameron Diaz, Christina Applegate and Selma Blair in the romantic comedy The Sweetest Thing. Dating back to his adolescent and teenage years, Bateman‟s portrayal of the charming schemer Derek Taylor in Silver Spoons prompted NBC to create the spin-off It’s Your Move, in which Bateman starred. He then starred with Valerie Harper in her serial series Valerie, Valerie’s Family and The Hogan Family from 1986 through 1991 and, prior to that, was a series regular on the iconic television series that has become an American treasure, Little House on the Prairie. Bateman currently resides in Los Angeles with his wife, Amanda Anka, and their daughter, Francesca. JEFF DANIELS (Senator George Fergus) found his first popular success in film with Terms of Endearment, as he played the philandering husband of Debra Winger‟s character. In 2005, his performance in The Squid and the Whale earned him Independent Spirit Award and Golden Globe award nominations, as well as Newsweek‟s choice for Best Actor. Daniels co-stars in the upcoming films Arlen Faber, Away We Go and Paper Man. Daniels made his feature film debut in Milos Forman‟s Ragtime. Other film credits include Woody Allen‟s The Purple Rose of Cairo; Mike Nichols‟ Heartburn; Jonathan Demme‟s Something Wild; Radio Days; The House on Carroll Street; Marie; Checking Out; Welcome Home, Roxy Carmichael; The Butcher’s Wife; Grand Tour; Arachnophobia; Gettysburg; Speed; Dumb & Dumber; Fly Away Home; 2 Days in the Valley; 101 Dalmatians; Trial and Error; Pleasantville; My Favorite Martian; All the Rage; Chasing Sleep; Blood Work; The Hours; Gods and Generals; I Witness; Imaginary Heroes; Because of Winn- State of Play 20 Dixie; RV; Good Night, and Good Luck.; Infamous; The Lookout; and most recently, Traitor. Daniels launched his acting career from the New York stage. Raised in Michigan, he attended Central Michigan University and majored in English with a minor in theater. Impressed with the 21-year-old actor, guest director Marshall W Mason invited him to join the acclaimed Circle Repertory Company in New York. His stage credits from this period include The Farm, Lanford Wilson‟s Brontosaurus and Corinne Jacker‟s My Life, in which he co-starred with Christopher Reeve and William Hurt. Other New York roles include Three Sisters, The Shortchanged Review, Lemon Sky (which earned Daniels a Drama Desk nomination) and A R Gurney Jr‟s The Golden Age, which also starred Stockard Channing and Irene Worth. In 1993, Daniels worked with Marshall Mason on Broadway in Lanford Wilson‟s Redwood Curtain. In 2007, he returned to the off-Broadway stage in the critically acclaimed American premiere of David Harrower‟s Blackbird. He recently starred in the world premiere of Turn of the Century, a musical directed by Tommy Tune and written by Marshall Brickman and Rick Elice, the writing team behind Jersey Boys. In March 2009, Daniels returned to the Broadway stage in Yasmina Reza‟s new play, God of Carnage. The play is described as a comedy of manners without the manners. Playing the role of Jed Jenkins in Lanford Wilson‟s Fifth of July won Daniels widespread recognition early in his career. In 1983, after three different productions and filming the play for television, Daniels returned to Circle Repertory Company and starred in a one-man show that adapted Dalton Trumbo‟s “Johnny Got His Gun,” an effort for which he won an Obie Award. Recently, Daniels starred in Hallmark Hall of Fame‟s Sweet Nothing in My Ear, opposite Marlee Matlin. Other television credits include An Invasion of Privacy, A Rumor of War, Trying Times, The Caine Mutiny Court-Martial, Teamster Boss: The Jackie Presser Story, No Place Like Home, Tanner „88, The Crossing, Cheaters and The Five People You Meet in Heaven. In 1991, Daniels established The Purple Rose Theatre Company, a nonprofit professional theater in the small town of Chelsea, Michigan. Since its establishment, The Purple Rose has gained a national reputation as a home for new American plays. Daniels has written 12 plays for The Purple Rose, including Apartment 3A, Boom Town and Guest Artist, the American Theatre Critics Association‟s runner-up for Best New Play in 2007. In 1998, Daniels formed Purple Rose Films. The company‟s first project, Escanaba in da Moonlight, earned $2.3 million despite being self-distributed, making it one of 2001‟s top-grossing