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					                          LAKEVIEW TERRACE
                            PRODUCTION NOTES


       Moving into a dream home on a quiet Southern California cul-de-sac
becomes a nightmarish ordeal for a young couple in Lakeview Terrace, the
latest explosive film from award-winning director Neil LaBute. Chris and Lisa
Mattson (Patrick Wilson and Kerry Washington) have just moved into their new
suburban house when they become the target of their next-door neighbor. A
stern, single father, this tightly wound LAPD officer (Samuel L. Jackson) has
appointed himself the watchdog of the neighborhood. His nightly foot patrols
and overly watchful eyes bring comfort to some, but he becomes increasingly
harassing to the newlyweds. These persistent intrusions into their lives
ultimately turn tragic when the couple decides to fight back.
       Old guard and new school clash in Lakeview Terrace, a button-pushing
thriller starring Samuel L. Jackson (Pulp Fiction), Patrick Wilson (Little Children),
Kerry Washington (Ray, The Last King of Scotland) and Jay Hernandez
(Grindhouse). Screen Gems presents an Overbrook Entertainment Production,
directed by Neil LaBute (Your Friends and Neighbors, In the Company of Men)
from a screenplay by David Loughery (The Three Musketeers; Star Trek V:The
Final Frontier) and Howard Korder (Stealing Sinatra), based on the story by
Loughery. The film is produced by Overbrook‘s James Lassiter and Will Smith
(ATL). Joe Pichirallo, John Cameron, David Loughery and Jeff Graup are the
executive producers. Rogier Stoffers, N.S.C. (Disturbia) is director of
photography. Production designer is Bruton Jones (Solstice) and the film is
edited by Joel Plotch (The Wicker Man). The costume designer is Lynette Meyer
(Nurse Betty). The music is by Mychael Danna and Jeff Danna. The casting is
by Heidi Levitt, CSA.
       Veteran Los Angeles cop Abel Turner (Jackson) guards his neighborhood
with the same zeal he brings to his patrol route. The single father of a teenaged
daughter and preteen son, Abel is one-man security force, ensuring that his strict
standards of behavior are adhered to, even if it means ruffling a few feathers in
the process.
       Chris (Patrick Wilson) and Lisa Mattson (Kerry Washington), a progressive
and upwardly mobile couple, move in next door to Turner, who disapproves of
their interracial marriage. Hoping to rid the neighborhood of anything or anyone
he deems ―undesirable,‖ Turner launches an escalating series of pranks and
insults against the Mattsons. From ignoring their request to focus his high-voltage
safety lights away from their bedroom to disrupting a housewarming party, Abel
takes full advantage of his police connections to antagonize his new neighbors
with impunity, hoping to get them to pick up and move out.
       When their air conditioning unit is sabotaged in the middle of a heat wave
and their car tires are mysteriously slashed, the Mattsons begin to suspect Abel
is behind their troubles. But without proof, they can only try to negotiate a truce—
an offer Abel does not accept.
       Abel‘s anger flares when his use of inappropriate force on the job lands
him on extended leave and he discovers his daughter has been spending time
with Lisa. Devoting himself fulltime to harassing his young neighbors, he raises
the stakes by hosting a raucous bachelor party at his house that goes on into the
wee hours. With music still blasting at 3:00 am, Chris attempts to reason with
Turner in an attempt to get some quiet. But Abel turns the tables on Chris, forcing
him into a compromising position with the party strippers that is taped and
presented to Lisa.
       As Abel crosses the line from annoying neighbor to dangerous adversary,
the couple tries to fight back, which only feeds Turner‘s fury. With the resentment
between the neighbors building daily, it‘s only a matter of time before the
situation escalates into a potentially deadly stand off.
      Lakeview Terrace is rated PG-13 for intense thematic material, violence,
sexuality, language and some drug references. The running time is 1 hour, 46
minutes.
                           ABOUT THE PRODUCTION


