Valinda _Connie Nielsen__ the hostess by absences

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									  Tycoon Entertainment Presents

  A Tangerine Pictures Production

       Of a Sarah Kelly Film

     Starring (In Alphabetical Order)
             Connie Britton
              Sarah Clarke
              Tate Donovan
             Peter Facinelli
             David Herman
              Caitlin Keats
           William Mapother
                Ione Skye
               Eric Stoltz

        Lynda Dorf/Chris Regan
         B|W|R Public Relations

                                   THE LATHER EFFECT

What do quarters, stoner spaghetti and the elusive agreement on what is “the greatest
song of all time” all have in common? They‟re just a few of the memories that nine high
school pals will reminisce about and re-live the day after a wild „80s themed party, in
writer/director Sarah Kelly‟s funny and touching The Lather Effect.
       When Valinda‟s parents decide to sell their Pacific Palisades home, she reunites
with her high school friends for a wild and hilarious bash of bashes in one last effort to
relive their carefree days at the site where so many of their fondest memories occurred.
The cast of characters includes:
       - The aforementioned Valinda (Connie Britton), the hostess who‟s terrified of
embracing her thirties and saying goodbye to her high-school glory days;
       - Jack (William Mapother), a teacher with two kids who used to be in love with
Valinda in high school, and maybe still is;
       - Zoey (Ione Sky), Jack‟s idealistic yet sensible and adoring wife;
       - Will (Tate Donovan), Valinda‟s responsible, neat-freak husband who doesn‟t
understand what all the fuss over high school is about;
       - Danny (Peter Facinelli), Valinda‟s 25-year-old brother who may or may not be
selling weed to support himself while living at home;
       - Katrina (Caitlin Keats), the successful doctor with a bad reputation when it
comes to intimate relationships;
       - Claire (Sarah Clarke), the clean-cut wife and Midwestern mother who has
spent years pining for the group‟s musician friend Lex;
       - Corey (David Herman), the ex-teen star who‟s not above saying the wrong
thing at exactly the wrong time;
       - Mickey (Eric Stoltz), Valinda‟s laid-back neighbor, who might be in his early
forties, but refuses to leave the high school parties behind.

       Set to a collection of classic eighties music, The Lather Effect is a warm and
hilarious comedy about remembering the best years of the past—and learning to welcome
the uncertainties of the future.

Tycoon Entertainment presents a Tangerine Pictures Production of a Sarah Kelly Film,
The Lather Effect. Directed by Sarah Kelly; Written by Kelly and Tim Talbott. Rachel
Rothman, Gary Bryman and Mike Jackson are Producers; David Grasso is Executive
Producer; Karen Meisels and Patrick Aluise are Co-Producers.

                              DIRECTOR’S STATEMENT

                                      by Sarah Kelly

“I went to bed happy in 1985, and woke up 36 and hung over. Can you help me?”
                        -Valinda (Barrett) Dickson

The Lather Effect really began as a wish. It was a wish that someone like John Hughes,
who had made so many of the movies I‟d loved as a teenager, would make another movie
that might address some of the issues that my friends and I, now in our mid-thirties, were
going through. It seemed high time. We of the Breakfast Club generation had grown up,
or at least tried to, in the years that had passed since John Hughes had made a movie
about us, and there were almost two decades of feelings and experiences that I was dying
to see come alive on film.
       The fact that I was a filmmaker, and could possibly make my own movie about
my generation, took a while to occur to me. I had spent the years following my 1997
directorial debut, Full Tilt Boogie, a documentary about the making of Robert
Rodriguez‟s From Dusk ‘Til Dawn writing and primarily trying to get my version of a
Hughes-esque teen film made. It was called The Blessed Virgins, and was based on my
experiences of going to an all girls‟ Catholic high school in the „80‟s. It was loaded with
all the things I wanted to say about that time, including what it was like to lose a friend to
a car accident when we were 17. Now, if you just heard the loud screech of a needle
careening off a Billy Idol record, you have a vague understanding of what it was like to
pitch this otherwise sweet, funny, coming-of-age story to studios wherein the boy you‟ve

spent the first half of the movie falling in love with randomly and without warning DIES.
It wasn‟t pretty, and 6 years into the fight of trying to get it made, I decided it was time
for me to let it go, for now, and write something else, before I woke up 36 and hung over,
with no movie to show for it.
       About the same time that I came to the difficult conclusion that it was time to let
The Blessed Virgins go, I found myself having to come to terms with the equally difficult
epiphany that I was an adult, whether I liked it or not. I was 33 years old, had been
married for two years, had bought a house with my husband, and was feeling the pressure
to have a baby. The question was, how could I possibly have a baby when I still felt like a
teenager inside? And what about my career? And how did I own a house all of a
sudden? And how come no one ever told me that marriage, while being one of the most
amazing experiences in life, could also be such grown up, hard work? It was as if I was
experiencing a big chill….yes, that‟s right, a big chill. But where was the Big Chill
movie for my generation? Hmmmmmmm…
       It was all these questions and epiphanies swirling around in my mid-thirties mind
that led to an intense, and admittedly adolescent, period of Missing. I began to miss
everything. My youth, my coming of age, concerts, parties, jobs I‟d hated, conversations
I‟d had, boys I‟d kissed, music I‟d listened to…and on, and on, and on. And it was
around this time that my best friend and I decided to throw ourselves a giant Tribute To
Our Youth birthday party, in the form of a down and dirty, truly authentic „80‟s Rager.
The invitation was a picture of us from back in the day, in full-on „80‟s party mode,
daring everyone to come as they were. And boy did they.
       The party was absolutely off the hook. Not only did everyone come in droves
and in costume, but they all seemed to come with an adolescent, „80‟s mindset. It was as
if everyone on the planet, or at least at the party, was going through the same period of
Missing that I was, and they all seemed to believe that their parents really were out of
town, and that this was the last chance they‟d ever have to cut loose. There was
breakdancing, Truth or Dare, quarters games, karaoke, conga lines, beer bongs, lines for
the keg, lines for the bathroom, sex in the bathroom, rumors of illicit drug use, and even
crashers. These people, for whatever reason, really seemed to need this party.