independent films in the country. In February 2002, Daniels‟ second venture, Super Sucker, won the Audience Award for Best Feature at the HBO-sponsored US Comedy Arts Festival in Aspen, Colorado. In 2003, Across the Way was a finalist and Daniels‟ first nomination for the ATCA‟s Best New Play. In fall 2006, The Purple Rose premiered Escanaba in Love, the second play of Daniels‟ Escanaba trilogy. Escanaba in da Moonlight State of Play 21 sold out in 1995 and 1997, setting the record as the longest-running show in Detroit history. His latest play with music, Panhandle Slim and the Oklahoma Kid, premiered at The Purple Rose in June 2008. Daniels‟ songwriting has taken him all over the country. Initially used as a way to raise money for The Purple Rose, Daniels‟ live performances and guitar playing can be found on his three CDs: “Live and Unplugged to Benefit The Purple Rose Theatre,” “Grandfather‟s Hat” and “Together Again.” Daniels was awarded an honorary doctorate from his alma mater, Central Michigan University. In 1991, he received both the Detroit News‟ Michiganian of the Year Award and the prestigious Michigan Artist Award from the Governor‟s Awards. HELEN MIRREN (Cameron Lynne) is an actress who has won international recognition for an exceptional career spanning film, television and theater. Mirren‟s recent film projects include her husband Taylor Hackford‟s Love Ranch, in which she stars opposite Joe Pesci. For Mirren and Hackford, it is their first film collaboration since 1985‟s White Nights. She is also working on Michael Hoffman‟s The Last Station, for Warner Bros.; Julie Taymor‟s The Tempest, for Miramax, in which she stars as Prospera in a twist on the classic character Prospero; and John Madden‟s The Debt, for Miramax. Mirren won Academy Award, Golden Globe, Screen Actors Guild (SAG), BAFTA and Critics Choice awards for her role as Queen Elizabeth II in The Queen. In addition, she was named Best Actress by every critics‟ organization from Los Angeles to London. The same year she filmed The Queen, Mirren won recognition for two other performances. For HBO, she portrayed Queen Elizabeth I in the miniseries Elizabeth I, winning Emmy, Golden Globe and SAG Awards. Mirren also reprised her role as Detective Jane Tennison in Prime Suspect: The Final Act, the last installment in the PBS series. The performance earned her nominations for both an Emmy and a Golden Globe Award - but she lost to herself for her role as Elizabeth I Mirren began her career at the National Youth Theatre and joined the Royal Shakespeare Company in 1967, starring in such productions as Troilus and Cressida and Lady Macbeth. She later toured the world with renowned director Peter Brook‟s theater company. Her breakthrough film role was in John Mackenzie‟s The Long Good Friday as the tough but sexy mistress to Bob Hoskin‟s volatile gangster character. Critics hailed her as a major new screen star. Soon after, Mirren won the Best Actress Award at the Cannes Film Festival and was nominated for a BAFTA for Pat O‟Connor‟s Cal. She continued to push boundaries in Peter Weir‟s The Mosquito Coast, Peter Greenaway‟s The Cook, The Thief, His Wife & Her Lover, Charles Sturridge‟s Where Angels Fear to Tread and Terry George‟s Some Mother’s Son, which she also co-produced. State of Play 22 In 1995, Mirren won a second Best Actress Award at Cannes for her work in Nicholas Hytner‟s The Madness of King George. The role earned her nominations for an Academy Award and a BAFTA. Mirren received another Academy Award nomination for her role as the housekeeper in Robert Altman‟s Gosford Park, for which she won SAG, Critics Choice and New York Film Critics Circle Awards. Mirren‟s television credits include Kevin Bacon‟s Losing Chase, for which she won a Golden Globe Award. She received Emmy, Golden Globe and SAG Award nominations for Christopher Menaul‟s The Passion of Ayn Rand, and for her roles in Door to Door and The Roman Spring of Mrs Stone. Her recent film credits include Sean Penn‟s The Pledge, Garry Marshall‟s Raising Helen, Nigel Cole‟s Calendar Girls, Lee Daniels‟ Shadowboxer and Iain Softley‟s Inkheart. On the stage, she has been equally successful, appearing in Teeth ‘n’ Smiles at the Royal Court Theatre, The Seagull at the Lyric Theatre and Arthur Miller‟s Two-Way Mirror. Mirren‟s recent theater work includes her Broadway