     ―Not everybody here is someone you’d choose to live next to.” – Abel Turner


       ―A lot of people have asked me what the whitest white guy in America is
doing writing a movie that deals with interracial issues,‖ says Lakeview Terrace
screenwriter David Loughery. ―I wanted to challenge myself and kind of get
outside my comfort zone, so I wrote a thriller that dealt with issues we don‘t
usually see in that context.‖
       Loughery thinks many people will see themselves in the characters he has
created. ―I think people will identify with the situation. Whatever feelings they
have about race and color and relationships, they‘ll bring to the theater and they
will compare it to the action we‘re seeing on screen.‖
       Director Neil LaBute exploded onto the movie scene with his 1997 feature
film debut, In the Company of Men, a razor sharp exploration of sexual politics. In
the succeeding years, LaBute has built a reputation as a controversial filmmaker
and playwright who is unafraid to pull back the mantle of civility covering the
ugliest side of human nature.
       For Loughery, La Bute‘s unique sensibilities made him the perfect director
for Lakeview Terrace. ―This is a guy who really knows how to push an
audience‘s buttons,‖ he points out. ―The films he makes and the plays he writes
are—in a good way—excruciating to sit through, because the situations he
creates are so incredibly uncomfortable. I knew that Neil would bring something
to this movie that another director couldn‘t. He brought a real tension to it, so the
behavior between these characters feels very, very real.‖
       When the script for Lakeview Terrace came his way, LaBute saw an an
opportunity to create a complex story, set in Los Angeles, that could be
interpreted on many different levels. ―I‘d been living in Los Angeles long enough
to be aware of the idea of fires encroaching on homes and racial tension and that
kind of road rage thing,‖ says LaBute.
         Although the clash of opposites in the movie is racially charged, LaBute
and Loughery are in agreement that the issue of race is just one facet of the
escalating battle between neighbors in the story. ―Lakeview Terrace isn‘t so
much about race as it is about personal space, boundaries, turf and the lengths
people will go to protect their property,‖ says the writer. ―I think everybody has
had a situation here they‘ve just moved in next to somebody who is ruining the
quality of your life. It may be a barking dog or a kid with a garage band or
something else, but we all know how little things between neighbors can escalate
into gigantic feuds. This is the ultimate version of that story.‖
         ―The conflict is about someone who has grown up with a certain set of
values and doesn't believe in the kind of arrangement he sees across the fence,‖
says the director. Everyone has lived next door or under or over another person,
and felt ‗Oh my God, what are they doing in there? Why are they making that
noise at this time?‘ When one of those neighbors is a policeman, it removes that
first line of defense and makes for a very suspenseful sense of, ‗What do I do
now?‘
         ―That element is certainly not a racial element,‖ LaBute continues. ―You
could pick a good actor of any ethnicity for the part of Abel Turner. Tommy Lee
Jones, Edward James Olmos, they could play the part of this man who is
someone who will not give in to his neighbors.‖
         In the end, says Loughery, he wants the audience to be uncomfortable
watching Lakeview Terrace. ―I want them to kind of twitch in their seats, but at
the same time I want to make sure that they‘re entertained and have a great
time.‖
         Samuel L. Jackson had read the script and agreed to play the role of Abel
when the film was still in the early stages of development. ―At the first reading, I
though it was a compelling story,‖ says Jackson, whose substantial body of work
includes such acclaimed films as Pulp Fiction and Jungle Fever. ―It‘s about an
interesting kind of personality clash, with a twist in terms of who might be called
the racist in the film. I just happen to be playing someone who everybody
normally thinks of as a person from a dominant culture. It'll be universal in the
way it plays out.‖
       Jackson knew LaBute‘s background as a playwright would be instrumental
in developing the script and the characters. ―Neil had a very interesting take,‖
says Jackson. ―He also allowed us to come up with things that worked and fit into
the story. He let us do the things we needed to do to bring a sense of reality and
honesty.‖
       Actress Kerry Washington, who plays Lisa, says the strength of the
script‘s characters and story are the key to its dramatic success. ―The film is
really well written,‖ says the actress, probably best known for her portrayal of Ray
Charles‘ wife Della Bea Robinson in Ray. ―For me, the best films are about
ordinary people in extraordinary circumstances and this film is mostly about three
ordinary people who just find themselves in the wrong place at the wrong time.
Abel, Chris and Lisa are all pretty normal people who have all the pressures of
the world thrown on them, from pregnancy to death. Life seems impossible to
navigate. We find these people at their breaking points.‖
       Patrick Wilson, who plays Lisa‘s husband Chris, praises LaBute‘s ability
and willingness to explore the complexities of the interactions between the story‘s
three principals. ―He knows how to capture flawed relationships and take you
where these characters are going,‖ says the actor. ―He keeps driving the
characters forward. He always knows what they want. That comes from being
such a great playwright. There's also a real directness and rawness in his writing
that I love. He gives men especially really rich characters.‖
       ―Neil is amazing,‖ concurs Washington. ―He's one of these people who
always has a sense of humor. Whether it's 7 a.m. or midnight, he's there in good
spirits. And he's a real team player. He respects everybody in their various
positions and he wants everybody to do their best job. To me, that's the most
important thing about a director, being able to hire the best people possible and
then let them work their magic and you see him do that with every department.
He really allows everybody to be a part of the process—that's what I love about
filmmaking—it is really a collaborative effort.‖
                               ABOUT THE CASTING


                                            Hey, it might be nice living next to a cop.
                                             We can borrow his handcuffs. - CHRIS

