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                                      LET ME IN

        Chloë Grace Moretz (Hit Girl in Kick-Ass) stars as Abby, a mysterious 12-year-
old who moves next door to Owen (Kodi Smit-McPhee, The Road), a social outcast who
is viciously bullied at school. In his loneliness, Owen forms a profound bond with his new
neighbor, but he can‟t help noticing that Abby is like no one he has ever met before. As a
string of grisly murders grips his wintry New Mexico town, Owen has to confront the
reality that this seemingly innocent girl is actually a savage vampire.
       Let Me In, a haunting and provocative thriller written and directed by filmmaker
Matt Reeves (Cloverfield), is based on the best-selling Swedish novel Låt den Rätte
Komma In (Let The Right One In) by John Ajvide Lindqvist, and the highly acclaimed film
of the same name. The film‟s score is by Oscar®-, Emmy®- and Grammy®-winning
composer Michael Giacchino (Up, “Lost”). Let Me In marks the return of legendary
British horror brand Hammer Films and is the first movie to come out from the studio in
over 30 years.
       Let Me In stars Chloë Grace Moretz (Kick-Ass), Kodi Smit-McPhee (The Road),
Oscar nominee Richard Jenkins (The Visitor), Elias Koteas (Shutter Island) and Cara
Buono (“The Sopranos”). The film is produced by Simon Oakes (Wake Wood), Alex
Brunner (The Resident), Guy East (Terminator 3: Rise of the Machines), Tobin
Armbrust (The Resident), Donna Gigliotti (The Reader), John Nordling (Let the Right
One In) and Carl Molinder (Let the Right One In). Executive producers are Nigel Sinclair
(Terminator 3: Rise of the Machines), John Ptak (The Imaginarium of Dr. Parnassus),
Philip Elway (Dear John) and Fredrik Malmberg (Mutant Chronicles). Co-producer is
Vicki Dee Rock (My One and Only). Director of photography is Greig Fraser (Bright
Star). Production designer is Ford Wheeler (After.Life). Costume designer is Melissa
Bruning (Love Ranch). Original music is by Michael Giacchino (Star Trek).

                          ABOUT THE PRODUCTION

       Even in a pop-culture landscape littered with the bloodthirsty undead, Let Me In
stands out as a very different kind of vampire movie. A poignant coming-of-age story as
well as a bone-chilling horror film, it is also a haunting meditation on the difficult and
often painful transition into adolescence.

       “Each of the stories that are so popular now uses the vampire legend in a
different way,” observes writer and director, Matt Reeves. “Most often they use it to
explore people‟s sexual nature. But this story takes the same archetype and uses it to
explore something entirely different.”

       Let Me In is based on John Ajvide Lindqvist‟s bestselling Swedish novel Låt den
Rätte Komma In (Let the Right One In) and the highly acclaimed Swedish film of the
same name. That film took home the Founders Award for Best Narrative Feature at the
2008 Tribeca Film Festival. Its overwhelming popular success attracted the attention of
both Hammer Films and Overture Films.

       Simon Oakes, vice chairman of Exclusive Media Group, and president and CEO
of Hammer Films, says the company was immediately attracted to the original story with
a unique take on the vampire genre. Lindqvist‟s novel first came to the attention of
Hammer in 2007, followed by the Swedish film based on it. “We tracked it very early on,”
says Oakes, “It is a story that should be available to a wider audience. Even though
competition for the material was stiff, we developed a relationship with the producers,
and, as a result, we were able to secure the rights.

       Soon after the successful release of his 2008 thriller, Cloverfield, Reeves was
approached by Overture to adapt the book into a screenplay for an English-language
film set in the U.S. He says he was immediately hooked by a tale that reminded him of
his own childhood. “It really touched me. Lindqvist and Tomas Alfredson, who directed
the Swedish film, created a powerful metaphor for the turmoil of adolescence.”

       When Hammer acquired the rights to the film, Reeves was even more
determined to participate in the project. “I thought it would be extremely exciting to have

the film made by Hammer given their historic contributions to the genre,” he says. “I
knew I had to find a way to connect to this movie. The people at Overture also loved this
project so much that they also wanted to be a part of it and actually ended up partnering
with Hammer.”

        Reeves‟ enthusiasm made him the top candidate for the job, according to Oakes.
“Matt had read the novel and seen the original film, and was very positive about finding a
way to make it his own. He had such a passionate connection to the story, and that was
worth everything. He was determined to remain faithful to the spirit of Lindqvist‟s story,
while expanding it in ways to include his own vision.”

        After reading the novel, Reeves wrote to author Lindqvist. “I told him I was drawn
to the story, but not because it‟s a great genre story—which it is,” says the director. “The
novel wouldn‟t let me go because it reminded me so much of my childhood.”

        Reeves was surprised to learn that Lindqvist was also familiar with his work. “He
had seen Cloverfield. He said it struck him as a new twist on a very old tale, and that‟s
what he was trying to do with Let The Right One In; so when he heard about my interest
in doing an American version, he was actually excited.

        “But upon hearing about my strong personal reaction to the story, he said he
became even more excited, because this, it turns out, was the story of his childhood,”
continues Reeves. “It was very personal for him, and I completely connected to that. I
knew there had to be a way that I could take the essence of his story, and translate it to
the American landscape I knew from my youth.”

        Let the Right One In already had a passionate international fan base, and
Reeves shared their reverence for the source material. Let Me In transports the action to
a small town in the mountains of New Mexico, but is faithful to much of the action of the
novel and the first film. “At one point, it was even suggested that we might age the kids
up for an American audience,” says Reeves. “But that would have destroyed the story.
It‟s about this specific time of life. It‟s about how difficult it is for a 12-year-old boy who is
mercilessly bullied and has no friends. It‟s all about the innocence and discovery of that
age the juxtaposition of light and dark.”

       Reeves continues, “I was very concerned with finding ways to translate this story
from 1980s Sweden to 1980s America—which was Reagan America. The Cold War was
still at its height when Ronald Reagan gave his „Evil Empire‟ speech, and the president
was telling the country that evil was something that existed outside of us—the Soviets
were evil, but as Americans, we were fundamentally „good.‟ And I thought to myself,
what would it be like for a 12-year-old like Owen, who was harboring all these very dark
feelings deep inside, to grow up in that context? It would be terribly confusing.”

        Although the filmmakers embraced the supernatural elements of the story, they
insisted on making the emotion as realistic as possible. “With a genre film, I think the
most exciting thing is being able to smuggle a bigger idea in under the surface,” says
Reeves. “I think that‟s what makes this story different. It isn‟t the usual vampire fantasy;
it‟s something that I hope people can really relate to.”

       Vicki Dee Rock, the film‟s co-producer, credits Let Me In’s emotional resonance
to Reeves‟ extraordinary connection with the material and the characters. “It‟s a
comment on humanity,” she says. “You could make the mistake of thinking it‟s just about
vampires, but it is really about how alienated we can feel and the price we‟d be willing to
pay to be loved.”

       For Simon Oakes, the production of this film has taken Hammer Films full circle,
once again pioneering a new approach to a popular genre. “In a sense, we set the bar
for vampire films,” he says. “In the Dracula movies of the late „50s, Hammer transformed
the vampire, played by Christopher Lee, into quite a sensual figure. I think that we set
the tone for that approach to the vampire lore and it has lasted for decades.”

                          FINDING THE RIGHT ONES

        With the emotional resonance of the film resting on the narrow shoulders of its
preteen protagonists, the filmmakers knew the chemistry between Abby and Owen was
crucial. They also knew that finding actors of the appropriate age to play such nuanced
characters would be extremely challenging.

        “In the original Swedish film, the two kids are so wonderful and their relationship
is so powerful,” says Reeves. “I knew that if we couldn‟t find kids who were capable of
that, we shouldn‟t make the movie. This is an adult story in many ways. The emotional
complexities of the relationship are very mature.”

        Avy Kaufman, the film‟s casting director, has discovered a number of
extraordinary child actors for the films she has worked on, including Haley Joel Osment
in The Sixth Sense, Max Pomeranc in Searching for Bobby Fischer and Adam Hahn-Bird
in Little Man Tate. “Casting children rather than adults both is and isn‟t different,” she
says. “We‟re always looking for something specific, but there are lots of different ways to
go with that. In this case, Matt made it easier because he knew exactly what he was
looking for.”