       The next day, while trying to attack the massive clean up job and nurse our even
more massive hangovers, the stories from the night before started to trickle in…and in
listening to the emotions and issues and nostalgic pinings that the party brought up for
everyone, I began to realize that we hadn‟t just thrown a party, we had made a movie.
Now the only thing left to do was to write it and shoot it.
       The one thing I was adamant about from the beginning was that this movie was
going to get made within the year, or not at all. I knew with every fiber in my being that
I didn‟t want to go through years of “development” with it, or try to raise huge amounts
of money, or try to attach Brad Pitt. I wanted to do something doable, and to finally have
something to show for all the years of trying to get something made. This project just
somehow instinctively felt like “The One,” mainly because I needed it to be.
       Given the time constraints I had imposed on the project, I decided to work with a
writing partner in the hopes of speeding things along, and not getting bogged down with
solo procrastination. I also thought it would be a good idea to have a male point of view
in the writing of it, and Tim Talbott, who I had known for years, seemed perfect because
we are complete opposites. What I love, he hates, what I miss, he doesn‟t, and what
songs I think are the greatest of all time, he thinks suck. I knew having that built in
antagonism would be good for the story, and would keep it real. I also knew that we
liked enough of the same movies that we‟d be able to find a common ground, which we
did. The writing of it came easy, and was really fun. All the characters were already it
my head, as was the backdrop of an „80‟s party, and all the musings about missing things,
and the wondering about what could have been and what will be…and the rest of it just
spilled out. I wrote the first draft of the script in a month, and after a couple more drafts
of tweaking, we were ready to go. It was at that point though, that it became very clear
that Tim and I were not on the same page about how to get this movie made. He wanted
to go big, and I knew it had to stay small. He wanted to take time to find the right
amount of money, and I felt that time had already run out. I wanted it fast and cheap and
I wanted it now. I didn‟t want to almost make this movie, I just wanted to make it. Tim
went along with my plans, but wasn‟t happy about it, and I wasn‟t happy that he wasn‟t
happy, but I just knew in my soul that this was the way it had to be done, or it wouldn‟t
get done.

        My producer, Rachel Rothman, who had been in the Blessed Virgins trenches
with me for years, felt the same way. She immediately jumped on board and embraced
the idea that our generation needed this movie to get made fast, and that we did too. It
was as if The Lather Effect had to pay for all the sins of The Blessed Virgins, and we were
hell bent on not making the same mistakes or going down the same roads to nowhere that
we‟d been down before.
        The plan was to raise anywhere from $50,000 to $1,000,000, whatever came first.
It was about momentum for me at that point. I wanted to shoot the whole movie at my
parents‟ house, and just hire whoever would be willing to work for free and get it done.
Maybe I was selling the project short, but I couldn‟t let myself think bigger because I
knew that it could lead to promised rose gardens that would never bloom. It wasn‟t until
I gave the script to my good friend and mentor Eric Stoltz, who really loved the script and
expressed interest in being involved, that I realized maybe we could actually have it all:
get it done and do it well.
        Emboldened by Stoltz‟s interest, Rachel convinced Karen Meisels, our casting
director, to come on board, and we began the exciting process of getting other actors
involved. This kicked the film‟s momentum into high gear, and was one of the most
exciting and satisfying parts of the process. With each new actor‟s commitment and
enthusiasm, my confidence and faith would build, and the movie would become more
and more real. Meanwhile, every day, Rachel was inching closer to securing the
financing, all against the ticking clock that I had set months before. It was a time of
adrenaline and stress and hope and fear, but it made us feel alive and part of something
tangible. It was within reach, and we were going to grab it, or die trying. And as fate, or
luck, or perhaps just sheer will would have it, we got to grab it, and we‟re going to hold
on for the ride.

                              ABOUT THE PRODUCTION

“I felt like our generation, and our group of friends, and people who were raised on great
movies like The Breakfast Club and things that got us through the teenage years, needed a

follow-up. We needed a movie that talked about what we‟re going through,” says Sarah
Kelly about her writing/directing debut.
          And from that idea Kelly, a former production assistant who‟s worked under the
guidance of such esteemed directors as Quentin Tarantino and Robert Rodriguez,
collaborated with Ted Talbott and wrote The Lather Effect, a comedy about a group of
high school friends in their mid „30s who reunite for one final weekend at the house
where they spent most of their teenage years partying. If the idea sounds reminiscent of
Lawrence Kasdan‟s classic 1983 film The Big Chill, it‟s a welcome association for the
          “I think most writers or filmmakers of our generation have always sort of thought
of doing a Big Chill movie,” says Kelly. “But it‟s really hard to figure out how to do it.
You know, it‟s a high school reunion or somebody dies and everyone gets together. So,
during that same time, I had a huge „80s birthday party with my best friend. I was turning
34, she was turning 35, and we sent an invitation out that basically said, „Your parents are
out of town, the quarter‟s on the kitchen table, boom box is in the backyard, come as you
were.‟ And everybody did, in costume. And it seemed like this group of adults just
needed this party and they all, like, regressed back to high school and raged harder, I
think, then we‟ve raged in, like 15 or 20 years.
          “And the next day, I was just cleaning up and all the calls were coming in, and
people were coming over and helping clean up and the talk about it went on for a month,
of like, how fantastic the party was, and all the stuff it brought up for people, and how
much they miss stuff. And I was already kind of just missing things, and feeling like
being a grown-up was weird. I just didn‟t know how I woke up one day and was 35, and
like, owned a house, and was married. And so I took all of that and wrote this story for all
of us.”
          Producer Rachel Rothman had been working with Kelly for years trying to get
another project off the ground, a comedy about Catholic schoolgirls entitled Blessed
Virgins, and immediately responded to the director‟s script for The Lather Effect. “We
had this opportunity to segue into doing a movie that would actually speak to people that
are our age and would understand the journey that we had come from,” recalls Rothman.

