Preliminary Production Notes
For additional publicity materials and artwork, please visit:
www.lionsgatepublicity.com
Rating:
R for disturbing sexual material involving minors, violence including a rape,
language and some drug content.
Running time: 113 mins.
For more information, please contact:
Kate Hubin
Lionsgate
2700 Colorado Blvd.
Suite 200
Santa Monica, CA 90404
M: 310-382-4630
E: khubin@lionsgate.com
Adam Kersh
Lionsgate
75 Rockefeller Plaza
16th floor
New York, NY 10019
M: 212-386-6874
E: akersh@lionsgate.com
Lionsgate Presents
A Centropolis Entertainment and VIP Medienfonds 4 Production
A MARCO KREUZPAINTNER FILM
KEVIN KLINE
TRADE
CESAR RAMOS
ALICJA BACHLEDA
PAULINA GAITAN
MARCO PEREZ
LINDA EMOND
ZACK WARD
KATE DEL CASTILLO
TIM REID
PASHA D. LYCHNIKOFF
Directed by
MARCO KREUZPAINTNER
Produced by
ROLAND EMMERICH and ROSILYN HELLER
Screenplay by
JOSE RIVERA
Story By
PETER LANDESMAN
and
JOSE RIVERA
Based on the New York Times Magazine article
“The Girls Next Door”
by PETER LANDESMAN
Executive Producers
ASHOK AMRITRAJ
ROBERT LEGER
TOM ORTENBERG
MICHAEL WIMER
NICK HAMSON
PETER LANDESMAN
LARS SYLVEST
Music By
JACOBO LIEBERMAN & LEONARDO HEIBLUM
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SYNOPSIS
Adriana (Paulina Gaitan) is a 13-year-old girl from Mexico City whose
kidnapping by sex traffickers sets in motion a desperate mission by her 17-year-old
brother, Jorge (Cesar Ramos), to save her. Trapped and terrified by an underground
network of international thugs who earn millions exploiting their human cargo, Adriana’s
only friend and protector throughout her ordeal is Veronica (Alicja Bachleda), a young
Polish woman tricked into the trade by the same criminal gang. As Jorge dodges
immigration officers and incredible obstacles to track the girls’ abductors, he meets Ray
(Kevin Kline), a Texas cop whose own family loss to sex trafficking leads him to become
an ally in the boy’s quest.
Fighting with courage and hard-tested faith, the characters of Trade negotiate
their way through the unspeakable terrain of the sex trade “tunnels” between Mexico and
the United States. From the barrios of Mexico City and the treacherous Rio Grande
border, to a secret internet sex slave auction and the final climactic confrontation at a
stash house in suburban New Jersey, Ray and Jorge forge a close bond as they give
desperate chase to Adriana’s kidnappers before she is sold and disappears forever into
this brutal global underworld, a place from which few victims ever return.
The debut American feature of one of Germany’s leading young directors, Marco
Kreuzpaintner, Trade is produced by Roland Emmerich and Rosilyn Heller from a
screenplay by Oscar® nominee Jose Rivera (The Motorcycle Diaries) that was inspired
by the New York Times Magazine cover story The Girls Next Door written by Peter
Landesman.
Lionsgate presents a Centropolis Entertainment and VIP Medienfond 4
Production, Trade, a contemporary drama starring Academy Award-winning actor Kevin
Kline, Cesar Ramos, Alicja Bachleda, Paulina Gaitan, Marco Perez, Linda Emond, Zack
Ward, Kate Del Castillo, Tim Reid and Pasha D. Lychnikoff. Trade is co-produced by
Amanda DiGiulio, Jakob Claussen, Thomas Woebke and Ossie von Richthofen. The
film’s executive producers are Ashok Amritraj, Robert Leger, Tom Ortenberg, Michael
Wimer, Nick Hamson, Peter Landesman and Lars Sylvest.
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ABOUT THE PRODUCTION
The story of Trade begins in 2003, when reporter and writer Peter Landesman spent five
months in the barrios of Mexico City reporting a ground-breaking cover story on sex slavery for
the New York Times Magazine. Landesman had gained a reputation for tackling provocative
stories; he had covered the wars in Kosovo and Afghanistan, and reported on the dealings of
global arms traffickers. But his report from Mexico, Sex Slaves on Main Street, was perhaps the
most controversial of all, revealing for the first time the hidden, horrifying crime network of child
sex trafficking operating in the U.S., Mexico and Europe. On the Times’ website the article
became the most requested story of the year, and was awarded “Best Foreign Reporting on
Human Rights Issues” by the Overseas Press Club (the magazine world’s Pulitzer).
“It all began when my wife -- Kimberlee Acquaro, the photojournalist on the story -- saw
a local news story on TV about Mexican girls who had been found prostituting themselves in the
reeds outside of San Diego,” he recalls. “When I went down to investigate, immediately it seemed
there was something missing in the news story – something hidden, wrong, unsaid.”
Within a week of reporting, the writer found himself inside an “unspeakable” network of
sex traffickers who were kidnapping girls, young women and sometimes adolescent boys and
smuggling them across the U.S.-Mexican border. From there, they ferreted their sex slaves into
secret stash houses littered across the cities and bedroom communities of America. Usually they
would drug their victims into submission and hold them hostage for months or years while selling
their bodies for outrageous profits. Most were unable to escape these trafficking “tunnels,” and
many were never heard from again.
For Landesman, the shocking discovery was like “walking into a house and suddenly
finding yourself falling through a trap door into a bottomless cavern.” The TV news story, he
discovered, had missed the whole point. “Watching it you had believed these girls were
prostitutes, but in fact they were sex slaves. I finally realized what had been unsaid, untold.”
(See “Journeys to the Underground,” p. 13)
Producer Rosilyn Heller had already heard of Landesman through his prior articles and
screenplay commissions when her friend and producing partner, Gloria Steinem, brought him to
Heller’s home for a dinner party. After learning he was writing a story about sex trafficking – an
issue close to her heart as a long-time advocate for women’s rights – she sensed the groundwork
for a compelling film with deeply personal and relevant storylines.
“People are always quick to point their fingers and say this is a problem that exists
overseas, in Southeast Asia, Eastern Europe and Africa,” Heller notes. “But that’s not true. It’s
also right here in our own backyard.”
Heller then called her close friend and producing partner, the director Roland
Emmerich. Would he consider taking on the project?
“Roland of course was known for these huge successful studio movies like Independence
Day, The Patriot and The Day After Tomorrow,” Heller says. “But I knew he was also deeply
committed to doing smaller, more provocative political and personal pieces. I knew he had a
tremendous interest in Mexico’s culture and people. I was thrilled that he unequivocally said
‘yes.’”
With Emmerich’s purchase of the rights to Landesman’s story, the director of some of
Hollywood’s biggest blockbusters became the de facto godfather of one the most intimate and
powerfully-themed projects to hit the independent film community. “This was such an important
story for me that I was determined to see this ‘little’ project born,” notes Emmerich. “It may be
smaller in budget but it was so great in terms of its emotional core. And this for me is what
makes a movie truly ‘big.’ ”
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The Writing of Trade
The next step was to develop a script treatment based on Landesman’s article. Under
Emmerich’s and Heller’s supervision, Landesman wrote a treatment about a Texas cop who had
fathered a daughter lost to the world of sex trafficking, and a young Mexican street kid whose life
is forever changed when he runs away to America to rescue his kidnapped sister from one of the
underground trafficking networks.
“I wanted to make this a story about a kid who could have been one of these young
traffickers,” Emmerich says. “He was being practically trained for it, yet in an instant his whole
life – and his whole mission in life – changes 180 degrees, and that’s what we follow. We didn’t
want to make a political or social docudrama about sex trafficking. And we didn’t want to
romanticize the story in any way, because it’s so devastating. We simply wanted to make a
personal story from the victims’ point of view, because that’s a story an audience can care deeply
about.”
With Landesman himself already committed to screenplay projects for Oliver Stone and
Michael Mann, Emmerich and Heller approached Puerto Rican-born writer Jose Rivera, who had
recently written the acclaimed feature Motorcycle Diaries starring Gael Garcia Bernal. Rivera
immediately responded to the subject matter. “We were so lucky because he hadn’t been
nominated for the Academy Award yet for Diaries, so it was easier to get him,” says Heller. “As
a Latino he had an innate feeling for the world inhabited by these characters.”
In the summer of 2005, Heller and Rivera trekked down to Mexico City on a research
trip to visit many of the neighborhoods later portrayed in the film. Among them was the barrio of
La Merced, where they witnessed an extraordinary daily ritual chronicled in Landesman’s article.
Called “la parabola,” the haunting scene featured a line of prostitutes, aged from about 14 to 60,
circling around in an alley, completely surrounded by a ring of men wordlessly picking their
favorites. The scene was “especially disturbing,” Heller recalls, because it took place in broad
daylight during the men’s lunch break: “For many women this was clearly their livelihood. But
you sensed there were girls among them who were not there voluntarily.”
The trip to Mexico had a profound effect on Rivera in particular. “The original material
was heartbreaking – you have to be made of stone not to respond to what the article was about,”
the screenwriter remarks. “And that was magnified by meeting some of the girls at the women’s
shelters we visited in Mexico. There were runaways and some of these kids had been sex slaves,
and what was most inspiring was just how trusting they were in sharing their stories.”
One story in particular impressed the screenwriter, that of a 12-year-old girl who, at the
age of nine, had been sold into the sex trade by her uncle. “She had been beaten many times, she
had been forced to do horrible things like assist in the abortion of a friend’s fetus and then bury it
in the middle of Mexico City,” Rivera recalls. “Yet this girl refused to feel sorry for herself or
indulge in self pity, and that impressed me enormously. You could see her tenacity and her
survivor strength through her tears. This amazing girl became my model for the character of
Adriana in the film.”
A little over three weeks after he returned to Los Angeles, Rivera had a first draft of the
screenplay, then called The Girls Next Door, ready to show Emmerich and Heller.
“I was able to write the draft fairly quickly, thanks in part to the detailed outline, which I also redrafted,” says Rivera. The hardest scene to write was the rape scene of Veronica in the stash
house. “In the story the whole act is being videotaped by one of the gang members, and that
videotape ends up on a porn website as entertainment. On a moral level, that was the toughest
part for me to deal with.”
Emmerich found Rivera’s first draft of the script so compelling that he committed to
direct the project the following March. But then came the inevitable and lengthy complications
of cobbling together the roughly $12 million budget for the movie, and the movie’s start date kept
getting pushed back. Though it would have been easier to find funding through a studio, both
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Heller and Emmerich were adamant that the movie be made independently in order to preserve as
much control over it as possible.
Other major commitments began beckoning the director, too. One project, in preproduction at Warner Bros., was the action-adventure epic 10,000 B.C. It was looking
increasingly uncertain whether production schedules would allow him to direct all the projects on
his plate.
Passing the Baton
During this time an old film school friend and former producing partner of Emmerich’s
back in Germany had screened for him a feature called Summer Storm, directed by a 27-year-old
director named Marco Kreuzpaintner. The movie, a coming-of-age and a coming-out tale about a
young rower who goes to summer camp and learns he’s in love with his best friend, impressed
Emmerich with its complex characters and the sensitivity of the acting by a cast of mostly nonprofessionals.
Emmerich invited Kreuzpaintner to come to Los Angeles and look over a pile of
screenplays he might like to take on under his aegis. Recalls Kreuzpaintner: “Roland handed me
a bunch of scripts – he knew I was interested in doing a character piece with a strong political
background – and one of those was a script called The Girls Next Door. When I was about
halfway through it I was sitting in the library of his house and he came in and asked me, ‘So what
do you think?’ I told him if this finishes as great as it starts I’d be happy to direct this script. The
politics never get in the way of the story and it’s so rare that you have such interesting characters
mixed with this political background. None of the other scripts had interested me. And Roland
said, ‘Well, keep on reading. It’s my next project.’