        A major talent search was mounted on three continents as the filmmakers met
with young actors in New York, Los Angeles, London, Australia and New Zealand over
an eight-month period.

        Reeves knew it wouldn‟t be easy to find a kid who could handle the emotional
demands of playing Owen. “When he finally discovers who Abby is, it is absolutely
horrifying for him,” he observes. “It sends him reeling and he has nowhere to turn. What
12-year-old could play that?”

        But when 13-year-old Kodi Smit-McPhee came in to audition, the director knew
he had found the right actor. “Kodi came in and read that scene,” Reeves says. “He
played it totally real and very subtly. By the time he finished reading, I was convinced

that he was the one. I was also convinced for the first time that we should and could
make the movie—he was just that amazing.”

        “Matt and I both felt like Kodi was the one as soon as we met him,” says
Kaufman. “You can believe he‟s a kid who would be picked on, but he‟s so clearly loving
and caring and thoughtful.”

        Smit-McPhee has been working in film and television for five years, both in the
United States and his native Australia. From an acting family, he is already adept at
appraising his co-workers. “Matt is a really cool director,” he says. “He likes to
experiment with stuff. And he wants the actors to explore.”

        The young actor was able to draw on his recent role in the post-apocalyptic
drama, The Road, for his character. “Owen has been forced to be a loner, a lot like the
character I played in The Road,” says Smit-McPhee. “He is the son of a single mother.
He‟s had a very hard life. He gets bullied at school, and his mum cares, but she drinks a
        Smit-McPhee got some sage professional advice at home. “I worked on most of
the character stuff with my dad,” he says. “He has been an actor for 20 years. My dad
taught me that for simple scenes, I can just turn it on and off, but when I‟m doing the
really intense scenes, I have to stay in that character all day. I can‟t muck around. It‟s a
really emotional movie, especially for Owen. There were some days that were really fun,
and other days that were a lot harder.”

        Owen proved to be a rich subject for exploration, says Smit-McPhee. Among the
character‟s quirks is a fascination with serial killers. “It is a bit creepy, so he kind of
keeps it to himself,” he says. “But that and the way he dresses and acts all add up to this
dorkiness that gets him picked on. When a new girl moves into his apartment complex,
he thinks she‟s kind of weird, but he needs someone he can talk to. And then just when
they become best friends, he finds out that she‟s a vampire.”

        Abby learns that Owen is being mercilessly bullied by three boys at school. When
none of the adults in his life steps forward to help him, she encourages him to fight back.
“They really hurt him,” says Smit-McPhee. “They try to push him into a frozen lake

through a hole in the ice. She tells him if he doesn‟t stand up to them, it will go on
forever. When he does finally take them on, it‟s an amazing scene.”

        Smit-McPhee believes the story‟s balance between horror and hopefulness will
appeal to a wide audience. “Teens are going to love the gruesome parts, which are
totally awesome, but I think adults will like the Romeo and Juliet kind of love story.”

        Once Smit-McPhee was cast, it was matter of pairing him with an actress who
would create the right kind of chemistry. “They had to be able to work off each other,”
says Kaufman. “The dynamic was very important. We had several candidates for the
part, but Chloë was exactly what we were looking for. She has an old spirit. She‟s wise
and confident.”

        Although 12-year-old Chloë Grace Moretz had already appeared in several high-
profile films, including (500) Days of Summer and Kick-Ass, Reeves had not seen
Moretz‟s other work before casting her.

        “All I knew was she had an incredibly interesting quality,” he says. “Chloë can be
tough, as anyone who has seen Kick-Ass knows. She also has a tremendous
vulnerability. That mix of being very human, but also having an unconquerable desire to
survive really comes through.

        “Abby is 12 years old, but she‟s been 12 years old for maybe 250 years,” points
out Reeves. “She is not a 250-year-old woman who looks like she‟s 12. Abby is eternally
12. She has all the innocence of a girl. She also has a primal side, which cannot be
stopped. It‟s a very difficult situation to be in.”

        While working with Moretz to nail down her character, Reeves showed her a
series of pictures taken by fine-art photographer Mary Ellen Mark. They depict a
homeless family that includes a 12-year-old girl. “She has this look of great defiance on
her face, but under that, she is quite wounded,” he says. “Like Abby, she has seen
things that no 12-year-old should ever have to deal with. Abby has the toughness, but on
the other hand, these experiences have really wounded her.”

       The last and perhaps most difficult aspect of the character, says the director, is
the side that allows Abby to survive, whatever the cost. “In those scenes, Chloë just let
herself go. She was having a ball, but she was incredibly primal. Without those two kids,
we couldn‟t have made this movie. I mean, they are really remarkable.”

       The role required Moretz to dig deeper than she ever had before. Asked not
simply to “play” a vampire, but to portray the reality of her life and all its difficulties, the
young actress approached the grueling role with enthusiasm. “It was fun for me to find
this dark, deep, but really sweet character,” says Moretz. “Abby looks like a normal girl,
but she has this person inside of her that she can‟t control. She has the burden of being
a vampire without ever having had the choice.”

       At Reeves‟ suggestion, Moretz kept a diary about her pre-vampire life to help her
figure out how she became the character she is in the film. “I came up with the idea that
she was very close to her mother, but over all the years she‟s kind of forgotten her and
she wishes she hadn‟t,” says the actress.

       Although their life experiences are vastly different, the two lonely outcasts quickly
form a tentative bond. “Abby hasn‟t been able to have many friends like Owen,” says
Moretz. “I feel like some part of her gets what he‟s going through. She can‟t really talk to
anybody about herself or her life, because if they ever found out who she really is they
would just run away. The only other person she is close to is the Father. He loves her so
much he kills for her. Owen also needs somebody who will love him for who he is.”

       A fan of Reeves‟ unconventional thriller, Cloverfield, Moretz was excited to work
with a director whose work she admires. “That is such a cool movie,” she says. “Then
when I met him, he was like the cutest little teddy bear. I love him. He‟s become like a
second dad.

       “Matt is a very methodical director,” she adds. “He looks at movies from a
different perspective than I do. He notices every single detail. If you move a millimeter,
he can tell the difference. He sees things that anybody else would completely miss.”

        Taking on the role of a vampire who is as much victim as villain gave Moretz the
opportunity for what she says is “a new, deeper exploration of what it means to be a
vampire. Some people think it would be cool to live forever, but I don‟t think so. It would
be interesting to see all the different generations and progress like computers and
laptops and all kinds of crazy stuff. But there‟s also the sadness that she‟ll never get to
grow up, or have kids and a husband and love.”

        Reeves encouraged Smit-McPhee and Moretz to spend time together off-set to
reinforce their natural chemistry. “Kodi‟s really nice,” says Moretz. “We hung out all the
time. He came over to my house and spent time with my mom, my brother and me. He‟s
a lot of fun.”

        In addition to the character journals he asked them each to keep, Reeves gave
the pair some homework before production began. “In the film, Owen gives Abby a
Rubik‟s Cube to solve,” says Moretz. “So Kodi and I looked up how to solve it on
YouTube and I actually finished it. I‟m like a complete nerd now, but it was really fun.”

        Abby is accompanied by a guardian, a weary older man who appears to be her
father. Reeves had admired Richard Jenkins‟ performance in The Visitor, which earned
him a 2009 Academy Award® Best Actor nomination, and realized he would be perfect in
the role.

        Reeves met Jenkins by chance while working on the screenplay for Let Me In.
By the end of the evening, he was convinced that Jenkins had to play the part. “It was
important to me that the audience experience the characters‟ stories from their point of
view,” he says. “Richard‟s character does things most people can‟t conceive of doing,
but I knew that he could make you empathize with the character.”