debut in 1995 with A Month in the Country, for which she earned a Tony Award nomination. A second Tony Award nod came in 2002, when she played opposite Sir Ian McKellan in The Dance of Death. Mirren‟s latest theater role in Mourning Becomes Electra at the National Theatre won her a nomination for an Olivier Award for Best Actress. This summer, she will return to the National Theatre in a version of Jean Racine‟s Phèdre, directed by Nicholas Hytner. Mirren became a Dame of the British Empire in 2003. ABOUT THE FILMMAKERS Director KEVIN MACDONALD (Directed by) began his filmmaking career in documentaries. In 2000, his first feature documentary, One Day in September, won the Oscar for Best Documentary Feature. His second feature, Touching the Void, which premiered at the Telluride Film Festival in 2003, was released in the UK in December of that year and the US in January 2004. The awards it received include a BAFTA for Best British Film and the Evening Standard British Film Award for Best Film. It remains Britain‟s highest-grossing documentary. Macdonald‟s first feature-length drama, The Last King of Scotland, which starred Forest Whitaker, premiered at the Telluride Film Festival and was released in the UK and the US in 2006. The movie won BAFTAs for Best British Film and Best Adapted Screenplay. Whitaker won an Academy Award and a BAFTA for his portrayal of Idi Amin. Macdonald co-edited “The Faber Book of Documentary” (1997) and wrote State of Play 23 “Emeric Pressburger: The Life and Death of a Screenwriter” (Faber, 1994), which was named British Film Institute‟s Film Book of the Year and short-listed for the NCR non-fiction prize. His journalism has appeared in numerous publications including The Guardian, The Observer and The Daily Telegraph. Other documentaries Macdonald has made include My Enemy’s Enemy, the story of Nazi Klaus Barbie; Being Mick, an authorized feature-length documentary on Mick Jagger; and Humphrey Jennings: The Man Who Listened to Britain, a portrait of the surrealist painter, anthropologist and filmmaker. MATTHEW MICHAEL CARNAHAN (Written by) was recently cited by the industry trade publication Variety as one of Hollywood‟s “Top 10 Screenwriters to Watch.” The Kingdom marked his first produced script. Carnahan is currently adapting “The Forever War” for Ridley Scott and Fox 2000. The film will mark Carnahan‟s directorial debut. Carnahan was born in Port Huron, Michigan. He spent his youth in the neighboring village of Shepherd before relocating to Northern California with his family, including older brother Joe, the writer/director of Narc and the black comedy Smokin’ Aces. The younger Carnahan graduated from the University of Southern California with a degree in international relations and political science, and intentions of going into the foreign service. A detour led him to a post as a spokesman for a DC-based think tank known as the Advisory Board. Following the events of 9/11, and at the urging of his brother, Carnahan turned to screenwriting. He penned a contemporary police thriller entitled Soldier Field (set in his adopted town of Chicago, where he currently resides) for Ted Field‟s Radar Pictures. That original screenplay caught the eye of filmmaker Peter Berg, who commissioned him to write The Kingdom, based on Berg‟s idea. In addition to these two scripts, Carnahan has also written TV (about the first live sports broadcast on television) for MGM; White Jazz, an adaptation of James Ellroy‟s follow-up novel to LA. Confidential (which is to be directed by his brother for Warner Independent Pictures); and MGM‟s Lions for Lambs, which Carnahan also produced and which starred Robert Redford, Meryl Streep and Tom Cruise. TONY GILROY (Screenplay by) made his feature film directorial debut with the Oscar-nominated Michael Clayton, for which he was nominated for both an Academy Award for Best Director and a Directors Guild Award. An acclaimed screenwriter, Gilroy spent seven years working on the trilogy of Bourne films: The Bourne Identity, The Bourne Supremacy and the hit The Bourne Ultimatum. Most recently, he wrote and directed Universal Pictures‟ Duplicity, starring Julia Roberts and Clive Owen. Gilroy has also written three screenplays for director Taylor Hackford: Dolores Claiborne, based on the novel by Stephen King and starring Kathy Bates and Jennifer Jason