“At that moment I was so disappointed I said something like ‘Fuck! I’m jealous!’ Later,
he told me that this was one of the moments that impressed him a lot. He would say with a smile,
‘It’s always good that a director is jealous.’”
Kreuzpaintner then headed back to Berlin before attending a film festival in India at the
end of 2004. Meanwhile, financing delays had finally closed the window for Emmerich to direct
Rivera’s script, and he put his attention onto Soul of the Age (a project that later got postponed
when 10,000 B.C. replaced it). Knowing he now needed a director for his Mexican passion
project, Emmerich screened Summer Storm for producer Heller, who loved the film. “I told
Roland this is the guy who should be directing our movie!” enthuses Heller. “I asked him, where
is he? And Roland said, ‘He’s on a beach somewhere in India.’”
Continues Kreuzpaintner: “You can imagine I was so thrilled to all of a sudden get a call
from Roland Emmerich to do a project! He said ‘Things are happening and I’ve decided to do
another project. I’ve thought about it and I think you’re even better to direct The Girls Next
Door.’ I was blown away by the trust he showed in me.”
Two days later, after managing to wriggle out of an assignment to direct a disaster movie
called The Cloud – which he wrote himself -- (released in Germany last March), Kreuzpaintner
was on a plane to Los Angeles. A day after that – December 12th – the director found himself in
Mexico City checking out locations for the film with his two new producers, Emmerich and
Heller.
“What attracted me to Peter (Landesman)’s story is that for the first time it shined a light
on what’s going on in Mexico and in the U.S. itself, ” noted Kreuzpaintner. “Cross-culturally, that
fascinated me: What do we think of each other as neighbors? What do we expect of each other?
How do we communicate with each other?”
The production finally had its core team in place, but funding still had not come together.
So Emmerich decided to bankroll the production himself to keep it afloat. “He knew how tough
it was for us before we got our European partners, because he himself is so involved in the
Hollywood system,” says Heller. “He said to Marco and me, ‘I’m going to make this picture no
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matter what it takes. I will not fail you.’ He believed in it and supported us every step of the
way. He put his money where his heart is. That’s pretty unusual in this town. He’s been our
godsend.”
With that pledge in place, the film’s German funding partners and North American
distributor, Lionsgate, were finalized. In the end, it was less than a year from the time
Kreuzpaintner came aboard that principal photography on the renamed Trade commenced in
Mexico City on November 28, 2005.
Casting the Film
Casting Trade centered first on its three young leads: the kidnapped 13-year-old girl
Adriana; her 17-year-old brother Jorge, whose mission it is to save her; and Veronica, the young
Polish woman trapped in the “tunnel” who becomes, for Adriana, a different kind of salvation.
With these three roles crucially anchoring the film, Kreuzpaintner and company wanted to cast as
wide a net as possible in order to find new talent with the right sensitivity and chemistry.
For Veronica, the director selected the luminous young Polish actress Alicja Bachleda.
Born in Mexico, Bachleda connected closely with its culture, and had already worked with
Kreuzpaintner on Summer Storm. The two younger roles, Adriana and Jorge, were selected from
open casting calls. After a two-country search that took the director and producer from Mexico to
New York, Miami and Los Angeles, they ironically returned to hire two unknown actors whom
they met in their first casting session in Mexico City.
“Our Mexican casting director was Carla Hool, who had done a wonderful job casting the
movie Innocent Voices,” said Heller. “One of the first girls she brought us was a 12-year-old
named Paulina Gaitan. She did the scene where she prays in front of the Virgin and asks for help
and immediately we knew: this was a hire. Her emotions were so translucent and instinctive, we
had tears in our eyes.”
Another actor at that first audition was Cesar Ramos, a charismatic 20-year-old who had
largely been seen in Mexican TV commercials. “Caesar was one of the very first people we
auditioned,” says Kreuzpaintner. “We thought, this is just too easy, it’s too much luck the first
time around and we’ve got to keep searching. So we did, and many months later we came back
and looked at him again and said, this is definitely it. He had so much heart and charm and
passion. Our first instincts were totally right.”
For Heller, what was most impressive about these casting sessions was her director.
“I’ve been to many sessions where the director never says anything. But here was this 27-yearold working with these young actors so intimately and confidently, encouraging them and sharing
so openly what he wanted from them. I don’t even know if they understood all the words, but
they got it, believe me. I was astonished.”
For the role of Ray, the taciturn, world-weary Texas cop who unexpectedly becomes an
ally in the personal mission of a young Mexican street kid, the filmmakers resisted traditional
casting. “We didn’t want the typical actor you’d expect to play a Texas cop,” said Kreuzpaintner.
“Someone suggested Kevin Kline and I thought – could we get him? He was known a lot for
Shakespeare and comedy, but this was completely different and we liked that. We also knew he’s
really selective about the roles he takes.”
Kline was so compelled by Rivera’s script and by Kreuzpaintner’s Summer Storm that he
asked to meet the young director. Within three hours Kreuzpaintner was on a plane to New York,
and what was expected to be a half-hour meeting turned out to be a five-hour marathon talking
about the film, life, art, politics and Mexican culture.
“Within five minutes of talking to Marco, I could tell that he was not interested in the
sensational or exploitative aspects of the story, and that he saw the film within a larger context,”
said Kline. “He clearly had an aversion to clichés and, on a personal level, he seemed very open,
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vulnerable and giving. Plus he had a great sense of humor, which always helps. The first
impression proved to be accurate during the filming process.”
On Location: A Different Kind of Family
Production on Trade began in Mexico City on November 28th, 2005 and wrapped on Feb.
15 , 2006 in New Jersey. From the start of shooting it had a been a year and a half that Heller
and Emmerich had begun development based on Landesman’s original story, and a mere eight
weeks since Emmerich had given the go-ahead for pre-production to begin.
With the screenplay’s narrative moving through vastly different terrains – from the
barrios of Mexico City, where the characters of Adriana and Jorge live, to the border crossing at
Juarez and the arid Texan landscapes, to the leafy suburbs of New Jersey – the filmmakers knew
that authenticity could only be achieved by shooting entirely on location.
Mexico City hosted the scenes of Adriana’s birthday party, Jorge’s street gang and the
first stash house in la Merced where Adriana meets Veronica, as well as the stash house in Juarez.
It also subbed for a sequence in Poland, shot in a section of the city built by the Mexican military
that features huge socialist-era buildings and vast stretches of concrete. To mimic a snow
landscape of Veronica’s home town in Poland, an entire square was covered with tons of sea salt.
“It was probably the first time the residents had ever seen snow in the city!” laughs
Kreuzpaintner.
After a short holiday break, the crew relocated to Albuquerque, New Mexico. There they
shot the scenes of Ray and his wife at home, and the final, climactic rendezvous at the stash house
in New Jersey. The final locations of highways and traveling shots were shot by the second unit
in New York and New Jersey.
Joining the production was a multinational cast and crew of Germans, Americans,
Mexicans and two Poles, all communicating in a polyglot of languages with the “default” being
English. Mexican crew members “were some of the hardest working I’ve ever seen,” said coproducer Amanda DiGiulio. Many of the Americans were veterans of major studio productions
who had turned down more lucrative work to become part of what all considered a uniquely
important project.
For Kreuzpaintner, it was critically important that the film’s production focus on the
human story of the girls’ plight and avoid any hint of political expose. “The danger of this kind
of movie is that you can lose yourself in the complications and set-up of the big subject matter of
sex-trafficking, which spans several countries in our movie,” the director notes. “So my focus
was just to stay with my characters and really put them under an emotional microscope. We
didn’t want to sensationalize this and just show all the cruelties that happen to these girls, how
they are being raped by guys who have enough money to buy them. That would be like making
them a victim for a second time. I just wanted to give them the chance to be human beings, to
fight for their right to be free.”
To emphasize this sense of freedom and the actors’ emotional journey, the director
allowed his actors to improvise. “Often I like to rehearse more the character’s background and
situations than particular scenes,” Kreuzpaintner notes. “Sometimes I wouldn’t say ‘cut’ at the
end of a shot in order just to let things happen out of a situation written in the script. And
sometimes those moments were the most interesting of all.”
The director and his cinematographer, Daniel Gottschalk, were also careful not to overplan the camerawork. Trade was shot almost exclusively with handheld cameras, often using
several at a time in order not to miss any special moments or details from the actors. “Instead of
using a lot of special lights and set-ups, we wanted to give the scenes the look and feeling of
reality,” says Gottschalk. “So in the first part of the movie in Mexico, our aim is to create
camerawork that is full of life and color and energy. People here have a lot of interaction and live
th
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in very small spaces, so we use a very active handheld camera in order to really be a part of it.
The camera’s moves are totally influenced by the actors; they lead and we follow.”
But when Gottschalk’s camera begins to explore Ray’s world in New Mexico, its
behavior changes. “Ray’s life is very static and filled with desaturated colors, so we locked down
the camera. These people live in huge spaces, so we take advantage of the widescreen format. I
try to show the loneliness of it all.”
In the second half of the film Ray drives Jorge across the U.S. to hunt for the kidnappers
of the boy’s sister. As the older man becomes bonded to the boy’s mission, the camera “slowly
comes alive again,” says Gottschalk, “We go with the handheld feeling once more, and that’s
determined by Ray’s character as he opens up to the passion and energy of this amazing kid.”
Working with Kline, who plays Ray, was another key element of the production’s
success. “From the first moment I really fell in love with Kevin and the way he works,” says
Kreuzpaintner. “He trusts his instincts to explore different things and follow different impulses –
he’s incredibly creative. And he never made it difficult for me as a young director. He’s the
easiest and most professional actor you could work with.”
Although virtually all of Kline’s scenes were to be shot in New Mexico, the actor flew
down to Mexico early in the shoot to meet the cast and crew and absorb the feel of the movie. It
wasn’t until filming began that the natural intimidation of the young cast working with an actor of
Kline’s caliber melted into an immensely productive and mutually rewarding collaboration.
“After I stopped being nervous, we shot our first scene together and it turned out to be my
favorite one,” says Cesar Ramos, who plays Jorge. “It was when Jorge jumps out of the trunk of
a car at the motel and Ray pulls me into his car and I yell to him, ‘Please mister! Don’t take me to
the cops!’ And I got crazy during the take and started to scream and cry and after the scene
Kevin comes over to me and says, ‘You know it was really hard for me as the character to not
believe you and call you a liar because you were so convincing!’ And I felt really great about
that.”
Working with Kline, he adds, “is like school for me. He teaches me a lot of things and
helps me with the language. He’s very clever and patient and he respects my job as an actor.”
That partnership, Ramos says, was nurtured by his director, too. “At first I thought that since
Jorge hated gringos, why would he ever trust a cop? But Marco opened my eyes to something
very important – in Ray, Jorge finds the father he never had. At the end of the movie, he really
loves Ray.”
For Kline, the tensions and unlikely bonding between the older, emotionally shut-down
Texas cop and the passionate stubbornness of a young street kid was one of the great attractions
of his role. “The fun has been exploring the possibility of some kind of emotional connection in
the face of their generational gap, the socioeconomic gap, not to mention a mutual xenophobia
that lies between Jorge and Ray.”
Much like Jorge’s character, Ray’s discovery of family is also a key to his role in the
film. “I think Ray feels incomplete, as though he were missing a limb because he has his own
child out there whom he has to find, however hopeless that seems,” said Kline. “And there’s a
level of humanity in his attempt to rescue someone else’s daughter given the impossibility of
finding his own.”