        In a role many will find shocking, Jenkins manages to find the character‟s
essential humanity, says co-producer Rock “Richard made the Father a real person. He
is so moving in the smallest things he does. Even though what the character does is
horrific, he does it for love. You will be surprised by the ambiguity of your feelings for

       The Father, as he is referred to in the script, has spent his life protecting and
providing for Abby. “It‟s an odd existence,” says the actor. “He has no social interaction
with anyone but Abby. He goes out and gets her what she needs to survive. His actions
are incredibly depraved, but he‟s not doing it out of depravity. He‟s doing it out of love.
But he‟s been taking care of her for decades and I think he‟s tired.

       “It puts an unpleasant spin on living forever,” he continues. “Eternal life is one of
the attractions of being a vampire, but it seems to be more of a curse. If Abby had a
choice, I‟m sure she wouldn‟t want to be this way.”

       This role presented Jenkins with more physical demands than any part he had
previously played, including a very disturbing transformation. “Any time I hear three
hours in the makeup chair, I want to go back and look at my contract,” he says. “For the
last few years, I‟ve been the oldest person on set on every movie I‟m in. I‟ve now started
reading scripts and wondering, „Can I physically do this? Can I drag people through the
snow, dump them in the water and drown them?‟ In this film, I‟ve fallen down into holes
and I‟ve rolled down hills, but I‟ve made it through in one piece.”

       Despite the strenuous nature of the role, Jenkins says he enjoyed the project,
especially because of Reeves‟ collaborative approach to working with actors. “He‟s really
interested in what the actors have to say. He doesn‟t always agree, but he‟s interested,
and that is really all you can ask.”

       Elias Koteas, a seasoned character actor with an enviable resume in both film
and television, plays the nameless police officer responsible for tracking down the Father
and Abby. “I felt we needed a character who was searching for an explanation for what‟s
happening in this town,” says Reeves. “From the outside, it looks like ritual killings. How
could these horrible things be happening?

        “There isn‟t a lot of dialogue,” he continues. “Elias brings his innate soulfulness
to it. He becomes our guide through the story.”

       Koteas met Reeves years earlier while shooting a television pilot. Based on that
experience he was ready to say yes to the script sight unseen. “Matt allows his actors to
bring it,” says Koteas. “And if you can‟t find it, he will show you the way.”

       “There‟s a lot of heart and soul in this movie,” says the actor. “I remember being
that age and I can relate to what Owen is going through. I think we all can in some way.
You can feel so apart and so alone.”

       Smit-McPhee‟s performance left Koteas in awe. “He understood Owen
completely. In this film, he is that lonely, bullied kid living in a fantasy world because his
real world consists of an alcoholic mom and an absentee dad. His existence is
absolutely brutal and he hasn‟t even hit puberty yet.”

       Koteas is confident Let Me In’s emotional honesty will both entertain and move
viewers. “No matter how misguided the decisions the characters make are, they make
them out of love,” he points out. “Love can lead you to some pretty unexpected places.”

       In order to ensure audiences view the action from Owen‟s perspective, Reeves
made the unusual decision to almost entirely obscure the face of the actress playing his
mother, rendering her as invisible to the audience as she has become to her son.

       Cara Buono, who plays the mother, says, “The relationship between mother and
son is disjointed and disconnected. There is no real communication between the two
because she‟s completely checked out. Matt‟s decision to shoot the movie so that she is
almost unseen helped underline that.”

       Buono adds, “A lot of actors think that if the camera is not on you, you can take it
easy. It‟s the opposite. Everything had to be played full out and very intense. It‟s
certainly an interesting way to approach the work.”

       As ignored and neglected as Owen is at home, life outside the apartment building
is even more agonizing. He is tormented daily at school by a gang of bullies played by
Dylan Minnette, Jimmy Jax Pinchak, Nicolai Dorian and Brett DelBuono. “I usually get
cast for these sort of „cute little boy‟ roles,” says Minnette, who plays Kenny, Owen‟s

chief nemesis. “I was incredibly excited to play a really mean person. I also got to do a
really cool stunt. They asked me if I wanted a stunt double and I said, „No way,‟ because
I knew it would be something I‟d always remember.”

       Reeves wanted to make sure that Kenny‟s humanity showed through his cruelty
and worked with the young actor to ground him in that. “The way Matt explained it to me
was that I‟m not just some jerk at school,” says Minnette. “There is something going on
at home. There is something behind that aggression. Kenny has an older brother who
really picks on him, so bullying is a learned behavior for him.”

       As is often the case in real life, the bully attracts a pair of weaker companions
who do his bidding. “Kenny‟s character is really sadistic and evil,” says Dorian, who
plays Donald. “Mark and Donald are sort of the sidekicks and a bit more hesitant, I think
Donald especially.”

       Jimmy Jax Pinchak, who plays Owen‟s third tormentor, Mark, enjoyed working
with Smit-McPhee and the other boys. “We were always making jokes on set,” says
Pinchak. “But as soon as Matt said action, Kodi went right into character. He wasn‟t even
the same kid.”

       Fortunately, the boys were able to let go of everything that happened on camera
when the workday was done. “It‟s funny because in the film they‟re bullies, but behind
the scenes we became best friends,” he says. “Obviously, when we needed to work, we
worked, but afterward we‟d go home, play Playstation and sleep over at each other‟s


       In search of a memorable backdrop for the film, a location with authentic 1980s
atmosphere and a snowy, desolate landscape, Matt Reeves originally planned to set Let
Me In in Colorado.

       Then he discovered Los Alamos, New Mexico. “At first, I thought, the New
Mexico desert?” he admits. “How‟s that going to work? Then I learned it was high desert,
and it does snow there. In fact, in trying to transfer the story to an American landscape,
New Mexico was brilliant. It‟s classic John Ford country with iconic Western vistas.”

       Simon Oakes sees strong similarities between Reeves‟ depiction of Los Alamos
and the small town in Tomas Alfredson‟s original film. “Matt created the American
equivalent of that village for our film,” he says. “He gave it the same sense of anonymity
and bleakness that was part of the allure. By deliberately choosing to set the story in
middle of nowhere, he could allow extraordinary things to happen in a very ordinary

       A town of about 18,000 people located 100 miles north of Albuquerque, Los
Alamos is home to the world-renowned Los Alamos National Laboratory. It looks like an
ordinary small town, but it was founded during World War II as a super-secret
community to house the Manhattan Project‟s employees as they developed the first
nuclear weapons.

       Reeves learned that Drew Goddard, the writer of Cloverfield, grew up in Los
Alamos. Goddard was able to give the director more insight into the community‟s unique
ethos, including the fact that Los Alamos is believed to have the highest average IQ in
the country, undoubtedly because of the number of top scientists who have settled there.
It also has the highest number of churches per capita, which Reeves believes is no

       “In those labs, they are coming up with all sorts of ways that people might be
able kill each other,” he says. “I think the people there grapple with the difficulty of what

that means. They seem to be trying to find some way to understand how you can live
that life and still be a good person. That was very intriguing to me in the context of this

         To capture the specific look he sought for the film, Reeves turned to noted
cinematographer Grieg Fraser, whose recent credits include director Jane Campion‟s
Bright Star and Scott Hicks‟ The Boys Are Back. "What struck me most, on first read of
Let Me In, was the incredibly dark, and foreboding tone Matt had created,” recalls
Fraser. “Threaded throughout this darkness, sat a beautiful love story. Our challenge
was to create visuals that complimented, but never overpowered this story. During
shooting, we tried very hard not to feel like we were lighting and framing for a genre
piece. Instead, we were lighting a period drama, with children at the center of the story."

         Reeves also worked closely with production designer Ford Wheeler to weave
visual elements inspired by the town‟s scientific spirit into the film. For instance, Owen
escapes into his own secret world with a large moon mural covering one of his walls and
space exploration knickknacks surrounding him.

         “One of the things I remember vividly about that time is what a big deal the space
shuttle was,” says the director. “When Ford and I talked about what Owen‟s room should
look like, we discussed that and ended up deciding to have that mural on his wall. When
you see Kodi sitting there, he is a lone figure against the moon. The idea of him as a
little astronaut on the face of the moon was a metaphor for both how lonely he was and
how much he desired escape.”

         Owen clings to his puffy silver jacket, which reminds him of the suits that the
astronauts wear. The silver jacket was a specific reference from Reeves‟ childhood,
according to costume designer Melissa Bruning. “He describes it in detail in the script. It
was a memory of something he had as a kid. The jacket became Owen‟s armor in the
film. It protects him from the horrors he faces in his everyday life.”