Leigh; The Devil’s Advocate, starring Keanu Reeves, Al Pacino and Charlize Theron; and Proof of Life, starring Russell Crowe and Meg State of Play 24 Ryan, which Gilroy also executive produced. Gilroy‟s additional writing credits include Michael Bay‟s blockbuster Armageddon, which starred Bruce Willis, Ben Affleck, Liv Tyler and Billy Bob Thornton; Michael Apted‟s Extreme Measures, which starred Gene Hackman, Hugh Grant and Sarah Jessica Parker; The Cutting Edge, which starred DB. Sweeney and Moira Kelly; and the television movie For Better and for Worse, which starred Patrick Dempsey and Kelly Lynch. Raised in upstate New York, Gilroy is the son of Pulitzer Prize-winning playwright and filmmaker Frank D Gilroy. His brother Dan Gilroy is a screenwriter, and his brother John Gilroy is a film editor who also worked on Michael Clayton and Duplicity. BILLY RAY (Screenplay by) was born and raised in Los Angeles, California. In 1985, he graduated with a BFA degree from UCLA. The first piece of writing he ever sold was an episode of The Jetsons, at age 19. Ray‟s credits include 2002‟s Hart’s War, which starred Bruce Willis, Colin Farrell and Terrence Howard. In 2003, Ray wrote and directed Shattered Glass for Lionsgate Films, which starred Hayden Christensen and Peter Sarsgaard. He co-wrote Flightplan, which starred Jodi Foster and was released in 2005. Ray also co-wrote and directed Breach in 2007, which starred Chris Cooper, Ryan Phillippe and Laura Linney. Currently working on the DreamWorks project Motorcade, for director Len Wiseman, Ray is also attached to direct his screenplay Conjure Wife for United Artists, based on the 1943 novel of the same name by Fritz Leiber. Born in Burnley, Lancashire (UK), PAUL ABBOTT (Based on the BBC Television Series Created by/Executive Producer) became a story editor on the television series Coronation Street in 1983, and graduated to the script team four years later. In 1988, he co-created the drama series Children’s Ward with Kay Mellor, which ran for more than 10 years. In 1994, Abbott produced the second season of Jimmy McGovern‟s Cracker (ITV), for which he won a BAFTA TV Award for Best Drama Series. In 1995, he wrote two stories for the third season of the show. Abbott spent the next year working on the miniseries Reckless (ITV) and Touching Evil (ITV, 1997–99), and the television series Springhill (BSkyB). In 1999, he wrote the two-part telefilm Butterfly Collectors (HBO). In 1998, Abbott created the series that established him as a leading writer of contemporary television drama, Clocking Off (BBC, 2000). This award-winning series was followed by the miniseries The Secret World of Michael Fry (Channel Four, 2000), the television series Linda Green (BBC, 2001–02) and the two-part telefilm Alibi (ITV, 2003). In 2003, Abbott wrote the political thriller State of Play (BBC miniseries), which received rapturous critical reception. In 2004, he created the semi-autobiographical Shameless, now in its sixth season. Abbott has won various awards for writing and producing, including BAFTA‟s Dennis Potter Award for Outstanding Writing for Television, State of Play 25 international Emmy awards and the Peabody Award. He is a visiting professor at the University of Salford, an honorary professor at Manchester Metropolitan University and a passionate supporter and mentor of new writing. In 2008, Abbott established Abbott Vision, which incorporates his Manchester-based writers studio into Abbott Productions (formerly Tightrope Pictures). Abbott lives with his wife and two children in Manchester. ANDREW HAUPTMAN (Produced by) is the chair and chief executive officer of Andell Holdings, a private investment firm and family office with global business and investment interests. Hauptman has oversight of the entire firm‟s investments, operations and sports and entertainment businesses, which includes his production company Andell Entertainment. Hauptman has experience in all aspects of the entertainment industry: as a producer, an executive and a director of companies covering the production, distribution and exhibition businesses. He secured rights to the highly acclaimed BBC television series State of Play in 2004, and oversaw the development and production of the project into a US-based feature. Andell Entertainment is currently at work on a number of other features, including