One of the biggest challenges in Trade was putting these young actors in situations that in
real life would be frightening and dangerous for them to encounter. In one of the film’s most
difficult scenes, Adriana, played by the 13-year-old Gaitan, is taken out to a reeds field by some
men who have paid to have oral sex with her.
“The sequence isn’t showing the literal act of course. I wanted instead to make Adriana’s
entrance into a field of reeds by some men an endless walk, like the walk to a slaughterhouse,”
relates Kreuzpaintner. “We shot it completely from the point of view of the girl. So all we see
are the bodies of the adults – not their faces – and the camera is from the girl’s point of view.
And then we see her eyes in reaction to all this and the huge emotions that break out onto
Paulina’s face. That was upsetting to me because as a filmmaker you want to make an impression
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with this scene but as a human being you want to protect this young actress from getting
emotionally hurt. And this made it so difficult for me.”
The relationship between his young actors and Kreuzpaintner was like that of close-knit
kids to a beloved big brother. “It’s a huge comfort to work with someone who’s very sensitive
and deep and knows exactly what he wants,” says Bachleda (Veronica). “You can talk to him
and he listens.” Adds Gaitan: “Marco’s not like other directors who spend the whole time
screaming at you. He’s patient. And he loves to be with kids.”
That chemistry between the actors is augmented in the film’s use of music. In the
Mexican section of the story, music supervisor Lynn Fainchstein has included a variety of street
music to enhance the action. “These people belong to the streets,” she notes, “so we use music
called cumbria, which is like Caribbean and salsa band music and is very popular.” Fainschstein
included a salsa band for the scenes in the La Suprema bar, where Jorge and his gang hang out.
When the movie moves to the U.S., “we have Ray and Jorge fighting over which music to play on
the radio – it’s classical versus reggae.”
The Streets of La Merced
Key to the movie’s look and feel was the decision to shoot among the streets of La
Merced, one of Mexico’s most dangerous gangster quarters where Landesman had first trekked to
tell his tale. The lively squatters’ slum is a maze of sewage-soaked alleyways, curbside vendors
and yapping dogs. Buffered at one end by Mexico City’s busiest street market and on another by
a red light district, the film’s location is only a block from where the girls of “la parabola” parade
daily under the watchful eyes of knife-toting pimps, selling sex for 20-60 pesos (around $2 to $6).
“Don’t go near there without one of our security guards – and hide your watches,” a
crewmember cautions. Still, one makeup woman ventures out alone to research the girls’ rouge
for a later scene.
Along the narrow street of Santo Thomas, mothers and daughters peer curiously at the
crew vans and tangled cables set up to shoot Scene 40, in which Veronica and Adriana befriend
each other in a stash house. The barrio’s tenement buildings were rented out by the production
after weeks of negotiations with dozens of families and their neighborhood bosses, or lider, who
traditionally place squatters in unclaimed buildings that can shelter eight or more people to a
room.
As the cameras are readied, a women drops by to ask in Spanish what all the fuss is
about. Told that a movie is being made about a girl who is kidnapped by sex traffickers, she
replies, “You’ve come to the right place. That happens a lot around here.”
Stray dogs are everywhere. One of them, a lactating German shepherd that jealously
guards her courtyard, is hauled up by an improvised harness to a tin rooftop, where she’s readied
for her close-up. She snarls perfectly on cue.
“A lot of the buildings have already been cleaned up for us – when we walked in here at
first we kind of had to avoid the dog shit in the rooms,” smiles unit photographer Marco Nagel as
he snaps away. “Nearly everyone has already gotten Montezuma’s revenge. Marco and Daniel
(Gottschalk) got tapeworms and even gave them names. Marco’s was ‘Horst.’”
At the end of a murky passageway, crew members set up viewing monitors next to a
cramped courtyard. Above them, a few dead chickens dangle on a clothesline. Nearby, flies buzz
around a family’s decapitated lunch hen; a rooster pecks nervously at a tripod. Amidst the bustle
of work, the crew is happily oblivious to this background action, and to the scent of blood, feces
and fermented food that stings the air.
Despite the squalor, there’s an optimism in La Merced that seems to push out from the
darkened alleyways and narc dens to embrace the bright December sky. Since it’s a place where
families live, balconies are fringed with marigolds and parakeet cages. A circus clown ambles
- 10 -
past – a refugee from a city festival the night before. Next door to the film location, a boy places
flowers at a makeshift shrine to Saint Guadeloupe, as if to bless the production.
“Everyone tried to warn us away from shooting here,” reports Heller, “but we dug in our
heels. And in the end, we were so right.”
Adds Kreuzpaintner, “The colors and smells of La Merced, the dogs and chickens and
wall drawings and all the rhythms of the street – you cannot recreate this, and it would be wrong
to try. Everyone is affected by this place, and our idea is that everyone will absorb and reflect
this feeling.”
The director seems to soak up that spirit as he rehearses the stash house scene in a
tenement loft, bobbing up from his chair to hug his two actresses before the cameras roll. The
room is dressed with two stained cots, a couple of bird cages and a few framed paintings of Jesus.
In a scene before this one, sex trafficker Vadim has ripped up the photo of Veronica’s
daughter in a brutal warning to the young mother. Now, when the girls are alone, Adriana picks
up the torn pieces and laces them slowly it into Veronica’s hand, and the two whisper of how the
Virgin Mary will protect them.
“It’s a very important scene for Veronica, because it’s the first time she really decides she
will be there for someone else, that she is needed somehow,” says Bachleda, whose character
finally escapes her captors through a literal leap of faith. “Despite all her tragedies, there’s a light
in the tunnel.”
Gaitan clearly feels a kinship with Bachleda, and the intimacy shows on camera.
“Adriana is a girl who has lost everything, and here in this scene she finds a person she can rely
on, whom she can understand,” Gaitan offers in Spanish. “It gives her the strength to live on.
And even though she loses that strength when Veronica is no longer there for her, she finds it
again with the hope she’ll finally see her brother. But it’s a very hard-won hope.”
As the scene wraps, Gaitan’s mother, a lawyer, comes up to offer the cast and crew some
homemade cookies. “Mama” is on the set every day, sharing food and laughs with her new-found
family. Like Kreuzpaintner, her affection and support are contagious. With more hugs for his
actresses and for Mama, the director heads for the next set-up, dodging chickens and dogs as he
scurries down some creaky stairs to join the bustle of the streets below.
- 11 -
JOURNEYS TO THE UNDERGROUND
Peter Landesman Talks About the Sex Slave Trade
Peter Landesman’s groundbreaking article in The New York Times Magazine, “Sex
Slaves on Main Street,” inspired a national conversation on a topic left largely unspoken in the
American media. Since the story’s publication in January 2004, news articles, documentaries and
websites worldwide have finally begun to shed light on the human and social costs of this multibillion-dollar, multinational slave trade. And the federal government has initiated legislation and
law enforcement programs to help stop the trade.
Now, with the release of Trade from Lionsgate Films, the shocking underworld first
exposed by Landesman finds its most compelling expression in the deeply human story of a boy
and a policeman’s unlikely journey to reunite their families that have disappeared into the
“tunnels” of international sex traffickers.
With tens of thousands of women and children kidnapped each year by these prostitution
and drug rings, Landesman contends that Americans can no longer remain bystanders to the
global growth of sex trafficking, because these crimes are happening in their own backyard.
“People who live in these towns I wrote about responded to the story with disbelief,
rejection, horror at what was taking place next door,” he remarks from his home in Los Angeles.
“It’s a little like battered wife syndrome; they know it’s happening to them, but they don’t want to
know. I don’t think it’s a matter of not accepting it. I just think people had no idea.”
Landesman’s five-month investigation of the “tunnels” of sex slavery across the U.S.Mexican border lead him through a labyrinth of organized crime whose scope was as daunting as
its motives.
“It’s an extraordinary economy, primarily because the capital it takes to start up a
business is zero,” he reports. “You kidnap a girl, you pay her nothing. You don’t pay anyone else
for that human being. So you can make hundreds of thousands of dollars a year off a single girl.”
Of the estimated 600,000 to 800,000 men, women, and children trafficked across
international borders each year, approximately 80% are women and girls, and about 50% are
minors, according to recent State Department reports. Landesman estimates that about 100,000
or more men, women and minors are trafficked into the U.S. every year. Still, he cautions that any
numbers are merely a best guess when it comes to the trafficking of drugs, weapons, or humans:
“After all, traffickers don’t file with the IRS, and no one’s at the border with a clicker counting
who’s coming across.”
In his own reporting for The New York Times, Landesman discovered that many of these
girls, some as young as 11 or 12, are forced to have sex with up to 30 men a day. The going rate
starts at around $20, with clients paying as high as $100 if the girl is a virgin. “Just do the math,”
says Landesman. “With each trafficker controlling five, 10 or 20 girls for 365 days a year, it’s an
enormous business.”
Within the U.S., the sex slave market is stratified between low-end prostitutes brought in
by Mexican field hands, and girls targeted for the high-end prostitution market who are
kidnapped from countries like Ukraine, Moldova and Poland, the home country of Veronica in
Trade. Many of these victims are enticed into the network by “travel agents” who lure them with
exotic tales of becoming movie stars and supermodels, of living the good life under the waving
palms and beckoning sun of Hollywood. Their dreams inevitably shattered, these girls can be
seen entertaining clients in almost any local strip joint across America. Many are found
“offering” their high-end services on the web, while still others are sold outright as chattel for
tens of thousands of dollars each, via secret, password-protected Internet auctions. If any of the
girls try to escape from these tunnels of sex slavery, they and their families back home can be
physically threatened, harmed and even killed.
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“The horrifying nature of sex slavery is the invisibility of it,” Landesman continues. “The
reality is that if you drive down Hollywood Blvd. in Los Angeles or Roosevelt Ave. in Queens
(New York) or Michigan Ave. in Detroit, you’ll see girls on the streets in hot pants, some of them
strung out on drugs, some looking perfectly healthy. And you know they’re hookers and whores.
But what you don’t know – what you can’t see and what is so deeply disturbing – is that many of
them are not those girls but these girls, girls who are forced into slavery under the threat of
death.”
Landesman recounts one particular visit he paid to a neighborhood nestled among the
maple trees and flapping flags of Plainfield, New Jersey – the setting of the final, dramatic
rendezvous in Trade. Next door to a convenience store “where you and I would go to shop,” the
reporter found a stash house where 13 underage Mexican girls were trapped, raped and starved
for months and years at a time.
“The scene looked like a slave ship,” he recalls. “There was almost nothing in it except
mattresses on the floor. There were tranquilizers and narcotics and chemicals that if you ingest
will induce spontaneous abortions. The girls were chained. If you could have imagined your
worst nightmare of what would happen to your daughter or sister or mother, this was it. And this
was in Plainfield, New Jersey.”
Perhaps the most devastating story Landesman heard in all of his weeks of research was
that of young American girl – a girl he referred to as “a cutter” – who had been held captive in a
basement crammed with children in southern California. She had been trafficked back and forth
across the Mexico-US. border from the age of four until she escaped, at age 17.
Her story was “almost impossible to listen to” over the course of three days, Landesman
reports. It was so extraordinarily hard for her to tell that every couple of hours “she would stand
up and leave the room to go to the bathroom, where she would cut herself with a knife just to
relieve the tension of talking about it.”
The reason her story is unique is because girls like this are usually dead by the time
Landesman gets to them. “Of all the things I’ve seen and covered, hers was the most difficult to
hear, and yet in some ways also the most heartwarming because she’s alive and still kicking.”
* * *
Landesman acknowledges that all the controversy and awareness generated by his
exposé of the sex slave underworld may not, by itself, be enough to arouse governments or
communities to fight the good fight to change that world.
