Rating: R for language and some violence
U.S. Release Date: April 24, 2015 (In Theaters and On Demand)
Run Time: 92 minutes
PRESS CONTACTS:
New York
Lee Meltzer
Lee.Meltzer@pmkbnc.com /212-373-6142
Susan Engel
Susan.Engel@pmkbnc.com /212-373-0114
Los Angeles
Alison Deknatel
Alison.Deknatel@pmkbnc.com / 310-854-3250
SYNOPSIS
The world’s best art forger (John Travolta) makes a deal with a crime syndicate to get an early
release from prison, but in return he must pull of an impossible heist - he must forge a painting by
Claude Monet, steal the original from a museum and replace it with a replica so perfect that no
one will notice. He enlists the help of his father (Christopher Plummer) and son (Tye Sheridan)
and together they plan the heist of their lives!
THE FORGER
-Production InformationSynopsis*
* Borrowed and adapted from the Toronto International Film Festival summary.
A suspenseful and moving thriller, THE FORGER switches seamlessly from bracing violence and
criminal hijinks to scenes of painstaking familial reparations. It is also a showcase for the singular
talents of John Travolta, who turns in an affecting performance as a man who has spent his life
applying his artistic gifts in all the wrong ways.
Learning that his teenage son Will (Tye Sheridan) has been diagnosed with cancer, Ray Cutter
(Travolta) manages to get out of prison nine months ahead of schedule to rejoin the household
where Ray’s spry, ornery dad, Joseph (Christopher Plummer), has been caring for Will in Ray’s
absence. The hitch is that, while Ray wants to go straight, the shady character who made Ray’s
early release possible expects him to pull off a heist as payment. The job involves snatching
Monet’s Woman with Parasol from the museum where it’s on display and replacing it with a
replica so perfect that no one will notice. An experienced thief and a world-class art forger, Ray
is the only man for the job, and in any case he has no choice. But can he perform this high-stakes
robbery while also trying to fulfill his dying son’s wishes?
With a dynamite supporting cast that includes Abigail Spencer as the undercover agent tracking
Ray’s every move, Anson Mount as the local drug kingpin who puts the pressure on Ray, Marcus
Thomas as Ray’s best friend and cohort, Travis Aaron Wade as the local cop who assists the
investigation, and Jennifer Ehle as Ray’s ex-wife and Will’s estranged mother, THE FORGER
boasts both compelling characters and inventive set pieces.
At the core of the film are the father-son relationships across the three generations, and the
chemistry between Travolta and Sheridan makes for heart-rending scenes. Ray cannot forestall
the tragedy soon to visit, but he can work magic with brushes, brains, and fists to ensure that what
time the Cutter family has left together is spent making a dream come true.
“The Forger” stars John Travolta, Christopher Plummer, Tye Sheridan, Abigail Spencer,
Marcus Thomas, Travis Aaron Wade, Lyndon Smith, with Anson Mount, and Jennifer Ehle.
Philip Martin directs from a screenplay written by Richard D’Ovidio. Al Corley, Bart Rosenblatt,
Eugene Musso, and Rob Carliner produce the film. Executive producers are Jonathan Dana,
Randi Michel, Lisa Wilson, Myles Nestel, Gordon Bijelonic, and Phil Stephenson of Freedom
Media. Director of photography is John Bailey, ASC. Edited by Peter Boyle, ACE and Joan
Sobel, ACE. Production designed by Derek R. Hill. Costume designer is Abigail Murray. Music
by Rob Cairns. Casting by Mary Vernieu, CSA and Lindsay Graham, CSA. Music supervisor is
John Bissell. Visual effects supervisor is Chris Ervin. Co-executive producers are Anson Downes
and Linda Favila. Co-producers are Kim Olsen and Richard D’Ovidio.
Saban Films presents a Code Entertainment production, in association with Freedom Media, a
film by Philip Martin, The Forger.
About the production…
In talking about the genesis of THE FORGER, producer Bart Rosenblatt said, “The screenplay
came to us from ICM, and in reading the script we pretty much knew immediately that this was
something special and something we wanted to pursue. We were lucky enough to be able to
option the script.”
Producer Al Corley added, “For me when I read it, it was really a three-generational story about a
family with all the dysfunctions that families have and ultimately about a father-son bond. It’s
about what it means to have to deal with what happens during the course of your relationship
with your father as you grow up, and because of the crisis that forces the main character to have
to deal with having a son that he might lose, it was just overwhelming emotionally when you read
it.”
“In casting the film,” Rosenblatt continued, “a few of the representatives at WME had read the
screenplay and mentioned that they thought John Travolta would be interested in it, which we
were very excited about, because we thought he was perfect for the role. John read the script, and
we were told that he really liked it and that he was interested in meeting with the director Philip
Martin. So, we set up a meeting with Philip and John in Florida. I guess the meeting went quite
well, because the following week John agreed to do the movie.”
Regarding his attraction to the project, Travolta said, “You have this family drama with an
ORDINARY PEOPLE type of depth to its scenario. At the same time you have this built-in heist
that had to happen at one point in the story, and that would normally not be things you would
mix. But because of the talent involved and the vision of this director, it mixes quite beautifully.”
Rosenblatt said, “Once we had John attached to the film, it really elevated the project, and at that
point we were able to cast Christopher Plummer to play his father and Tye Sheridan to play his
son. We ended up with just a fantastic cast.”
Director Philip Martin expanded on that family relationship that exists between Ray Cutter
(Travolta), Joseph Cutter (Plummer), and Will Cutter (Sheridan).
“In some ways the relationship between Ray and his son Will is affected by Ray’s own
relationship with his father Joseph. The damage that was done to Ray by Joseph is somehow
played out in Ray’s relationship with Will, so there’s a sort of generational interconnectedness in
the dysfunction of this family.”
Corley agreed. “I think Ray feels a lot of guilt that he slipped into the same patterns of his father.
He wasn’t around, he wasn’t a good father, and he wasn’t there for his son. I think he realizes
that. I think he’s almost given up on having that second chance, and the story starts with giving
him that second chance.”
The story opens with Ray having just served a long stint in prison, and Joseph has been caring for
Will. About the relationship between Joseph and Ray, Christopher Plummer said, “Joseph resents
Ray’s neglect of his son, because Ray spent so much time in prison. When Ray comes out and
forms this terrific relationship with his son, Joseph becomes jealous. This interweaves through
the family and also through the movie. It’s charming, it’s irritating, it’s good, and it’s believable.”
For actor Anson Mount, who plays the villainous Tommy Keegan, this complexity in the
relationships attracted him to the project.
“It’s not uncommon for films with these sorts of motivations and characters to lack a certain
amount of heart, because there’s not always room for it. So, it was really fantastic to read this
script, because it operates on both an action level and on an emotional level.”
He added, “What I find tasty about the script is the art aspect. There are a lot of heist movies
about infiltrating the bank or Fort Knox or something. There’s something about art – just this
simple thing of oil paint on canvas that has been so valued or perhaps overvalued by people over
the course of time. The only way to pull this particular story off is not to tap the ambition of Ray
but the talent of Ray, and that’s different, you know?”
Marcus Thomas, who plays the role of Ray’s friend Carl, appreciated the story’s depth as well.
“It’s a coming of age story in a way. It’s a love story. It’s very powerful subject matter. It’s about
a teenage son who is sick and reconnects with his father. It’s about bonding with family. It’s
about real people in difficult circumstances. I think it’s something everybody can relate to one
way or another. It’s different from the films that I’ve seen in the movies lately that seem to be
more about special effects and explosions and stuff, so it’s fantastic to be part of something like
that.”
Jennifer Ehle, who portrays Ray’s ex-wife Kim, enjoyed THE FORGER’s ability to span genres.
“Well, I love the screenplay. I love the story, because it has so many elements in it. It’s thriller.
It’s family drama. It’s moving, and it’s exciting. Every time I thought I understood what kind of
story it was, it would take a turn. I think it’s true to itself. It just has lots of different colors in it.”
At the center of the tale is John Travolta’s Ray, who is not the typical brand of movie criminal.
As Philip Martin described him, “Ray is an extraordinary person. John’s got a great phrase for
him, which is ‘an artist turned thug turned blocked artist.’ In some ways he’s a mixture of
violence and beauty. He’s a mixture of incredible potential to be destructive if not to other people
than to himself and to create beauty. In some ways the film is about his struggle to escape his
past, escape his demons and reconnect with himself and his own potential not only to be a great
artist but also to be a great father.”
John Travolta discussed Ray’s artistic ability.
“My character as a little boy was a genius, what would be called a savant artist. He had this
ability way above the norm of ability to paint paintings. He could do a Rembrandt. He could do a
Monet. He could do it so well that you could perhaps not really know the difference between the
real thing and his interpretation of that piece of art.”
Al Corley said of Ray, “He’s really an artist at heart. You find out in the story that he’s never
really allowed to follow his dream, and he ends up on the wrong side of the tracks, but there’s
always a sense of poetry and an artist inside an ordinary guy.”
In dogged pursuit of Ray are DEA Agent Paisley, played by Abigail Spencer, who has been
building a case against Tommy Keegan, and her local Boston Police Department contact Officer
Devlin, played by Travis Aaron Wade.
Spencer described her character’s introduction and her character’s relationship with Ray as the
story progressed.
“It’s kind of an interesting way to reveal someone who is an undercover cop and who is a DEA
agent. You think she’s just a club girl, and then you find out that she’s been following a drug ring
in Boston. Ray Cutter’s character has kind of walked into her case. My character really starts
watching him and realizes that he’s not a bad guy; he’s just got to do something bad to do
something good.”
“I would say the relationship between Ray Cutter and Agent Paisley just keeps developing.
There’s some sort of unspoken trust that they have between each other. I think Agent Paisley
really feels for him that his son is dying, honestly wants to help him, and honestly doesn’t want
him to go back to prison.”
Bringing Ray to life on screen was a challenge that John Travolta embraced.
Martin said, “John is just an amazing talent, person, and actor. I think what he brings to Ray is a
reality, a soulfulness, and a complexity. When you have a character like Ray who’s going to do
amazing things, paint wonderful pictures, connect emotionally with his son, and go on this great
journey throughout the film, you need to make this person believable and rooted in a kind of
reality. John has this incredible ability to be simultaneously magical and epic and from another
world but also real and gritty and rooted in our world. It’s that lovely combination between the
epic and the intimate that makes John such a great actor.”
Corley also valued what Travolta personally brought to the project.