        “I think Sarah and I always talked about the fact that you have The Big Chill,
which we were too young for, and American Pie, which didn‟t really apply to us,” she
continues. “The only things that had spoken to us in that way were the John Hughes
movies we love so much, like The Breakfast Club. And so this felt like an opportunity to
answer the question, „What happened to those kids after the library?‟”
        If two of those John Hughes kids—namely, Molly Ringwald and Ally Sheedy
combined—survived enough Saturdays in detention to make it to their thirties, it‟s very
possible they would have turned out something like Valinda (Connie Britton), the main
character in The Lather Effect‟s colorful ensemble, who hosts an „80s themed party at the
house she‟s grown up in, which her parents have recently sold. Inviting her oldest friends
back for the weekend, Valinda finds herself forced to confront her current reality:
possibly starting a family with her uptight husband Will (Tate Donovan), who wishes his
wife would stop letting teenage nostalgia rule her daily life, and unresolved romantic
feelings towards her high school boyfriend Jack (William Mapother), who went on to
marry their close friend Zoey (Ione Skye).
        Other characters reliving their youth during the weekend include the prim and
proper Claire (Sarah Clarke), a sensible wife and mother who‟s had a longtime crush on
Lex, a musician who is an elusive character we never meet; Katrina (Caitlin Keats), a
doctor with a promiscuous sexual reputation who‟s also harbored an infatuation with Lex;
Corey (David Herman), a former teen star who crashed and burned on drugs and alcohol
and has recently discovered he‟s a father; and Danny (Peter Facinelli), Valinda‟s little
brother, who has been living at home and, according to his big sister, wasting his life
away. The final ensemble player, one who was never particularly close to this gang and
almost functions as a Greek chorus in terms of their actions, is Mickey (Eric Stoltz),
Valinda‟s laid-back neighbor who once made a habit of crashing high school parties and
keeps the tradition alive and well in his early forties.
        For the cast, The Lather Effect examined problems and issues that hit them all
close to home. Britton, in particular, read Kelly‟s script during an extremely emotional
time in her life: when her mother was dying. “I said, you know, [the script] will be a good
distraction—and I read it, and it really resonated for me on a lot of levels, because it‟s so
much about the past, and particular high school friendships,” the actress remembers.

        Life continued to imitate art for the actress in the days following her initial
reading. “My mother always wanted to have a big party for her funeral,” recalls Britton.
“So, we had her funeral but then, afterwards, we planned on having this big reception at
my parents‟ house. And all my close high school friends came in from different areas,
and my first high school boyfriend, all of them, were there, and it was like no time had
passed. And here was this very sad event, but they all gathered around, and it was
ridiculous. You know, everyone was drinking wine and beer and staying up way too late
and it was like a reunion. And it was such an amazing kismet that all of this happened at
the same time and I was like, I have to do this film.”
        The Lather Effect‟s themes also resonated for actress Ione Skye. “In your early to
mid „30s, you know how to kind of make your life the way you want it, but do you want
it the way you‟ve made it? And can you be a grown-up and deal with the grown-up
decisions you‟ve made—having kids, being married, not being married,” contemplates
Skye. “It‟s kind of like, you know, another evaluation: „Okay, I really am a grown-up and
I really do have grown-up things that come with responsibilities.‟ And so I guess that‟s
what was going on in my life and that‟s what‟s happening in the script. That‟s a big
        Skye also noted some similarities between Kelly as a filmmaker and Cameron
Crowe, the director who made her a star in his 1989 teen classic Say Anything…. “Sarah
is really excited and it‟s sort of similar to Cameron because she‟s a total romantic like he
is. And she‟s just in love with all of the cast and the characters, and she gets into each
character‟s drama,” says the actress.
        The association is certainly a welcome one for Kelly, who would often find
herself wondering, “„What would Cameron do?‟ So I really have just been trying to
channel the guy for years, especially on this movie. I just feel like he‟s such a nostalgic,
romantic-moment kind of guy.”
        David Herman was attracted to the way Kelly captured such things in her script,
noting, “Her words come very easily. They flow. And that‟s what drew me to it, you
know. That she was speaking the truth and it seemed like a real thing. She wasn‟t just
sitting in an armchair coming up with this. It‟s something that she had lived, which ended
up being true.”

