Venice Film Festival 2004
Toronto International Film Festival 2004
Warner Independent Pictures Presents
EROS
Production Notes
THE HAND
WONG KAR WAI
Starring: Gong Li, Chang Chen
EQUILIBRIUM
STEVEN SODERBERGH
Starring: Robert Downey, Jr., Alan Arkin, Ele Keats
THE DANGEROUS THREAD OF THINGS
MICHELANGELO ANTONIONI
Starring: Christopher Buchholz, Regina Nemni, Luisa Ranieri
With interstitial sequences by Lorenzo Mattotti
and the song “Michelangelo Antonioni” by Caetano Veloso
Opening Theatre Information: EROS will open on April 8 in Landmark Theatres in: New York at the Sunshine, Los
Angeles at the NuArt, Boston at Kendall Square Cinema 9, Washington DC at the E Street Cinema, Atlanta at the
Midtown 8, Chicago at the Century Centre Cinema 7, Seattle at the Varsity 3, St. Louis at the Tivoli 3, San Diego at
the Ken, San Francisco at the Lumiere 3 and in Berkeley at Act 2.
Rated: R
Aspect ratio: 1:85/Flat
Sound Format: Quad
Running Times:
The Hand (43 mins, 15 secs),
Equilibrium (26 mins, 35 secs)
The Dangerous Thread of Things (31 mins 46 secs)
Total: Approx 108 mins
Photos available at:
www.warnerindependent.com/pub
Username: press
Password: wbphotos
Press Contacts:
Los Angeles
Fredell Pogodin /Cindy Young
Fredell Pogodin & Associates
7223 Beverly Blvd.
Los Angeles, CA 90036
323-931-7300
pr@fredellpogodincom
New York
Sophie Gluck/Emma Griffiths
Sophie Gluck and Associates
225 Central Park West
New York, NY 10024
(212) 595-2432
sophie.gluck@verizon.net
EROS
“Eros” is an anthology of three medium length films on the subject of eroticism and desire, from a trio of
the world’s most outstanding directors, Wong Kar Wai, Steven Soderbergh, and Michelangelo Antonioni.
Each takes his own unique approach to the theme: Wong with a richly textured and achingly emotional
erotic tale; Soderbergh with a wry and perverse comedy; and Antonioni with his philosophical meditation
on the abyss between men and women. “Eros” is also a homage by two of the most internationally
acclaimed young directors Wong Kar Wai and Steven Soderbergh to one of their most admired and
inspiring director Michelangelo Antonioni.
Wong Kar Wai’s “The Hand” is the story of a young tailor’s (Chang Chen) long-time unrequited love
for a beautiful Hong Kong courtesan (Gong Li). Over many years, he lovingly crafts the clothes that she
wears for other men. Over time, the seemingly unattainable fantasy woman loses everything, just as the
tailor prospers in his career. Then the unexpected happens…
Steven Soderbergh’s “Equilibrium” is about a stressed-out 1950’s New York advertising man (Robert
Downey, Jr.) who has been suffering from a series of recurring erotic dreams. During his session with
psychiatrist Dr. Pearl (Alan Arkin), he describes his dream of a woman who is familiar to him—but he
can’t recall who she is when he wakes up. Through the course of a very offbeat session of therapy, we
discover why that is.
Michelangelo Antonioni’s “The Dangerous Thread of Things” follows a fortyish married couple
(Christopher Buchholz and Regina Nemni) that no longer have anything to say to one another. At an
impasse, the man has a passionate one night stand with a free-spirited young girl (Luisa Ranieri), but this
experience also fails to satisfy him. Later on, the wife and the girl meet….
“Eros” is a rare movie event—where three of the world’s most celebrated film artists contemplate the
never-ending riddles of eroticism and love.
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EROS
About the Production
In 1995, Stéphane Tchal Gadjieff produced Michelangelo Antonioni’s feature film “Beyond the Clouds,”
made after the great director suffered a paralytic stroke, which left him partially paralyzed (Wim Wenders
was brought in as a standby and as director of the structure that links the four episodes that Antonioni
directed). One of the producers said, “He was an inspiration to me with his strength in his refusal of his
limitations.” “And to see this man do this every day was quite an experience.”