“The complicity of these governments on the local level – and especially Mexico on a
national level – is undeniable and, in many ways, unstoppable,” he observes. “To most of us, sex
trafficking is the most abhorrent phenomenon. But when it comes to the agendas of national
governments of international institutions like the UN, sex trafficking doesn’t even make it onto
the top twelve. After all, the last thing the U.S. wants is to make an enemy of the Fox
administration in Mexico, so they’re not going to press very hard on this issue. They’ll make
public hay with a press item about this piece of legislation or that border raid, but that’s about it.”
To follow these trafficking tunnels deep into their political and social bulwarks leads
inevitably to a single source: poverty. In the countries of origin of these kidnapped children -Moldava, Ukraine, Russia, Nigeria, Mexico and Thailand, to name but a few – the policemen are
among the poorest paid of any profession. How, Landesman asks, are these cops to put food on
the table to feed their kids? Partly by dealing with traffickers.
“The traffickers themselves don’t want to kill people, but they do want to identify
themselves with something they can belong to – a network, different kind of family, barbaric as
that is.”
Landesman says that in America, the biggest problem in stopping trafficking may be the
police themselves, but not because of corruption. “When an ordinary cop sees these girls on the
street, they don’t know what they’re looking at. Most of the girls themselves don’t know how to
speak English; they can’t ask for help, and since in their own countries the cops are the bad guys,
they don’t go to the police. They turn around and run the other way.”
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In the end, Landesman believes it is conundrums like these which make it virtually
impossible to stop, or even significantly stem, the tide of sex trafficking. “The only way to stop
this on a global level is to stop local corruption and reel in the local police,” he ventures. “And
how do you do that? You would have to stop the whole phenomenon of poverty. Call it
cynicism, pessimism or just hardened reality, but that we will probably never do.”
* * *
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ABOUT THE CAST
In addition to his 1988 Oscar for his work in A Fish Called Wanda, KEVIN KLINE
(Ray) was nominated for Golden Globe Awards for his roles in Sophie's Choice, Dave, In & Out,
Soapdish and De-Lovely and a Screen Actors Guild nomination for Life As A House.
After his debut in Alan Pakula's adaptation of William Styron's novel Sophie's Choice,
Kline began a long-standing creative relationship with writer/director Lawrence Kasdan. Their
collaborations included the influential ensemble comedy The Big Chill, followed by the Western
Silverado, the offbeat comedy I Love You To Death, the ensemble drama Grand Canyon and the
romantic comedy French Kiss. Kline's other film credits include Lord Richard Attenborough's
Cry Freedom, Ang Lee's The Ice Storm, and Michael Hoffman's Soapdish, A Midsummer Night's
Dream and The Emperor’s Club.
Kline was last seen in Robert Altman’s ensemble A Prairie Home Companion and The
Pink Panther opposite Steve Martin. He next appears as Jaques in an adaptation of William
Shakespeare's As You Like It directed by Kenneth Branagh for HBO.
A Juilliard graduate, Kline made his Broadway debut playing Vershinin in Anton
Chekov's The Three Sisters for John Houseman's The Acting Company, of which he is a founding
member. His other Broadway credits include Hal Prince's On the Twentieth Century, for which
he won both a Tony and a Drama Desk Award, and The Pirates of Penzance, for which he again
won both a Tony and a Drama Desk Award, as well as the Obie Award for Outstanding
Achievement by an actor.
Other Broadway performances include Shaw's Arms and the Man directed by John
Malkovich, and Gerry Gutierrez's production of Chekov's Ivanov at Lincoln Center. His roles at
the New York Shakespeare Festival have included Richard in Richard III, Henry in Henry V,
Duke Vincentio in Measure for Measure, Benedick in Much Ado About Nothing and the title role
in Hamlet, for which he won the Obie Award for Sustained Achievement in Theatre. He directed
and starred in a second production of Hamlet, which received five Drama Desk nominations,
including best director and actor nominations for Kline. Later, he co-directed a televised version
of the production for the PBS Great Performances Series. Kline appeared opposite Meryl Streep
in Mike Nichols' critically acclaimed production of Chekov's The Seagull, for the Public Theater's
"Shakespeare in the Park." He recently won a Drama Desk award for his performance as Falstaff
in Lincoln Center Theater's production of Henry IV, directed by Jack O’Brien. He will be seen
in Bertolt Brecht's Mother Courage and Her Children at the Delacorte Theater in New York City
during the Summer 2007.
Kline is the first American actor to receive the Sir John Gielgud Golden Quill Award, and
he was recently inducted into the Theater Hall of Fame.
Growing up in Mexico City near the streets of La Merced, CESAR RAMOS (Jorge)
could easily relate to his character’s rocky past. As a kid, Ramos learned to survive eating tuna
from tin cans and selling tortas and T-shirts at the local markets with his family. “Still, it was the
best time of my life because all of us – my father, my mother, my sister – we were fighting to stay
together, despite our troubles. That taught me to have faith in myself.”
That self-confidence brought Ramos to acting at an early age, appearing in four Mexican
TV shows, 22 TV commercials, two plays and in a small part in the Mexican feature To Die on
Sunday, before beginning work on Trade.
Ramos also remembers sitting down with his father to watch Kevin Kline in Dave (his
dad’s favorite movie) and, later, Independence Day – the last movie they saw together before his
father died. “So maybe life has prepared me for this movie in other ways, too!”
Most importantly, the experience of making Trade has changed his life with his family.
“With my own sister, I didn’t have such good communication as Jorge had with Adriana,” he
admits. “But once I started shooting this movie, I went to her and apologized and asked her to
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forgive me for being as I am. And I told my sister, ‘Please, I want to be your best friend. I want
you to trust me.’ After spending time with Paulina (Gaitan), my sister in the movie, I learned
how to become a good brother. Now we are close.”
The pride of his family, Ramos recently was able to buy an apartment of his own in
Mexico City.
Born in Tampico, Mexico, in 1983, ALICJA BACHLEDA (Veronica) has acted
regularly in her native Poland, making her first appearance in a foreign feature film
alongside Tom Schilling in Michael Gutmann's Herz Im Kopf. She first worked with
director Marco Kreuzpaintner on the film Summer Storm. She played one of the lead roles
in Andrzej Wajda's epic Pan Tadeusz, which drew about six million viewers to theaters,
making it one of the most successful Polish films ever.
PAULINA GAITAN (Adriana) was 12 years old when casting director Carla Hool
brought the Mexico City native in for an audition with the filmmakers. Recalls producer Rosilyn
Heller, “Paulina did the scene where she prays in front of the Virgin and asks for help and
immediately we all knew she would be perfect for the role of Adriana. Her emotions were so
translucent and instinctive, we had tears in our eyes.” Paulina’s previous acting credits include a
small role in the acclaimed motion picture Innocent Voices.
MARCO PEREZ (Manuelo) is best known for his role as Ramiro in Amores Perros,
which received an Oscar nomination as Best Foreign Language Film (Mexico) in addition to
being named Outstanding Foreign Film from BAFTA and the Alma Awards. A well-known
theatre actor and playwright in Mexico City, Perez has also appeared in several Spanish language
films, including the 2004 crime drama La Sombra del Suhuaro and Guchachi, written and
directed by Abraham Oceransky, as well as shorts in Mexico and Spain. In 2006, he received an
actor and director scholarship from the cultural office of the Mexican government to create a new
play, tentatively entitled “My Beautiful Fable.”
KATE DEL CASTILLO (Laura) has been the leading lady in nine telenovelas taking
them to the top of the Nielsen charts every time. They have aired multiple times in the US and in
more than 100 countries, reaching fans all over the world.
Kate’s recent credits include the lead in “The Same Moon” as the head of a
family from Mexico, separated by circumstance, Premiering at the Sundance Film Festival as part
of the Spectrum program.
Kate recently wrapped Julia with Tilda Swinton, directed by Erick Zonca (Dreamlife of
Angels.)
Kate’s recent credits also include The Black Pimpernel, a Sweden-Norway-Mexico
production of a true story shot entirely in Chile in which she plays a young revolutionary student,
fighting her conservative military father, and getting involved with the Swedish ambassador in
Chile, whose heroic actions protected innocent people from execution during the times of the
coup against Allende and the soon-to-be-released Bad Guys in a lead role, and a cameo as
Antonio Banderas’ long-suffering wife in Bordertown. She was nominated this year as Best
Actress by Mexico’s Academy of Arts and Sciences (the Ariel Award) for her performance in
American Visa and won Best Actress at the Huelva Film Festival in Spain. The film premiered at
the AFI Film Festival Latin Series in 2006 and is nominated as Best Foreign Film in Spanish for
the 2007 Goya Awards in Spain. Kate recently lent her voice for the character of Sally Carrera
for the Spanish version of Disney’s Cars. She made her crossover debut on American television
in Golden Globe-nominated “American Family” as series regular Ofelia. Kate has graced the
covers of the top Spanish-language magazines, and was one of the 2006 “People in Español 50
most beautiful.”
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ABOUT THE FILMMAKERS
Although only 28 years old when producers Roland Emmerich and Rosilyn Heller selected
him to take the reins of Trade, director MARCO KREUZPAINTNER had already established
himself as one of the leading young directors in his native Germany. His second feature, the
coming-out and coming-of-age German feature, Summer Storm, won him the German Film
Award (Germany’s version of the Oscar) for Best Young Director and earned him a nomination
for Best Director and Best Screenplay (which he co-wrote). The movie’s lead was also
nominated for Best Actor. Distributed by Warner Bros., the film was an official selection at over
50 film festivals worldwide, including Toronto, Berlin, London and Palm Springs.
So impressed was Emmerich with Kreuzpaintner’s work on Summer Storm – notably his
work with the young cast of actors, many of them non-professionals -- that he invited the young
director to come to Los Angeles under his aegis to select his next project. That trip resulted in
Kreuzpaintner directing his first American-produced project, Trade, for which he imported
several of Summer Storm’s crew as well as his lead actress, Alicja Bachleda (Veronica).
Kreuzpaintner’s first full-length feature, Breaking Loose, garnered the best actor prize at the
Max Ophuls Festival in Saarbruecken in 2004. For the German television network ZDF he
helmed the experimental movie Rec., which was shot without a script and completely improvised
with his actors. In 2000, he formed his own production company FilmManufaktur, and also shot
The Breathing Artist, which he produced, wrote and directed and which followed his 1999 short
Entering Reality. For theatre, Kreuzpaintner directed the Friedrich Schiller play Die Raeuber, for
Munich’s Volkstheater in 2003.
Kreuzpaintner is currently in post-production with the feature Krabat about a boy learning
the black arts from an evil sorcerer. The movie is being produced by Munich-based
Claussen+Woebke Filmproduktion and is based on Otfried Preussler’s 1971 literary adaptation of
a 17th-century legend, The Curse of the Darkling Mill.
A graduate of the University of Salzburg, Kreuzpaintner is a visiting professor at the Film
Academy BadenWurtemberg and was the youngest member of Germany’s Regional Parliament.
He is a member of the German Film Academy, the German Directors Guild and the Directors
Guild of America.
Known as one of Hollywood’s top-grossing and most bankable directors, producer
ROLAND EMMERICH began his career as a student in his native Germany. While studying
directing at the Munich Film and Television School, his feature, The Noah’s Ark Principle,
became the most expensive student project ever produced in Germany and was screened at the
1984 Berlin Film Festival, selling to more than 20 countries.
Following the success of his student film, Emmerich formed Centropolis Film
Productions, producing and directing the features Joey, Hollywood Monster and Moon 44.