       One of the reasons that the camaraderie onscreen among the friends was so
believable was that some of the actors were friends in real life. Sarah Clarke first came on
board, for instance, when Britton encouraged her to read the script. “Connie first told me
about Sarah and the movie, and then I read the script and was very taken just by the
concept of people being in the „80s and enjoying themselves in the „80s. I was like, „Oh,
that‟s a new perspective.‟”
       According to Tate Donovan, “this ensemble is filled with people I know really
well, like Eric and Connie, and you know, people I‟ve just met like Ione and William and
Caitlin. And it‟s great. It‟s really such a great vibe. Sarah set up a really fun group of
       One of those people was Eric Stoltz, who Kelly had worked with when she was a
production assistant on such films as Killing Zoe and Pulp Fiction. The actor believes
that you could sense Kelly had natural instincts on set in those early days. “Sarah was a
great P.A.,” says Stoltz. “She knew what was happening, what the shot was, who was in
it, and where everybody was supposed to be. And she still had a sense of humor about her
and was just good to be around.”
       Kelly‟s positive attitude in fact was a key factor in attracting the interest of many
of her cast members. William Mapother was originally interested because “I really liked
the script, and the characters, and the comedy and the drama in it,” but he concludes that
his interest peaked when he met Kelly, finding the director to be “very upbeat, very
positive and very excited.”
       Like the other actors, Peter Facinelli became fond of his director‟s good-nature as
well. “Sarah Kelly‟s like a big sister,” he says. “She‟s so wonderful and warm, and loving
and giving that you just want to give her everything you have as an actor.”
       Producers Mike Jackson and David Grasso observed that Kelly‟s initial
enthusiasm carried over to the environment on set, which was essential for an
independent film shot in only 18 days. “There‟s no doubt that people respond to Sarah in
a positive way, and their comments are extremely positive. At the end of the day, it‟s
about getting your shots and everyone working as a unit, and she inspired the actors and
the crew and everyone else around her to accomplish that goal,” states Jackson.

        Grasso believes that Kelly‟s optimistic attitude helped her immensely as a first-
time director. “I was so happy with her,” he recalls. “Everyday I felt like she grew more
and more in terms of her comfort behind the camera and in directing the actors. And she
clearly showed that she wanted to take their input and was not afraid to listen to their
        Caitlin Keats particularly enjoyed the fact that Kelly was open to suggestions
from her actors. “She always wanted to hear what you were going to say and I loved the
comfort in that,” the actress recalls. “It‟s like this group of friends, where we‟re all kind
of together and we‟re doing something. Sarah‟s a blast.”
        Using the cast‟s input helped Kelly guide them into being a believable ensemble.
“I cannot picture anyone else being these characters,” says the director. “They have
exceeded my dreams in how perfectly they have stepped into these roles and made them
their own. I think I‟m most proud of how well they got along. From about half an hour
into rehearsal, they just seemed like they had known each other for 20 years.”
        The humor and good-natured chemistry between the actors was also evident to
Barbara Benedek, who co-wrote The Big Chill with director Lawrence Kasdan, and
visited the set after a friend passed her Kelly‟s script.
        “You know, it‟s just this family group,” says Benedek. “When I saw the dailies
and the scenes, these people really seem to know and like each other, and you sense the
history, the affection, and you know some of the darker things they shared, or didn‟t
share, and are finding out about now.”
        Benedek believes that even though Kelly‟s film doesn‟t begin with a funeral, it
still deals with a loss that resonates in most people‟s lives. “In the case of The Big Chill,
it was a death; in the case of this movie, it‟s selling a house, which is a presence as
crucial as anything in your life, and then to have that loss and the celebration of it. I loved
that we didn‟t see the party but saw the debris, the aftermath of something that looked
like it had been incredible. And just the way information is communicated through cell
phones, it was a really great sort of homage to The Big Chill. It‟s an honor to have such
an homage.”
        For Kelly, however, it‟s only one of many tributes in The Lather Effect. “It‟s just
one giant nod to everything that I love, and everything that I miss, and everything I think

people miss, from like the filmmakers we miss, like John Hughes, to all the bands we
miss and all the songs we love, and all the outfits and all the hairdos,” explains the
        “And then it‟s a nod to all the circumstances that you miss like the first kiss and
the first concert, and the first heartbreak,” Kelly continues. “And I just wanted all of that
in there. And I think it‟s also about how, if we didn‟t know how old we were, we would
be younger than we are. And so it‟s just talking about how sometimes growing up is hard.
Even if you‟re already grown up.”

                                   ABOUT THE CAST

        Born in Boston, Massachusetts, Connie Britton moved to Lynchburg, Virginia, at
the age of seven with her family, including her fraternal twin sister. She went on to attend
Dartmouth College, where she majored in Asian studies and spent a term in Beijing,
China. Upon graduation she moved to New York, where she spent two years at the
Neighborhood Playhouse studying with Sanford Meisner, and an additional two years
performing in regional theater and off-Broadway productions. She moved to Los Angeles
after the success of The Brothers McMullen.
    Britton received accolades for her starring roles in Ed Burns‟ acclaimed independent
films The Brothers McMullen and No Looking Back. In the former, she captivated
moviegoers with her portrayal of Molly, the luminous wife of a cheating husband. This
popular low-budget film went on to win the Grand Jury Prize at the Sundance Film
Festival. After nearly canceling her audition with director Ed Burns, this last meeting of
the day turned into the role that would launch her career.
    Britton starred in ABC‟s “Lost At Home” opposite Mitch Rouse and Gregory Hines.
Her other television credits include “The Fighting Fitzgeralds” opposite Brian Dennehy, a
recurring role in the highly-acclaimed drama “The West Wing,” and a starring role in the
award-winning comedy “Spin City” opposite Michael J. Fox.

   Some of her feature credits include: Universal‟s Friday Night Lights directed by Peter
Berg and starring opposite Billy Bob Thornton; and Edward Burns‟ independent feature
Looking for Kitty.

   Britton recently finished working on The Last Winter opposite Ron Perlman, and had
in a recurring role on FOX‟s popular “24.”

   In her free time, Britton, who resides in both New York and Los Angeles, enjoys
hiking, yoga. She is currently finalizing a documentary which she produced and directed
on the orphans of Ethiopia.