         To create the film‟s authentic 1980s clothing, Bruning referred to her junior high
school yearbook. “It‟s always great to do a period film set in a time you remember,” she

says. “It helps me make the designs true to who these people are, rather than just a
showcase for the period.”

        Smit-McPhee, who arrived on set with spiked hair and a neon earring, underwent
a major image overhaul. “We put him in khakis and Izod sweaters,” says Bruning. “The
idea was that Owen‟s mother dresses him like a little man, but unfortunately he‟s the kid
in school that‟s going to be kicked for looking like that. Owen said he felt „geeked out.‟”

        Reeves shared the Mary Ellen Mark photo he showed to Moretz with Bruning as
well. “Matt wanted an almost nomadic look,” she says. “The child in the picture doesn‟t
have a home. She‟s a wanderer, wearing an oversized ski jacket, skirt and boots.

        “We used that as the basis for Abby‟s wardrobe,” says Bruning. “Even though
Abby doesn‟t feel the cold, she knows that without a jacket, she‟ll stick out. She wears
her boots for the same reason: the need to blend in.”

        Rather than drawing on the time-honored visual clichés for movie vampires,
Reeves asked special effects supervisor Andrew Clement to create a unique look that
was inspired by the problems real adolescents face. “He wanted to key into everything
that happens to you at that time in your life,” says Clement. “Everything is awkward and
going wrong with your body. I pulled images from the internet of real skin problems and
real dental problems, and we put it all together in a really collaborative process.”

        “Matt called it „adolescence gone wrong,‟” says visual effects supervisor Brad
Parker. “When Abby is hungry, she gets bad acne, her skin goes pale and greasy, and
she looks sickly. It‟s as if she is fighting the transformation.”

        The degeneration in Abby‟s appearance prompted her co-star to say he expects
to have nightmares about her for years to come. “Her eyes and her teeth are just
gruesome,” says Smit-McPhee. “Owen is a lot tougher than I would be facing Abby. I‟d
probably just cry.”

       Moretz‟s stunt work for her role as a superhero-in-training in Kick-Ass came in
handy for this film as well. “I did a lot of martial arts training for Kick-Ass. Whenever Matt
asked if I could do something, I would say, „Yeah, it shouldn‟t be too hard.‟”

       While the stunt work may not have seemed difficult to her, her gung ho attitude
impressed her co-workers. “Chloë is very agile and quick,” says stunt coordinator John
Robotham. “She was able to do a lot of her own work. She has a lot of energy and was
open to trying things that older actors might not want to do.”

       And while she says some of the physical aspects of the role weren‟t so much
scary as just gross, Moretz embraced the entire experience. “At one point I was
drenched in fake blood, which is really sticky. And when we were shooting another
scene, where Abby is feeding, Matt asked if I wanted to drink the fake blood. I said sure.
Bad choice. It tasted like a mixture of rubbing alcohol, Pepto Bismol and dirt.”


        The music in Let Me In needed to serve two purposes, according to Reeves. The
original score, for which he turned to award-winning composer Michael Giacchino, would
set the tenuous emotional tone for the film. The soundtrack‟s songs, selected with the
help of renowned music consultant George Drakoulias, would help evoke the film‟s
1980s setting.

        Giacchino previously composed the Oscar-winning score for the celebrated Pixar
film Up, and earned an Emmy for his work on the acclaimed television series “Lost.” He
also contributed a piece of music to the score of Reeves‟ earlier film, Cloverfield, which
played over the end credits. This time, Reeves asked him to score the entire film.

        The director envisioned an unsettling music backdrop that, like the story, could
morph swiftly from dread and loneliness to tenderness and romance. “Michael‟s work on
„Lost‟ made me confident he would create a real sense of suspense,” says Reeves. “He
also has a tender emotionality that is evident in his work for Pixar and others. He was
able to create a score that reflected all the tones of the film and still bring it together with
a single musical voice.”

        Reeves and Giacchino share an admiration for the work of the legendary
composer Bernard Herrman, who scored dozens of films over a long career, including
classic Hitchcock thrillers including North by Northwest and Psycho. “Those are the
movies that really kept me on edge as a kid,” says the director. “I wanted the music to be
in that same spirit.”

        Adds producer Alex Brunner, "We were absolutely thrilled to have Michael come
on board to do the score. His music is both haunting and deeply emotional, and has truly
captured Matt's vision for the film. The last Hammer „vampire‟ movie was The Legend of
Seven Golden Vampires, scored by notable hammer composer James Bernard, and we
are extremely proud that Michael has musically brought the tradition of Hammer into the
21st century".

       Reeves says he too is honored to be a part of the Hammer tradition. “Writing and
directing the first Hammer film in more than three decades brought me back to those
great films that scared me as a kid,” he says. This movie is in keeping with that tradition.”

       When Reeves called Giacchino, the composer had just been nominated for a
slew of awards for Up and was swamped with other offers. But he says he is always
happy to work with old friends. “It makes me feel like a kid playing with my buddies,” the
composer says. “I already knew from working on Cloverfield that Matt brings a great deal
to his films in terms of emotion and storytelling. Story and emotions rule the way I write,
so we‟re a good team.”

       The simplicity of the characters also resonated with Giacchino. “Their innocence
in the wake of their predicament touched me,” he says. “The film is about vampires, but
it is a coming-of-age film about two kids dealing with difficult family situations. Their
overwhelming sadness was incredibly compelling to me as a composer.”

       Using a bell-like keyboard instrument called a celeste to create the haunting
tones in the score, as well as bass drum and a boys‟ choir, Giacchino followed Reeves‟
lead by allowing the music to open up as simply and gradually as the action. “The
scenes unfold slowly and tentatively, without a lot of dialogue,” he says. “It adds tension
to the scenes. I tried to be as patient with the music as Matt was with his directing. For
example, in the scene where the police officer enters Abby‟s house, the music starts with
one instrument and eventually ends up with the entire orchestra blaring away by the end
of the scene. I really took my time, slowly building the orchestration and melody all the
way to the final moment.”

       The soundtrack of classic „80s pop music places the action squarely in Reagan-
era America. With the help of music consultant George Drakoulias, whose recent credits
include The Hangover, Star Trek and Tropic Thunder, Reeves chose songs he
remembered and enjoyed from the period. “We used songs that I thought would evoke
that time,” says Reeves. “We were determined not to make it kitschy or fetishize it, but to
depict it lovingly and accurately. Consequently, I don‟t think it looks like a period movie.
Even though people who have seen it say it‟s totally „80s, it seems like yesterday to me
and the music is a really exciting part of that.”

        Ultimately, each piece of music serves to underscore the power of Let Me In’s
story which, according to Reeves, resides in its mystery and ambiguity. “It‟s a tragedy,
but it‟s also a love story. There is redemption in the connection the kids find to each
other. There‟s also a dark implication of what the future could be. Some people think it‟s
a happy ending; others find it extremely disturbing. It leaves you to interpret the story as
you will. I‟ll be interested to hear what people think.”

                                    ABOUT HAMMER

       Originally founded in 1934, the legendary British horror film studio Hammer Films
has delivered a hugely successful run of movies over the years including Dracula, The
Curse of Frankenstein and The Quatermass Xperiment. Purchased by Exclusive Media
Group, the iconic and beloved UK film brand has been revamped for 2010 and returns
with Let Me In, the first new film production from the studio in over 30 years.

       Simon Oakes, vice chairman of Exclusive Media Group and President and CEO
of Hammer Films said: “We‟re thrilled to be bringing Hammer back with a film as
fantastic as Let Me In. The movie perfectly sums up the modern incarnation of Hammer
Films as the home of „Smart Horror‟—cool, stylish and provocative films which aim to
push audiences out of their comfort zones.”

       Let Me In is a re-imagining of Let the Right One In, the cutting edge Swedish
vampire movie. The subject matter first came to the attention of Hammer during 2007 in
the form of John Ajvide Lindqvist‟s novel Let the Right One In on which the Swedish film
was based. Hammer then saw clips of the Swedish version of the film, then in post-
production, which cemented its interest. Simon Oakes comments: “The early noise on
this picture was that it was a marvellous film. So we made sure we were one of the first
parties to develop a relationship with the producers and from there Hammer managed to
fight off fierce competition to acquire the rights. We felt from the start that this was a
story that needed to be told to a wider audience and that‟s why we went after it.”