“John’s perfect for the role because he’s authentic. He comes from a place of integrity. He’s
sensitive. He has that artistic sensibility that’s inherent in John as a person. He knows what it is to
be a parent. He has the emotional vulnerability of being a father. Aside from being an actor, it’s
important to him as a person. Those qualities are important to him, and that’s part of who Ray is
in our story. Underneath the blue-collar criminal, the heist, the things that he has to do, and why
he’s in prison, at heart he’s really an artist, and he’s really a father that just hasn’t been allowed to
be a father.”
Rosenblatt added, “John Travolta is the perfect actor for this kind of role, because even though
he’s done some bad things in the story, people gravitate toward him, because the character is
really great inside. John has the ability to play both the darker character and the highly emotional
and likable character, so he’s the perfect person to play this part.”
As Travolta said, his own family’s personal expertise in the art world informed his character as
well.
“I grew up with my grandfather who was a painter, my brother who was a wonderful painter, and
my father who did quite well at it too. So I grew up with a family of artists in that area, as well as
acting, singing, and dancing. The three men in my family painted and drew quite well, so it was
always in the atmosphere.”
Christopher Plummer reflected on collaborating with Travolta.
“I’d never worked with John Travolta before, and I’ve always really admired him tremendously. I
don’t say that lightly just because I’m working with him. I’ve always believed him on the screen.
It’s very hard to believe everyone – that you can be seduced, dazzled, and all that – but to believe
someone is really quite unique.”
Mount said about Travolta, “Actually I would say that’s been the highlight of this job so far is
getting to not just work with John, which is great, but to get to meet and converse with somebody
who is so inquisitive and full of life and loves his family. That’s what I’m really enjoying about
this process.”
Thomas added, “Working with John Travolta for me has been a truly fantastic experience,
because he’s not only a wonderful human being, but he’s very generous and very professional.
He’s got a lot of experience, he’s a pleasure to be around, he’s always on time, and he lightens up
the mood. I don’t think I can say any greater things about him. He’s been fantastic to work with.”
Spencer also enjoyed working with Travolta.
“Working with John Travolta is delicious. I mean literally delicious, because he feeds you
delicious food and wants you to eat well. He’s so funny. He’s so my kind of guy. I come from a
musical theater background, and he’s a song and dance man. At any moment we could break out
into song and dance, and you just gotta roll with it. That’s so great for me. He lives it and
breathes it, and he’s a total lifer. I’m a total lifer, so we really get along. My pain of this
experience is that I don’t get to have more, and I hope I get to in the future.”
Meanwhile, Wade talked about the star power of Travolta.
“John has been a part of my life and my family’s life on film and television since the 70s. We
grew up watching GREASE. When I got the role, my mom and my aunt screamed so loud. People
react to John like nobody I’ve ever experienced. I’ve been in the business for thirteen years, and
I’ve been around a lot of movie stars. He’s just a very unique, special individual. How he affects
people is incredible.”
Wade shared one story in particular from his time on set with Travolta.
“We were coming down an elevator, and it stopped on the thirteenth floor. It opened up, and we
saw a group of women celebrating a birthday party. The women were between 45 and 50 years
old, and I saw these very intelligent women crumble to thirteen-year-old girls. They screamed.
One of them passed out on the ground – just dropped. I said, ‘Your friend passed out.’ Her
girlfriends were all over John. He handled himself so well. That would freak most people out. He
just put his arms around them and took pictures with them. I’m looking down at the ground
saying, ‘One of your friends is passed out.’ One of the ladies said, ‘She’s a huge fan.’ She
grabbed her arms and just dragged her into the elevator. They proceeded to take pictures with
John until we got to the bottom. Then security came over and said, ‘Ladies, we have to go.’ They
all walked after John and just left the girl who was passed out in the elevator.”
Ehle herself was a little star-struck by her fellow cast members.
“My inner little girl can’t believe that she’s on a set with John Travolta and Christopher
Plummer, and I think she’s finally forgiven me for not owning a pony. John is an extraordinary
actor. He is generous, smart, kind, and phenomenally talented obviously. He’s got a wonderful
presence to be around.”
Regarding the Oscar-winning Plummer, Rosenblatt felt lucky to have him as part of the
production.
“Having Christopher Plummer in the role of Joseph is amazing for us, because he was our first
choice to do this film, and he’s such a brilliant actor. We were looking for somebody who had
enough gravitas to play John’s father in the movie, because that role really grounds the son and
the father. Christopher Plummer has so many layers when he’s acting, and he’s so subtle. The
role is so subtle, and he’s just doing a brilliant job with this part.”
Thomas also saw working with Plummer as a highlight.
“Working with Christopher Plummer is fantastic. I haven’t met him before. It was the first time.
He brings such a powerful gravitas to the role of the grandfather. He’s really a wonderful man
with a lovely sense of humor. He’s super talented and very prepared. The kind of discipline he
brings to his roles is just awe-inspiring.”
Young Sheridan greatly appreciated having Plummer on set and reflected on the years of
experience that Plummer brings to the project both professionally and personally.
“Christopher Plummer’s maybe my favorite person on set. I like Chris. He’s a funny guy. I was
just talking to him. He’s 83 years old – almost 84. I was talking to him about Louis Armstrong. I
was humming a Louis Armstrong song. I said, ‘You ever listen to Louis Armstrong?’ And he
said, ‘Oh, yes, yes, I saw Louis Armstrong in the 40s with Ella Fitzgerald.’ And I just thought
how amazing might that have been to have lived in the 40s and have seen Louis Armstrong in
concert?”
Travolta had praise for Sheridan in turn.
“This young actor is everything that an actor should be. His ability to have at his beck and call the
depth and quality of emotion is so unique and so acute that I’ve never seen anything like it.”
Sheridan talked about the challenges of playing the terminally ill Will Cutter.
“Will has been diagnosed with a brain tumor, and he shows quite a bit of restraint through the
film. I feel that as an actor, restraint is one of the hardest things to show, because you can’t give
too much, and you can’t hold back too much either, so it’s really tough finding that in-between
stage.”
Travolta also appreciated what Mount brought to his antagonistic role.
“He’s kind of like a young Christopher Plummer in a way. He’s this very well trained theater
actor that brings to film another level of his talent, and he’s very serious about what he does. He
works his characters over, and by the time he’s finished, he’s nailed it. Whatever process he takes
to get there is valid processing. You watch him take this journey, and he’s kind of unfolding his
character right in front of you. He’s discovering how to play it, and it’s very interesting to watch
him do that. It’s fascinating.”
Mount brought his own interpretation to his character that was not necessarily explicitly stated.
“I play Tommy Keegan, who is an old acquaintance of Ray’s. They grew up in the same
neighborhood. He’s a little younger than Ray. I think he always looked up to Ray growing up.
Then they were doing something illegal together, and Ray was trying to be a hero, so Tommy
decided he had to cut him off and sell him out to the cops. So, all we know in the background is
that Tommy’s done something to Ray fifteen years ago that he feels kind of guilty about. At the
same time, he’s got business to get done. So you’ve got this weird kind of strong-arming going
on in the script, but what I wanted is a guy who feels a need to in some way to apologize so he
doesn’t feel like he’s lost his hero. So, there’s a lot of attempt at humor and joking around, but it
just is never reciprocated, and that’s what eventually ticks Tommy Keegan off.”
“What I think is interesting about the character during the timespan of the movie is that he’s
someone who is under pressure himself. He’s not just some Machiavellian bad guy. He’s a guy
who’s fearing for his life, and that’s what is fueling him to push this job forward, which is pretty
risky.”
Travolta also talked about Abigail Spencer.
“She is a revelation to some degree. Abigail is so beautiful and quick and right there, so when
you’re acting with Abigail, there are no hollow moments. She’s on it. She will fill in anything,
and she’ll go any direction that you want to go. She’s really a modern actor in that way. She’s
right up to date in her ability to assimilate a scene and adjust when necessary. She’s not afraid of
anything. She’s a very brave actress.”
Rosenblatt commented on Spencer’s chameleonic ability.
“She plays an undercover detective. In one of the scenes when she’s in the nightclub, she has to
be dressed up as one of the partygoers. She has so many different looks that I didn’t even
recognize her when she came on the set. I thought she was an extra, and she had to reintroduce
herself to me. So, I think Abigail is fantastic, because she plays this part so well that I didn’t even
recognize her when she came out in the non-undercover part.”
Of her role in the film, Spencer said, “She’s always running and always chasing and always
following. We say that there’s like a separate story with Agent Paisley where she’s just lurking.
She’s kind of the lurker in the story. What she provides are pieces of the puzzle that are coming
through and also a lot of ‘the heat’ that’s gonna come down.”
Travolta also had good things to say about Wade.
“Travis is like a Jimmy Cagney or Jeremy Renner. He’s got a very specific and original presence
and style. He’s one of these actors that can pretty much do anything you need him to do. He’s a
real pro that way. He can be very clever in his choices and very entertaining in his choices. He
does an enormous amount of research, and he spent endless time during days with the police
force here in Boston, so he really owned that role.”
Of the rapport between her character and Wade’s role, Spencer says, “The dynamic between
Detective Devlin and Agent Paisley is one of discord and also one of comfort. He’s local Boston
PD, and she’s come in from the outside as DEA, and they have to work together, but they don’t
necessarily always want to work together. There’s a little bit of a husband-wife rivalry going on
between them.”
Wade described his character.
“I am a Boston police department undercover robbery homicide detective, which is funny
because my initials spell B.P.D., so I guess I was just born and raised in Boston and meant to
ultimately be a police officer. I’ve given him a background of being born and bred in this city
from the tough neck of the woods. He had the option to go one way and chose the other way.
He’s from the streets, he’s a recovered alcoholic, and he’s got very high hormones. He’s
constantly hitting on Agent Paisley, and every chance he gets he’s throwing in a way to get her to
go out with him to do a little more than what they’re supposed to be doing.”
Marcus Thomas’ character Carl rounds out the cast of characters and helps out the threegeneration heist crew.
As Thomas said, “I play Ray Cutter’s best friend, and I’m sort of a facilitator and a loyal friend to
the end, with some capabilities – tactical, surveillance, muscle, transportation, and emotional
support. Whatever you need, Carl’s there for you. Carl is instrumental in securing the heist’s
success in that he does a lot of the reconnaissance relating to where the piece of art is hanging in
the museum before the actual heist. He finds out what kind of technology is protecting the
painting, where it’s at, how to get there, what the layout is of the museum, where the access roads
are, where the weak points are, and how to ultimately remove the painting from its wiring.”
Adding extra flavor to THE FORGER was its setting, the city of Boston.