       With a starring role on the critically praised television series, “24,” Sarah Clarke
has instantly become a household name. Portraying the role of „Nina Myers,‟ Clarke
shocked over 10 million viewers when her character was exposed in the first season‟s
finale as “the mole.” “24" stars Kiefer Sutherland as special agent Jack Bauer who has
twenty-four hours to thwart an assassination attempt on the presidential candidate he was
assigned to protect.
    Clarke, a St. Louis, Missouri native, became interested in the creative arts when she
was employed as an architectural photographer in her hometown city. Upon moving to
New York City, Clarke immersed herself into acting by enrolling into the Circle in the
Square Theater School. Upon graduating, Clarke worked with acclaimed director Robert
Wilson, the Axis Theater Company and Tony nominated Willow Cabin Theater
    In her first on-camera role on the short film, “Pas de Deux,” Clarke was recognized
with the CINY Award from Cine Woman NY for Outstanding Performance at the
Brooklyn Film Festival. Shortly thereafter, Clarke made guest appearances on “Sex and
the City” and “Ed” before landing a starring role on “24."
    On the big screen, Clarke was seen in the Fox Searchlight coming-of-age drama
Thirteen, which garnered the Best Director award for Catherine Hardwicke at the 2003
Sundance Film Festival, and stars Holly Hunter and Evan Rachel Wood. Clarke also
appeared in the independent feature Emmett’s Mark, which premiered this year at the

inaugural Tribeca Film Festival in 2002. The film also stars Scott Wolf and Tim Roth.
She was also seen on the indie film Below the Belt for director Robert M. Young.
    Clarke also appeared in the feature film Happy Endings for director Don Roos and
Lion‟s Gate Entertainment which premiered at the Sundance Film Festival 2005.
    Clarke shares her time between Los Angles and New York.

       A Tenafly, New Jersey native, Donovan first gained recognition for his role in the
ensemble period drama Memphis Belle (1990). Donovan's early screen appearances
include such efforts as Not My Kid, Into Thin Air (both 1985) and Space Camp (1986).
Donovan moved to Los Angeles and attended the University of Southern California.
After graduating he was cast as a recovering drug addict in Clean and Sober (1988).
Donovan‟s first leading role was opposite Sandra Bullock in the romantic comedy Love
Potion No. 9 (1992). He then appeared in three independent art-house features: Inside
Monkey Zetterland (1992) for which he was nominated for an Independent Spirit Award,
Ethan Frome (1993) and Alan Rudolph's Equinox (both 1993) before following up with a
role in the Disney family comedy, Holy Matrimony (1994). Three years later, Donovan
returned to Disney to provide the voice for the eponymous character in the animated
Disney adventure Hercules (1997). Donovan would regularly reprise the role of Hercules
for various animated follow-up projects featuring the character.
       Donovan's small screen work has included a Cable ACE-nominated turn in the
HBO series, “Vietnam War Story” (1988), “A Case of Deadly Force” (CBS, 1986),
“Partners” (1995), the miniseries “Nutcracker: Money, Madness, Murder” (CBS, 1987),
“Homicide: Life on the Street” (1997) and recurring roles as a client and potential love
interest for Calista Flockhart's “Ally McBeal” (1997) on Fox‟s hit show and as a love
interest opposite Jennifer Aniston on NBC's “Friends” (1998).
       Donovan returned to the small screen in the role of Jimmy Cooper, the
dysfunctional dad of “The O.C.‟s” Marissa (Mischa Barton); the actor also directed
episodes of the series on occasion and

       Other recent roles include playing the late father of the family that Vin Diesel
must protect in the Disney comedy The Pacifier (2005) as well as a role in George
Clooney‟s critically acclaimed film, Good Night and Good Luck (2005).
       Donovan‟s upcoming roles include Warner Bros.‟ Nancy Drew: The Mystery in
the Hollywood Hills directed by Andrew Fleming and produced by Jerry Weintraub and
Neal Cassady, directed by Noah Buschel.

       Peter Facinelli‟s eclectic and impressive performances have established him as
one of Hollywood‟s most sought-after young actors. He recently wrapped the feature
film Hollow Man 2 for Columbia Pictures. Facinelli is currently working on A&E
Network‟s original film “Touch the Top of the World,” in which he stars as Erik
Weihenmayer, the first blind man to climb Mt. Everest, in the action packed and inspiring
true story. The film premieres in the Summer of 2006. Facinelli is also set to star in
Unspoken Vows, a true story that provides a look inside the mafia of the late 1950‟s, in
the lead role of Vinny. The film was written and directed by former Ryder Studios
executive, Charles T. Daniels.
       Most recently Facinelli had a recurring role as a popular and promising art student
who became involved with Lauren Ambrose‟s character on the HBO series “Six Feet
Under,” which was also nominated for a Screen Actors Guild Award in 2005.
       Facinelli‟s versatility is undeniable with a starring role in McG‟s sexy one-hour
drama “Fastlane” and his appearance in the feature film Stealing Time opposite Ethan
Embry and Scott Foley. He has also appeared in Universal‟s The Scorpion King starring
Dwayne „The Rock‟ Johnson, as well as in Sony‟s Riding in Cars with Boys, directed by
Penny Marshall and starring Drew Barrymore.         Peter received rave reviews for his
performance opposite Kevin Spacey and Danny De Vito in Lions Gate‟s The Big
Kahuna, which debuted at the 1999 Toronto and Sundance Film Festivals.
       Facinelli‟s credits also include starring roles in Bill Bennet‟s Tempted opposite
Burt Reynolds, Walter Hills‟ sci-fi thriller Supernova with James Spader and Angela
Bassett, Dave Stewart‟s independent film Honest, Can’t Hardly Wait alongside Jennifer
Love Hewitt, Columbia Tri-Star‟s Dancer, Texas Pop. 81 with Breckin Meyer, Blue

Ridge Fall, Telling You, Touch Me, Foxfire with Angelina Jolie, and Angela, winner of
the 1995‟s Filmmaker‟s Trophy at the Sundance Film Festival.
       Facinelli, who was born and raised in New York, attended NYU‟s Tisch School
of the Arts and worked as an actor there until his role in the television film “After
Jimmy,” which brought him to Los Angeles. Facinelli currently resides in Los Angeles
with his wife, actress Jennie Garth, and their two daughters.