       Hammer‟s next film will be The Resident featuring Hilary Swank (Million Dollar
Baby), Jeffrey Dean Morgan (Watchmen) and Hammer stalwart Christopher Lee
(Dracula, The Curse of Frankenstein), due for release in 2011. Hammer‟s next
production, which will start shooting in September 2010, will be The Woman in Black - a
screen adaptation of the iconic novel by Susan Hill, on which the hugely successful
stage play is also based. Daniel Radcliffe (Harry Potter film series) has recently been
announced to star. The script has been written by Jane Goldman (Kick Ass) and James
Watkins (Eden Lake) will direct.

                                    ABOUT THE CAST

       CHLOË GRACE MORETZ (Abby) began her entertainment career at the tender
age of five in New York City as a model in numerous national print and television
campaigns. At age six, she moved with her family to Los Angeles, where she landed a
recurring role on the CBS drama “The Guardian.”

       Her first feature role came soon after in the independent film The Heart of the
Beholder. She then booked a lead role in Michael Bay‟s remake of The Amityville Horror,
for which she received critical acclaim.

       Moretz was recently seen in Kick-Ass, the action-packed adaptation of Mark
Millar‟s comic book of the same name. She played Hit Girl, a ferocious, potty-mouthed
11-year-old who teams up with her father (played by Nicolas Cage) to fight crime. The
film received rave reviews, earning Chloë the title of “most likely to succeed „it girl‟ in the
making” as proclaimed by Teen Vogue.

       In 2010‟s Diary of a Wimpy Kid, a film adaptation of Jeff Kinney‟s popular
children‟s book series, Moretz played an intense middle-school girl dressed in black who
is much smarter than her peers.

       This summer, Moretz filmed two movies back-to-back. First was The Fields, for
director Ami Mann. This psychological thriller is based on true events that took place in a
small Pennsylvania town in 1973. Moretz stars alongside Sam Worthington and Jessica
Chastain. Next, Moretz traveled to Europe to begin work on Martin Scorsese‟s Hugo
Cabret. She stars alongside Sir Ben Kingsley, Sacha Baron Cohen and Asa Butterfield
in this film about a 12-year-old orphan who lives in the walls of a Paris train station. The
first 3-D film for Scorsese, it is slated for release in December 2011.

       Moretz was recently seen in the acclaimed and offbeat romantic comedy 500
Days of Summer, starring Joseph Gordon-Levitt and Zooey Deschanel, as well as Not
Forgotten, with Paz Vega and Simon Baker. Moretz‟s other credits include The Eye,
starring Jessica Alba, festival favorite The Third Nail, Big Momma’s House 2 with Martin
Lawrence and The Children.

       On the small screen, Moretz appeared in the ABC drama “Dirty Sexy Money,”
guest-starred on the series “My Name is Earl” and “Desperate Housewives” and voiced
the lead character, Darby, in the Disney animated series “My Friends Tigger and Pooh.”

       KODI SMIT-MCPHEE (Owen) has already made a name for himself as a
talented young actor after appearing in only a handful of feature films. He most recently
starred opposite Viggo Mortensen, Charlize Theron and Robert Duvall in The Road, the
big-screen adaptation of Cormac McCarthy‟s Pulitzer Prize-winning novel. The film was
directed by John Hillcoat (The Proposition) and made its world premiere at The Venice
Film Festival. Smit-McPhee was nominated for a Critics Choice Award in the category of
Best Young Actor/Actress for this performance. Next, Smit-McPhee plays a young boy
coping with leukemia in the new Australian film Matching Jack, directed by Nadia Tass.

       Smit-McPhee comes from an acting family. His father, Andy McPhee, has
appeared in dozens of film and TV projects in his native Australia. His older sister,
Sianoa Smit-McPhee, is a veteran of the famed Australian television series “Neighbours”
and is now a series regular on the hit HBO series “Hung,” created by Alexander Payne
and starring Thomas Jane.

       Born on June 13th, 1996, in Melbourne, Smit-McPhee first received acclaim for
his performance as Ray in Romulus, My Father, a feature film in which he starred
opposite Eric Bana and Franka Potente. He was honored with the Australian Film
Institute‟s award for Best Young Actor while also receiving a nomination in the Best
Leading Actor category.

       When not acting, Smit-McPhee enjoys pro-scootering, BMX riding, learning to
play his guitar and chasing his younger brother Caden around.

       RICHARD JENKINS (The Father) is a former Academy Award nominee and one
of the most in-demand character actors in Hollywood, having appeared in more than 50
feature films. He received an Oscar nomination for Best Actor for his highly praised
performance in director Tom McCarthy‟s drama The Visitor. The film premiered to critical
acclaim at the 2007 Toronto Film Festival and the 2008 Sundance Film Festival and won

the Grand Prix at the 34th Deauville Festival of American Film. Jenkins‟ performance as
Walter Vale, a disillusioned Connecticut economics professor whose life is transformed
by a chance encounter in New York City, made The Visitor the independent film hit of
2008 and also earned him Independent Spirit and Screen Actors Guild award

       Most recently, Jenkins was seen in Lasse Hallstrom‟s Dear John, based on the
Nicholas Sparks novel, and Eat, Pray, Love with James Franco, Julia Roberts and Javier
Bardem. Forthcoming credits include the horror film The Cabin in the Woods and the
adventure The Rum Diary, alongside Johnny Depp.

       In 1986, Jenkins landed his first starring role in Oscar-winning writer Horton
Foote‟s On Valentine’s Day. Numerous film roles followed, including George Miller‟s The
Witches of Eastwick, opposite Jack Nicholson, Susan Sarandon, Cher and Michelle
Pfeiffer; Richard Benjamin‟s Little Nikita, opposite River Phoenix and Sidney Poitier; Sea
of Love, with Al Pacino and Ellen Barkin; Mike Nichols‟ Wolf, appearing again with Jack
Nicholson; North Country, with Charlize Theron; the Judd Apatow comedy Fun with Dick
and Jane, opposite Téa Leoni as well as Jim Carrey; and Peter Berg‟s The Kingdom,
with Jamie Foxx.

       Over the years, Jenkins has worked with such esteemed filmmakers as Clint
Eastwood in Absolute Power, the Farrelly brothers in There’s Something About Mary
and Me, Myself & Irene and Sydney Pollack in Random Hearts, opposite Harrison Ford
and Kristin Scott Thomas. In 2001, Jenkins began a fertile collaboration with Joel and
Ethan Coen when he appeared with Billy Bob Thornton, James Gandolfini and Scarlett
Johansson in The Man Who Wasn’t There. He went on to work with the Coens again in
2003‟s Intolerable Cruelty, opposite George Clooney and Catherine Zeta-Jones.

       In 1997, Jenkins received an Independent Spirit Award nomination as Best
Supporting Male for his performance in David O. Russell‟s comedy Flirting with Disaster,
in which he appeared with Ben Stiller, Téa Leoni, Josh Brolin and Lily Tomlin.

       Jenkins was recently seen in the Coen brothers‟ Burn After Reading, alongside
George Clooney, Brad Pitt, John Malkovich and Frances McDormand. The film marked

his third collaboration with the acclaimed filmmaking duo. In 2008, Jenkins co-starred in
Adam McKay‟s hit comedy Step Brothers, alongside Will Ferrell, John C. Reilly and Mary

       On television, Jenkins is best known for playing Nathaniel Fisher, the deceased
family patriarch on HBO‟s immensely successful drama “Six Feet Under.” His occasional
appearances as the heart of this often-dysfunctional family helped earn the cast a
Screen Actors Guild Award nomination in 2002 for Outstanding Performance by an
Ensemble in a Drama Series. He also appeared in numerous made-for-television films,
including “Sins of the Father” and the Emmy-winning HBO miniseries “And the Band
Played On.”
       In the theater world, Jenkins has amassed an impressive list of credits as a
company member for 14 years at Rhode Island‟s Trinity Repertory Company. He served
as the group‟s Artistic Director for four years.