Rosenblatt talked about the decision to shoot on location and its benefits.
“The story takes place in Boston in the film, and we normally don’t get to shoot films where the
story takes place for a variety of reasons, including logistics or various tax rebates, but
fortunately Massachusetts had a fantastic rebate. We were able to work it out so that we would be
able to shoot the movie in the city where the story actually takes place, which was really exciting
for us and for the director, because we wouldn’t have to recreate the city in another location.”
“When we finally got to Boston, it was a really great experience. The Red Sox were in the World
Series while we were up there, and a lot of us got to go to the games, which was a lot of fun.
What’s great about Boston is that it has so many different areas of the city where you can get
different looks and different ethnic looks. It has the North End, it has blue-collar neighborhoods
like up in Revere, which we used a lot, and Chelsea, which we used a lot for the film. Those
neighborhoods all have a very distinct look, which is why I think a lot of films like to shoot in
Massachusetts and in the Boston area. Our film takes place in a very blue-collar world, and we
used the backdrops of these two cities specifically, Chelsea and Revere. We were able to
juxtapose that against the real big city wealthy environment of downtown Boston, which made a
great juxtaposition for the story in the film. Ray Cutter’s character is able to move between the art
world in Boston, which is a very upscale art world, and the blue-collar neighborhoods of Chelsea
and Revere.”
Plummer also talked about the experience of being in Boston.
“I know Boston from the theater. I’ve been playing here at the Colonial Stage on my way to
Broadway since 1955, so I’ve known Boston over the years. It’s a wonderful old city, but it’s
changed, and I think it’s changed for the better. It’s much more ethnic. It’s much more
interesting. Different races live here now. In the old days it was a bit staid and proper and
academic, and now it’s burst out. So, Boston is looking good.”
Rosenblatt detailed the intricacies of some of the specific locales seen in the film.
“One of the reasons we were excited about filming in Boston is that they have a world-class
museum there called the Museum of Fine Arts, Boston, which is actually the museum the story
used for the heist. We immediately approached the museum not thinking in a million years that
we’d ever get permission to spend several nights there shooting, because they have a priceless art
collection there. After working with the museum for several weeks, they agreed to give us
permission to film there, and in the movie you see a lot of really valuable and priceless pieces of
art that are real. We were all amazed that they let us get so close to these Renoirs and other
masters to actually photograph in those rooms.”
“There’s one scene where John Travolta is looking at the painting that he’s going to forge, and
we go into a wide shot of him in that room, and every one of those paintings are from the
Impressionist masters like Renoir and Degas. The museum turned out to be very, very helpful and
really added to the production value of the film, because obviously we were able to film in these
magnificent galleries.” Rosenblatt continued, “Of course, the security was quite tight. We had to
inventory every single item that we brought into the museum, and we had to inventory it as we
went out. So, you can imagine there are thousands of items that go into making a movie, and we
had to inventory every one of those pieces to move them into the museum. We were actually the
first feature film that they ever allowed to shoot in the Museum of Fine Arts. So, we shot in and
around that museum for several days including the exteriors and the interiors. The banners for the
painting that is actually stolen in the movie are also the banners that you’ll see on the outside of
the museum in the shot, so the museum was very cooperative with us, and it just worked out
great.”
“We actually filmed the opening prison sequence in a live prison in downtown Boston, and we
were there in the evening under very high security with our entire crew. We had to inventory
every piece that went in and out of that facility too. So, we got used to being very cognizant of
what we were all carrying in and what we were all carrying out while we were filming.”
Rosenblatt finished, “Another interesting location is at the end of the movie when they’re on a
tropical beach. A lot of that is done with digital effects, but the most interesting thing about it is
that we actually filmed that shot with Christopher Plummer, John Travolta, and Tye Sheridan on
an actual beach. It wasn’t very warm, and it was actually below freezing while we were shooting.
You’ll notice in the movie that they’re in short sleeves and bathing suits, and Christopher
Plummer is near the ocean. They were wrapped in blankets next to heaters, and as soon as we
were ready to go, they’d take the blankets off and we’d shoot.”
Keeping all these elements – the cast, the script, the crew, and the locations – in sync throughout
the shoot and ultimately bringing THE FORGER to life was director Martin.
Travolta said of Martin, “He’s the most unique man as a director I’ve dealt with. He’s very
bright, he’s very English, and he’s very smart about his vision. His vision isn’t always what we
imagine the vision is, which is o.k., because I want that. When a director is lacking a vision,
you’re in trouble. This man has exactly a vision of what he wants. When he expresses it,
sometimes the minutiae are different than what you think they are. He might be obsessed with the
glue that connects the scenes, and at first you’re thinking, ‘Why is he so interested in that, when
we should be concentrating on the major points of the story more?’ He’s interested in the glue,
because there’s something about the glue that he finds that will make those major points elevate
and take off.”
Sheridan talked about the fun attitude that Martin brought to set.
“Philip ‘Flippy’ Martin. That’s his nickname on set, Flippy, because he’s so wiry and happy and
just bouncy. He’s great. He’s so smart. He doesn’t say a lot, but he gives notes when they need to
be given. He’s just been so fun to work with, because he keeps the energy on set so light and
happy. You could be in a bad mood when you get to set, and when you talk to Flippy, he just
cheers you up.”
Spencer also enjoyed Martin’s light touch.
“Philip Martin is so silly. He’s so wickedly smart and super funny. It really encapsulates him that
first day that we were shooting. We have this very serious scene – there’s a dead body, I’m
coming in, and I’ve gotta figure out what’s going on. I’m looking it over, and it’s like
‘information-information.’ We do a take of the scene. All of the sudden he kind of pops out from
behind, and he’s like: ‘Yeah, yeah, yeah. That was really good. I really liked it!’ And then he
disappears again. It was just so out of character for what the tone of the movie was. He’s really
funny and really silly. It was great.”
Wade admired how Martin shepherded the project and helped create good feelings on the set.
“He has taken this entire project, and he has lived with it for years. He and Richard, the writer,
have had this project underneath their belts for two years. They’ve had it cut, edited – they know
exactly what they want. For an artist and an actor, when you work with a director, you just want
to know that they know what they want. When you do something – that’s it – cut it, let’s move on
– you’re like, ‘He got his shot.’ He got what he envisioned two years ago. That’s how Philip
works. Between him and John, I’ve never been on a nicer set.”
To the people involved in its creation, the end product, THE FORGER, contains many different
messages and layers for the viewer.
Wade said, “It’s a tale about a father, a son, and a grandfather. It’s a story about fathers and sons,
and it’s a story about mistakes and righting wrongs. It’s about doing the right thing toward the
latter part of your life. Ultimately I would say it’s a heist film entwined in a very heartfelt drama.
I can also tell you there’s a huge twist to this story that I did not see coming. After doing this for
thirteen years and after being a film fan for thirty-plus years, I can go into a film and say, ‘I know
how this is going to end.’ That is not the case with this film.”
To Spencer, the film’s theme is that “everybody gets a second chance.” Also, “you don’t
necessarily know what way it’s going to come out, and things aren’t always what they seem.”
Travolta said, “It’s a tough movie in that it doesn’t make apologies for its behavior in any way.
We’re not very well-versed in it. We’re foulmouthed a bit. We’re tough. I beat up people and
have to do what I have to do to survive. My ex-wife’s a drug addict. My dad’s an old-fashioned
criminal. I’m a wannabe great artist. And my son is suffering. So, you’ve got something to watch
in this movie. It’s a very interesting scenario.”
Plummer stated, “It’s a lovely story about relationships in this wacky family of wonderful crooks,
and even the boy joins in. They’re not good guys, thank god. They’re really naughty, dedicated
fellas in the world of petty crime, but with pictures of the great Impressionists.”
Ehle thought it’s a “really interesting, resonant, exciting bit of entertainment, and I don’t mean
entertainment in a light way. It might be a really, really great watch.”
Sheridan pondered the relationships therein and his character’s mortality that drives the story.
“It’s a film about a father and a son who have kind of an awkward relationship, and sometimes
his dad couldn’t be there for him, so he stayed with his grandpa, who has kind of become his
father figure and has become this role model. A kid should have his dad around, because I know
my dad is my best friend. I couldn’t imagine a world without him.”
Sheridan continued, “You just have to ask yourself: how would you feel if someone told you that
you had two months to live? It’s so heartbreaking, because this is a reality, and a lot of people are
actually diagnosed with brain tumors and cancer and do die at young ages. It’s really sad. I think
one of the most important keys in life is acceptance. Whatever happens in your life, you have to
accept it and move on.”
About the cast…
JOHN TRAVOLTA (Raymond Cutter)
John Travolta has been honored twice with Academy Award nominations, the latest for his
riveting portrayal of a philosophical hit-man in Quentin Tarantino’s PULP FICTION. He also
received BAFTA and Golden Globe nominations for this highly acclaimed role and was named
Best Actor by the Los Angeles Film Critics Association, among other distinguished awards.
Travolta garnered further praise as a Mafioso-turned-movie producer in the comedy sensation
GET SHORTY, winning the Golden Globe Award for Best Actor in a Motion Picture, Musical or
Comedy. In 1998, Travolta was honored by the British Academy of Film and Television Arts
with the Britannia Award, and in that same year he received the Lifetime Achievement Award at
the Chicago Film Festival. Travolta also won the prestigious Alan J. Pakula Award from the US
Broadcast Critics Association for his performance in A CIVIL ACTION, based on the best-selling
book and directed by Steve Zaillian. He was nominated again for a Golden Globe for his
performance in PRIMARY COLORS, directed by Mike Nichols and co-starring Emma Thompson
and Billy Bob Thornton, and in 2008, he received his sixth Golden Globe nomination for his role
as Edna Turnblad in the big-screen, box-office hit HAIRSPRAY. As a result of this performance,
the Chicago Film Critics and the Santa Barbara Film Festival decided to recognize Travolta with
a Lifetime Achievement Award for his role.