       When Loughery heard that Samuel L. Jackson had been cast as Abel
Turner, he was sure the filmmakers had made the right choice. ―I thought, this is
exactly the guy for this part,‖ he remembers. ―He‘s menacing and charming at the
same time, so this character is both likable and threatening. It‘s really a great
performance.‖
       Jackson, he says, uses humor to diffuse the sense of danger Turner
cultivates. ―He has an odd sense of humor and I think that‘s really a great
addition to the character,‖ says the writer. ―I guess you would say he‘s the villain
of the piece, but he doesn‘t see himself that way. He‘s protecting his property
and he‘s doing what he thinks is right for his family and for himself.‖
       With Jackson signed on to play Turner, director Neil LaBute‘s challenge
was to put together a supporting cast strong enough to keep up with the actor,
famed for his dynamic onscreen presence.
       Patrick Wilson, who plays Chris Mattson, is a well known stage actor with
two Tony nominations to his credit, as well as leading roles in the film version of
Andrew Lloyd Webber‘s Phantom of the Opera, Children of Men and the award-
winning HBO production of ―Angels in America.‖ He didn‘t hesitate when he was
offered this role. ―I loved the script when I first read it,‖ he says. ―I‘m interested in
projects that are not only challenging to the actors, but that also touch the social
conscience and maybe make people think a little.
       ―I would never set out to do a movie just to make a statement,‖ he adds.
―But it's nice when you do a movie that reflects the world as it really is and when
you play characters that are flawed. It's a character-driven story and also really
enjoyable to watch.
       ―The mystery with a person like Chris, or any soft-spoken guy, is how does
he really feel?‖ says Wilson. ―He's not just this great guy who's always smiling.
He's got his own issues and little secrets here and there.‖
       Wilson points out that Chris reacts to Abel in much the same way as he
does to Lisa‘s disapproving father. ―Part of the challenge in their relationship is
that both Lisa‘s father and this neighbor are overbearing and antagonistic forces
in this man's life. Is that because they are just these two men or is it because
they're black men? Chris, I believe, doesn't care what race they are. It's just
these two men telling him how to live his life.‖
       Although Jackson was familiar with Wilson‘s acting work, the two had
never actually crossed paths. ―It was great to watch him find things and realize
that he could relax and just do whatever he wanted with us and with me,‖ says
Jackson. ―And I guess because we connected in that way, we were able to let go
in a very interesting process when we had our really angry stuff.‖
       Wilson is no newcomer to film, but working with a movie star of Jackson‘s
caliber initially proved intimidating for him. ―Our rehearsal process was probably
about two minutes of saying hello and talking about golf,‖ he remembers. ―At the
beginning, actors can be like two fighters trying to get used to each other in the
ring, you know? The first rounds are just sort of dancing around and trying to get
used to each other. He's been in so many movies and so many of his characters
are so present in my consciousness.‖
       When the script for Lakeview Terrace reached Kerry Washington, she
was instantly intrigued. ―I really, really liked the idea of seeing this couple on
screen,‖ she says. ―I felt like we hadn‘t really seen this kind of hip, progressive
interracial couple before.‖
       Patrick Wilson was impressed by the fresh approach Washington brought
to the role. ―Kerry played this role in way I didn‘t even see on the page,‖ he says.
―She has such optimism to her character and such joy in the relationship
between Lisa and Chris.‖
       Washington has equally high praise for her co-star. ―He brought so much
to this character and to the dynamic between husband and wife. He's the kind of
actor that inspires me to be a better actor. Because when I watch him work, I
know I'm going to look really bad if I don't do my homework.‖
         Washington wanted to play Lisa because, she says, ―I think Lisa defies a
lot of stereotypes about what a black woman is, and yet, to me, she represents a
lot of black women. She‘s modern, smart and open-minded, an adventurous
black woman in a healthy relationship. She just feels like somebody I would
know.‖
         Her role in Lakeview Terrace also brings together many of the elements
Washington loves as an actor. ―I love doing films with stunts and action and
danger, but what draws me most to a project is the characters and what the real
story is. This film is an opportunity for all of that. It has many interesting, multi-
faceted and very real characters, within the context of something that's thrilling
and exciting.‖
         Although Washington and Jackson have long traveled in the same social
circles, this is their first time working together. ―We see each other in the
strangest places,‖ says Jackson. ―We have run into each other in Cannes and at
premieres and at parties, but I never had the opportunity to work with her. And
wow! She has such great energy and abandon.‖
         For her part, Washington says, ―Sam Jackson in the role of Abel Turner is
brilliant casting. I just love him no matter what he does, but it's so great to see
him in this role, because Abel is really smart, really charismatic, really likeable,
and yet he's a man who's in an enormous amount of pain that he is taking out on
Lisa and Chris.‖
         Lisa‘s other important relationship in the film is with Abel‘s daughter, Celia.
―I love the scenes between Lisa and Celia,‖ says Washington. ―I think a big part
of   the    conflict   is   generational.   This   isn't   just   a   story   about   racial
misunderstanding. It's also a story about economic misunderstanding, social
misunderstanding, age misunderstanding. Lisa is able to connect with Celia in a
way that she's not necessarily able to connect with Abel just because they are
closer in age.‖
         Making just her fifth film appearance, the young actress who plays Celia,
Regine Nehy, holds her own in an emotional scene with Washington and
Jackson in which Abel Turner discovers his daughter has secretly been spending
time with Lisa. ―My character gets really intrigued with Kerry‘s because she has a
crush on a guy at school who is of a different race,‖ says Nehy. ―So she wants to
get advice from Kerry on how to kind of keep it away from her dad.‖
       Nehy, whose career has been the fast track since her first film in 2007,
never missed a chance to learn from the more experienced actors on the set.
―Sam‘s an amazing actor,‖ she says. ―I would watch him after every cut and when
we weren‘t filming, and he kind of keeps to himself. He's working on his lines or
just focusing, which teaches me to just stay focused and get ready for the scene
again.‖
       Up and coming actor Jay Hernandez also plays a crucial role in the film.
Jackson says his enthusiasm and ambition brought him back to his early days in
the movie business. ―Jay came in at the end of the shoot, but he fit right in. We
had a kind of instant rapport. It was great to be with these young actors who are
starting out and talking about the energy of the business and what they‘re doing
now and what they're going to do.‖
       Hernandez plays Officer Javier Villareal, Turner‘s younger partner on the
police force. He says his character looks up to Jackson‘s as a role model, a
feeling he also has for the veteran actor. ―One of the reasons I took the job was
to work with Sam,‖ he says. ―I've always been a big fan of his. He has such a
presence and he's a really nice guy. Very generous—he even gave me a couple
of his lines!‖
                                    HOT HOT HOT

                                     Wanna call the cops? I’ll tell you who’s on duty.
                                                                               - ABEL