       ELIAS KOTEAS (The Policeman) broke out as an internationally known actor
with his starring role in Crash, David Cronenberg‟s controversial exploration of sexual
provocation and alienation that won a special prize at the 1996 Cannes Film Festival.
Koteas has worked on several occasions with one of Canada‟s most accomplished
directorial exports, Atom Egoyan, starring in The Adjuster and Exotica, for which Koteas
garnered a Genie nomination (Canada‟s Oscar) for Best Supporting Actor, as well as
Ararat, for which he won the Genie for Best Supporting Actor.

       Koteas was recently seen in Martin Scorsese‟s Shutter Island and Defendor, with
Woody Harrelson and Kat Dennings. He also starred in Michael Winterbottom‟s crime
drama The Killer Inside Me, alongside Casey Affleck and Kate Hudson. He recently
wrapped production on Dream House, a thriller directed by Jim Sheridan that stars
Daniel Craig, and Winnie, playing a South African apartheid supporter opposite Jennifer
Hudson and Terrence Howard in the roles of Winnie and Nelson Mandela.

       Early in Koteas‟ career, Francis Ford Coppola cast him in Gardens of Stone and
Tucker. He then landed a role in Peter Masterson‟s Full Moon in Blue Water and was
chosen for the lead role in Roger Cardinal‟s explosive Malarek, playing true-life

investigative journalist Victor Malarek. His haunting performance earned Koteas the first
of two Genie nominations for Best Actor.

       Koteas has portrayed notable roles in many other films, including Steven
Shainberg‟s Hit Me, a modern noir adaptation of Jim Thompson‟s A Swell Looking Babe;
Gattaca, starring Uma Thurman, Ethan Hawke and Jude Law; Gregory Hoblit‟s
supernatural thriller Fallen, opposite Denzel Washington; Bryan Singer‟s Apt Pupil, with
Sir Ian McKellen; Living Out Loud, with Holly Hunter and Danny DeVito; Terrence
Malick‟s Academy Award-nominated war drama The Thin Red Line; Novocaine, with
Steve Martin and Helena Bonham-Carter; Harrison’s Flowers, alongside Andie
MacDowell and Adrien Brody; David Fincher‟s Zodiac, with Jake Gyllenhaal and Mark
Ruffalo; Antoine Fuqua‟s Shooter, with Mark Wahlberg; Fincher‟s The Curious Case of
Benjamin Button, starring Brad Pitt and Cate Blanchett; The Haunting in Connecticut,
alongside Virginia Madsen; and Two Lovers, opposite Joaquin Phoenix and Gwyneth
       On television, Koteas has had several critically hailed performances in such
programs as USA Network‟s Emmy-nominated “Traffic: The Miniseries” and the HBO
original movie “Shot in the Heart,” in which he played notorious murderer Gary Gilmore.
Koteas was also seen in HBO‟s “Sugartime,” starring opposite John Turturro and Mary-
Louise Parker, and as a guest star on “House,” playing Hugh Laurie‟s nemesis.

       Koteas has stared in numerous theater productions including Paula Vogel‟s “Hot
„N Throbbing” at the Signature Theatre, “Kiss of the Spider Woman” at the Yale
Repertory Theatre and “True West” on Broadway, directed by Matthew Warchus.

       Koteas is a graduate of the American Academy of Dramatic Arts and a member
of the prestigious Actors‟ Studio.

                               ABOUT THE FILMMAKERS

       MATT REEVES (Writer and Director) came to feature-film prominence in 2008
as the director of the acclaimed sci-fi horror hit Cloverfield. The modestly budgeted film
set a domestic record for a January release and went on to gross more than $175 million

       Prior to that film, the writer, director and producer was best known as one of the
creators of the popular television series “Felicity,” starring Golden Globe Award®-winning
actress Keri Russell. Reeves served as executive producer with partner and co-creator
J.J. Abrams. He frequently directed episodes during the show‟s four-season run,
including the 1998 pilot for the WB network.

       Reeves made his feature directorial debut with the 1996 dark comedy The
Pallbearer, starring Gwyneth Paltrow, David Schwimmer and Barbara Hershey. He
developed the screenplay with co-writer Jason Katims through Robert Redford‟s
Sundance Institute. In 1999, Reeves co-wrote and co-produced James Gray‟s critically
acclaimed feature The Yards, starring Mark Wahlberg, Joaquin Phoenix and Charlize

       Reeves first gained industry attention with his award-winning short “Mr. Petrified
Forrest” after graduating from USC‟s prestigious film school. He got his start in
Hollywood when a screenplay he penned in college with classmate Richard Hatem was
purchased by Warner Bros. in 1995 and later turned into Under Siege 2: Dark Territory.

       For the small screen, Reeves helmed the pilot episodes of “Gideon‟s Crossing”
and “Miracles” for ABC, “Conviction” for NBC and episodes of NBC‟s “Homicide: Life on
the Street” and ABC‟s “Relativity.”

       His upcoming projects include writing, directing and producing the independent
dramatic thriller The Invisible Woman for Gotham-based GreeneStreet Films.
       Reeves currently lives with his wife in Los Angeles.

       SIMON OAKES (Producer) is vice-chairman of Exclusive Media Group and
president & CEO of Hammer. Together with Exclusive Media COO Marc Schipper, he
led the acquisition and recapitalization of Hammer in 2007.

       Prior to his role at Hammer, Simon Oakes held the posts of managing director of
UPCTV and latterly head of content at Chellomedia, the content distributor of John
Malone‟s Liberty Global, Inc., Europe‟s largest cable company. Simon Oakes‟ early
career highlights were founding producer of “The Comic Strip,” managing director of
Rocky Morton and Annabel Jankel‟s production company Cucumber Productions
(producers of “Max Headroom”) and founder of Crossbow Films. He is also the
Chairman of The Big Sleep Hotel Group and Chairman of B@TV.

       ALEX BRUNNER (Producer) is Exclusive Media Group‟s senior vice president,
Production & Operations. He joined producers Guy East and Nigel Sinclair to launch
Spitfire Pictures in early 2003, where Brunner has helped build a full slate of film projects
as the key development and production executive. As co-head of production with Tobin
Armbrust, Brunner oversaw the production of the thriller Possession starring Sarah
Michelle Gellar (The Grudge). In 2005, Brunner was the production executive on the
critically acclaimed No Direction Home: Bob Dylan directed by Martin Scorsese.

       Prior to Spitfire, Brunner worked at Intermedia Films under then co-chairman
Nigel Sinclair. At the time, Intermedia was one of the world‟s leading independent
producers and distributors of major motion pictures, responsible for such number-one
hits as The Wedding Planner, starring Jennifer Lopez and Matthew McConaughey; K-
PAX, starring Kevin Spacey; Adaptation, starring Nicholas Cage and Meryl Streep; and
Terminator 3: Rise of the Machines, starring Arnold Schwarzenegger.

       Prior to Intermedia Films, Brunner trained as an agent at International Creative
Management (ICM) for two years, working in both the motion picture literary and
production departments of the firm.

       Before ICM, Brunner worked for Hong Kong‟s largest movie studio, Golden
Harvest Films, working on productions such as Jackie Chan‟s First Strike and Super
Cop, as well as project managing the development of a new studio facility in Hong Kong.

        GUY EAST (Producer) is co-chairman of Exclusive Media Group and chairman
of Exclusive Films International. With his partner, Nigel Sinclair, he launched their
independent production company, Spitfire Pictures, in early 2003. Prior to starting
Spitfire, East and Sinclair co-founded Intermedia Films in 1996, one of the world‟s
leading independent producers and distributors of motion pictures.

        In May 2007, East and Sinclair joined the board of Hammer Films following
signature of Spitfire‟s First Look development and production pact with the newly revived
British studio.

        In 2008, Spitfire was acquired by a strategic Investment Group, Cyrte
Investments, and together with Hammer became part of the newly formed Exclusive
Media Group.

        East‟s recent producer credits include The Resident, starring Hilary Swank,
Jeffrey Dean Morgan and Christopher Lee and The Way Back, directed by Peter Weir
and starring Colin Farrell and Ed Harris.