He previously starred in a number of monumental films, earning his first Oscar and Golden Globe
nominations for his role in the blockbuster SATURDAY NIGHT FEVER, which launched the
disco phenomenon in the 1970s. He went on to star in the big-screen version of the long-running
musical GREASE and the wildly successful URBAN COWBOY, which also influenced trends in
popular culture. Additional film credits include the Brian DePalma thrillers CARRIE and
BLOWOUT, as well as Amy Heckerling’s hit comedy LOOK WHO’S TALKING and Nora
Ephron’s comic hit MICHAEL. Travolta starred in PHENOMENON and took an equally
distinctive turn as an action star in John Woo’s top-grossing BROKEN ARROW. He also starred
in the classic FACE/OFF opposite Nicolas Cage, and THE GENERAL’S DAUGHTER, costarring Madeline Stowe. In 2005, Travolta reprised the role of ultra-cool Chili Palmer in the
GET SHORTY sequel BE COOL. In addition, he starred opposite Scarlett Johansson in the
critically acclaimed independent feature film A LOVE SONG FOR BOBBY LONG, which was
screened at the Venice Film Festival, where both Travolta and the film won rave reviews. In
February 2011, John was honored by Europe’s leading weekly program magazine HORZU, with
the prestigious Golden Camera Award for “Best Actor International” in Berlin, Germany. And
this past April, John received global recognition when he was presented with the award for
Outstanding Contribution to International Cinema by the International Indian Film Academy at
the 2014 IIFA Film Awards.
Other feature film credits include box-office hit-comedy WILD HOGS, the action-thriller
LADDER 49, the movie version of the successful comic book THE PUNISHER, the drama
BASIC, the psychological thriller DOMESTIC DISTURBANCE, the hit action picture
SWORDFISH, the successful sci-fi movie BATTLEFIELD EARTH, based upon the best-selling
novel by L. Ron Hubbard, and LONELY HEARTS. In addition, Travolta starred opposite Denzel
Washington in director Tony Scott’s remake of THE TAKING OF PELHAM 1 2 3, and he
provided the voice of the lead character in Walt Disney Pictures’ animated hit BOLT. BOLT was
nominated for a 2009 Academy Award for Best Animated Feature Film and a Golden Globe for
Best Animated Film, in addition to Best Song for John and Miley Cyrus' duet titled, "I Thought I
Lost You."
Next, Travolta starred in Walt Disney Pictures’ 2009 film OLD DOGS, along with Robin
Williams, Kelly Preston and Ella Bleu; followed by the action thriller FROM PARIS WITH
LOVE, co-starring opposite Jonathan Rhys Meyers. In 2012, John starred alongside Taylor
Kitsch, Blake Lively, Aaron Johnson, Benicio Del Toro, Salma Hayek, Emile Hirsch and Demian
Bichir in the Oliver Stone directed movie, SAVAGES. The film was based on Don Winslow’s
best-selling crime novel that was named one of The New York Times’ Top 10 Books of 2010.
Most recently, John starred opposite Robert De Niro in the action thriller KILLING SEASON,
directed by Mark Steven Johnson.
John recently completed production on four feature films; CRIMINAL ACTIVITIES, a crime
thriller co-starring Michael Pitt and directed by Jackie Earle Haley, IN A VALLEY OF
VIOLENCE, a revenge-driven western co-starring Ethan Hawke and directed by Ti West, LIFE
ON THE LINE, an action/drama co-starring Kate Bosworth and directed by David Hackl and I
AM WRATH, an action/thriller directed by Chuck Russell.
John has received two prestigious aviation awards: in 2003 the American Institute of Aeronautics
and Astronautics Foundation Award for Excellence for his efforts to promote commercial flying,
and in 2007 The Living Legends Ambassador of Aviation award.
John currently holds the following jet licenses and type ratings: Boeing 747 (Australian cert),
Boeing 707, Boeing 720, Cessna 500, Challenger 600, Eclipse 500, Gulfstream II, Hawker 125,
Lear Jet and Soko Galeb. He is also qualified to fly the de Havilland Vampire and Canadair CL41 Tutor/Tebaun.
Travolta is the Qantas Airways Global Goodwill “Ambassador-at-Large” and piloted the original
Qantas 707 during the “Spirit of Friendship” global tour in July/August 2002.
John is also a business aircraft brand ambassador for Learjet, Challenger and Global jets for the
world’s leading business aircraft manufacturer, Bombardier.
John flew the 707 to New Orleans after the 2005 hurricane disaster bringing food and medical
supplies, and in 2010, again flew the 707, this time to Haiti after the earthquake, carrying
supplies, doctors and volunteers.
John, along with his wife, actress Kelly Preston, are also very involved in their charity, The Jett
Travolta Foundation, which raises money for children with educational needs.
CHRISTOPHER PLUMMER (Joseph Cutter)
Christopher Plummer has enjoyed almost 60 years as one of the theatre’s most respected actors
and as a veteran of over 100 motion pictures. Raised in Montreal, he began his professional
career on stage and radio in both French and English. After Eva Le Gallienne gave him his New
York debut (1954), he went on to star in many celebrated productions on Broadway and
London’s West End, winning accolades on both sides of the Atlantic. He has won two Tony
Awards for the musical CYRANO and for BARRYMORE plus seven Tony nominations, his latest
for his KING LEAR (2004) and for his Clarence Darrow in INHERIT THE WIND (2007), as well
as three Drama Desk Awards and the National Arts Club Medal. A former leading member of the
Royal National Theatre under Sir Laurence Olivier and the Royal Shakespeare Company under
Sir Peter Hall, where he won London’s Evening Standard Award for Best Actor in BECKET, he
has also led Canada’s Stratford Festival in its formative years under Sir Tyrone Guthrie and
Michael Langham.
Since Sidney Lumet introduced him to the screen in STAGE STRUCK (1958), his range of
notable films include THE MAN WHO WOULD BE KING, BATTLE OF BRITAIN, WATERLOO,
FALL OF THE ROMAN EMPIRE, STAR TREK VI, TWELVE MONKEYS and the 1965 Oscarwinning THE SOUND OF MUSIC. More recent films include THE INSIDER (as Mike Wallace;
the National Film Critics Award), the acclaimed A BEAUTIFUL MIND, MAN IN THE CHAIR,
MUST LOVE DOGS, NATIONAL TREASURE, SYRIANA, and INSIDE MAN. His TV
appearances, which number close to 100, include the Emmy-winning BBC HAMLET AT
ELSINORE playing the title role, the Emmy-winning productions THE THORNBIRDS,
NUREMBURG, LITTLE MOON OF ALBAN and HBO’s MUHAMMAD ALI’S GREATEST
FIGHT, earning him seven Emmy nominations and taking home two Emmys.
Apart from honors in the UK, USA, Austria and Canada, he was the first performer to receive the
Jason Robards Award in memory of his great friend, the Edwin Booth Award, and the Sir John
Gielgud Quill Award. In 1968, sanctioned by Elizabeth II, he was invested as a Companion of the
Order of Canada (an honorary knighthood). An Honorary Doctor of Fine Arts at Juilliard, he also
received the Governor General’s Lifetime Achievement Award in 2000. In 1986 he was inducted
into the Theater Hall of Fame and in 2000 Canada’s Walk of Fame.
Plummer’s more recent projects include the highly praised animated films UP, 9, and MY DOG
TULIP, as well as the title role in THE IMAGINARIUM OF DOCTOR PARNASSUS, directed by
Terry Gilliam. He played the great novelist Tolstoy opposite Helen Mirren in THE LAST
STATION for Sony Classics, where he received his first Academy Award nomination in 2010. He
followed that up the next year with another nomination and a win for Best Supporting Actor in
BEGINNERS from writer/director Mike Mills and appeared in David Fincher’s THE GIRL WITH
THE DRAGON TATTOO that same year. In July and August 2012, he returned to the Stratford
Festival to perform his one-man show that he created entitled A WORD OR TWO, directed by
Des McAnuff. In 2013, he starred opposite Oscar winner Shirley MacLaine in ELSA & FRED
directed by Michael Radford, HECTOR AND THE SEARCH FOR HAPPINESS directed by Peter
Chelsom and DANNY COLLINS opposite Al Pacino and Annette Bening for writer/director Dan
Fogelman.
His recent self-written best-selling memoir, IN SPITE OF MYSELF (Afred A. Knopf Publishers)
is being much lauded by critics and public alike.
TYE SHERIDAN (Will Cutter)
Recently named one of Variety’s 10 Actors to Watch, 18-year-old Tye Sheridan has emerged as
one of Hollywood’s most sought after young talents.
Scheduled to release in October 2015, Tye will next star in Paramount’s horror comedy SCOUTS
VS. ZOMBIES, the tale of three Boy Scouts who save their hometown from a zombie outbreak.
He’s recently signed onto to star as young Cyclops in the highly anticipated X-MEN:
APOCALYPSE alongside a star studded cast including Jennifer Lawrence, James McAvoy and
Michael Fassbender.
Tye is currently in South Africa shooting DETOUR, a psychological thriller about a struggling
law student who, while grieving for his dying mother, is trying to decide is he should kill is
unfaithful stepfather.
This year Tye had three films at the 2015 Sundance Film Festival. They include STANFORD
PRISON EXPERIMENT, based on a shocking real-life psychological experiment, Rodrigo
Garcia’s LAST DAYS IN THE DESERT, co-starring Ewan McGregor, and the indie drama
ENTERTAINMENT, starring alongside Michael Cera and John C. Reilly.
In 2013 Tye earned the Marcello Mastroianni Award at the Venice Film Festival for his authentic
performance opposite Nicolas Cage in the Southern drama JOE. Also in 2013 was Jeff Nichol’s
coming-of-age drama MUD, with Tye starring as a Mississippi River teenager who befriends a
fugitive (Matthew McConaughey) trying to reunite with his soul mate (Reese Witherspoon). Tye
was recognized by numerous film critics, most recently receiving a nomination for Best Young
Actor by the Broadcast Film Critics Association. The cast was honored with the Robert Altman
Award at the 2014 Independent Spirit Awards.
A native of Elkhart, Texas, Tye Sheridan had almost no acting experience, besides a few school
plays, when he was cast in Terrance Malick’s THE TREE OF LIFE. As the sensitive youngest
son of a disciplinarian father, Tye starred in a breakthrough role opposite Brad Pitt, Sean Penn
and Jessica Chastain. THE TREE OF LIFE won the 2011 Palme d’Or at the Cannes Film
Festival and the 2011 Gotham Award for Best Picture, also receiving three Academy Award
nominations. Tye was also featured in indieWIRE’s “Top 25 Filmmakers and Actors” of 2011.
ABIGAIL SPENCER (Agent Catherine Paisley)
A talented actress, writer and producer on both the big and small screen, Abigail Spencer is
quickly making a name for herself in Hollywood.
Spencer will next be seen recurring in the second season of HBO’s TRUE DETECTIVE, which
premieres June 2015. In July 2015, she returns for season three of the Sundance Channel’s hit
show, RECTIFY. Spencer's portrayal of ‘Amantha Holden’ garnered rave reviews and a Critics
Choice Television Award nomination in the category of "Best Supporting Actress in a Drama” in
2013. The show has also been nominated for a Television Critics Association Award in the
category of "Outstanding Achievement in Movies, Mini-series and Specials.” The series follows
a man who must put his life back together after serving 19 years on Georgia's Death Row before
DNA evidence calls his conviction into question.