Lombardi, a co-production with the National Football League. Hauptman‟s other producing credits include Safe Men, written and directed by John Hamburg; Millions, directed by Danny Boyle; and Lions for Lambs, directed by Robert Redford. Hauptman also serves on the board of directors of several privately held and publicly traded companies. He is owner and chair of Major League Soccer‟s Chicago Fire and Chicago Stadium Management, the operator of Toyota Park. He serves on the board of governors of Major League Soccer. Hauptman is chair of Storage Mobility, the nation‟s largest franchise of Portable On Demand Storage (PODS), and a director of Canyon Ranch Holdings, a leader in the health, wellness and fitness industry. Additionally, he holds a substantial position in Sports Supply Group, one of the nation‟s leading sports equipment distributors. He has previously served as a board member of numerous media and entertainment companies, including Dick Clark Productions and Loews Cineplex Entertainment. Hauptman is involved in several philanthropic and civic organizations. He is chair and co-founder of CityYear Los Angeles, a program that engages 17- to 24-year-olds from diverse backgrounds for a year of full-time community service, and he also serves as a trustee on City Year, Inc.‟s national board. He serves on the board of trustees of the Los Angeles County Museum of Art (LACMA), the Zoe Saidye Hauptman Memorial Fund, The Hauptman Family Foundation and The Charles Bronfman Prize, and is a member of the Yale University Council, an advisory board to the president of Yale University. Early in his career, Hauptman worked in restructuring and mergers and acquisitions with Alex. Brown & Sons in New York. He later worked with Universal Studios in London and played a key role in the oversight of its State of Play 26 international operations, focusing primarily on the music and film entertainment groups. Hauptman holds an MBA from Harvard Business School and a BA in history from Yale University. He resides in Los Angeles with his wife, Ellen, and their two children. Working Title Films, co-chaired by TIM BEVAN and ERIC FELLNER (Produced by) since 1992, is one of the world‟s leading film production companies. DEBRA HAYWARD (Executive Producer) serves as head of film and is creatively responsible for the company‟s slate of motion pictures, in conjunction with her US counterpart, LIZA CHASIN (Executive Producer). Founded in 1983, Working Title has made more than 90 films that have grossed more than $4.5 billion worldwide. Its films have won six Academy Awards and 26 BAFTAs. Bevan and Fellner received the Michael Balcon Award for Outstanding British Contribution to Cinema at the Orange British Academy Film Awards and both have been honored with the title of Commanders of the Order of the British Empire. Working Title‟s extensive and diverse list of credits include: Seven films with Joel and Ethan Coen: Burn After Reading; Fargo; The Hudsucker Proxy; The Big Lebowski; O Brother, Where Art Thou?; The Man Who Wasn‟t There; and, currently in postproduction, A Serious Man In collaboration with writer Richard Curtis: Bean: The Movie, Bridget Jones‟s Diary, Bridget Jones: The Edge of Reason, Four Weddings and a Funeral, and Notting Hill, as well as Love Actually and The Boat That Rocked (which Curtis also directed) Pride & Prejudice and Atonement, directed by Joe Wright United 93 and The Green Zone, directed by Paul Greengrass Hot Fuzz and Shaun of the Dead, directed by Edgar Wright About a Boy, directed by Paul Weitz The Interpreter, directed by Sydney Pollack Dead Man Walking, directed by Tim Robbins Elizabeth and Elizabeth: The Golden Age, directed by Shekhar Kapur Frost/Nixon, directed by Ron Howard Nanny McPhee, directed by Kirk Jones, and Nanny McPhee II, directed by Susanna White, which will soon go into production Billy Elliot, directed by Stephen Daldry. The success of the film has continued on the London, Sydney and Broadway stages with a stage-musical version directed by Daldry - with songs composed by Sir Elton John Currently in postproduction are Beeban Kidron‟s Hippie Hippie Shake, starring Cillian Murphy, Sienna Miller, Emma Booth and Max Minghella; Joe Wright‟s The Soloist, starring Jamie Foxx, Robert Downey Jr and Catherine Keener; and Paul Greengrass‟ The Green Zone, starring Matt Damon. State of