        Walnut, California, where Lakeview Terrace was primarily filmed, is
located about 25 miles east of Los Angeles. The cul-de-sac on which Turner and
the Mattsons live is set against the magnificent hill and canyon terrain of the
area.
        ―One of the things I wanted to do in this script was set the story against a
backdrop of the way we live here in Southern California,‖says Loughery. ―We
think we‘re safe and secure, but nature has its own ideas.
        ―The community where Abel, Chris and Lisa live is built right into the side
of these hills and it‘s constantly being threatened by mudslides, earthquakes and
fires,‖ he explains. ―In this story, almost from the day they move into this house,
there‘s this sense of this fire that‘s out of control and slowly approaching. As the
drama heats up between these characters, there‘s this real kind of apocalypse
just over the other side of the hill.‖
        The specificity of the location required finding homeowners willing to give
up their houses for five weeks and a community that would accept a film
company on their street for the 25-day shoot.
        The filmmakers took advantage of an unusual tool in the first stages of
their search—Google Earth, an online service that provides users with an aerial
view of entire neighborhoods. ―We looked at a lot of houses,‖ says production
designer Bruton Jones. ―We explored different neighborhoods and then just went
up to people‘s doors and knocked. I have to say, our society can be very trusting.
Because, here we were, strangers, standing there saying, ‗Hi, we know you have
a pool in the back of your house. Can we look at it?‘ ‖
        ―We ended up in Walnut, which is a traditional, planned community,‖ says
Jones. ―It ultimately met a lot more of our requirements than the alternatives. It
had many of the visual references in the script, particularly the way you can see
from one neighbor's yard into the other and from one window to the other.‖
       ―Although we were in a suburban neighborhood, we didn‘t want the
houses to be cookie cutter kind of houses where each one is exactly the same,‖
says LaBute. ―We wanted the contrast between our two main houses to be
strong. Even though the cul-de-sac had mostly Spanish style homes, including
Abel‘s home, we were lucky to find one for Chris and Lisa that is kind of a faux
Cape Cod home.‖
       Lakeview Terrace was the production designer‘s first experience working
with LaBute. ―What a director brings to a script automatically sets the tone of the
shoot,‖ says Jones. ―And with Neil, he brings a lot to the table. He's a bit
controversial and very cerebral. There‘s often a subtle subtext going on
underneath, which allowed me to explore things a little bit more than usual.‖
       LaBute and Jones decided to create interiors that reflected the lifestyles
and values of the two families to provide a visual illustration of their differences.
―We talked about color and about the furnishings,‖ he says. ―Abel‘s home is more
of a warm, nurturing environment that centers around kids, as opposed to the
Mattson's more hip, cool environment.‖
       The filmmakers were also trying to create a visual reflection of the
climbing temperatures, blazing fires and flaring tempers. To create a cohesive
look, the filmmakers and department heads tried to put together the sets, lighting
and costumes that would reflect the film‘s fiery themes
       Jones continues, ―For the Turner house, we added little red elements. We
wanted to show that Abel was the impetus of the dynamic relationship with his
neighbors. To the red, we added oranges and yellows throughout the house—
subtly—so that you could just see it in the background.
       ―The color palette of Chris and Lisa‘s‘ surroundings is a reflection of who
they are both internally and externally,‖ says the designer. ―Chris and Lisa‘s
world is more graphic and culturally diverse on the surface. Sophisticated colors
and graphic patterned fabrics surround their world. Their use of common icons of
culture is an attempt to validate their superficial embrace of their diversity.‖
       Along with Jones and LaBute, director of photography Rogier Stoffers and
costume designer Lynette Meyer helped give Lakeview Terrace its unified look.
Meyer, who has worked with LaBute on many of his previous films, understood
the importance of the smallest details, like the red accents in Celia Turner‘s
clothing and Lisa Mattson‘s graphic and hip, Northern California style.
       ―We wanted the characters to look comfortable and real,‖ says Meyer.
―The color palette we used was very warm, which communicates heat both
physically and subconsciously.
       ―The Lisa Mattson character,‖ Meyer continues, ―definitely needed to be
‗organic‘ and natural. I used a lot of ‗eco-friendly‘ designers and fabrics to convey
that feeling in order to be very different from the Abel Turner character and his
world. Also, Kerry Washington is very interested in the ‗conscientious clothing
movement‘ and she was very involved in her look for the film. And finally, I
wanted to create a character who was fashionable, earthy, yet sexy and not a
cliché.‖
       Another key player in creating the unique look and feel of the film was Ben
Bray, the renowned stunt coordinator, who has worked on films as diverse as No
Country for Old Men, The Chronicles of Narnia and I Heart Huckabees.
       Kerry Washington loved the challenge of performing her own stunts and
was wowed by Bray‘s expertise. ―He‘s fantastic,‖ she says of the veteran
performer. ―The first time Sam and Patrick and I saw the final sequence, it was
like we were three kids watching the ―Nutcracker‖ ballet for the first time.
       ―It was so exciting to see them do these movements so expertly and I
hope we came close to what they did,‖ says the actress. ―A lot of times when
stunt coordinators choreograph things, they're not necessarily choreographing for
the actors. They're choreographing for their stunt guys or things that they do well
or want to do themselves. You always want to pay attention and let people know
that you know what you're doing and you understand what their job is.‖
       Jackson echoes that thought when he says,            ―It's surprising to them
sometimes to know that you can actually do it and do it in a specific way that
makes it look as good as what they thought it was going to look like. So, it's kind
of fun to do.‖
       But he also says, ―I did as much as I could. But I let the stunt guy do some
too. You know, stunt guys like to get knocked down. So, if we hire them, we
might as well let them get knocked down.‖
       Bray says he had an ideal experience on this film. ―It‘s more of a challenge
when you have to keep it realistic, but from our first initial meeting, what I tried to
push was that the stunts should not look like stunts,‖ he says. ―Everything
needed to be real and gritty and not look like it‘s choreographed at all. Luckily,
Neil and I were on the same page when it came to that. His notes were that we
should just make it look as realistic as possible. And that‘s what we‘ve done.
       ―He knows exactly what he wants and that‘s the easiest to way work,‖
says Bray. ―I wish all directors were like him.‖
                               ABOUT THE CAST


       SAMUEL L. JACKSON (Abel Turner) Respectfully labeled as one of the
hardest working actors in Hollywood, Jackson is an undisputed star as
demonstrated by the fact that his films have grossed more money in box office
sales than any other actor in the world.
       The recipient of worldwide acclaim and notoriety, Jackson has been
honored with a variety of awards from some of the most prestigious
organizations. He won the Best Supporting Actor award by the Cannes Film
Festival in 1991 for Jungle Fever, the Silver Bear Award at the Berlin Film
Festival in 1998 on behalf of Jackie Brown, he has received three Golden Globe
nominations for Pulp Fiction, A Time to Kill and Jackie Brown, five NAACP Image
Award nominations and one win in 2005 for his performance in Coach Carter,
and most recently he has garnered two People‘s Choice Award nominations in
2006 and 2007 for Favorite Male Actor.
       Jackson made an indelible mark on American cinema with his portrayal of
‗Jules‘, the philosophizing hitman, in Quentin Tarantino‘s Pulp Fiction. In addition
to unanimous critical acclaim for his performance, he received Academy Award®
and Golden Globe nominations as Best Supporting Actor as well as a Best
Supporting Actor award from the British Academy of Film and Television Arts.
       Among his many award-winning performances, Jackson made movie
history with his portrayal of a crack addict in Spike Lee‘s Jungle Fever when he
was awarded the first and only Best Supporting Performance Award ever given
by the judges at the Cannes Film Festival.
       Jackson was most recently seen in Iron Man in a surprise cameo
appearance and in the Doug Liman directed sci-fi action film, Jumper. In late
2007, Jackson had a starring role in the acclaimed drama Resurrecting the
Champ, and a supporting role in the horror film 1408, based on the Stephen King
novel. Earlier this year, Jackson starred in the Craig Brewer film Black Snake
Moan, and Irwin Winkler‘s MGM war drama Home of the Brave.
       This fall, in addition to Lakeview Terrace, Jackson‘s films will include the
Dimension Studios comedy ―Soul Men‖ with Bernie Mac and then on Christmas
day, Jackson will star in the Frank Miller action drama The Spirit, where he
portrays the nemesis, ‗Octopus.‘
       Other film credits include Cleaner, Snakes on a Plane, Coach Carter, Star
Wars trilogy, In My Country, The Man, The Incredibles, S.W.A.T., Formula 51,
Changing Lanes, Caveman’s Valentine, Red Violin, Shaft, Unbreakable, 187,
Eve’s Bayou, Jackie Brown, The Negotiator, A Time To Kill, Die Hard with a
Vengeance, The Long Kiss Goodnight and Deep Blue Sea.
       On the small screen, Jackson serves as Executive Producer for the
animated series for Spike TV, ―Afro Samurai‖ which premiered in 2007 and will
be returning for a second season in January 2009. He also just secured a first
look television deal with CBS and their properties to produce and develop
upcoming projects. In addition, Jackson has a production deal with New Line
Cinema to produce and develop projects in which he has the option of starring.
His first film project for the studio, in which Jackson will produce and star, is
called Man That Rocks the Cradle.