       Displaying remarkable versatility with a wide range of roles in film and
television, William Mapother‟s last few roles include episodes on CBS’ “Threshold,” and
a turn on Fox‟s “The Inside” as an 800-lb. cannibal, which required 4 hours of prosthetic
One of William‟s most recognizable roles was as Marisa Tomei's husband in the critically
acclaimed and Oscar-nominated film In the Bedroom. Along with his fellow cast
members, William received a SAG Nomination for “Outstanding Performance by a Cast
in a Theatrical Motion Picture.” His other feature film credits include the hit horror
thriller Lords of Dogtown, The Grudge, Suspect Zero, Minority Report, Without Limits,
Swordfish, Mission: Impossible 2, Almost Famous, and Magnolia. William has worked
with such notable directors as Robert Towne, John Woo, Steven Spielberg, Paul Thomas
Anderson, Cameron Crowe, and Catherine Hardwicke. He made his big screen debut
with a small role in Oliver Stone's Born on the 4th of July.
On television William played the role of Ethan in the new hit series “Lost.” He has also
been featured on the television shows “CSI,” “CSI Miami,” “Law & Order: SVU,”
“NCIS,” “Line of Fire,” and “Crossing Jordan.”
       Born in Louisville, KY, William graduated from Notre Dame with a degree in
English Literature. He worked for several years on the production side of the film
industry, then taught in East L.A. for three years as a substitute teacher for the LA
Unified School District. He moved to New York City, where he directed a production of
“North of Providence.” Also a writer, he is currently at work on an original project. He
resides in Los Angeles.


         Since her youthful burst onto the scene, Ione Skye has appeared in a series of
critically acclaimed films. In each of these films Ione has portrayed strikingly different
characters with the poise of a truly professional actress.

         In River's Edge, directed by Tim Hunter, Ione played along side Keanu Reeves as
two drug using, suburban teens grappling with the murder of a teenage girl by one of
their friends.
         In Cameron Crowe's Say Anything, Ione starred as a beautiful, highly intelligent
high school graduate with the whole world before her, until her father is caught for tax
evasion and fraud. The film also stars John Cusack.
         Under Allison Anders's direction in Gas Food Lodging, Ione starred as an
obnoxious teenager who lives with her mother and sister in a rural New Mexico trailer
park. This film was nominated for five Independent Filmmaker Awards and lead to
Anders winning the 1995 MacArthur Genius Award. Ione reunited with Anders for the
Miramax release Four Rooms, written and directed by Allison Anders, Quentin
Tarantino, Alex Rockwell and Robert Rodriguez.
         Ione also shone in Dreams for an Insomniac, directed by first time director
Tiffany DeBartolo and in The Size of Watermelons, directed by Kari Skogland.
         Ione has most recently been seen in the CBS telepic “Back When We Were
Grownups” with an all-star cast including Blythe Danner, Peter Fonda, Faye Dunaway
and Jack Palance. She also appeared in the Farrelly Brothers‟ film Fever Pitch, about a
fan‟s obsession with the Boston Red Sox. She also starred in Xan Cassavetes‟ The Sky Is
Green, which comes on the back of the independent film Dry Cycle, directed by Issac
         Her TV credits include the CBS movie of the week "The Perfect Mother” and
guest star appearances on “The Dead Zone” and “Life as We Know It,” among others.
         Ms. Skye has also joined the ranks of actor-writer-director with "The Delights and
Horrors of Love." A short film written and directed by Ione, it features performances by
her brother Donovan Leitch, her mother Enid Karl and friends Amy Fleetwood, Zoe
Cassavettes and Max Perlich.

       As an actor, producer, and most recently director, Eric Stoltz continues to add to
his reputation with an eclectic group of projects in film, television, and theatre.
       Stoltz was most recently seen starring in the Sci-fi mini-series “The Triangle”
with Sam Neill, and the Paramount release of “The Honeymooners,” with Cedric the
Entertainer and John Leguizamo. He also starred in the Showtime original mini-series
“Out Of Order,” with Felicity Huffman and William H. Macy.
       He made his directorial debut with “My Horrible Year!” for Paramount Classics.
The film stars Karen Allen and Mimi Rogers, and earned Stoltz a Daytime Emmy
Nomination for his work.
       On the big screen, Stoltz was last seen in the New Line film The Butterfly Effect,
starring Ashton Kutcher, Happy Hour with Anthony LaPaglia, Pulp Fiction, Little
Women, Rob Roy, Anaconda and Two Days in the Valley.
       It was his startling portrayal of Rocky Dennis in Peter Bogdanovich‟s Mask that
first gained Stoltz nationwide attention. Starring opposite Cher, Stoltz‟ work earned him a
Golden Globe nomination. Additional films include Memphis Belle, Some Kind of
Wonderful, and Fast Times at Ridgemont High. He has also performed cameos in the
Cameron Crowe films Jerry Maguire, Singles, and Say Anything.
       Stoltz has starred in a number of successful independent films including Kicking
and Screaming, Killing Zoë, and the 1992 Sundance Film Festival winner The
Waterdance with Helen Hunt. He also produced and starred in the films Mr. Jealousy,
Bodies Rest & Motion and Sleep With Me.
       On stage, Stoltz has starred in the Broadway productions of Larry Gelbart‟s “Sly
Fox” with Richard Dreyfuss, Chekov‟s “Three Sisters” with Lili Taylor, and “Two
Shakespearean Actors” with Victor Garber. He was honored with a Tony Award
nomination for hi work in the Broadway revival of Thornton Wilder‟s “Our Town.”
       Stoltz‟ television work includes a season on the critically acclaimed drama
“Chicago Hope,” a recurring role in the critically acclaimed drama “Once and Again,” an
episode of which he also directed and a recurring role as Helen Hunt‟s former boyfriend
on “Mad About You.”