In 1992, Emmerich directed his first American feature, Universal Soldier, starring JeanClaude Van Damme. His 1994 sci-fi film Stargate lead to a hit spin-off television series and gave
Hollywood the confidence to back Roland’s next effort, the huge special-effects driven sci-fi
feature Independence Day, starring Will Smith. The film grossed over $800 million worldwide
and seated Emmerich among Hollywood’s most bankable directors.
Emmerich went on to direct and executive produce Godzilla in 1998 and The Patriot,
starring Mel Gibson, in 2002. Two years later, his movie about an abrupt climate shift, the
blockbuster The Day After Tomorrow, starring Dennis Quaid and Jake Gyllenhall, inspired him to
become involved in a variety of environmental concerns.
Emmerich’s period epic drama 10,000 B.C. is scheduled for an early 2008 tentpole
release by Warner Bros. (which will distribute worldwide). The movie was filmed in New
Zealand, South Africa and Namibia.
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With her unique ability to discover new talent, producer ROSILYN HELLER has
helped develop, produce and distribute the work of some of the most important executives,
directors, writers, and actors working in Hollywood today. She began her motion picture career
as a creative executive for Palomar/ABC Pictures in New York before moving to Los Angeles to
join Peter Guber at Columbia Pictures as a production executive. At Columbia, she became the
first woman Vice President of a major Hollywood studio, serving under studio heads Peter Guber,
David Begelman, Stanley Jaffe and Danny Melnick. Among the many award-winning films she
developed and supervised are Taxi Driver, Julia, Close Encounters of the Third Kind and The
China Syndrome.
Heller then became an independent producer at Columbia where she executive-produced
the feature Ice Castles. She went on to produce Who’s That Girl, starring Madonna, for GuberPeters at Warner Bros.; American Heart, starring Jeff Bridges, for Avenue/World Pictures; and
The Beans of Egypt, Maine, starring Martha Plimpton, Kelly Lynch and Rutger Hauer for
American Playhouse Films.
For Guber-Peters Entertainment, Heller served as executive vice president when the
company was housed at Warners, later moving to Kings Road Prods. in the same position.
In addition to her feature films, Heller produced the six-hour NBC miniseries, Celebrity,
based on the novel by the late Tommy Thompson, and several television and cable movies,
including Callie & Son, starring Lindsay Wagner and Michelle Pfeiffer; The Killing of Randy
Webster, starring Hal Holbrook, Dixie Carter, Sean Penn and Jennifer Jason Leigh; and the
Lifetime movie Better Off Dead with Mare Winningham, produced with her friend and creative
partner Gloria Steinem.
Heller currently has numerous features at various stages of development and preproduction. She has also written a number of screen adaptations, among them The Gilded City, to
be directed by Academy-Award-winning Production Designer, Eugenio Zanetti, at Fox
Searchlight; Fathers & Sons, based on the Ivan Turgenev novel and to be directed by Michael
Hoffman; and a true World War II coming-of-age story, The Defiant, based on the book by
Shalom Yoran and to be directed by award-winning German director Tomy Wigand (The Flying
Classroom) and executive produced by Roland Emmerich. Recently she completed an original
romantic comedy, Poles Apart.
Before her career in the motion picture industry, Heller held various positions in New
York publishing, including senior editor for New American Library.
TRADE is Heller’s first time working with director Marco Kreuzpaintner, with whom
she hopes to work with often in the future.
Playwright and screenwriter JOSE RIVERA earned an Academy Award nomination for
Best Adapted Screenplay for Motorcycle Diaries, directed by Walter Salles, as well as a British
Academy of Film and Television Arts Award and a Writers Guild Award. The screenplay also
garnered Spain’s Goya Award and Argentina’s top award for screenwriting.
The Puerto-Rican born Rivera is a recipient of two Obie Awards for playwriting, for
Marisol and References to Salvador Dali Make Me Hot, both produced at The Joseph Papp Public
Theatre/New York Shakespeare Festival. His other honors include the Imagen Foundation’s
2005 Normal Lear Writing Award, a Fulbright Arts Fellowship in Playwriting, and a Rockefeller
Foundation grant.
Rivera’s plays have been produced worldwide and translated into seven languages,
including Cloud Tectonics, Each Day Dies with Sleep, Sonnets for an Old Century, Sueno, Giants
Have Us in Their Books, Marciela de la Luz Lights the World, Adoration of the Old Woman and
Massacre (Sing to Your Children). His School of the Americas premiered at the Public Theatre in
New York in July of 2006 in a co-production with the LAByrinth Theatre Company.
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Rivera is currently penning The Untranslatable Secrets of Orlando Corona and a screen
adaptation of Jack Kerouac’s On the Road for Walter Salles. He will make his feature film
directing debut with Celestina, based on his play Cloud Tectonics.
PETER LANDESMAN is a screenwriter, producer, award-winning investigative staff
journalist for the New York Times Magazine and novelist. He has written scripts for Michael
Mann, Cruise/Wagner, Oliver Stone, and the adaptation of ‘Who Killed Daniel Pearl?’ for
Beacon Pictures. He is currently writing a movie about Watergate’s Deep Throat, Mark Felt, for
Universal and Tom Hanks. His investigative journalism, appearing regularly in the New York
Times Magazine, includes cover stories on weapons trafficking, sex slavery and drug and refugee
smuggling. He has also covered the war in Kosovo and post-9/11 Pakistan and Afghanistan for
the NY Times Magazine, the New Yorker and the Atlantic Monthly. His April 2002 article on
refugee smuggling and people trafficking for the New York Times Magazine, “Light at the end of
the Chunnel”, won the Overseas Press Club prize for best magazine reporting from abroad. His
2004 for article on sex trafficking, “The Girls Next Door”, was cited by the Overseas Press Club
for best international reporting on human rights issues. His first novel, ‘The Raven’, was awarded
the best first fiction prize by the American Academy of Arts and Letters. Landesman, 41, lives in
Los Angeles.
Director of photography DANIEL GOTTSCHALK began his career chiefly as
cameraman for short-film projects which, since 1995, include In der Zeit and Nachtfalter.
In 2001 he worked with Marco Kreuzpaintner for the first time filming the pilot of Rec.
Kreuzpaintner's big-screen debut Breaking Loose (2003) was also Gottschalk's feature-film
debut.
In addition to short films, Gottschalk has worked on a number of promotional films
for companies such as McDonalds, Langnese, Karstadt InScene and Nike. He is also a
sought-after cameraman for video productions of many German and international bands
such as Natural Born Hippies, Rammstein, H-BlockX, Die Fantastischen Vier and
Freundeskreis, some of which he shot with director Zoran Bihac.
Production Designer BERNT CAPRA, also known as Amadeus, was raised on a farm in
the Tyrolean Alps and financed his studies in architecture with jobs as tourist guide and ski
instructor. But as soon as he graduated from Graz University, the Austrian army tried to draft
him and he escaped to Los Angeles where he scored a UCLA scholarship for Urban Planning and
a second master’s degree. Finally, after many great years of campus life, Bernt joined an
architectural firm in Century City. Most of his friends from UCLA, however, worked in the
movie industry and soon he, too, found himself drafting away in the Paramount art department.
Some big studio pictures later, Bernt got restless again and moved to Rome, Italy, where he made
experimental films, which he financed with small acting jobs. After that he spent a few years
directing documentaries for Austrian TV, until he finally moved back to the beaches of Malibu
where he still lives today with his three children. Meanwhile he has established himself as a
production designer in Hollywood, with such films as Bagdad Café, This is Spinal Tap, and
What’s Eating Gilbert Grape? and with TV shows such as HBO’s Carnivale, for which he
received several awards, including an Emmy. He also directed the cult classic Mindwalk.
Editor HANSJORG WEISSBRICH’s credits include the Hans Christian Schmid
films Crazy, 23, Nach Funf Im Urwald and Lichter, as well as on Was Tun, Wenn's Brennt.
Among his more recent feature films are SoloAlbum and Bibi Blocksberg. For Lichter he
won the editing award in 2003 and the prize of the German Film Critics for best film
editing in 2004. He won the German Camera Prize for his editing skills on Was Tun,
Wenn's Brennt in 2002, and more recently for Leander Haussmann’s movie NVA. He won
the German TV Award for his editorial work on Vivian Naefe's Frauen lügen besser.
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Weissbrich studied music, French literature, theater, film and television before
turning to film editing. After many assistantships (including Der Bewegte Mann), he
quickly established his reputation as an innovative editor with Nach Funf Im Urwald and
Sharon von Wietersheim's Workaholic. These productions were followed by the theatrical
comedies 2 Manner, 2 Frauen – 4 Probleme by Vivian Naefe, Weihnachtsfieber by Paul
Harather, Sudsee, Eigene Insel by Thomas Bahmann, Vivian Naefe's TV two-part Eine
ungehorsame Frau and the TV movie Einer geht noch. He also edited Florian
Gallenberger's Quiero Ser – Gestohlene Traume, which won an Oscar in 2001.
Costume Designer CAROL ODITZ designs for film and stage. She was one of five
American designers exhibited in the Biennale della moda di Firenze in Florence. Her costume
designs for Jennifer Jason Leigh in Georgia were chosen 'One of the Great Fashion Moments on
Film' of the decade by Vogue magazine and began the 'slip as dress' trend. The following year,
her costumes for The Ice Storm were again picked by Vogue 'Best Fashion in Film'. Her work
continues to inspire fashion designers in America and Europe.
Oditz's Tin Cup design began the largest film to fashion trend of the decade. The
necklace now known around the world as the 'Tin Cup pearls' changed the pearl industry. Other
films include The Break-Up starring Vince Vaughn and Jennifer Aniston, John Singleton's
Higher Learning, Ethan Frome starring Liam Neeson, Molly starring Elisabeth Shue (exhibited
in the Biennale), Staying Together, No Place Like Home, and Nobody's Child - all directed by Lee
Grant, Zebrahead, Smooth Talk, Last Exit to Brooklyn (also starring Jennifer Jason Leigh) and
Autumn in New York starring Richard Gere and Winona Ryder and Murder by Numbers for
Barbet Schroeder starring Sandra Bullock.
Oditz began as a sculptor before turning to theatre design, then on to film. She has
designed theatre in New York and across the country. She was honored with the 2002 New York
Women In Film & Television achievement award.
Make-up/hair designer DEBORAH LARSEN has been a makeup artist and designer in
the film, television and print business for more than a decade. She has been featured in several
magazines including InStyle’s “Steal This Look” section, as well as Oscar-nominated for her
work with Charlize Theron on The Legend of Bagger Vance.
Deborah has worked as
personal artist for such actors as Julianne Moore, Maria Bello, Alison Lohman, Hilary Swank and
Hugh Grant. She has designed and worked on films including American Dreamz, Flicka, Cider
House Rules, The Player, The Core, The Legend of Bagger Vance, Michael and Mighty Joe
Young.
Mexican composers JACOBO LIEBERMAN and LEONARDO HEIBLUM have
composed, recorded and produced music for a variety of different projects, including feature
films Maria, Full of Grace and Frida, documentaries, advertising, dance and theatre. Lieberman
and Heiblum co-own Audioflot, a state-of-the-art recording studio in Mexico.
Heiblum studied music and composition in Mexico and went on to study recording
engineering at Full Sail in Orlando, Florida. He worked with Philip Glass as an engineer and as
the music assistant to music director Michael Riesman for five years.
Lieberman has been a composer in several original musical groups and has played all
kinds of instruments. Besides playing cello in the baroque musical ensemble Galileo, he has
played guitar, keyboards, percussion and drums in several rock bands, including Santa Sabina.
Music supervisor LYNN FAINCHTEIN has brought her music expertise to a range of
media, including film, television, radio and journalism as well as recording. She has worked as
music supervisor and soundtrack producer in her native Mexico on a number of films, including
- 20 -
Babel by Alejandro Gonzalez Iñarritu, Maria Full of Grace by Joshua Marston, Casa de los
Babys by John Sayles, and Innocent Voices by Luis Mandoki.