Previous television credits include multi-episode arcs on the USA hit series SUITS, AMC’s MAD
MEN, Adult Swim's CHILDREN'S HOSPITAL and NTSF: SVU; as well as E!’s cult comedy
BURNING LOVE, a scripted comedy-web spoof on the television shows, THE BACHELOR and
THE BACHELORETTE, among others.
Following the success of her 2013 short film HERE AND NOW (which was selected by Ron
Howard as the winner of Canon's “Project Imagination” film contest), Spencer is reteaming with
producers Josh Pence and Justin Allen for the film, WINTER LIGHT; produced under her
Innerlight Films umbrella. WINTER LIGHT is a modern-day revisionist Western set against the
sweeping backdrop of the snow-covered Montana wilderness. Spencer has also co-written a TV
pilot script, TEACH, that is on the coveted 2015 WriteHer list.
Spencer also recently wrapped production on the indie drama, BEAUTIFUL NOW, slated to make
the festival rounds this year. The film tells the story of a passionate dancer who finds herself
mulling over an extreme act when she reaches a crossroads in her life. Her other big screen
credits include OZ, THE GREAT AND POWERFUL; THIS IS WHERE I LEAVE YOU;
CHASING MAVERICKS; KILIMANJARO; THE HAUNTING IN CONNECTICUT 2: GHOSTS
OF GEORGIA; THIS MEANS WAR and COWBOYS AND ALIENS.
Spencer spent many summers studying under mentor, Ann Reinking, at the Broadway Theatre
Project. She was later accepted into Carnegie Mellon University.
Spencer is from Gulf Breeze Florida, where she spent her youth surfing with her family.
ANSON MOUNT (Keegan)
Anson Mount is best known for his role as Cullen Bohannan on AMC’s hit series HELL ON
WHEELS.
Mount made his feature film debut as Tully Coates in the independent film TULLY for which he
received critical praise. The film won several film festival awards, including the audience award
at LAIFF awards as well as receiving several nominations for the Independent Spirit Awards.
The Hollywood Reporter wrote of his performance: "Mount is impressive in a meaty role,
exuding strength and confidence that should win him ardent fans." The Daily Variety said, "...
with a cockiness and charm similar to Hollywood's best leading men, Mount is stellar as a
troubled soul..."
In 2009 Mount starred in and produced COOK COUNTY. His performance as Bump, a smalltime east Texas methamphetamine cook and addict, garnered him critical acclaim and had the LA
Times calling his performance Oscar-worthy. Variety was quoted as saying that Mount
“…dominates the pic with his skittish, scary performance as Bump… The actor also provides
effective shadings of character, so his expression often reveals a flurry of conflicting,
contradictory emotions.”
Anson Mount was most recently seen in the feature films NON-STOP opposite Liam Neeson,
SAFE opposite Jason Statham and SEAL TEAM SIX. He will next be seen opposite John Travolta
in THE FORGER. In the fall of 2013 Mount's film ALL THE BOYS LOVE MANDY LANE was
distributed by RADiUS-TWC. Other films include STRAW DOGS, opposite James Woods,
BURNING PALMS, opposite Zoe Saldana, the 2007 independent film POOLHALL JUNKIES,
opposite Christopher Walken, and URBAN LEGENDS: FINAL CUT for Columbia Pictures. He
appeared in IN HER SHOES opposite Cameron Diaz. He also played opposite Robert De Niro in
the Warner Bros. film CITY BY THE SEA, directed by Michael Caton-Jones.
Mount starred in NBC drama series CONVICTION as Deputy District Attorney Jim Steele. He
starred in the ABC series LINE OF FIRE, touted by the Miami Herald as, “the best new drama of
the year.” Previous to this, Mount grabbed attention for his recurring role on NBC’s THIRD
WATCH, as well as guest appearances on such critically acclaimed series as HBO’s SEX AND
THE CITY, CBS’s CSI: MIAMI, FOX’s DOLLHOUSE and ALLY MCBEAL, and the WB’s
SMALLVILLE.
Although Mount is best known for work in film and television, he continues to build his theater
career, most recently having performed in VENUS IN FUR at Singapore Repertory Theater. Other
recent theater projects include THREE SISTERS for Classic Stage opposite Peter Sarsgaard and
Maggie Gyllenhaal, directed by Austin Pendleton, Lanford Wilson’s FIFTH OF JULY at the Bay
Street Theatre, directed by Terry Kinney, and Eugene O’Neill’s MOURNING BECOMES
ELECTRA for The New Group. He also appeared opposite Alan Cumming and Steven Spinella in
the first English-speaking production of Jean Genet’s ELLE, which received critical acclaim from
The New York Times and Time Out magazine. Mount received the 1998 Drama League Award for
originating and starring as Joshua in the off-Broadway production of Terrence McNally’s
controversial play CORPUS CHRISTI. He also performed in the Public Theater’s production of
CYMBELINE and THE CAUCASIAN CHALK CIRCLE at La Mama/ETC, both directed by
Andrei Serban.
Born in White Bluff, Tennessee, Mount holds a Master of Fine Arts in Acting from Columbia
University, where he now serves as an Associate Adjunct Professor. Mount is a proud
humanitarian; he recently completed a 200-mile relay to help raise funds for Team Rubicon in
support of their efforts to raise money for the victims of Hurricane Sandy. He currently resides in
New York.
MARCUS THOMAS (Carl)
Fluent in five languages, Marcus Thomas attended Occidental College. There he majored in
Political Science and Art. After graduating, he left California for New York City and studied
acting at the Lee Strasberg Institute. He appeared in productions of PRIVATE WARS, BABES &
BABES, and JUMP I’LL CATCH YOU.
His first screen appearance came as a courtroom reporter in the thriller PALMETTO, directed by
Academy Award winner Volker Schlondorff, starring Woody Harrelson, Elisabeth Shue and Gina
Gershon, where he first made the acquaintance of producers Al Corley, Bart Rosenblatt and
Eugene Musso, of Neverland Films (now renamed Code Entertainment), released by Castle Rock
Entertainment.
In 1999 he joined the cast as a principle in the film DROWNING MONA, directed by Nick
Gomez, starring Danny DeVito, Bette Midler, Jamie Lee Curtis and Neve Campbell.
DROWNING MONA was also a Neverland Films production and was released by Destination
films in March 2000.
He went directly from DROWNING MONA to work on GRIPSHOLM, directed by Academy
Award winner Xavier Koller, starring Ulrich Noethen, Heike Makatsch and Jasmin Tabatabai.
GRIPSHOLM was produced by Thomas Wilkening Film for Kinowelt Film Productions. He
then played the male lead in the film COWBOY UP, also directed by Xavier Koller, starring
Kiefer Sutherland, Daryl Hannah, Molly Ringwald, and Academy Award nominee Pete
Postlethwaite.
He then co-starred in the comedy SCORCHED, directed by Gavin Grazer, starring Woody
Harrelson, Alicia Silverstone, Rachael Leigh Cook and John Cleese. He followed this with
NOEL, directed by Chazz Palminteri and starring Susan Sarandon, Penelope Cruz, Paul Walker,
and Alan Arkin. He also starred in BIGGER THAN THE SKY, directed by Al Corley and starring
John Corbett, Amy Smart, Sean Astin & Patty Duke.
He was part of the ensemble cast in David Mamet’s EDMOND, directed by Stuart Gordon,
starring William H. Macy, with Rebecca Pidgeon, Joe Mantegna, Julia Stiles, Bokeem
Woodbine, George Wendt, and Dylan Walsh. He also starred in THE GRAVEDANCERS,
directed by Mike Mendez and co-starring Dominic Purcell, Clare Kramer, Josie Maran and
Tcheky Karyo, as well as YOU KILL ME, directed by John Dahl and starring Sir Ben Kingsley,
Tèa Leoni, and Luke Wilson.
Recently he also was part of the ensemble cast of KILL THE IRISHMAN, directed by Jonathan
Hensleigh and starring Ray Stevenson, Vincent D’Onofrio, Val Kilmer and Christopher Walken.
TRAVIS AARON WADE (Detective Devlin)
Born and raised in southern California, Travis Aaron Wade left to serve his country in the United
States Marine Corps a few weeks after graduating high school. Upon leaving the military, he
decided to use the money he saved while in the Marines towards drama courses at Citrus College,
and thus, his love for acting began.
Wade will soon be seen this fall in The CW's SUPERNATURAL in a major recurring role on the
popular drama. His additional television credits include several guest star appearances, such as
NCIS: LOS ANGELES, RIZZOLI & ISLES, CSI and CRIMINAL MINDS.
Wade recently wrapped CRIMINAL ACTIVITIES, directed by Jackie Earle Haley, who
simultaneously stars with John Travolta and Michael Pitt. He was also seen in Steven Spielberg's
major motion picture, THE WAR OF THE WORLDS. An expert sniper marksman, Wade is
passionate about rescuing animals as well as the conservation of the Earth. He currently resides in
Los Angeles.
LYNDON SMITH (Melanie)
Lyndon Smith starred as a series regular on TNT's 1960's police drama, PUBLIC MORALS,
written and created by Ed Burns and produced by Steven Spielberg. She also had a recurring role
as "Natalie" on the NBC hit series PARENTHOOD and recently starred in the world premiere
production of DEATH OF THE AUTHOR at the Geffen Playhouse. Lyndon can also be seen in
the upcoming feature film THE CIRCLE. Her other credits include the CW's Sci-Fi drama THE
TOMORROW PEOPLE, HAWAII FIVE-0, RECKLESS and 90210, as well as Showtime's
CALIFORNICATION. A native of Pensacola, Lyndon received her BFA in Theatre Performance
from the University of Florida. After graduating, she participated in a multi-production,
international tour throughout Greece portraying the classic characters Juliet and Antigone. Other
past theatre credits include END DAYS, SHEAR MADNESS, FOOL FOR LOVE, and REASONS
TO BE PRETTY. She currently resides in Burbank.
And JENNIFER EHLE (Kim)
Jennifer Ehle has won two Tony Awards for her performances in plays by Tom Stoppard: David
Leveaux’s staging of The Real Thing, and Jack O’Brien’s production(s) of The Coast of Utopia,
portraying three characters in the latter.
She won a BAFTA Award for playing Jane Austen’s Lizzie Bennet, opposite Colin Firth, in the
classic miniseries Pride and Prejudice, directed by Simon Langton.