Play 27 E BENNETT WALSH (Executive Producer) most recently produced the critically acclaimed The Kite Runner, directed by Marc Forster. Based on the international best-selling novel, the movie earned Golden Globe Award and BAFTA nominations for Best Foreign Language Film. Walsh also recently served as producer on the crime thriller Disturbia, which became one of DreamWorks‟ highest-grossing films of 2007, with an international box office surpassing $100 million - more than five times the film‟s budget. Prior to this, he executive produced Ghost Rider, directed by Mark Steven Johnson and which starred Nicolas Cage and Eva Mendes, and the action-drama Stealth, which starred Josh Lucas and Jamie Foxx. Walsh enjoyed one of his greatest successes as executive producer on both volumes of Quentin Tarantino‟s Kill Bill. The films earned five BAFTA nominations and Uma Thurman and David Carradine earned Golden Globe Award nominations, among other honors. The two movies had a combined international gross of more than $300 million. Previously, Walsh executive produced the Michael Apted thriller Enough, which starred Jennifer Lopez, and served as co-producer on a series of independent productions out of New York, including the Mariah Carey music drama Glitter and the well-received Wall Street thriller Boiler Room. After graduating from Boston‟s Emerson College with a BA in film studies, Walsh moved to New York, where he became involved in independent filmmaking, initially as an art director and cinematographer, then as a producer. Among his earliest producing credits was A Brother’s Kiss, credited as producer/UPM alongside veteran producer Norman Jewison. RODRIGO PRIETO ASC AMC (Director of Photography) earned an Academy Award nomination for his work on Ang Lee‟s Brokeback Mountain. He reunited with Lee on Lust, Caution, for which he received the Golden Osella Award for Best Cinematography at the Venice Film Festival, and an Independent Spirit Award nomination for Best Cinematography. Most recently, he worked with Pedro Almodóvar on Los Abrazos Rotos (Broken Embraces), starring Penélope Cruz. Prieto earned a BAFTA Award nomination for his work on Alejandro González Iñárritu‟s multi-Oscar-nominated Babel. He previously worked with Iñárritu on 21 Grams and Amores Perros. Prieto‟s other credits include Oliver Stone‟s Alexander, Spike Lee‟s 25th Hour, Curtis Hanson‟s 8 Mile, Julie Taymor‟s Frida, as well as two documentaries on Fidel Castro, respectively titled Comandante and “Looking for Fidel,” an episode of America Undercover that was directed by Stone. He also directed the “Persona Non Grata” episode of America Undercover, which was about the Palestinian-Israeli conflict. A native of Mexico City, Prieto began his film career shooting shorts and commercials in 1988, moving to features in 1991. MARK FRIEDBERG (Production Designer) recently completed work on State of Play 28 Charlie Kaufman‟s directorial debut, Synecdoche, New York. Originally a student of fine art, the Manhattan native sustained his passion for both film and painting by merging them into a career as production designer on a series of influential low-budget movies during the New York indie film movement of the early „90s. Among the films he designed during this period were Alexandre Rockwell‟s In the Soup and Maggie Greenwald‟s The Ballad of Little Jo. These led to his collaboration with a variety of filmmakers ranging from industry icons Garry Marshall (Runaway Bride) and Mel Brooks (The Producers, 2005) to independent mavericks like Mira Nair (Kama Sutra: A Tale of Love), Ang Lee (The Ice Storm), Ed Harris (Pollock), Todd Haynes (Far From Heaven), Jim Jarmusch (Broken Flowers, Coffee and Cigarettes), Wes Anderson (The Life Aquatic with Steve Zissou, The Darjeeling Limited) and Julie Taymor (Across the Universe). For JUSTINE WRIGHT (Editor), State of Play marks her fourth collaboration with director Kevin Macdonald. She edited his award-winning feature The Last King of Scotland and the documentaries Touching the Void, which won BAFTA‟s Alexander Korda Award for Best British Film, and the Academy Award winner One Day in September, which earned her a British Independent Film Award for Best Newcomer (Off-Screen). Wright was recently the supervising editor on the documentary Deep Water, which won the Best Documentary Award at the Rome Film Fest. She