       He is a contributor to the book New York City Secrets by Robert Kahn, as well as
the children‟s sing along CD “Philadelphia Chickens” by Sandra Boynton and featuring
Meryl Streep, Kevin Kline, and Patti LuPone.
       When he‟s not working in New York City or Los Angeles, Mr. Stoltz spends his
spare time on his ranch in New Mexico.

                             ABOUT THE FILMMAKERS

SARAH KELLY (Writer/Director)
       Sarah Kelly started her film career in the early „90‟s working as a production
assistant on such films as Gettysburg, Killing Zoe, Sleep With Me, and Pulp Fiction. She
went on to direct the full length feature documentary, Full Tilt Boogie, chronicling the
making of the Robert Rodriquez/Quentin Tarantino vampire film From Dusk ‘Til Dawn,
which was released by Miramax in 1997. In 1999, Kelly sold a pilot script to the WB
called “Waiting in Venice”, based on her days as a waitress, and went on to option her
screenplay The Blessed Virgins, based on her experiences at an all girls‟ Catholic high
school, to Avenue Pictures in 2000. In 2003, she was commissioned to write a
screenplay for Maverick Films called Valet Days. The Lather Effect, which she co-wrote
with Tim Talbott in the summer of 2004, is her narrative directorial debut.
       Kelly is currently writing and developing various projects that she plans to direct,
including The Blessed Virgins, Pretty Cool For a Girl, and her new screenplay 50/50, an
ensemble comedy/drama about modern marriage.

       Tim is a feature and television writer who most recently wrote THE Stanford
Prision Experiment set up at Maverick Films. He wrote Fuel-Injected Dreams set up at
Content Films with Gary Fleder set to direct and Nic Cage set to star. His other credits
include Feels Like the First Time set up at Spyglass Entertainment and Maverick Films, at MTV Original Movies, and Meet Joe Simon at Comedy Central
Movies. Tim was also a staff writer for two seasons on “South Park.”

Rachel Rothman is an independent Producer with a first look deal with Madonna and
Guy Oseary‟s Maverick Films in Los Angeles.
       Ms. Rothman is producing Keep Coming Back, which is scheduled to go into
production in September with William H. Macy directing and Salma Hayek and Jamie
Bell in talks to star. She is executive producing “For all the Right Reasons” which will
air on the Lifetime Television Network in September.
       Ms. Rothman has a number of films in development including the French remake
of Labyrinth with two-time Academy Award winning actress Hilary Swank attached to
star and co-produce and Russell Gerwirtz (writer of The Inside Man) attached to do the
       Ms. Rothman also executive produced Brooklyn Rules, which is scheduled to be
released in September, 2006. The film stars Alec Baldwin, Freddie Prinze, Jr., Scott
Caan and Mena Suvari.
       Prior to becoming an independent producer, Ms. Rothman was Vice-President of
Production for Cary Brokaw‟s Avenue Pictures (Closer, Angels In America, The Player,
Drugstore Cowboy). Together with Mr. Brokaw, Ms. Rothman co-executive produced
Randall Harris‟ Wayward Son starring Harry Connick, Jr., Patricia Clarkson and Pete
Postlewaite. She also produced the award-winning independent film Bury Me In Kern

GARY BRYMAN (Producer)
Gary Bryman founded Quality Filmed Entertainment, a production and media consulting
company making new media, feature films, and television in 1996. The company built its
reputation by launching the careers of filmmakers and creating film and television
properties through producing short films.     He launched his new company,         Rocket
Entertainment in the summer of 2005.
       Prior to launching Rocket Entertainment, Bryman was head of production / in-
house producer for Hypnotic (The OC, The Bourne Identity), where he worked to develop
feature and television projects with their filmmakers. The deal also included Hypnotic

representing Quality's available short film library and Hypnotic having a first-look deal to
co-produce short film and web content.
       While at Hypnotic, Bryman executed the 2003 Chrysler Million Dollar Film
Festival, the 2004 MasterCard Priceless Experience and won a Gold Lion at Cannes 2003
for the hit short film and commercial series for Reebok entitled “Terry Tate: Office
Linebacker,” written and directed by Rawson Thurber, which premiered on Super Bowl
       Bryman executive produced the Sony Pictures film Boogeyman with Sam Raimi
(Evil Dead, Spider Man), which was released on over 3000 screens in February of 2005
and went on to be the number one grossing film over a Super Bowl weekend, he has a
number of projects in development at studios including Animal Control at Fox with
producer Barry Josephson (The Last BoyScout) and Ressurection at Columbia Pictures
with producer Charles Roven (Batman Begins, 12 Monkeys).