       PATRICK WILSON (Chris Mattson) is quickly becoming one of
Hollywood‘s most accomplished actors, showcasing his talents in a multitude of
demanding and diverse roles. He was seen recently in Evening, a drama with
Meryl Streep, Glenn Close, Claire Danes and Vanessa Redgrave; Purple Violets,
director Edward Burns‘ romantic drama co-starring Debra Messing and Selma
Blair; and Little Children, a drama in which Wilson starred alongside Kate Winslet
and Jennifer Connelly. In 2006, he starred opposite Ellen Page in the indie hit,
Hard Candy, a psychological thriller.
       Born in Virginia, Wilson grew up in St. Petersburg, Florida. His mother is
a singer and voice teacher while his father is a TV anchor in Florida. Wilson
received his BFA from Carnegie Mellon University.
       Wilson first earned attention from New York audiences in the Off-
Broadway musical adaptation ―Bright Lights, Big City.‖ His work earned him a
Drama Desk nomination and a Drama League Award. Soon afterwards, he
starred in the Broadway musical ―Fascinating Rhythm,‖ a revue of George and
Ira Gershwin songs, which also earned the actor a Drama League Award.
       Patrick starred in the Broadway musical revival of Rodgers and
Hammerstein‘s ―Oklahoma!‖ for which he was nominated for a second
consecutive Tony Award for Leading Actor in a Musical for his portrayal of Curly.
The first came in the lead role of Jerry Lukowski in the Broadway musical ―The
Full Monty.‖ The role garnered Wilson rave reviews from critics and he received
numerous nominations, including a Tony nomination for Leading Actor in a
Musical, a Drama Desk Award nomination, a Drama League Award and an Outer
Critics Circle nomination. Time Out New York voted it ―one of the best
performances of 2000.‖
       The actor revisited his Broadway roots in 2006 alongside Amanda Peet,
Jill Clayburgh and Tony Roberts in the Broadway revival of Neil Simon‘s 1963
classic romantic comedy ―Barefoot in the Park,‖ directed by Scott Elliot.
       Wilson has shown his acting range in several high profile projects. On the
big screen, he starred in Andrew Lloyd Webber‘s Phantom of the Opera, directed
by Joel Schumacher. He also starred opposite Dennis Quaid and Billy Bob
Thornton in The Alamo, directed by John Lee Hancock. On television, he
received Golden Globe and Emmy nominations for ―Angels in America,‖ directed
by Mike Nichols for HBO. In this 2004 Golden Globe and Emmy winner for Best
Miniseries, based on Tony Kushner‘s play, Wilson starred opposite Meryl Streep,
Al Pacino, Mary Louis Parker and Emma Thompson.
       Wilson is also a singer and songwriter. He and his family currently reside
in New York City.


       KERRY WASHINGTON (Lisa Mattson) Winner for ―Outstanding Actress
in a Motion Picture‖ for Ray at the NAACP Image Awards in 2005 and Nominated
for an Independent Spirit Award for ―Best Actress‖ in the film Lift in 2002, Kerry
Washington is proving to be one of the busiest actresses in Hollywood. She
garnered critical acclaim for her latest roles in The Last King of Scotland opposite
Forest Whitaker for which she was nominated for ―Outstanding Supporting
Actress in a Motion Picture‖ at the NAACP Image Awards in 2007, and in The
Dead Girl opposite Marcia Gay Harden and Brittany Murphy. Most recently,
Washington was seen on the big screen in Fantastic Four: Rise of the Silver
Surfer reprising her role as Alicia Masters, as well as in I Think I Love My Wife
opposite Chris Rock and the Wayans Brothers‘ comedy Little Man. She is
currently in production on A Thousand Words starring opposite Eddie Murphy.
       Prior to these films, Washington starred in Mr. and Mrs. Smith, starring
Brad Pitt and Angelina Jolie, Fantastic Four, directed by Tim Story and Ray, the
inspirational life story of Ray Charles, opposite Jamie Foxx. Previous to Ray, she
played the lead role opposite Anthony Mackie in Spike Lee‘s She Hate Me, as
well as starred in Sidney Lumet‘s HBO film Strip Search and the independent film
Sexual Life.
       Other film credits for Washington include Against the Ropes, The United
States of Leland, The Human Stain, Bad Company, Lift, Save the Last Dance, for
which she received a Teen Choice Award for Best Breakout Performance, and
the highly acclaimed independent film, Our Song.
       During her free time, Washington is an active member on the Board of
Directors for The Creative Coalition, a group dedicated to raising awareness of
First Amendment Rights and support of arts in education. She is also a member
of the V-Counsel, an esteemed group of advisors to V-Day, the global movement
to end violence against women and girls (vday.org)


       JAY HERNANDEZ (Javier Villareal) first emerged on the Hollywood
scene opposite Kirsten Dunst in the 2001 film Crazy/Beautiful. Since then,
Hernandez has starred in a number of films, including Disney‘s sleeper hit The
Rookie, opposite Dennis Quaid; Joseph Kahn‘s Torque, with Ice Cube; Ladder
49, with Joaquin Phoenix and John Travolta; and Friday Night Lights, with Billy
Bob Thornton. He was recently seen on the big screen in the acclaimed Oliver
Stone 9/11 project, World Trade Center, and the indie mockumentary Live! with
Eva Mendes.
      Hernandez was born and raised in Montebello, California with his two
older brothers and younger sister. Unlike many of his contemporaries, he didn‘t
grow up with the dream of moving to Hollywood to become an actor. As clichéd
as it sounds, at the age of 18, Hernandez was discovered in an elevator by a
talent manage. In a short time, his career has blossomed exponentially; it has
been only seven years since his first acting role on the popular Saturday-morning
television show ―Hang Time,‖ where he began his career alongside Anthony
Anderson (Hustle & Flow). Hernandez is now noted as one of the few Latino
leading men in the entertainment industry and has had the honor of working with
some of the most in-demand writers, directors, producers and actors of his time.
      Hernandez starred in the disturbing psychological thriller Hostel, from
writer/director Eli Roth and executive producer Quentin Tarantino. The film
premiered at the 2005 Toronto Film Festival to rave reviews and opened #1 at
the box office. He had a brief cameo appearance in the sequel, Hostel 2.
      The actor has also made his mark on television in the acclaimed if short-
lived ABC drama from J.J. Abrams, ―Six Degrees.‖
      Hernandez currently resides in Los Angeles.
                           ABOUT THE FILMMAKERS