also recently edited the short film Silence Is Golden, which won the TCM Prize at the London Film Festival. Wright‟s other feature film credits as editor include The Final Curtain, which starred Peter O‟Toole, and Late Night Shopping, which won the BAFTA Scotland Award for Best Feature Film at the Scottish BAFTA Awards in 2002. In 1999, she edited the short film Inside-Out, which won the BBC Short Film Festival. Wright was trained in the world of commercials and was first a commercial and music video editor before moving on to feature films. ERIC HAYES (Co-Producer) serves as president of Andell Entertainment, working closely with owner Andrew Hauptman to develop and produce high- quality, commercially viable theatrical films. In addition to having overseen State of Play, Hayes continues to oversee the development and production of a number of other Andell Entertainment features, including Lombardi, a co- production with the National Football League. Hayes also serves as an advisor on entertainment and technology opportunities for investment company Andell Holdings. Prior to joining Andell Entertainment, Hayes worked as an independent producer, most recently producing the award-winning comedy This Is Not a Test, starring Hill Harper and Tom Arnold. He is also co-founder of Cast It Systems, an online service that has become the entertainment industry standard in the digital State of Play 29 distribution of casting sessions for film and television. He has broad entertainment experience, ranging from casting to development to business affairs. Prior to entering the entertainment field, Hayes served for five years as an officer in the US Army, including tours in Korea and the 82nd Airborne Division, and worked for several years as a consultant to startup and Fortune 500 corporations. Hayes is married to the actress Robinne Lee, recently seen with Will Smith in Seven Pounds. Hayes holds a BA in philosophy from Yale University. JACQUELINE WEST (Costume Designer) recently completed work on Terrence Malick‟s The Tree of Life and, prior to that, designed costumes for the David Fincher drama The Curious Case of Benjamin Button. For her work on The Curious Case of Benjamin Button, West received nominations for an Academy Award, a Costume Designers Guild Award and BAFTA. An Academy Award nominee for her designs on Quills for director Philip Kaufman, West‟s other recent credits include Terrence Malick‟s The New World; The Invasion, which starred Nicole Kidman and Daniel Craig; Lonely Hearts, which starred John Travolta and James Gandolfini; the romance Down in the Valley; The League of Extraordinary Gentlemen, which starred Sean Connery; and The Banger Sisters, which starred Susan Sarandon and Goldie Hawn. ALEX HEFFES (Music by) is one of the UK‟s leading film composers. Rising to international prominence with his score for Kevin Macdonald‟s Oscar- winning One Day in September, Heffes is a composer who has never been confined by musical boundaries. A writer for the Los Angeles Daily News said of his score for Academy Award-winning film The Last King of Scotland: “[It] has the best and weirdest soundtrack I‟ve heard all year.” After graduating from Oxford with a first-class degree, Heffes first worked as a writer and arranger on projects with artists such as Elton John and members of Blur. His versatility as a composer subsequently led to a busy and varied movie-scoring career taking him across musical boundaries from the acclaimed BAFTA Award-winning film Touching the Void to Steve Coogan‟s high-jinks comedy The Parole Officer. Other scores include Dear Frankie (Miramax Films); the psychological thriller Trauma (Warner Bros.), which starred Colin Firth and Mena Suvari; the Fox Searchlight romantic comedy Imagine Me & You; and the HBO drama Tsunami: The Aftermath, for which he was nominated for a BAFTA Award. While scoring The Last King of Scotland, Heffes traveled to Uganda to record and produce many of the bands featured on the soundtrack. He also collaborated with director Tim Burton on his screen adaptation of Sweeney Todd: The Demon Barber of Fleet Street, which starred Johnny Depp and Helena Bonham Carter. His score for State of Play features a collaboration with legendary British rock producer Flood. Heffes‟ scores have been nominated for BAFTA, Ivor Novello, European Film Academy and ASCAP awards.