She was again a BAFTA nominee for her performance in Brian Gilbert’s Wilde, with Stephen
Fry. Among her other notable films are Tom Hooper’s multi-Academy Award-winning The
King’s Speech; Kathryn Bigelow’s Zero Dark Thirty; Steven Soderbergh’s Contagion; George
Clooney’s The Ides of March; Neil LaBute’s Possession, also for Focus Features; István
Szabó’s Sunshine; and Sam Taylor-Johnson’s Fifty Shades of Grey.
Ms. Ehle is the daughter of Academy Award-nominated actress Rosemary Harris and acclaimed
author John Ehle.
About the filmmakers…
PHILIP MARTIN (Director)
Emmy and BAFTA award-winning director Philip Martin was born in Beirut and lives in
London.
He worked as a music journalist before embarking as documentary filmmaker, directing many
acclaimed features for the BBC and Channel 4.
A collaboration with Professor Stephen Hawking on cosmology for the BBC led in turn to the
award-winning drama HAWKING, starring Benedict Cumberbatch.
His multi award-winning credits since include the last PRIME SUSPECT with Helen Mirren,
piloting the BBC’s international hit WALLANDER with Kenneth Branagh, the BAFTA awardwinning political drama MO with Julie Walters for Channel 4, Working Title’s production of
Sebastian Faulks’ WWI epic BIRDSONG
with Eddie Redmayne, and the acclaimed crowd-sourced documentary feature JAPAN IN A DAY
for Scott Free Films.
RICHARD D’OVIDIO (Writer)
Richard D'Ovidio has been a working screenwriter in Hollywood for the last fifteen years. He
has written screenplays for all the major studios and worked with such directors and producers as
Paul Verhoeven, Tony Scott, Andrzej Bartkowiak, Joel Silver, Mark Gordon and Sam Raimi.
THE FORGER is his second produced credit this year. His first, THE DAMNED, was released to
theaters and VOD this past August. He wrote THE CALL for Troika Entertainment, which
opened at number two at the box office in Spring 2013. The Tristar release starred Halle Berry
and Abigail Breslin and was directed by Brad Anderson. Other produced credits include 2001's
EXIT WOUNDS and THIRTEEN GHOSTS, which finished first and second at the box office their
respective opening weekends. In 2008, his spec for THE SEMINAR was bought by CBS Films in
a pre-emptive purchase. More recently, he sold the TV show FOUNDING FATHERS to ABC
with Lorenzo di Bonaventura producing.
CODE ENTERTAINMENT - AL CORLEY, BART ROSENBLATT, and EUGENE
MUSSO (Producers) – JONATHAN DANA (Executive Producer)
Al Corley, Bart Rosenblatt, and Eugene Musso are partners of Code Entertainment. Code
Entertainment produces feature films and manages writers, directors, novelists, and various
estates. The company operates with a $40 million revolving equity fund with the goal to produce
and finance two to three mid-budget-range films per year. Code’s other partners are Rick Berg
and Rich Freeman.
Code just completed post-production on THE FORGER, directed by Philip Martin and starring
John Travolta, Christopher Plummer, and Tye Sheridan.
Code’s past credits include YOU KILL ME, released wide by IFC, directed by John Dahl, and
starring Ben Kingsley, Tèa Leoni, and Luke Wilson. Other previous films include KILL THE
IRISHMAN starring Ray Stevenson, Vincent D’Onofrio, Val Kilmer, and Christopher Walken;
the David Mamet-penned film EDMOND starring William H. Macy, Julia Stiles, and Mena
Suvari; NOEL, with Susan Sarandon, Penelope Cruz, Robin Williams and Paul Walker; MGM’s
BIGGER THAN THE SKY starring John Corbett, and Amy Smart; DROWNING MONA starring
Danny DeVito, Bette Midler and Jamie Lee Curtis; and the Castle Rock film PALMETTO
starring Woody Harrelson and Elizabeth Shue.
On the management side, the company represents Oscar-winning director and writer Jennifer Lee
(FROZEN, WRECK-IT RALPH), Oscar and WGA nominee Jose Rivera (THE MOTORCYCLE
DIARIES), and writer George Wing (50 FIRST DATES). The company also represents director
Ken Kwapis (SISTERHOOD OF THE TRAVELING PANTS, LICENSE TO WED, HE’S JUST
NOT THAT INTO YOU, BIG MIRACLE, and the upcoming A WALK IN THE WOODS). Other
client films include Lions Gate Films’ SLOW BURN written and directed by Wayne Beach,
SAVAGE GRACE written by Howard Rodman, and TRADE written by Jose Rivera. The
company also manages the literary estate of Rod Serling.
Code’s films have been released theatrically and on DVD through Warner Brothers, Sony, Castle
Rock, and MGM. Its international distribution partners include Capitol Films in London,
Arclight Films in Australia, The Wild Bunch in France, and Curb Entertainment.
Jonathan Dana serves as Executive Producer on all Code Entertainment movies.
ROB CARLINER (Producer)
Two-time Independent Spirit Award and Emmy-winning producer Rob Carliner started his career
working at legendary Academy Award-winning actor Robert Duvall's production company,
Butchers Run Films. Over the course of a fifteen-year partnership, Carliner produced Academy
Award-nominated THE APOSTLE, and the Academy Award-winning CRAZY HEART, starring
Jeff Bridges. Other films include ASSASSINATION TANGO, A SHOT AT GLORY, and GET
LOW, with Duvall and Bill Murray. In 2010, Carliner was hired to run the film division at
Prospect Park. His most recent credits include SEVEN DAYS IN UTOPIA, FINAL GIRL, starring
Abigail Breslin, and the Duvall-starrer, A NIGHT IN OLD MEXICO. In June 2013, Carliner
started his own production company and recently wrapped the John Travolta starrer, THE
FORGER, and the independently-financed MISS MEADOWS, starring Katie Holmes. THE
FORGER represents Carliner’s fifth film to premiere at TIFF.
JOHN BAILEY, ASC (Director of Photography)
John Bailey’s most recent film is the HD video feature THE ANGRIEST MAN IN BROOKLYN
for director Phil Alden Robinson, starring the late Robin Williams. He has photographed six
feature films on HD video in the past two years.
Bailey has photographed more than 70 feature motion pictures from the 1980s’ AMERICAN
GIGOLO and ORDINARY PEOPLE to his most recent credit, photographed on 35 mm. film and
HD video, A WALK IN THE WOODS for director Ken Kwapis, their sixth feature together. He
has also photographed five films for Paul Schrader and three for Lawrence Kasdan, beginning
with 1983’s THE BIG CHILL. He has recently remastered THE BIG CHILL and GROUNDHOG
DAY at 4K for home video at Sony Colorworks. Although 35mm anamorphic film is Bailey’s
great love, he has photographed more than a dozen shorts, documentaries and features in digital
video with prosumer NTSC and PAL cameras, Panavision’s HD Genesis, and the Arri Alexa.
Bailey is a vice-president of the Academy of Motion Picture Arts and Sciences and serves on its
Board of Governors as well as that of the ASC. He is also on the National Film Preservation
Board, film preservation and archiving being several of his abiding concerns.
For five years he has been writing a blog on the arts for the ASC website. He is married to
esteemed film editor Carol Littleton.
PETER BOYLE, ACE (Editor)
A graduate of bucolic Bradfield College in England – famous for its classical Greek Theatre –
Peter began his career in Rome editing commercials for director Richard Lester, for whom he’d
worked as an Assistant Editor on feature films.
Peter has edited on some of the most high profile and iconic films of the last two decades. A
frequent collaborator with Kevin Reynolds, Peter cut THE BEAST OF WAR, ROBIN HOOD:
PRINCE OF THIEVES, WATERWORLD, and TRISTAN AND ISOLDE for the director. He also
collaborated on several films with Jon Amiel, including QUEEN OF HEARTS, TUNE IN
TOMORROW, and SOMMERSBY. Other notable credits include Philip Kaufman’s QUILLS and
TWISTED and the Kevin Costner-directed THE POSTMAN. Peter was nominated for an
Academy Award, a BAFTA, and an Eddie Award for his work on THE HOURS, directed by
Stephen Daldry and adapted from the novel by Michael Cunningham.
More recently, Peter has cut two films for director Mikael Håfström, 1408 and SHANGHAI, and
has edited Michael Radford’s FLAWLESS and ELSA AND FRED. He recently completed THE
FORGER for director Philip Martin, which will screen at Toronto this September.
JOAN SOBEL, ACE (Editor)
Joan Sobel first began her film career in documentaries, as assistant editor on Barbara Kopple’s
AMERICAN DREAM, which won the Academy Award for Best Documentary Feature. Joan
quickly learned the art of feature storytelling as first assistant editor to writer/director Paul
Thomas Anderson and editor Dylan Tichenor on BOOGIE NIGHTS, and as first assistant editor
to writer/director Quentin Tarantino and editor Sally Menke, on both KILL BILL: VOL. 1 & 2.
From there, Joan worked with editor Conrad Buff as an additional editor on David Ayer’s
HARSH TIMES, starring Christian Bale; as editor on Ray McKinnon’s Academy Award-winning
short film THE ACCOUNTANT; on Jamie Babbit’s THE QUIET, starring Camilla Belle, Elisha
Cuthbert, and Edie Falco; on Marc Klein’s SUBURBAN GIRL, starring Sarah Michelle Gellar and
Alec Baldwin; and on Chris D’Arienzo’s BARRY MUNDAY, starring Patrick Wilson and Judy
Greer.
In addition to feature films, Joan Sobel has enjoyed a long collaborative relationship with Billy
Bob Thornton, cutting his critically acclaimed Boxmasters music videos, three of which made the
top 10 in rotation on the industry standard CVMC.
Her other feature credits as editor include Tom Ford’s multi-award-winning film A SINGLE
MAN, starring Colin Firth (nominated for an Academy Award) and Julianne Moore (nominated
for a Golden Globe); Dennis Lee’s JESUS HENRY CHRIST, which world-premiered at the 2011
Tribeca Film Festival, starring Michael Sheen and Toni Collette; two films with Paul Weitz
including BEING FLYNN, starring Robert De Niro, Paul Dano, and Julianne Moore and
ADMISSION, starring Tina Fey & Paul Rudd; and as an additional editor on Mark Waters’
VAMPIRE ACADEMY.
Most recently, Joan finished work on Alejandro Monteverde’s LITTLE BOY, starring Kevin
James; completed additional editing on Philip Martin’s THE FORGER, starring John Travolta,
Christopher Plummer, and Abigail Spencer; and is currently cutting David Rosenthal’s thriller
THE PERFECT GUY, starring Sanaa Lathan and Michael Ealy.