       NEIL LABUTE (Director) received his Master of Fine Arts degree in
dramatic writing from New York University and was the recipient of a literary
fellowship to study at the Royal Court Theatre. His film credits include In the
Company of Men, which won the New York Critics Circle Award for Best First
Feature and the Filmmakers‘ Trophy at the Sundance Film Festival, Your Friends
and Neighbors, Nurse Betty, Possession and The Shape of Things, a film
adaptation of his own play. His most recent film was The Wicker Man, starring
Nicolas Cage.
       LaBute‘s extensive list of stage plays include ―Bash: Latter-Day Plays,‖
staged in New York in 1999 and London in 2000, both directed by Joe Mantello;
―The Shape of Things,‖ which LaBute wrote and directed for London and New
York in 2001; ―The Distance From Here,‖ which ran at the Almeida Theater in
London in 2002 (directed by David Leveaux) and in New York in spring 2004
(directed by Michael Greif); and ―The Mercy Seat,‖ written and directed by
LaBute in New York in 2002.
       In 2004, the MCC Theater performed five of LaBute‘s one-act plays,
collectively titled ―Autobahn.‖ MCC staged LaBute‘s play ―Fat Pig,‖ directed by Jo
Bonney, later that year. In 2005, his play ―This is How It Goes‖ premiered at New
York‘s Public Theater, directed by George C. Wolfe. In May of that year, the play
debuted at The Donmar Warehouse in London, directed by Moises Kauffman. At
the same time, LaBute‘s play ―Some Girl(s)‖ premiered on London‘s West End,
directed by David Grindley.
       In 2005, LaBute directed the premiere of his one-man, one-act play
―Wrecks‖ in Cork, Ireland. In 2006, ―Some Girl(s)‖ had its New York debut at the
Lucille Lortel Theater. MCC Theater staged and Jo Bonney directed. In October
2006, LaBute once again directed ―Wrecks,‖ this time for the New York premiere
at the Public Theater. In June of 2007, MCC premiered his latest play, ―In a Dark
Dark House,‖ directed by Carolyn Cantor.
          Neil's most recent play was "Reasons to Be Pretty" which MCC staged
this summer at the Lucille Lortel Theater in NYC. It was directed by Terry Kinney
and ran from June 2 - July 5. The same play (with the same director and cast)
will premiere on Broadway on Feb 13, 2009 (which will be Neil's Broadway
debut).
          Additionally, his play, "Fat Pig" is currently on in London at Trafalgar
Studios on the West End. LaBute directed and it is the British premiere of the
play.
          LaBute is the author of several fictional pieces published in The New
Yorker, The New York Times, Harper’s Bazaar and Playboy, among others. A
collection of his short stories was published by Grove/Atlantic in 2004.


          DAVID LOUGHERY (Screenplay By / Story By / Executive Producer)
was born in Oak Park, Illinois, and educated at Ball State University and the
University of Iowa, where he was a member of the Iowa Playwrights Workshop.
An interest in screenwriting brought him to Hollywood, when he was chosen for
the Columbia Pictures New Talent Program.
          Loughery‘s produced screenplays include Dreamscape, Star Trek V: The
Final Frontier, Flashback, Passenger 57 and The Three Musketeers.
          The writer is currently at work on a screenplay for producers Steven
Spielberg and Mark Burnett. He lives in Los Angeles.




          HOWARD KORDER (Screenplay By) most recently wrote the screenplay
for the TNT original movie ―Bad Apple,‖ starring Chris Noth. Other writing credits
include Stealing Sinatra, starring David Arquette and William H. Macy; the
television film, ―My Little Assassin,― starring Gabrielle Anwar and Joe Mantegna;
―The Passion of Ayn Rand‖ and episodes of the hit television series, ―Kate &
Allie.‖
          Korder has also written the feature films Search and Destroy, based on his
play, and Lip Service, starring Griffin Dunne and directed by William H. Macy.
       JAMES LASSITER (Producer) joined forces with entertainment
powerhouse Will Smith to create Overbrook Entertainment, a production and
management company started in 1998. Lassiter is no stranger to producing hit
films, including his most recent success as producer of the recent box-offices
smashes Hancock and I Am Legend, and the 2006 hit The Pursuit of Happyness,
which resonated with audiences around the world, earning Smith an Oscar®
nomination for his performance and grossing over $300 million at the box office.
In 2005, Lassiter produced the romantic comedy Hitch, also a global hit, earning
over $360 million, as well as the award winning film Saving Face, starring Joan
Chen. In addition, he was an executive producer on the sci-fi thriller I, Robot, and
also served as a producer on the critically acclaimed Ali, for which Smith earned
his first Academy Award® nomination, and ATL, starring platinum recording artist
T.I.
       In television, Lassiter most recently served as executive producer on the
CW network‘s ―All of Us.‖
       Other notable achievements include his work as executive producer on
the soundtracks for Wild, Wild West and Men in Black, both of which won the
American Music Award for favorite soundtracks, as well as the 2001 Outer
Critic‘s Circle Award for ―Jitney,‖ an off-Broadway play written by August Wilson.
Lassiter recently graced the cover of Black Enterprise Magazine‘s Top 50
Hollywood Power Brokers edition alongside business partner, Will Smith.
       Upcoming films include Sony‘s Seven Pounds, which reunites Smith with
director Gabriele Muccino, the director of The Pursuit of Happyness, and the
entire producing team of that film; Fox Searchlight‘s The Secret Life of Bees,
starring Dakota Fanning and Jennifer Hudson; and The Human Contract, a
character-driven drama written and directed by Jada Pinkett Smith.