She has worked extensively with Iñarritu on films including 21 Grams and Amores
Perros. Other film credits include Bruno De Almeida’s 22 Days in Acapulco, Carlos Salces’ La
Mano del Zurdo, and Maria Novaro’s Sin dejar Huella and Danzon. Fainchtein was music
supervisor for Altavista Films’ soundtracks, and also served as the company’s director of A&R
for Altavista Films. She is currently a writer with Rolling Stone magazine, reporting from
Mexico. She had previously been at MTV Latinoamerica, where she worked as Director of
Music Programming, and producer/writer/interviewer for MTV News. In radio, she has worked
as a host, DJ, producer, programmer and director at a number of different Mexican stations.
###
- 21 -
FINAL END CREDITS
Ray Sheridan
KEVIN KLINE
Jorge
CESAR RAMOS
Veronica
ALICJA BACHLEDA
Adriana
PAULINA GAITAN
Manuelo
MARCO PEREZ
Patty Sheridan
LINDA EMOND
Alex Green
ZACK WARD
Laura
KATE DEL CASTILLO
Hank Jefferson
TIM REID
Vadim Youchenko
PASHA D. LYCHNIKOFF
Lupe
NATALIA TRAVEN
Alejandro
GUILLERMO IVAN
Moncho
CHRISTIAN VAZQUEZ
Don Victor
JOSE SEFAMI
Thai Boy
LELAND PASCUAL
Ten Year Old Boy
JORGE ANGEL TORIELLO
Moncho's Girl
LUZ ITZEL
Lovesick Girl
EREN ZUMAYA
Lupe's Neighbor
NORMA ANGELICA
Irina
KATHLEEN GATI
Detective Martinez
ANNA MARIA HORSFORD
Detective Henderson
ANTHONY CRIVELLO
American Tourist
WILLIAM STERCHI
Woman at Door
MAYAHUEL DEL MONTE
Brazilian Girl
KEI-KEI CADENA
Mexican Girl
LESLY ORTEGA DEL ROSAL
Mexican Policeman #1
FERMIN MARTINEZ
Mexican Policeman #2
JULIO ESCALERO
Pedophile in Reeds
JOHN WYLIE
Armed Man
RIO ALEXANDER
Old Mexican Shopkeeper
MARIA LUISA CORONEL
High School Spanish Teacher
JD GARFIELD
School Girl
AIMEE LYNN CHADWICK
El Paso Border Guard
MATTHEW TIMMONS
Detention Center Guard #1
BRUCE DeHERRERA
Detention Center Guard #2
MICHAEL CARRILLO
Detention Center Guard #3
DOMINICK CHAVEZ
El Paso Police Officer
MIKE HATFIELD
Waitress in Diner
BARBARA MAYFIELD
Pedophile at Diner
MATTHEW McDUFFIE
Motorcycle Cop at Diner
ROB DeBUCK
- 22 -
Police Officer at Diner
GRANT MARTIN
Van Owner at Diner
BOOTS SOUTHERLAND
Hotel Receptionist
GENIA MICHAELA
Young New Jersey Officer
ROSS KELLY
New Jersey State Trooper
JASON CLARKE
New Jersey Officer
AARON LOBATO
First Deputy, Texas
BO GREIGH
Second Deputy, Texas
JOSH BERRY
Natasha
LENA BARAN
Veronica's Mother
LARISA ERYOMINA-WAIN
Travel Agent
ELIZABETH LEIBEL
Sarah Buchanan
LISA CLUGSTON
Sarah's Daughter
ERIKA CLUGSTON
Stunt Coordinator
JULIUS LeFLORE
Abductor #1
WILEBALDO "BALO" BUCIO
Abductor #2
PABLO VINO
Veronica Stunt Double
JENNIFER CAPUTO
Adriana Stunt Double
KARINE MAUFFREY
Stunt Players
HELENA BARRETT
KURT LOTT
CHRISTOPHER MARLOWE
BRETT A. MYRICK
LEE SMITH
AL RICHARD UNSER
ANTHONY VITALE
Unit Production Manager
First Assistant Director
Second Assistant Director
CORD WALKER
PATTY LONG
JAMES M. FREITAG
CHRISTOPHER BRYSON
NEW MEXICO UNIT / U.S. CREW
New Mexico Casting by
New Mexico Casting Assistants
US Casting Assistant
Extras Casting by
Extras Casting Assistant
Extras Wrangler
"A" Camera Operator/Steadicam
First Assistant Camera
KATHRYN BRINK
WILLIAM KATAKIS
TIM FRENCH
GIOVANNA COSTA
ELEANOR BRAVO
MARK KEISTER
TRIXIE GEISLER
GARY CAMP
JOE SANCHEZ
- 23 -
Second Assistant Camera
"B" Camera Operator
"B" Camera First Assistant
"B" Camera First Assistant
"B" Camera Second Assistant
Loader
Camera Production Assistant
Video Playback Operator
24 Frame Playback
Script Supervisor
Art Director
Art Department Coordinator
Set Decorator
Leadman
On Set Dresser
Shopper
Swing Crew
Key Greens
Greens Crew
BRETT MYRICK
BROOKE FAIR
Production Controller
First Assistant Accountant
Payroll Accountant
Line Producer New Mexico
Production Supervisor LA
Production Supervisor New Mexico
Assistant Production Coordinator
Office Production Assistants
Office Production Assistant LA
Second Second Assistant Director
Key Set Production Assistant
Set Production Assistants
Additional Set Production Assistants
Second Unit Director
SAM MARES
PHIL PFEIFFER
ALLAN KEFFER
R. TODD SCHLOPY
MICHAEL R. WOHLFELD
COREY WEINTRAUB
ALEXANDER PAUL
FRANK EYERS
ALEX SEARS
PAUL CONTI
TRACEY MERKLE
JAMES OBERLANDER
ROBERTA MARQUEZ
MARCIA CALOSIO
JOEL SISSON
COLIN ZAUG
LISANNE SCAFINE
CHAD EVERETT
SAGE CONNELL
NIGEL CONWAY
JASON DELAP
CHRISTOPHER PAINTER
JUDAH BRAUNSTEIN
JAIME SOUZA
ROBERT C. CAMPION
MICHAEL FRAYEH
LAVINIA ZETINA
PATTY LONG
TRACY KETTLER
SHARON C. DIETZ
KYNDALL HOLSTEAD
PILAR SALAZAR
ZACHARY ELWOOD
CHRISTINA HARRINGTON
ALANNA HERRERA
MATTHEW HADFILED
SARAH LEMON
MICHELLE DuVAL
KEITH POTTER
CARLOS MONTOYA
ROYCE ALLEN
DREAM MULLICK
JOSHUA SALLACH
JULIUS LeFLORE
- 24 -
Second Unit First Assistant Director
Second Unit Aerial Pilots
CHEMEN OCHOA
TOM SCHAUS
RICK SCHUSTER
Property Master
Assistant Props
OTNIEL GONZALEZ
BOBBI JO GONZALEZ
Sound Mixer
Boom Operator
Utility
PAWEL WDOWCZAK
MICHAEL BECKER
JEFF KNUDSEN
Key Hair
Additional Hair
NOREEN WILKIE
LORI A. BAKER
ELIZABETH FRANCIS
YVETTE MEELY
JESSIE BROWN
SHEILA TRUJILLO
COREY WELK
Make-Up Artist
Additional Make-Up Artists
Chief Lighting Technician
Best Boy Electric
Rigging Key
Lighting Technicians
Balloon Light Technician
DANNY ECCLESTON
ALAN COLBERT
STEVE MULLEN
BRUCE LEWIS
LEONARD HOFFMAN
ALLAN EAVES
PHILLIP ABEYTA
MIKE PESCE
ADAM MELTZER
Key Grip
Best Boy Grip
Dolly Grip
Best Boy
Rigging Key
RANDAL TAMBLING
SHAWN ENSIGN
JOSH STEINBERG
MICHAEL WARREN
SHANNON SUMMERS
Additional Electricians
Grips
TOBIN ESPESET
JAMES THREADGILL
GEORGE RIZZO, JR.
JACOB VERNON
Assistant Costume Designer
Costume Supervisor
Key Costumer
Costumers
Location Manager
DAN NORDQUIST
JASON PRENTICE
BARRY CLINT
BRADLEY BARNES
PABLO BORGES
WENDY CRAIG
SABINA WINNINGHAM
SUSAN WEESE
JOULLES WRIGHT
JOHN MEADE
- 25 -
Key Assistant Location Manager
Assistant Location Manager
Location Assistants
Construction Coordinator
Construction Foreman
Head Paint Foreman
Set Painters
CLAY PERES
RODERICK PEYKETEWA
BRETT LATTER
DANIEL HOLLOWAY
MICHAEL PADILLA
KIRK NEWREN
ROBIN BLAGG
RANDY E. ORTEGA
ERIC GALLEGOS
GEORGE KRAFT
ROBERT ORTEGA
Propmakers
TIMOTHY B. ABREU
ALEX BRACHT
STEVE CHAPMAN
MIKE DAIGLE
ED SAUER
BRIAN STINSON
Special Effects Coordinator
On Set Special Effects
Special Effects
Public Relations
Still Photographer
Unit Publicist
EPK Producer
Additional Video
Transportation Captain
Transportation Co-Captain
Transportation Co-Captain
PEDRO AMAYA
NATALIE CASADOS
ROBERT DITZLER
KENNY HEATH
WILD BILL LASKO
JOSH LAURIO
COLLIN MEADOR
JARED MEADOR
WILLIAM McSHANE
Craft Service
GEOFF MARTIN
SCOTT HASTINGS
DANIEL HOLT
ADAM ROSEN
MICHAEL RUSSELL GROUP
MARCO NAGEL
JAMES ULMER
NATSAT
LAUREN HUNTER
SCOTT HOBAN
MICHAEL RUSSELL
BRIAN GRIGGS
JAY VIGIL
Drivers
THOMAS BOROSKI
DAN MILLER
BOBBY RABELO
JAMES WILLIAM "BILLY" RAY
CASSIE RUSSELL
FRED STEAGALL
HOWARD TRIMBORN
SEAN WALBY
ANTHONY WAMEGO
KIP WOLVERTON
CARL LUCAS
PAUL HAAG
- 26 -
Catering provided by
Chef
Set Security
Set Medics
Studio Teacher
Acting Coach
Kevin Kline Stand-In
Assistants to Roland Emmerich
Assistant to Marco Kreuzpaintner
and Rosilyn Heller
Assistant to Michael Wimer
Assistant to Kevin Kline
MARIO'S CATERING OF NEW MEXICO
JAIME RAMIREZ
JLS SECURITY
DOUG ACTON
PAUL BACA
DAVID BETHEL
JULIE "DIA" HAHN
SHERI MANN
MICHAEL O'GUINNE
AARON BOYD
KIRSTIN WINKLER
MARCO ANTONIO SHEPHERD
SHAWNA HOPPES
TONY SALAZAR
MEXICO UNIT
Line Producer
Unit Production Manager
Unit Manager
First Assistant Director
Second Assistant Director
Add'l Second Assistant Director
Casting Assistants
Extras Casting by
Extras Casting Coordinator
Extras Casting Assistants
"B" Camera Operator
First Assistant "B" Camera
Second Assistant "A" Camera
Second Assistant "B" Camera
Loader
Video Playback Operator
Video Playback Assistant
Video Playback Provided by
Art Director
Assistant Art Director
Art Department Coordinator
MARIANO CARRANCO
ERIC REID
HECTOR VILLEGAS
JOHN MATTINGLY
MARIA DIONI
FABIAN WOLFART
RODRIGO URBANO
RICHARD HERNANDEZ
ALEJANDRO CAIRO
ERNESTO MANUEL MARTINEZ
DANIEL ARIEL VILLAR YANEZ
GABRIEL MEDINA GUERRERO
GUILLERMO "MEMO" ROSAS
SERGIO GARCIA
DARIELA LUDLOW
JOSE JORGE ZUNIGA HURTADO
JOSUE ALVAREZ
GABRIEL ROMERO TRUJILLO
MIGUEL LOPEZ HEREDIA
DAVID BAHENA ESCALANTE
PEDRO MORENO
DANIEL HERNANDEZ
SOLVEIG DAHM
- 27 -
Set Decorator
Assistant Set Decorator
On Set Dreser
Leadman
Swing Gang
Warehouse Keeper
Add'l First Assistant Director
Add'l Second Assistant Director
Second Second Assistant Director
Set Production Assistants
Add'l Set Production Assistants
Intern
Second Unit Director of Photography
On Set Interpreter
Production Coordinator
Assistant Coordinator
Production Accountant
Production Assistant
Accounting Assistant
Payroll Clerk
Work Permits
Tea Lady
Gaffer
Best Boy Electrician
Electricians
Key Grip
Dolly Grip
Grips
Costume Supervisor
Key Costumer
Costumer
Costume Assistant
Tailor
ELOISA FERNANDEZ MACGREGOR
IRINA VAN HALEN MERINO
DIEGO TELLEZ BUENO
NOYOLOTL ORRANTE MATA
RAMON JOSUE GUERRERO
JOSE ANDRADE BARAJAS
MARTIN MARTINEZ MONTIEL
CARLOS GARCIA TAPIA
EDUARDO MENDOZA LOPEZ
PABLO MARTINEZ GARCIA
FEDERICO HENOCQUE
VICTOR HERRERA
BARBARA COLE
EDUARDO "LALO" RUIZ FERNANDEZ
JUAN CARLOS NAVARRO
LUIS ENRIQUE GRANADA
PATRICK HEYERDAHL
ELENA FAJARDO
MAURICIO BAEZ
GUILLERMO "MEMO" ROSAS
STEFAN STEINMANN
MARK SHULTZ
MARINA FILIPPELLI
CECILIA MONTERUBIO
CARLOS LARIOS
LEONARDO RAMIREZ H.