        For Spitfire Pictures, East's executive producer credits include the Grammy-
nominated Amazing Journey: The Story of The Who; the Grammy-winning No Direction
Home: Bob Dylan, directed by Martin Scorsese; and Masked and Anonymous starring
Bob Dylan, Jeff Bridges, Penelope Cruz, John Goodman, Jessica Lange and Luke

        In 2001, East‟s Intermedia Films produced two of the year's number-one U.S.
box-office hits: K-PAX, starring Kevin Spacey and Jeff Bridges, and The Wedding
Planner, starring Jennifer Lopez. Other executive producer credits include Terminator 3:
Rise of the Machines, starring Arnold Schwarzenegger; the Academy Award-winning
Adaptation, starring Nicolas Cage; Iris, starring Dame Judi Dench; the Academy Award-
and Golden Globe-nominated The Quiet American, starring Michael Caine; the Academy
Award-nominated Hilary and Jackie, starring Emily Watson; K-19: The Widowmaker,
starring Harrison Ford; Enigma, starring Kate Winslet; and the award-winning Sliding
Doors, starring Gwyneth Paltrow.

       Prior to co-founding Intermedia, East founded Majestic Films International,
whose films were nominated for 34 Academy Awards, winning a total of 15, including
two Best Picture Awards for Dances With Wolves and Driving Miss Daisy. East was
previously director of distribution and marketing at Goldcrest Films International, where
he was responsible for the international distribution of such Academy Award-winning
films as The Killing Fields, The Mission, A Room with a View and The Name of the
Rose. Additionally, East served as managing director of Carolco Films International.

       East attended the University of Exeter in England, where he studied English and
EEC law; he qualified as a lawyer at Slaughter & May. In 1985 he was elected as the
first British director of the American Film Marketing Association.

          TOBIN ARMBRUST (Producer) is Exclusive Media Group‟s senior vice
president and head of production. He joined Spitfire Pictures as co-head of Production in
March, 2006. Prior to joining Spitfire, Armbrust served as a producer at Thunder Road, a
production company with a first look deal at Warner Brothers. While at Warners,
Armbrust oversaw over thirty projects in various stages of development. Most recently,
he co-produced “Firewall” starring Harrison Ford and Paul Bettany and “Welcome to
Mooseport” starring Gene Hackman and Ray Romano.

          Before joining Thunder Road, Armbrust spent seven years at Intermedia
serving under co-founders Nigel Sinclair and Guy East. At Intermedia he held positions
as both a VP of Business Development as well as a VP of Production. During his tenure,
he helped oversee several feature films including “K-19” starring Harrison Ford, “Basic”
starring John Travolta, “The Wedding Planner” starring Jennifer Lopez and Matthew
McConaughey, “National Security” starring Martin Lawrence and “K-PAX” starring Kevin

          A UCSB graduate in Political Science, Armbrust began his career in the film
industry as Head of Acquisitions at The Steel Company, a Los Angeles based agency
which represented some of the largest film distributors in the world, including Canal Plus,
Samsung, and Pony Canyon.

        DONNA GIGLIOTTI (Producer) is one of only five women to win the Oscar for
Best Picture. She received the 1998 Academy Award for producing Shakespeare in
Love. Six additional Oscars were awarded to the film, including Best Actress (Gwyneth
Paltrow), Best Supporting Actress (Judi Dench) and Best Original Screenplay (Tom
Stoppard and Marc Norman). Gigliotti also received the 1999 Golden Globe for Best
Picture/Comedy and the 2000 British Academy Award (BAFTA) on behalf of the film.
Shakespeare in Love was her first outing as an independent producer. Gigliotti will begin
production in 2010 on The Silver Linings Playbook, to be directed by David O. Russell.

        In 2009, Gigliotti was nominated again for Best Picture for producing The
Reader, directed by Stephen Daldry. The film was nominated for a total of five Academy
Awards including Best Actress, which star Kate Winslet ultimately won. The Reader was
also nominated for the 2008 Golden Globe for Best Picture/Drama, the 2008 British
Academy Award (BAFTA) for Best Picture and the 2009 European Film Award.

        Other producing credits include Two Lovers (2008), directed by James Gray and
starring Gwyneth Paltrow and Joaquin Phoenix, which competed in the 2009 Cannes
Film Festival and was named one of the Top 10 Independent Films of 2009 by the
National Board of Review; Shanghai, directed by Mikael Halfstrom and starring John
Cusack and Gong Li, which will be released in 2010; The Good Night, starring Gwyneth
Paltrow and Penelope Cruz; and Vanity Fair, directed by Mira Nair, starring Reese

        Previously, Gigliotti served as President of Production at USA Films, a division of
Barry Diller‟s USA Entertainment Group. During her tenure, the company produced
Steven Soderbergh‟s Traffic (winning Best Director, Best Actor and Best Original
Screenplay Oscars in 2001), Robert Altman‟s Gosford Park (wining the Best Original
Screenplay Oscar in 2002), Neil LaBute‟s Possession (starring Gwyneth Paltrow) and
Joel and Ethan Coen‟s The Man Who Wasn’t There. Gigliotti was also responsible for
the acquisition of Mira Nair‟s Monsoon Wedding and Wong Kar-wai‟s In the Mood for

        Gigliotti was executive vice president at Miramax Films from 1993 to 1996, where
she oversaw and executive produced several films including Doug McGrath‟s Emma,

starring Gwyneth Paltrow; Michael Hoffman‟s Restoration, starring Robert Downey Jr.;
and Franco Zefferelli‟s Jane Eyre, starring Charlotte Gainsbourg.

       Gigliotti began her career in the motion picture industry as an assistant to Martin
Scorsese on Raging Bull. She credits the director with teaching her everything she
knows about Italian neorealist cinema and for introducing her to the films of Powell and

       Following her work on Raging Bull, Gigliotti moved to United Artists, where she
was the director of acquisitions for specialty division UA Classics. There, with partners
Tom Bernard and Michael Barker, she acquired Jean-Jacques Beineix‟s Diva, François
Truffaut‟s The Woman Next Door and Rainer Werner Fassbinder‟s Veronica Voss.

       Next, Gigliotti moved (with Bernard and Barker) to form Orion Classics for Arthur
Krim, former chairman of United Artists and then chairman of Orion Pictures
Corporation. Orion Classics proved to be the preeminent distributor of specialized films
during the 1980s. Gigliotti was responsible for the acquisition of such films as Louis
Malle‟s Au Revoir Les Enfants, Pedro Almodovar‟s Women on the Verge of a Nervous
Breakdown, Steven Frears‟ My Beautiful Laundrette, Akira Kurasawa‟s Ran, Claude
Berri‟s Jean de Florette and Gabriel Axel‟s Oscar-winning Babette’s Feast.

       In 1985, Gigliotti became the youngest woman knighted to the rank of Chevalier
des Arts et Lettres by the French Republic. She is a graduate of Sarah Lawrence

       NIGEL SINCLAIR (Executive Producer) Nigel Sinclair was appointed Exclusive
Media Group's co-chairman and CEO in 2009.

       In 2008, Spitfire Pictures, the independent feature film and television production
company founded by Sinclair and partner Guy East in 2003, was acquired by strategic
investment group, Cyrte Investments, and together with the legendary British film
company Hammer Films became part of the newly formed Exclusive Media Group with
offices in Los Angeles and London. Sinclair serves as Co Chairman and Group CEO of
the company.

       In May 2007, East and Sinclair joined the board of Hammer Films as non-
executive directors, following the signature of Spitfire‟s first-look development and
production pact with the newly revived British horror studio. Prior to that Sinclair and
East founded Intermedia Films in 1996, leaving to form Spitfire Pictures in 2003.

       In addition to Let Me In, Sinclair‟s recent credits include The Resident, starring
Hilary Swank, Jeffrey Dean Morgan and Christopher Lee and The Way Back, directed by
Peter Weir and starring Colin Farrell and Ed Harris.