       WILL SMITH (Producer) has enjoyed success in a career encompassing
hit films, his own television series and multi-platinum records. He earned his first
Academy Award® nomination and a Golden Globe® nomination for his portrayal
of boxing legend Muhammad Ali in Michael Mann's acclaimed biopic Ali. Smith
more recently starred in and produced the critically acclaimed, true-life drama
The Pursuit of Happyness. His performance brought him his second Academy
Award® nomination, his fourth Golden Globe® nomination and a Screen Actors
Guild (SAG) Award nomination for Best Actor.
       Smith most recently starred in the blockbusters I am Legend, directed by
Francis Lawrence and Hancock, directed by Peter Berg. He will next re-team
with the director and producers of The Pursuit of Happyness for Seven Pounds,
an emotional drama about a man who will change the lives of seven strangers.
       In 2005, Smith starred in and produced the hit romantic comedy Hitch,
directed by Andy Tennant. The year prior, he starred in and executive produced
the sci-fi smash I, Robot, adapted from the book by Isaac Asimov and directed by
Alex Proyas. Also that year, he voiced the central character of Oscar in the
blockbuster animated feature Shark Tale, opposite Renee Zellweger, Angelina
Jolie and Robert De Niro.
       In July 2003, he reunited with Martin Lawrence for Bad Boys II, the sequel
to their 1995 hit Bad Boys. Smith had earlier starred in two blockbusters that
topped the box office in back-to-back summers. In 1996, he took on alien
invaders in Roland Emmerich's science fiction actioner Independence Day. The
following year, he starred with Tommy Lee Jones in Barry Sonnenfeld's sci-fi
comedy Men in Black, for which Smith also recorded the Grammy-winning title
song. In 2002, Smith, Jones and Sonnenfeld reteamed for the sequel Men in
Black II.
       Smith was already a Grammy®-winning recording artist when he made his
successful transition to acting in television and films. Following roles in the
movies Where the Day Takes You and Made in America, he received
widespread critical acclaim for his starring role in the drama Six Degrees of
Separation, with Stockard Channing and Donald Sutherland. In 1995, he was
named ShoWest's Male Star of Tomorrow. His film credits also include Enemy of
the State, opposite Gene Hackman; Wild Wild West, for which he also recorded
the hit title song; and the title role in Robert Redford's The Legend of Bagger
Vance.
       Smith began his career in the music industry while still in high school.
Teaming with his friend Jeff Townes to form DJ Jazzy Jeff & the Fresh Prince,
Smith became a chart-topping rap artist. Together, they recorded several
platinum and multi-platinum albums and won numerous awards, including two
Grammys and three American Music Awards.
       Smith's musical success led to his starring in the hit television sitcom "The
Fresh Prince of Bel-Air," which ran for six years on NBC and earned him two
Golden Globe nominations.
       Continuing to record, Smith released his first solo album, ―Big Willie Style,‖
in 1998, for which he won a Grammy and four American Music Awards. In 1999,
he was honored at the NAACP Image Awards as Entertainer of the Year. His
next CD, Willennium, featured the hit single "Will2K" and went double platinum.
       As a producer, Smith is partnered with James Lassiter and Ken Stovitz in
Overbrook Entertainment, which has produced such projects as Ali, I, Robot,
Saving Face, Hitch, ATL, Hancock and The Pursuit of Happyness. Under the
Overbrook banner, Smith and his wife, Jada Pinkett Smith, also co-created and
produced the popular television comedy series "All of Us," which recently
concluded a four-year run. Smith's upcoming projects as a producer or executive
producer include, in addition to Lakeview Terrace, Seven Pounds, directed by
Gabriele Muccino and The Human Contract, which marks the feature directorial
debut of Jada Pinkett Smith.


       JOE PICHIRALLO (Executive Producer) is a veteran studio executive
and producer. He oversees film for The Gold Company, a production company
headed by one of the industry‘s leading talent managers, Eric Gold, whose
clients include Jim Carrey and Ellen DeGeneres.
       Pichirallo recently produced The Secret Life of Bees, a Fox Searchlight
film starring Queen Latifah, Dakota Fanning, Alicia Keys and Jennifer Hudson.
The film will premiere at the Toronto International Film Festival and is scheduled
for release in the fall of 2008.
       Before joining The Gold Company, Pichirallo was head of feature film
production and development for Overbrook Entertainment. Pichirallo has also
been a senior executive at Fox Searchlight Pictures and Universal‘s Focus
Features.
       His Searchlight films included One Hour Photo, starring Robin Williams,
The Banger Sisters, starring Goldie Hawn and Susan Sarandon, and Antwone
Fisher, the directorial debut of Denzel Washington.
       As an executive vice president at Focus, Pichirallo supervised
Hollywoodland, a noir thriller starring Adrien Brody, Ben Affleck and Diane Lane,
and Something New, a romantic comedy starring Sanaa Lathan, Simon Baker
and Alfre Woodard.
Pichirallo, a former Washington Post reporter, is a graduate of the filmmaking
program at the American Film Institute (AFI), where he is an adjunct senior
lecturer. He received his B.A. degree from the University of California at
Berkeley, where he was editor-in-chief of ―The Daily Californian, the student
newspaper.


       JOHN CAMERON (Executive Producer) began his career in filmmaking
with a series of inventive shorts in collaboration with high school friends Sam
Raimi and Bruce Campbell. Cameron left New York University film school to work
on Raimi‘s first feature, the landmark horror film The Evil Dead, and
subsequently worked as Raimi‘s assistant director on Crimewave, Army of
Darkness and The Quick and the Dead.
       Soon thereafter, Cameron began a lengthy association with the Coen
brothers, first as assistant director on The Hudsucker Proxy, then as co-producer
on their Oscar®-winning hit Fargo, The Big Lebowski, O Brother, Where Art
Thou?, The Man Who Wasn't There, Intolerable Cruelty and The Ladykillers.
       Cameron went on to produce the box office hit Bad Santa and executive
produce Friday Night Lights for director Peter Berg.
         After that successful collaboration, he went on to co-found the film and
television production company Film 44 with Berg and producer Sarah Aubrey.
While there, he executive produced the action-thriller The Kingdom and
continues to serve as co-executive producer on the award winning ―Friday Night
Lights‖ television series for NBC.


         JEFF GRAUP (Executive Producer) most recently served as co-
producer on Solstice, directed by Daniel Myrick (The Blair Witch Project), and
Catch That Kid, directed by Bart Freundlich and starring Kristen Stewart, Corbin
Bleu and Jennifer Beals.
         His producer credits include If Only, starring Jennifer Love Hewitt, Paul
Nicholls and Tom Wilkinson, and A Fare to Remember, starring Malcolm Jamal
Warner.