DEREK HILL (Production Designer)
Derek Hill has numerous feature films and television series to his credit. Having designed
Antoine Fuqua’s successful action thriller OLYMPUS HAS FALLEN, this will be their second
feature film together. Collaborating with such acclaimed directors as Oliver Stone, Sean Penn,
Kevin Costner, Bruce Beresford, Kevin Reynolds and Gore Verbinski, to name a few, he has also
has been honored with two Emmy nominations for his designs for such acclaimed series as
HOUSE, and this past year’s critically acclaimed miniseries, HATFIELDS & MCCOYS and
History Channel’s BONNIE & CLYDE.
With Oliver Stone, Hill was the set decorator on BORN ON THE FOURTH OF JULY and TALK
RADIO, where they cemented their friendship. He went on to be the art director on Stone’s JFK
and ANY GIVEN SUNDAY, and the production designer for W., starring Josh Brolin. Hill’s
association with Sean Penn started on Penn’s directorial debut, THE INDIAN RUNNER, and they
went on to work on such films as HURLEY BURLEY, THE CROSSING GUARD and the critically
acclaimed INTO THE WILD.
Other production design credits for the talented designer include the feature film
EXTRAORDINARY MEASURES, starring Harrison Ford, the series HAPPY ENDINGS, two
seasons of COMMUNITY, and earlier in his career a few episodes of WALKER, TEXAS
RANGER, among others.
As art director, Hill is credited with PIRATES OF THE CARIBBEAN: THE CURSE OF THE
BLACK PEARL, THREE KINGS, and THE POSTMAN.
ABIGAIL MURRAY (Costume Designer)
Abigail is a costume designer based in New York and Los Angeles. She has designed for films,
TV and theater. Her career began in New York, where she assisted Tony Walton.
Her film credits include costume designer for feature films: ALEX CROSS, THE NEXT THREE
DAYS, THE WARRIOR, THE EXPRESS, PRIDE & GLORY, RUNAWAY JURY, MASKED &
ANONYMOUS, IMPOSTER, SCREAM 3, DOGMA, KISS THE GIRLS, FOR RICHER OR
POORER, THE PROPRIETOR, THINGS TO DO IN DENVER WHEN YOU'RE DEAD,
TREMORS, BLOODHOUNDS OF BROADWAY, AIRBORNE, and now, THE FORGER.
Abigail Murray's theater work includes opera and ballet, designing for numerous periods. She has
designed for the Roundabout Theater, La Mama, Playwrights Horizons, and Ensemble Studio
Theaters.
Abigail’s work has been celebrated in the Academy of Motion Pictures Publication “50
Designers, 50 Costumes,” representing 50 of the top Costume Designers working today.
Most recently, she’s joined Paul Haggis’ HBO mini-series SHOW ME A HERO.
THE FORGER
End Credits
1st Assistant Director
2nd Unit Director
Post Production Supervisor
Line Producers
Associate Producer
Craig Borden
Al Corley
Sherwood Jones
Mark Donadio
Cyndi Brenner
Karen Irvin
CAST
Raymond J. Cutter
Joseph Cutter
Will Cutter
Agent Paisley
Keegan
Carl
Kim
Detective
Melanie
Raul Carlos
Finn
Collin
Ivan
Rodney
Dr. Wallace
Martin
Tricia
Buddy #1
Buddy #2
Buddy #3
Guard #1
Guard #2
Guard #3
Guard #4
Guard #5
Male Bartender
Dimitri
Prison Guard #1
Prison Guard #2
Nurse
Con#1
Con#2
Jonathan
Bouncer #1
Bouncer #2
TSA Officer
Officer
Waitress
Newscaster
Tattoo Girl
John Travolta
Christopher Plummer
Tye Sheridan
Abigail Spencer
Anson Mount
Marcus Thomas
Jennifer Ehle
Travis Aaron Wade
Lyndon Smith
Julio Oscar Mechoso
Sean Malone
Owen Burke
Steve Sweeney
Bryan Veronneau
Christy Scott Cashman
Bates Wilder
Skyler Wright
KC Faldasz
Pat Walsh
Matt Triplett
Mike Handelman
Alexander Cook
Osmani Rodriguez
David Curtis
William Decoff
Jim Ford
Victor Gojcaj
Jack Ordway
Matthew Macomber
Erin Brehm
John Mason
Chris Cenatiempo
Billy Calder
Nick Loren
Chris Gombos
Eva Eckles
Damien DiPaola
Melissa Maragioglio
Kris Sidberry
Kristina Ellery
Stunt Coordinator
Paul Marini
John Travolta Stunt Double
Nick Loren
Stunts
Kenneth Ballinger
Michael Baxter
Becca GT
Gene Harrison
William Kruschwitz
Matthew Macomber
John Mason
Craig Provo
Samuel Farnum Stimpson
Shawnna Thibodeau
2nd Assistant Director
Dan Gloeckner
Greta Methot
Allan Rafael
2nd 2nd Assistant Director
VFX Assistants
Jaime Bendewald
Jesse Cordtz
Director of Photography
Camera / Steadicam Operator
1st Assistant Camera
2nd Assistant Camera
Additional 2nd Assistant Camera
John Bailey
Jerome Fauci
Patrick Quinn
Scott Lebeda
Joseph Lavallee
Timothy Coughlan
Leonard Anthony Mazzone
Christopher Lee
Troy Wagner
Digital Loader
B-Cam 1st Assistant Camera
2nd Unit Director of
Photography
Bill Trautvetter
Digital Imaging Technichian
Still Photographer
Additional Still Photographer
Nicholas Pasquariello
Phillip V. Caruso
Seacia Pavao
Production Designer
Assistant Art Director
Art Department Coordinator
Derek R. Hill
Bryan Felty
Laura G. Foley
Set Decorator
Set Decorator Buyer
Leadman
On Set Dresser
Set Dressers
Kim Leoleis
Bridget Keefe
Robert H. Schleinig
Shadya H. Ballug
Chris Carnes
Roger L. Danchik
Timothy Lewis
Michael Potter
Lauren M. Mooney
Amanda Dobson
Justin Bliss
David A. Abate
Brian Hakala
Chris Sawtelle
Additional Set Dressers
J.M. Hunter
Chris Centola
Will R. Sullivan
Peter Schelk
Mickey Carter
Nicholas Duncan
Michael Fitzgerald
Lawrence Sampson
Scenic Foreman
Charge Scenic
Forgery Artist
Scenics
Additional Scenics
David Rickson
Jenny McCracken
William Savoy
Michael Wilson
Mary Hopkins
Kim Nelson
David Bennett
Robert T. McPherson
Cheryl Jeffries
Elizabeth I. Johnson
Craig S. Pasco
Nathan Smith
Cristina Todesco
Anthony R. Phelps
Paul Wilson
Construction Coordinator
Additional Construction
Coordinator
Carpenter
Jack Coyle
Propmakers
Adam Colantuoni
James Leitch
Dennis Grullon
Script Supervisor
Betsy Kuehn
Sound Mixer
Boom Operator
Sound Utility
Playback
Board Operator
Kevin S. Parker
William Ryan Baker
Peter Stevenson
Gabor Medvecky
Jon Gonda
Visual Effects Supervisors
Chris Ervin
Jesse Cordtz
Lead Compositor
Digital Artists
Dustin Montierth
Jonathan Vaughan
Sam Hefrin
Stan Carey
Daniel Walden
Josh Walden
Noah Rudin
Andrew Klosterman
Daddy Wilcox
Robert Smedley
Visual Effects Assistant
Visual Effects Coordinator
Additional FX
Jamie Bendewald
Tiffani Isaacson
Adam Lima
Gaffer
Best Boy Electric
Electrics
Joshua Dreyfus
Fred Young
Adam Peabody
Harry E. Pray IV
Mark Price
David Rogers
Aaron Tyburski
Derek A. Whittington
Julia Korona
Jenn Nickerson
Robert Beinhocker
John S. DeSimone
Robert M. Martin
Chris Nickerson
Kevin Sadowski
Geoffrey T. Dann
Lee Ayrton
Rick Cardillo
Eric E. Goddard
Additional Electrics
Rigging Gaffer
Rigging Best Boy Electric
Rigging Electric
Additional Rigging Electric
Base Camp Genny Operator
Adam D. Bouchard
Set Genny Operator
Brian A. Pitts
Additional Set Genny Operators Michael Dynice
Eric E. Goddard
Ed Miller
Key Grip
Dolly Grip
Best Boy Grip
Grips
Additional Grips
Make-Up Department Head
Key Make-Up
Additional Make-Up Artists
Warren A. Weberg
Eric Komar
Edwin Rubio
Ian Adams
Teresa Hays
Lee Anthony Holloway
Ed Searles
Michael Geoghegah
Scott Ianson
Joseph Battista
Benjamin Tyler Knight
Paul R. Birk
Melanie Patten
Gary Olitsky
Raymond McHale
Alex "Big Foot" Wayne
Paul Bulgin
Nathan Coscia
Michael R. May
Joe Rossi
Rebecca Rachel Fry
Lathán Sher Williams
Robert Fitz
Rick Stratton
Jean M. Carney
Andrea DiVincenzo Shairs
Department Head Hair
Key Hair Stylist
Additional Hair Stylists
Michelle Johnson
Kristen Barry
Raul Hernandez
Stephen S. Bruno
Rebecca Woodfork
Victoria M. Porter
Joanna Neel Raskin
Costume Designer
Wardrobe Supervisor
Key Costumer
Set Costumer
Costumers
Abigail Murray
Virginia B. Johnson
Taryn E. Walsh
Maili Lafayette
Robert S. Andres
Honah Lee Milne
Joanna E. Murphy
Robin Chalfin
Jennifer Tremblay
Susanna Brown
Costume Buyer
Tailor
Agers/Dyers
Location Manager
Assistant Locations Managers
Jeff Maclean
Michael Altman
Tim Gorman
Brendan Kehoe
Location Scouts
Shannon Lechner
Lorenzo Vigil
Jeff Dionne
Gary L. Whelpley
Andrea Ajemian
Production Assistants
Kurt Bergeron
David F. Norcott
Assistant to Director
Catherine Giarrusso
Assistant to the Producers
C. Robert Dimitri
Production Office Coordinators
Lori Hornung
Katrina L. Morgan
Assistant Production Office
Coordinator
Office Production Assistant
Key Set Production Assistant
Set Production Assistants
Additional Set Production
Assistants
Herb Polack
Elliott Adkins
Eric Altieri
Matt Campbell
Phil Enright
Adam "Chip" Hamilton
Chris Ryan
James Tevlin
Brinton MacFarland
Christopher Dunford
Mary Kathleen Pedro
Rachel Wiederhoeft
Amy O'Brien
Josh Halpern
David Duncan
Steph Gannon
Christopher Geanacopulos
Sara Gonsowski
Dana Nelson
Keith Piesco
Production Assistants
Lynne Hedvig
Liza Faulkner
Hannah Rhein
Robert Edward Gorman
Chuck Slavin
Geoffrey Wallick
Thomas Hassell Jr.