MARIA LUISA LAVALLE
ENRIQUETA GUIJON
ELENA JUAREZ FLORES
LEONARDO JULIAN
CARLOS GARCIA FLORES
MARTIN RAYMUNDO GARCIA MEDINA
JOSE ISABEL PENA VILCHIS
ULICES GARCIA MEDINA
GABRIEL GARCIA SANTOS
HECTOR HERNANDEZ FRIAS
PASCUAL ALVARADO BRAVO
MONICA NEUMAIER
JAIME ORTIZ
GERARDO LEDEZMA MUNOZ
MA. DEL PILAR SANCHEZ ROMERO
PEDRO RAUL FLORES SALAZAR
- 28 -
Seamstress
Ager
FLORINDA GUTIERREZ RUIZ
ARTURO ANDRES MAYNE LIRA
Location Manager
Location Assistants
CLAUDIA PUEBLA
AGLAE ALEJANDRA NOYA
MARIBEL MURO BARRIOS
HUMBERTO CARDENAS
MAGALI SAGARRA
Hair Stylist
Make-Up Assistant
EDUARDO GOMEZ AGUILERA
FELIPE SALAZAR
Property Master
Props Assistants
Weapons Handler
On Set Medic
Special Effects
Boom Operator
Utility
Construction Coordinator
Construction Foreman
Construction Buyer
Carpenter Chief
GILBERTO CORTEZ
TOMAS LOPEZ JULIAN
ARISTEO RUIZ LUGO
RAFAEL NAVARRETE DEL TORO
DOMINGO RAMIREZ REYES
DANIEL "CHOVY" CORDERO
FELIPE ZAVALA
DOMITTILO GOMEZ HERNANDEZ
ALFONSO JOEL LOPEZ
ABRAHAM MARTINEZ MENDEZ
GUILLERMO RIVERA MARTINEZ
LUIS ESCOBAR MUNOZ
Carpenters
TOMAS RAMIREZ SERRANO
ERICK RAMON RAMIREZ RANGEL
FERNANDO HERNANDEZ MARTINEZ
HUMBERTO TELLEZ RAMIREZ
BENITO MOYA RUBIO
SALVADOR CONTRERAS MARTINEZ
JAVIER PEREZ SOLIS
RODOLFO COLIN ALVAREZ
CARLOS SALAS JUAREZ
ROBERTO MARTINEZ RAMIREZ
NICOLAS LOPEZ RIOS
JORGE VEGA PEREZ
Painter Chief
Warehouse Keeper
Local Workers
Construction Medic
LOURDES SOLIS HERNANDEZ
JOSE LUIS LOPEZ GONZALEZ
JESUS ALBERTO FLORES SOLIS
VICTOR MANUEL SOTO GUZMAN
CARLOS MORALES PEREA
MA. MARTHA MENDOZA PEREA
Transportation Coordinator
Transportation Captain
Transportation Dispatcher
Picture Car Coordinator
JAVIER GUNTHER
XAVIER RODRIGUEZ QUIRARTE
FERMIN LARA HERNANDEZ
LUIS EDGAR "CHIVATA" LEZAMA
Drivers
- 29 -
OSCAR JOEL CARLOS URRUTIA
MIGUEL UBALDO
GABRIEL CARO
CRISTIAN MORALES
JUAN ANTONIO FLORES
RUBEN LUGO LOPEZ
VICTOR SANDOVAL
Catering Coordinator
JORGE SANDOVAL
MIGUEL ORDUNA
FRANCISCO RODRIGUEZ DURON
MIGUEL ALPIZAR ESPINOZA
JOSE GUADALUPE ORTIZ
ROGELIO SANCHEZ RODRIGUEZ
CLEMENTE MECINAS CRUZ
Catering Assistants
MARIO PALESTINA AYALA
JIMMY SANCHEZ HERNANDEZ
LUIS HUMBERTO CARRETERO
VICENTE ROSALES
AGUSTIN SALGADO
JUAN MANUEL CARRETERO
CRISTIAN QUIROZ BOBADILLA
MARCO ALBERTA BANDA
RAUL ARRIAGA
RAUL ARRIAGA
MAURICIO DORANTES
Security Coordinator
Driver/ Security "Veronica"
Security "Veronica"
Driver/ Security "Ray"
Security "Ray"
Security Hotel
ANDA Delegate
NORBERTO NAVA
RAUL GARCIA AGUILAR
VICTOR MANUEL VARGAS
RAFAEL ARMANDO FALCON
VICTORINO LUNA GONZALEZ
ROBERTO LARA FOURNIER
MARIA DEL CARMEN JIMINEZ
POST PRODUCTION
Post Production Supervisor
LA Post Production Supervisor
Delivery Supervisor
Post Production Coordinator
Consultant
Business Manager
Post Accountant
System Coordinator
LA Post Production Assistant
Additional Editor
First Assistant Editor
Assistant Editor, Mexico
Editing Room
Supervising Sound Editor
Dialog Editor
Sound Editor
ADR Editor
ANJA-KARINA RICHTER
JANET FRIES ECKHOLM
CHRISTINE JAHN
CAROLIN VON FRITSCH
AMELIE SYBERBERG
PETER DRESS
THOMAS RUHLAND
STEFAN PANTÉN
BOBBY WHISNANT, JR.
BERND SCHLEGEL
BERND HANTKE
ARTURO BATIZ
BERND RILLICH POSTPRODUKTION
DIRK W. JACOB
DOMINIK SCHLEIER
KUEN IL SONG
SABRINA NAUMANN
- 30 -
Music Editor
ANDRE BENDOCCHI-ALVES
ADR Mixers - LA
ROBERT DESCHAINE, CAS
RON BEDROSIAN
GREG STEELE
BOBBY JOHANSON
GERARDO QUIROZ MATEOS
GERO GOERLICH
BERNHARD VOGEL
BARBARA HARRIS
LEON SERMENT
FRANZISKA STRIEBECK
ADR Mixer - NY
ADR Mixer - Mexico
ADR Mixers - Munich
ADR Voice Casting
Mexico ADR Coordinator
Munich ADR Coordinator
ADR Recorded at
Foley Stage
Foley Artist
Foley Mixer
Re-Recorded at
Re-Recording Mixer
Assistant Sound Engineer
Sales Sound
Project Coordinator Sound
Score Produced by
Additional Music by
Score Edited by
Orchestra
Contractor
Conductor
Scoring Studio
Scoring Engineer
Scoring Engineer Assistant
Score Mixed at
Engineer
Recording Studio Mexico
Bass
Voice
TODD-AO STUDIOS, LA
SOUND ONE, NY
MANHATTAN BEAT, MEXICO CITY
A.R.T. STUDIOS, MUNICH
BAVARIA MUSIK STUDIOS, MUNICH
TONBÜRO BERLIN
GÜNTER RÖHN
CHRISTIAN RIEGEL
ARRI SOUND POST PRODUCTION
MARTIN STEYER
MATHIAS PASEDAG
FLORIAN VON FRENCKELL
MONIKA PETRINIC
LEONARDO HEIBLUM
JACOBO LIEBERMAN
EMILIANO MOTTA
ALEJANDRO CASTANOS
PHILHARMONISCHES FILMORCHESTER
MUNCHEN
MAX SPENGER
ENRIQUE UGARTE
BAVARIA MUSIK STUDIOS
HERBERT LEHMLER
CLAUS ÜBLACKER
SEBASTIAN RÖDER
DORIAN GRAY STUDIOS
GERHARD WÖLFLE
AUDIOFLOT
ANDRES SANCHEZ
LEIKA MOCHAN
- 31 -
Guitars
Tabla
Digital Intermediate & Visual Effects by
Head of Feature & TV Drama
Project Manager Lab
Project Coordinators DI and Lab
Key Account Managers
VFX Supervisor
Senior Compositing Artists
Senior 3D Artists
Titledesign
Digital Colorist
Assistant Colorist
Colorgrading Lab
Lustre Assistants
Digital I/O Supervisor
ARRISCAN Film Scanning
ARRILASER Film Recording
HD Transfer
Negative Reports & Preparation
Screenings
JACOBO LIEBERMAN
LEONARDO HEIBLUM
ARRI MUNICH
JOSEF REIDINGER
CHRISTIAN LITTMANN
ANGELA REICHENBERGER
CHRISTIAN HERRMANN
ANGELA REEDWISCH
WALTER BRUS
DOMINIK TRIMBORN
DAVID LAUBSCH
ABRAHAM SCHNEIDER
KLAUS WUCHTA
ADAM DUKES
NANDO STILLE
PHIL DECKER
LUTZ LEMKE
RAINER SCHMIDT
MANFRED TUREK
MARY-ANN OTEMAN
CHRISTOPHER CHABER
ALEX KLIPPE
MARTIN SIPPEL
GEOFFREY GRAFWALLNER
STEVEN STUEART
DANIEL PLAPPERT
WILLY DELGADO
SASCHA STILLER
KATHI KLIPPE
ANJA SENCKPIEHL
ULRICH HOCHLEITNER
SILVIA ZWECKINGER
MARION EISENSCHMIDT
SABINE RADLMEIER
FEDERICO UMETELLI
PETER VIT
MARKUS MASTALLER
Subtitles
FILM UND VIDEO UNTERTITELUNG
GERHARD LEHMANN AG
Legal Services Provided by
REDER & FEIG LLP
BENJAMIN R. REDER, ESQ.