President of Production, Tycoon Entertainment
Drawing from over two decades‟ experience in Broadway theater, live events and filmed
entertainment, Mike Jackson is president of production for Tycoon Entertainment. Based
in the company‟s residential office in Los Angeles, Jackson works to identify new
projects, liaise with west coast talent and serve as the Hollywood face of the company,
which itself is headquartered in Philadelphia.
       A Philly native, Jackson began his career at Grey Advertising in New York as the
production coordinator responsible for publicity and opening nights of several Broadway
shows including Chicago: The Musical, Jekyll and Hyde, Steel Pier, Candide, Barrymore,
The Young Man From Atlanta, The Last Night of Ballyhoo and Always Patsy Cline.
Relocating to L.A., he worked at Arthouse Entertainment as an associate producer,
developing and packaging projects for its talent clients.
       Back in his hometown, Jackson founded his own Philadelphia-based
entertainment and management company, Cojax Entertainment Group. CEG produced
major events throughout Philly and New York and represented several rising musical
acts, including the award-winning, multi-platinum Sony recording artist and songwriter

 John Legend. After CEG he returned to physical production at Banyan Productions
 (“Trading Spaces”) as a producer for The Learning Channel‟s “A Dating Story.”
        Several years ago Jackson relocated back to L.A. to hone his reputation as a
 producer. He produced several music videos with Interscope Records and Road Less
 Traveled Productions; was engaged in a shopping agreement with Madonna‟s Maverick
 Entertainment for “Mixed Blessings,” a TV sitcom pilot that he co-created and co-wrote;
 and was hired to produce the A&E reality television show “Intervention.” Jackson soon
 left “Intervention” to become a partner in Tycoon Entertainment, where he is focusing on
 developing and producing feature films.

DAVID GRASSO (Executive Producer)
President & Chief Executive Officer, Tycoon Entertainment
With a background harmoniously mixing both business and entertainment, David Grasso is
founder, president and chief executive officer of Tycoon Entertainment, an entertainment
finance/production company headquartered in Philadelphia with an office in Los Angeles.
He concurrently serves as president of Grasso Holdings and U.S. Realty Associates and
vice president of Grasso Construction Management.
        A lifelong musician who still takes regular guitar lessons, Grasso seemed headed
for a career in entertainment. He managed a nightclub, booked bands and dabbled in artist
management while working toward his B.S. in Information Systems at Philadelphia‟s St.
Joseph‟s University. Persuaded to apply his natural skills toward entertainment law, he
earned a J.D. from St. Thomas University School of Law, but “got cold feet” upon
graduation, deciding that he‟d rather leverage his legal knowledge in the context of his
family‟s real estate business, where he had previously worked for many years.
        As an executive, then president, of Grasso Holdings he has overseen the
expansion of the firm, overseeing activities from identification of new projects and
arrangement of equity and debt financing at one end, to leasing and property management
at the other. In 2004, moved by a desire to return to the concert promotion business,
Grasso began working with House of Blues, helping it establish a foothold in Philadelphia.

Although an opportunity to leverage the HOB relationship into a reality TV show didn‟t
pan out, it led to the establishment of Tycoon Entertainment.
         A member of the Pennsylvania and Florida Bar Associations, and president of the
Philadelphia chapter of Lambda Alpha International, David Grasso also serves as a director
of the Philadelphia Commercial Development Corporation as well as the Pennsylvania
division of Covenant House, one of the largest privately funded childcare agency in the
U.S. providing shelter and service to homeless and runaway youth.

                                  THE LATHER EFFECT

                                 Writer/Director   Sarah Kelly
                                Exec Producer      David Grasso
                                      Producer     Rachel Rothman
                                      Producer     Gary Bryman
                                      Producer     Mike Jackson
                                  Co Producer      Karen Meisels
                                  Co Producer      Patrick Aluise

                                    Co - Writer    Tim Talbott

                                         Editor    Darren Ayres

                                     Composer      Dominic Kelly

                           Production Manager      Danielle Probst
                         Production Coordinator    Sean Fernald
                           Assistant Production
                                                   Meredith Trosper
                           Assistant Production
                                                   Deb Egelhoff

                                         1st AD    Charity Ozarowski
                                        2nd AD     Zachary Smith
                                   2nd 2nd AD      Dave Hoffman
                              Script Supervisor    Ari Halpern
                                        Key PA     Sue Foley
                                            PA     Patrick Brown
                                    Prod Intern    Scott "Rocks" Edgecombe
                                    Prod Intern    Carl Walenciak

             Prod Intern    Natalie Howe
             Prod Intern    Courtney Lile
             Prod Intern    Jamison Walsh
 Assistant to Sarah Kelly   CJ Longhammer
Assistant to Gary Bryman    Mathew Hermosillo

       Script Supervisor    Ari Halpern

    Production Designer     David Evans
             Art Director   Melanie Lewis
             Set Dresser    Christine Nichols
            Prop Master     Trevor Murgio
                  Swing     Steve Clark
                  Swing     Miguel Kim
               Art Intern   Grace Chu
               Art Intern   Stacy Bryman

 Director of Photography    Eric Haase
                  1st AC    Marc Yannette
                  1st AC    Sven Heinrich
                 2nd AC     Matthew Rudenberg
                 2nd AC     Zoe Van Brunt
           B Camera Op      Kevin Sarnoff
                 Loader     Ryan Garcia
     Steadicam Operator     David Grove
     Steadicam Operator     Jon Meyers
       Still Photographer   Jim Wright
       Still Photographer   Isabella Vosmikova

                  Gaffer    Ryan McCoy
       Best Boy Electric    Steven Olsen
                 Electric   Ari Schwartzman

                Key Grip    Sabyn Mayfield
           Best Boy Grip    Matt Whitted
                    Grip    Dave Newbert
                  Swing     Joel T. Johnson

       Location Manager     Laura Williams
          Location Scout    David Williams

            Key Makeup      Kelley Mitchell
           Asst Makeup      Leah Amaro
           Asst Makeup      Elizabeth Fox
                Key Hair    Jennifer Greenberg

            Sound Mixer     Manny Bersegyan
               Boom Op      Jeff Knudsen
            Addt'l Boom     Danny Smith
            Addt'l Boom     Ted Hamer

Stunt Coordinator   Kenny Lescoe
Costume Designer    Karla Stevens
   Key Costumer     Sydney Wanetick

                    Chefs on Location - Carlos
    Craft Service   Leslie Ryan

     Set Security   Taurus Security

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