Ryan Blake
Kelsey Ettman
Daniel Brito
Jeffrey R. Kelsey
Aidan Rea Payne
Nicholas Caloggero
Matthew Derian
James Berkery
Sean O'Laughlin
Ashley Gervais
Nicholas Kantarelis
Maggie Brown
Stephen Matter
Los Angeles Intern
Guy McEleney
Set Teachers
Joel T. Bible
Susan A. O'Brien
Hilarie Jutras
Marilyn L. Costello
Set Medics
Roger T.S. Dillingham
John Sansone
Museum of Fine Arts, Boston
Liaison
Jennifer C. Riley
Executive Assistant to
John Travolta-Boston
Executive Assistant to
John Travolta-LA
Production Assistant to
John Travolta
Assistant to Linda Favila
Christopher Sylvester
Casting Director
Associate Casting Director
Boston Local Casting
Mary Vernieu
Marisol Roncale
Angela Peri
Angie Losito
Jerry Cumbess
Janet Shumway
Extras Coordinator
Assistant Extras Coordinator
Nicole Aiguier
Jennifer Dwyer
Key Craft Service
Assistant Craft Service
Jane Willwerth
Joseph Fantasia
Charles Rudolph
David A. Abate
Jesse Lynn Willwerth
Karen Hirsch
Caterer
Chef
Alex in the Kitchen
Max Garcia
Prop Master
R. Vincent Smith
Props Assistants
Lindsay Boffoli
Christopher Johnson
John T. Larson
C. Kent Lanigan
Robert S. Carlson
Dawn Jones
Additional Props
Assistant Editor-London
Assistant Editor-U.S.
Additional Assistant Editor
Dailies Colorist/Tech
Stephen Boucher
Ofe Yi
Roger Cooper
Steven Sherrick
Transportation Coordinator
Drivers
Daniel Redmond
Daniel C. Anderson
Mark Barrett
Charles Cronk
Tom Dyer
William J. Ellis
Kevin Hardy
Chris Johnson
Tom Mac Question
Robert Parow
Paul M. Roderick
Elias J. Cumbess
Paul A. Woodward
Kevin O'Neil
Michael Papa
Robert Cafarelli
Timothy Dunbar
Honey Wagon Driver
Production Accountant
1st Assistant Accountant
Payroll Accountant
Accounting Clerks
Robin Reitman
Lindsay Medeiros
Danielle Fischer
Jenna Depaul
Elle Noonan
Studio Manager
Brian C. Doyle
Supervising Sound Editor
Audio Post Facility
Paulette Victor Lifton, MPSE
Oracle Post
ADR Supervisor
Lead ADR Recordist
ADR Editors
Paulette Victor Lifton, MPSE
Scott Brewster
Scott Brewster
Jason Phillips
Sound Editorial and Foley
provided by
Sound Editorial Supervisor
Sound FX editor
Dialog and Foley Editor
Dialog Assembly Editor
Foley Mixer
Foley Artists
Sound Satisfaction, Burbank, CA
Mix and Los Angeles ADR
Facilities
SPG Studios, Burbank CA
Additional Music and
Programming
Jess Stroup
John Graham
Matt Bowen
Benjamin Young
Music Arranging and
Programming
Gary J. Coppola, MPSE
Benjamin Rauscher
Gary J. Coppola, MPSE
Doug Mountain
Gary J. Coppola, CAS
Nancy Parker
Chris Moriana
Rick Owens
Anita Cannella
“Higher”
Performed by Eric Cross
Written by Eric Cross and Daniel Brake
Courtesy of Position Music
“Wobble Wobble”
Performed by Patrick Cannell
Written by Patrick Cannell
Courtesy of Fine Gold Music
“DEAD CHICKS II”
Performed by LORN
Written by MARCOS ORTEGA
Courtesy of Lorn
“Bamalama (I Like It)”
Performed by Vibrolux
Written by Steve Clark
Courtesy of Vibrolux 2007
Licensed courtesy of Third Side Music Inc.
“A Dream Is What You Make It”
Performed by FLAVA Of The Month
Written by Phillipa Alexander, Geek Boy, and Ellie Wyatt
Courtesy of 5 Alarm Music / Imagem Production Music
“Just Between the Two of Us”
Performed by Agent
Written by Craig William Charles Zurba, Andre Kunkel, Troy Benjamin Reid
Courtesy of Crucial Music Corporation
“Touch The Ground”
Performed by The Whereabouts
Written by Patrick Curley, Andrew MacNeil, Daniel Cotnoir, Pierre Jolivet
Courtesy of The Whereabouts 2001
Licensed courtesy of Third Side Music Inc.
“I Just Gotta Have You Baby”
Performed by Elijah Honey
Written by Paul Robert Cufflin
Courtesy of Crucial Music Corporation
“Que Viva Featuring Boogat”
Performed by Poirier
Written by Ghislain Poirier, Daniel R. Garrido
Courtesy of Ninja Tune 2010
“Ride Of Your Life”
Performed by Paul Grogan
Written by Paul A. Grogan
Courtesy of Crucial Music Corporation
Digital Intermediate Services
Provided By
Siren Productions
Executive Digital
Intermediate Producer
Kyle Jackson
Digital Intermediate Colorist
Digital Intermediate Producer
Digital Intermediate Editor
Digital Intermediate Operator
D.I. Post Production Coordinator
Mike Eaves
Rain Valdez
Evan Carp
Ryan Gee
Natalie Ghariani
International Sales provided by The Solution Entertainment Group
Production Legal provided by Wyman & Isaacs, LLP - Cheryl Nelson and Robert Wyman
Distribution Counsel
Mark Halloran
Massachusetts Film Office
Lisa Strout
Boston Film Bureau
Patricia Papa
EPK services provided by Blue Collar Productions, Inc.
Production Insurance Provided by Wells Fargo Insurance Services- Tina Pastorius
The Major League Baseball trademarks depicted in this motion picture were licensed by Major
League Baseball Properties, Inc
Baseball Broadcast Audio Courtesy of Dave O'Brien
NHL footage courtesy of NHL Network
Hockey Broadcast Audio Courtesy of Dale Arnold
Product Placement Provided by
SOTC Media Group
Creative Entertainment Services
UPP Entertainment Marketing
Norm Marshall & Associates
Motion Picture Magic
Filmed on Location at the Museum of Fine Arts Boston
The Producers Would Like To Give Special Thanks To:
The Background at Dana Farber
Maeve Feeley
Rayquan Fregeau
Fernando Morales
Brooke Mulford
Bennett Olson
Camille Wahl
The Folks at JTP Films-Kevin Rush, Quilli Pinotti,
Jonathan Rau & Gisela Salazar, and Jonathan Gesinski
Doug Crise
Dana-Farber Cancer Institute Steven Singer
The Commonwealth of Massachusetts
The Boston Police Department
Lt. William Meade
Sgt. Michael McCarthy
Peter Chu
Patrick Byrne
Robert Merner
William Dwan
The Revere Hotel Boston
Jenni Vingi
Residences at the W
Dinny Herron
Hannah Parks
Dana Panepinto
Ian Carrera
Susan Sarcia
Bill Gateman
Nick Varanos
Jamison Laguardia
Jack Gateman
Peter Sula
William Earon
Michelle Ferullo
Revell, Inc
Estes, Inc
The Museum of Fine Arts Staff
Andrew Smith
Bob Morneau
Brooke Penrose
Chris Daunais
Chris Newth
Chris Olival
Damon Beale
Danielle Crowe
David Geldart
Dawn Griffin
Debra LaKind
Edwin Jimenez
Gillian Fruh
Jacob Bemis
Jennifer Riley
Jeremy Lehane
Jill Kennedy-Kernohan
Kate Monea
Katie Getchell
Laurie Boganski
Linda Chernoff
Maggie Loh
Malcolm Rogers
Matthew Davidson
Meredith Crawford
Michael Chaisson
Michele Svirsky
Myriam Negron
Nicki Luongo
Patrick Cummins
Peter Matthews
Quinn Papazian
Ralph LaVoie
Ruth Pendleton
Scott Cina
Sue Bell
Susan Driscoll
Terry Lighte
Tomomi Itakura
Massachusetts DOT
Robert Hutcheon
Massachusetts Department of Conservation and Recreation
Joe Rotondo
Boston Parks Department
John Bailey
Fairmont Copley Plaza
Lyndsay Picciano
Metrowest Medical Center
Beth Donnelly-Director of Community Relations
Stephanie Guidetti-Regional VP of Marketing
Suffolk County Sherriff's Department
Superintendent Yolanda Smith
Assistant Superintendent David Agnew
Major Richard McCarthy
Peter Van Delft
City of Lynn
Mayor Judith Flanagan Kennedy
Mary Chalmers Fountain-Mayoral Aide
Lynn Police Department
Captain Chris Reddy
E.B. Horn Co.
Richard Finn
Massachusetts Bay Transportation Authority
Claudia Smith-Reid
THE DIRECTOR WOULD LIKE TO THANK:
Antony Anderson
Adriana Alberghetti
Georgina Carrigan
Tim Corrie
Philip d’Amecourt
Natasha Galloway
Amanda Martin
Theodora Martin
Isabella Martin
Camille McCurry
PROVIDED BY
HIGH OUTPUT INC.
(Chapman/Leonard logo)
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IATSE logo
SAG Aftra logo
Teamster Logo
City of Boston Logo
Mass Film logo
The events, characters and firms depicted in this motion picture
are fictitious. Any similarity to actual persons, living or dead,
or to actual firms is purely coincidental.
©2014 VERMILLION PRODUCTIONS, LLC
ALL RIGHTS RESERVED.
VERMILLION PRODUCTIONS, LLC is the author and creator of this motion picture for the
purpose of copyright and other laws in all countries throughout the world.
This motion picture is protected under the laws of the United States and other countries.
Unauthorized duplication, distribution or exhibition may result in civil liability and criminal
prosecution.
THE FORGER