       Building upon the Grammy-nominated Amazing Journey: The Story of The Who;
the Grammy-winning No Direction Home: Bob Dylan, directed by Martin Scorsese; and
Masked and Anonymous starring Bob Dylan, Jeff Bridges, Penelope Cruz, John
Goodman, Jessica Lange and Luke Wilson, Sinclair continues to produce signature
music documentaries under the Spitfire Pictures banner featuring some of the world‟s
legendary and iconic artists, including films such as Billy Joel: The Last Play at Shea and
the upcoming George Harrison: Living in the Material World.

       In 2001, Sinclair‟s Intermedia Films produced two of the year's No. 1 films in the
U.S: K-PAX, starring Kevin Spacey and Jeff Bridges, and The Wedding Planner, starring
Jennifer Lopez, on which Sinclair also served as an executive producer. Other recent
productions on which he served as executive producer include Terminator 3: Rise of the
Machines, starring Arnold Schwarzenegger, the Academy Award winning Adaptation,
starring Nicolas Cage, Iris, starring Dame Judi Dench, the Academy Award and Golden
Globe-nominated The Quiet American, starring Michael Caine, the Academy Award
nominated Hilary and Jackie, starring Emily Watson, K-19: The Widowmaker, starring
Harrison Ford, Enigma, starring Kate Winslet, and Sliding Doors, starring Gwyneth

       Sinclair attended Cambridge University and earned a master of law from
Columbia University in New York. He practiced law initially in England, and subsequently
in Los Angeles with the London firm of Denton Hall Burgin & Warrens, (now Denton
Wilde Sapte). In 1989, Sinclair co-founded a Los Angeles entertainment law firm,
Sinclair Tennenbaum & Co., working with leading talent and entertainment corporate
clients, until 1996 when he left to found Intermedia, as noted above.

       Sinclair currently serves as chairman of the Board of Governors of the British
Film Office in Los Angeles. In 2000 Queen Elizabeth appointed him a Commander of the
British Empire (CBE) in recognition of his work in the film industry.

          GREIG     FRASER      (Director   of    Photography)     began   working   as   a
cinematographer with the highly acclaimed production company Exit Films after a
remarkable career as a stills photographer. During his time there, Fraser was
responsible for defining the unique visual look behind many of Exit Films‟ award winning
productions. These included major national and international TVC campaigns, a number
of acclaimed music videos, and long-form works including the documentary P.I.N.S. for
director Garth Davis.

          Moving into a freelance role in February 2002, Fraser quickly took the
opportunity to shoot as many diverse projects as he could. Using his strong stills
background and his broad narrative experiences, he shot Glendyn Ivin's highly
acclaimed and award-winning short film Crackerbag. The film, which won the Palme d‟Or
at the 2003 Cannes Film Festival also earned Fraser a nomination for Best
Cinematography at the 2003 AFI Awards.

          Further work for short films included Nash Edgerton‟s Fuel and Lucky, Adrian
Bosich‟s Marco Solo, Rhys Graham‟s Love This Time, Stuart McDonald‟s Stranded and
Tony Krawitz‟s Jewboy. Fraser‟s distinctive cinematography has established him as one
of the most exciting cinematographers working in Australia and internationally today.

          In 2005 Fraser shot the feature film Caterpillar Wish for writer/director Sandra
Sciberras; the short film Learning to Fly for director Jack Hutchings and The Water Diary
for director Jane Campion as part of a United Nations project.

          In 2006 Fraser shot the feature film Out of the Blue, which premiered at the
Toronto Film Festival, for director Robert Sarkies and producers Tim White and Steven
O'Meagher; and the short film Crossbow, for writer/director David Michôd. Following this,
Fraser shot The Lady Bug, a short film directed by Jane Campion for the 60th Cannes
Film Festival anniversary, as part of a cinema collective directed by previous Palme d‟Or
winners. Other recent credits include the short film Neverland Dwarf for director David

Michôd; Spider for director/actor Joel Edgerton and 2nd unit Director of Photography for
Baz Luhrmann‟s feature film Australia.

          In 2008 Fraser collaborated again with Jane Campion, shooting her highly
anticipated feature film Bright Star in London. Following this, Fraser shot Glendyn Ivin‟s
first feature film, Last Ride and collaborated with Scott Hicks, shooting his feature The
Boys Are Back, starring Clive Owen.

       FORD WHEELER (Production Designer) has recently completed production
design work on Bart Freundlich‟s The Rebound, starring Catherine Zeta-Jones, and
Agnieszka Wojtowicz-Vosloo‟s After.Life, starring Liam Neeson. His other feature credits
as production designer include Terry George‟s Reservation Road, James Gray‟s We
Own the Night, Hugh Bush‟s Sleeping Together and Sean Smith and Anthony Stark‟s
Into My Heart.

       As set decorator, Wheeler has worked extensively with production designer
Kevin Thompson. Their features together include James Gray‟s Little Odessa and The
Yards, Marc Forster‟s Stranger than Fiction, Jonathan Glazer‟s Birth, David O. Russell‟s
Flirting with Disaster, Ismail Merchant‟s The Proprietor, Cindy Sherman‟s Office Killer
and Larry Clark‟s Kids. He has also worked as set decorator or art director on such
features as Philip Haas‟ The Music of Chance and The Blood Oranges, Spike Lee‟s She
Hate Me and Bamboozled, Oliver Stone‟s Any Given Sunday and Nigel Finch‟s

       For director Jonathan Demme, Wheeler has worked as set decorator on Beloved,
as set dresser on Philadelphia, as art director on The Truth About Charlie and as
production designer on Rachel Getting Married.

       Wheeler hails from the Southern California coastal town of Corona del Mar. He
studied fine arts at Brigham Young University before moving to San Francisco to be part
of the counterculture in 1968. Later, in New York City, he owned and operated a major
retail wholesaler in Manhattan‟s SoHo. The store was the largest importer of traditional
African utilitarian items in the U.S. and supplied stores, museums and dealers

         MICHAEL GIACCHINO (Original Music) has, with his distinctive melodies,
enhanced the effect of television shows, feature films, animated shorts, video games
and stand-alone symphonies. His themes run the gamut from driving to melancholic and
from suspenseful to serene. Giacchino has been nominated twice for an Academy
Award, first for his score to the animated blockbuster Ratatouille and more recently for
his score to the critically acclaimed Pixar release Up. For the latter film, Giacchino won
the Oscar in the Best Original Score category. This was the highlight of an awards
season in which he collected all of the top prizes for his work on Up: the Golden Globe,
BAFTA, Broadcast Film Critics Award and two Grammys.

         In the world of television, viewers of “Lost” and “Alias” are well acquainted with
Giacchino‟s work. He also served as music director for the 81st Annual Academy Awards

         Giacchino‟s film credits include the latest filmic reimaginings of Star Trek and
Land of the Lost. His breakthrough as a feature film composer came with his acclaimed
score for The Incredibles. He went on to compose music for the live-action superhero
film Sky High, the comedy-drama The Family Stone, Albert Brooks‟ Looking for Comedy
in the Muslim World, the thriller Mission: Impossible III and the family adventure Speed

         Previously, Giacchino scored the PlayStation video game based on Steven
Spielberg‟s summer box-office hit The Lost World. Recorded with the Seattle Symphony,
this marked the first original, live orchestral score written for a PlayStation console
game. He went on to compose many orchestral scores for interactive media, including
the highly successful “Medal of Honor” series, a World War II game created by

         The popularity of ABC‟s “Lost” and the music that Giacchino created for the show
brought about the premiere of “The Lost Symphony” in 2007. The symphonic event, which
incorporated themes and passages written by Giacchino for the hit TV show, was performed
by the Honolulu Symphony and conducted by Tim Simonec and Giacchino in a multimedia
concert at the Waikiki Shell in Honolulu, Hawaii. Terry O‟Quinn, famed for playing John

Locke on the show, joined the musicians on stage to provide narration throughout the

       In the summer of 2009, the International Film Music Festival in Ubeda, Spain invited
Giacchino to participate in their yearly event as a guest of honor. Roughly 750 fans from
across Europe were in attendance when Giacchino conducted suites from several of his
films and other favorite works. He returned this summer as the organization‟s honorary
festival president.
       Giacchino studied film production at the School of Visual Arts in New York City
and subsequently pursued composition and music studies at both the Juilliard School
and UCLA.


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