         ROGIER STOFFERS, N.S.C. (Director of Photography) is a native of
Holland and served as cinematographer on Mike van Diem‘s Karakter
(Character), which won the Oscar for Best Foreign Film in 1997 and was
awarded 10 honors (and an additional five nominations) from filmic organizations
around the world. His cinematography on that film, along with multiple other titles
in his home country, earned him the Nederlands Film Festival Golden Calf Award
for his body of work between the years of 1994 and 1999. He shot last year‘s
surprise hit Disturbia, starring Shia LaBeouf. His work will next be seen in Danny
Leiner‘s Gary the Tennis Coach.
         Stoffers‘ cinematography can be seen in a diverse list of motion pictures,
all sharing the accomplished look of his camerawork. These films include Quills,
John Q, Enough, Masked and Anonymous, School of Rock and Bad News
Bears.


         BRUTON JONES (Production Designer) began his feature film career
as an art director on films including Armageddon, The Rock, Con Air and Ghosts
of Mars, collaborating with acclaimed directors Michael Bay, Simon West and
John Carpenter.
       Jones‘ first production design credit was on the critically acclaimed action-
fantasy Underworld, starring Kate Beckinsale. Most recently, he designed
Solstice, for director Daniel Myrick; Stay Alive, starring Milo Ventimiglia; and
Graduation, starring Shannon Lucio.
       Jones also designed the CBS pilot ―Moonlight‖ for director Rod Holcomb,
starring Amber Valetta.


       JOEL PLOTCH (Editor) has been working in the film industry for more
than 25 years. During the early years, he served as a creative director at a New
York City-based commercial production company called Mediaworks. Several
years later, he formed his own production and editorial company called JP
Studio, where he produced, directed and edited hundreds of commercials and
music videos, as well as a number of notable documentaries and television
projects.
       Ten years ago, Plotch started his collaboration with Neil LaBute. He has
edited In The Company of Men, Your Friends and Neighbors, Nurse Betty,
―Bash: Latter-Day Plays,‖ The Shape of Things and The Wicker Man.”
       Plotch has also edited numerous other features, including Strange Hearts,
The Lucky Ones, Dancing in September, The Woods, The Picture of Dorian Gray
and The Legend of Lucy Keyes.


       LYNETTE MEYER (Costume Designer) is a native of Minneapolis,
Minnesota, where she studied fine arts and clothing design at the Minneapolis
College of Art and Design. She has designed for a variety of media. Her feature
film credits include several Neil LaBute projects such as Nurse Betty, Peaceful
Warrior, The Wicker Man and The Shape of Things, which she also production
designed.
       Meyer has also designed costumes for music videos, working with artists
such as Smashing Pumpkins, Red Hot Chili Peppers and Macy Gray.
Additionally, Meyer has designed costumes for commercials and the theatre.
       Meyer has worked in New York, the American South, London, Rome,
Ireland and Canada. She currently resides in Los Angeles, CA.


       MYCHAEL DANNA (Music by) is recognized as one of the most
versatile and original voices in film music. This reputation has led him to work
with such acclaimed directors as Ash Brannon / Chris Buck, Jonathan Dayton /
Valerie Faris, Atom Egoyan, Terry Gilliam, Catherine Hardwicke, Scott Hicks,
Neil LaBute, Ang Lee, Gillies MacKinnon, James Mangold, Deepa Mehta,
Bennett Miller, Mira Nair, Billy Ray, Todd Robinson, Joel Schumacher, Charles
Martin Smith, Istvan Szabo and Denzel Washington.
       He studied music composition at the University of Toronto, winning the
Glenn Gould Composition Scholarship in 1985.
       Danna is represented by First Artists Management.


       Born in Canada to a musical family, JEFF DANNA (Music by) has
created scores for a long and varied list of films, both animated and live-action.
His credits include such divergent projects as Fracture, The Kid Stays In The
Picture, Resident Evil : Apocalypse, Chicago 10, Silent Hill, O, Terry Gilliam‘s
Tideland, and the upcoming Closing The Ring for director Richard Attenborough.


       HEIDI LEVITT, C.S.A. (Casting by) As a graduate of Barnard College
and the AFI Producers Program, Heidi has cast such successful films as, JFK,
Nixon, Natural Born Killers, Nurse Betty, The Rock, The Joy Luck Club, Smoke
and Benny & Joon.
       In addition to casting Lakeview Terrace with director Neil LaBute, who
Levitt has worked with for over ten years on both film and theatre projects, she
recently cast the films, St John of Las Vegas starring Steve Buscemi, Emily
Mortimer and Romany Malco; RAGE, with director Sally Potter starring Judi
Dench, Jude Law and Dianne Wiest; The Open Road, starring Jeff Bridges and
Justin Timberlake, and Erick Zonca‘s film Julia, which premiered at the 2008
Berlin Film Festival starring Tilda Swinton.
       Alternating between standard studio and indie fare, Levitt has repeatedly
worked with acclaimed directors Oliver Stone, Wayne Wang, Wim Wenders and
Neil LaBute. In 1997, on the eve of Hong Kong's unification with China, Levitt
collaborated with Wayne Wang on The Chinese Box, a film that captured that
moment in history, which she co-produced and cast. She has also served as a
producer on feature films The Open Road, Fido, Center of the World, Coastlines,
and Delivering Milo.
       Levitt is currently is executive producing the website www.500kin365.org
devoted to indie folk rock heroine Katie Reider who tragically passed away July
14, 2008.
       In partnership with Academy Award® winning documentary filmmaker
Alex Gibney, Levitt is producing a film series called Exiles on Main Street. The
series will be three films that deal with the issues of culture clash and immigrant
assimilation in America. The first film is Saint Chola by K. Kvashay Boyle, which
Ms. Boyle has adapted from her own award winning short story. Saint Chola is
set in the San Fernando Valley at the onset of the gulf war and concerns a
Muslim American girl‘s choice to wear the veil. Cherien Dabis will direct.


"Academy Award®" and "Oscar®" are the registered trademarks and service marks of
the Academy of Motion Picture Arts and Sciences.

"Emmy®" is the registered trademark of the Academy of Television Arts & Sciences and
the National Academy of Television Arts & Sciences.

				
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