TARA A. SENIOR, ESQ.
NOOR AHMED
POLL STRAßER VENTRONI FEYOCK
DR. MARIN FEYOCK
German Legal Services Provided by
- 32 -
Financial Legal Services Provided by
Immigration Legal Services Provided by
Clearances / Product Placement
Stock Footage Provided by
Production Insurance
Completion Guarantor
Payroll Company
VIP Production Controller
VIP Production Manager
VIP Production Assistant
VIP Legal Advisor
DR. ROBERT STRAßER
DR. DANIEL HEINTEL
RICHARDS BUTLER LLP
RICHARD PHILIPPS
RALPH EHRENPREIS LAW
CORPORATION
JIM SAUNDERS
RALPH EHRENPREIS
DAVE GARE
FOOTAGE BANK
GETTY IMAGES
DeWITT STERN OF CALIFORNIA
FILM FINANCES, INC.
KURT WOOLNER
ENTERTAINMENT PARTNERS
EVA-MARIE NEUFAHRT
KERSTIN DYROFF
SYLVI WOITUSCH
BERIT WETZEL
FLORIAN HARMS
SECOND UNIT NEW YORK / NEW JERSEY
Unit Production Manager
First Assistant Director
Production Supervisor
BRIAN BELL
ROGER LEE
MELISSA MILLER
SONGS
"MALO"
Written by BEBE
Published by BEBE Trovador
Ediciones S.L. (Espana)
Performed by BEBE
Courtesy of EMI Music, Spain S.A.
"2da DE MUJER DESNUDA"
Written by Abdul Manuel
Villanueva Burgos
Published by Caiman Music
Publishing Mexico, S.A. de C.V.
Performed by Los Tahos
Courtesy of Producciones Burgos
Administered by Straight Songs
S.A. de C.V.
"LAS MANANITAS"
Traditional Song
"CHECA WEY"
Written by Eduardo Davalos de Luna (Babo),
Alan Alejandro Maldonado Tamez (Dharius),
Roman Leonardo Rodriguez (Mono),
Emeri Daniela Terrones (Mary Dee),
Mauricio Garza
Published by EMI Musical S.A. de C.V.
Performed by Cartel de Santa
Featuring Mary Dee
Courtesy of Sony BMG Music
Entertainment (Mexico) S.A. de C.V.
"A MIS AMIGOS"
Written by Alberto Pedraza Islas
Published by Jasper
"MEDICINA DE AMOR"
- 33 -
Written by Anthony Santos
Published by Still on Top Publishing
Administered by Caiman Music Publishing
Mexico, S.A. de C.V.
Performed by Anthony Santos
Courtesy of Platano Records
Administered by Caiman Music Publishing
Mexico, S.A. de C.V.
Performed by Alberto Pedraza
y Su Ritmo y Sabor
Courtesy of Producciones
Fonograficas Jasper, S.A. de C.V.
"JUNTO A TI"
Written by Victor Manuel Rangel Castro
Published by Caiman Music Publishing
Mexico, S.A. de C.V.
Performed by Aaron y Su Grupo Ilusion
Courtesy of D'Disa Latin Music
S. de R.L. de C.V.
"FUMA MOTA"
Written by Gogo Razz and MC Luka
Published by Mantequilla Publishing
Performed by Gogo Razz and MC Luka
"Los Reyes Del Pulmon"
Courtesy of Mantequilla Records,
S.A. de C.V.
"LA COYOTITA"
Written by Dionisio Arreola
Published by Jasper
Performed by Los Forasteros
Courtesy of
Producciones Fonograficas Jasper,
S.A. de C.V.
"QUE DARIA"
Written by Saturnino Garcia
Published by Jasper
Performed by Los Telez
Courtesy of
Producciones Fonograficas Jasper,
S.A. de C.V.
"DESTILANDO AMOR"
Written by Santa Benith
Published by Edimusa Publising Group
(Edimusa) / Vander Music
Performed by Aron y Su Grupo Ilusion
Courtesy of D'Disa Latin Music
S. de R.L. de C.V.
"EL EMIGRANTE"
Written by Sara Arjona Gomez
Published by Jasper
Performed by Rafael y Su Onda Chicana
Courtesy of
Producciones Fonograficas Jasper,
S.A. de C.V.
"CONTRA VIENTO Y MAREA"
Written by Manny Benito
Published by Nota Publishing Inc.
Administered by Caiman Music
Publishing Mexico, S.A. de C.V.
Performed by Maelo Ruiz
Courtesy of Musical Productions Inc.
Administered by Straight Songs
S.A. de C.V.
"VIEJO VERDE"
Written by Juan Alfonso Mostro Domecq
Published by Caiman Music Publishing
Mexico, S.A. de C.V.
Performed by Continental Show Band
Courtesy of Straight Songs, S.A. de C.V.
"JINETEANDO"
Written by Joachin Martinez Mireles
Published by Los Compositores
Publishing (BMI)
"LA NOCHE QUE TE VI"
Written by Filiberto Garcia Duarte
Published by Disa Latin Publishing LLC
(BMI)
Performed by Banda del Sol
Courtesy of D'Disa Latin Music
S. de R.L. de C.V.
Performed by El Chapo de Sinaloa
Courtesy of D'Disa Latin Music
S. de R.L. de C.V.
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"QUARTET FOR OBOE AND STRINGS"
Written by Wolfgang Amadeus Mozart
Performed by Alex Klein and
Cuarteto Latinoamericano
Courtesy of Cuarteto Latinoamericano
"PIANO CONCERTO NO. 15 IN
B FLAT MAJOR K450 - ALLEGRO"
Written by Wolfgang Amadeus Mozart
Performed by Jeno Jando, Piano
and Concentus Hungaricus
Conducted by Matyas Antal
Courtesy of Naxos Rights International
Limited, by Special Arrangement with
Spark Marketing Entertainment, LLC
"CONCERTO FOR OBOE, VIOLIN,
STRINGS AND B.C.
IN D MINOR BWV 1060: ADAGIO"
Written by Johann Sebastian Bach
Performed by Netherlands Bach
Ensemble, Krijn Koetsveld
Courtesy of Joan Records BV,
The Netherlands
"EVIL ONE"
Written by Myrtle Killough,
Robert Mosely
Published by Brunswick Music
Publishing (BMI)
Performed by The Dundees
Courtesy of Tru-Gems Records
by Arrangement through
pigFACTORY USA
"THE HIGHLAND BLUE AND GOLD"
Written by Kenneth Anderson
"AGNUS DEI"
Written by Rufus Wainwright
Published by WB Music Corp. (ASCAP)
o/b/o itself and Put Tit on Music
Performed by Rufus Wainwright
Courtesy of Geffen Records
Under License from
Universal Music Enterprises
"CIUDADANO A"
Written by Amaro Ferreiro /
Ivan Ferreiro
Published by Warner Chappell Music
Spain S.A.
Performed by Ivan Ferreiro
Courtesy of Warner Music Spain S.A.
VERY SPECIAL THANKS TO:
Jonathan Ruiz
Gloria Steinem
Ute Emmerich
Ben Smith
Doug MacLaren
Eva Lontscharitsch
AND
"Andrea"
Eduardo Paulin Aguirre
Elena Azaola
Rick Berg
Kim Berner
Clive Breton
Pat Chapman
Ricardo Del Rio
John Diemer
"Nicole"
Kenneth Anderson
Jorge Azaola
Gabriela Bacher
Rüdiger Böss
Kit Carson
Luciana Moreno Contreras
Jeff Dickens
Marc Federman
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Ken Fix
Lily Flaschner
Annette Focks
Jane Galton
Annie Granatstein
Larry Greaves
Bob Gutwillig
Annie Heller-Gutwillig
Ileana Ruiz Guzman
Benedict Hoerman
Judy Hofflund
Kevin Iwashina
Hans-Peter and Lisa Kleiner
Alfons and Heike Kreuzpaintner
Manuel Kreuzpaintner
Linda Lichter
George Naschke
Rick Nicita
JP Pettinato
John Ptak
Brad Ross
J. Mark Rowland
Marie-Luise Schmidt
Anton Senftl
Doug Stokes
Lilia S. Velasquez
Pablo Watson
Lisa Wilson
Richard Williams
Kimberly Acquaro - Photographer
Luis Alvarez - I.C.E. Attache, U.S. Embassy, Mexico City
Apple Computer
Angela Bennett - Albuquerque Residence Inn
& Natalie Hoff - Embassy Suites
Dean Boyd - Department of Homeland Security
Janet Brutsche at Studio 41 Albuquerque
Sheriff Rick Castro - San Diego Sheriff's Department
Cibola National Forest - Sandia Ranger District
City of Albuquerque Mayor's Office
City of Albuquerque Film Office - Ann Lerner and Carrie Wells
Claudia Colimoro - Casa de Mercedes
Comision Nacional de Filmaciones - Mexico A.C.
El Paso Film Commission
Jay Lee Evans - New Mexico Parks & Recreation, Open Space Division
Gruet Winery
Herve Hurtado - Chief Inspector, Policia Federal Preventiva
The Highland High School Band
International Justice Mission
Laura Lederer - U.S. State Department
Lauren Mack - I.C.E.
Middle Rio Grande Conservancy District
PIAA
Aurelio Rascon - Department of Homeland Security, Mexico City
Chief Victor Rodriguez - McAllen, Texas Police Department
The Route 66 Casino and Travel Center, a wholly owned
subsidiary of the Pueblo of Laguna
The Weather Channel
Marisa Ugarte - Bilateral Safety Corridor
Wells Fargo Bank of Albuquerque
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Cameras by
Camera Cranes & Dollies by
New Mexico Grip & Lighting Equipment
Mexico Grip & Lighting Equipment
Dailies Laboratory
Film Stock
Financially Supported by
OTTO NEMENZ
ARRI MUNICH
CHAPMAN/LEONARD STUDIO
EQUIPMENT, INC.
TM MOTION PICTURE EQUIPMENT
REVOLUTION 435 D & C, S.A. de C.V.
DELUXE HOLLYWOOD
KODAK MUNICH
FilmFernsehFonds Bayern
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ASOCIACION NACIONAL DE ACTORES
MEXICAN TECHNICIAN UNION SECTION 49 OF S.T.I.C.
Iatse LOGO
Dolby LOGO
DTS LOGO
ARRI LOGO
MPAA LOGO with Certification No. 42856
FilmFernsehFonds LOGO
Filmed on Location in
Mexico City
Albuquerque, New Mexico
New York and New Jersey
Copyright 2006 Film & Entertainment VIP Medienfonds 4 GmbH & Co. KG
Film & Entertainment VIP Medienfonds 4 Gmbh & Co. KG is the author of this film
for the purpose of copyright and other law.
THESTORY, ALL NAMES, CHARACTERS AND INCIDENTS PORTRAYED IN THIS
PRODUCTION ARE FICTITIOUS. NO IDENTIFICATIONS WITH ACTUAL PERSONS,
PLACES, BUILDINGS OR PRODUCTS IS INTENDED OR SHOULD BE INFERRED.
ALL MATERIAL IS PROTECTED BY THE COPYRIGHT LAWS OF THE UNITED STATES
AND ALL COUNTRIES THOUGHOUT THE WORLD. ALL RIGHTS RESERVED.
ANY UNAUTHORIZED EXHIBITION, DISTRIBUTION, OR COPYING OF THIS FILM
OR ANY PART THEREOF (INCLUDING THE SOUNDTRACK) IS AN INFRINGEMENT
OF THE RELEVANT COPYRIGHT AND WILL SUBJECT THE INFRINGER TO
SEVERE CIVIL AND CRIMINAL PENALTIES.
TRADE
www.tradethemovie.com
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