After making the film, the director was unwavering in his wish to continue making films. Antonioni once
said, “Filming for me is living.”
Eventually Stéphane Tchal Gadjieff came up with the idea of doing a trilogy with “eros” as the subject.
Two French producers of note and experience, Raphaël Berdugo and Jacques Bar, and a uniquely creative
Italian producer, Domenico Procacci, joined him. “The concept was to have two major younger directors,
who have been on record to say that they have been influenced by his filmmaking, accompany him. Each
would do a segment on the erotic subject of their choice. Being free to do whatever they wanted. Also,
we wanted Antonioni to tell us near the end of his life what ‘eros’ was to him”, says one of them.
Antonioni quickly agreed. After discussing possible directors, they set their sights on Wong Kar Wai (“In
the Mood for Love,” “Chungking Express”) and Steven Soderbergh (“sex, lies, and videotape”).
The directors immediately approved the project. At first, the producers thought they would produce all
three films, but they soon realized that both of the other directors were also producers with their own
production companies. They worked out a financing plan where the world’s territories would be split
between the three groups. Each would produce his film separately, and then have rights to the full
feature in their territories.
Production began with Antonioni’s segment of “Eros”, entitled “The Dangerous Thread of Things.” A
script was written by long-time Antonioni screenwriter Tonino Guerra (“L’Avventura,” “Blowup”), based
on three brief vignettes from Antonioni’s book That Bowling Alley on the Tiber: Tales of a Director:
“The Silence,” “Three Days,” and “The Dangerous Thread of Things.” (Four stories from the book also
provided the basis for his film “Beyond the Clouds.”) Shooting began in late 2001 around Lake Burano,
in Tuscany, Italy and went for about six weeks.
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Soderbergh’s segment, “Equilibrium,” started shooting in March of 2003 in a Los Angeles studio.
Knowing that the other two filmmakers would be more direct in their approach to the subject, Soderbergh
chose a lighter, more elliptical path. “I liked the idea that what is supposed to be ‘an erotic film’ stars
Alan Arkin and Robert Downey, Jr.,” says Soderbergh.
Wong Kar Wai’s film, “The Hand,” starring Gong Li and Chang Chen (“Crouching Tiger, Hidden
Dragon”) was shot later that year in Hong Kong and completed in early 2004. Gong Li said she was very
happy to do the film, “not only with Kar Wai, but to be doing a project connected to Antonioni.”
The French producers were also responsible for assembling the interstitial sequences that would link the
three parts of “Eros” together. Tonino Guerra recommended a great Italian artist/illustrator Lorenzo
Mattotti, who had illustrated one of his books of poems. Mattotti works in various styles and he selected
three that he felt corresponded to the different director’s films. These were sent out and soon approved by
the filmmakers.
Brazilian singer/songwriter Caetano Veloso, unforgettable for his performance of “Cucurrucucú paloma”
in Almodovar’s “Talk to Her,” contributes his original song “Michelangelo Antonioni” to the film. The
song plays over Lorenzo Mattotti’s images in the linking sequences.
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The producers feel that the subject of “Eros” is a vital one. “It’s one of Antonioni’s central subjects —
communication between a man and a woman.” “Eros and love—this is something overwhelmingly
important for us to reflect on and try to work out.” We’ve lost the key to each other.”
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HAND
Filmmakers
Produced, Written & Directed by
Executive Producer
Producer
Production Designer/Costumes/Editor
Director of Photography
Music
Production Company
Make-Up
Hairstylists
WONG KAR WAI
CHAN YE CHENG
JACKY PANG YEE WAH
WILLIAM CHANG SUK PING
CHRISTOPHER DOYLE
PEER RABEN
JET TONE FILMS
KWAN LEE NA
WONG BO CHUEN
BOWER NG YUK HO
Cast
Miss Hua
Zhang
Master Jin
Hua’s Servant, Ying
Hua’s lover, Zhao
Tailors
Hotel Concierge
With Special Thanks to
GONG LI
CHANG CHEN
TIN FUNG
AUNTIE LUK
ZHOU JIANJUN
SHEUNG WING TONG
WONG KIM TAK
TING SIU MAN
YIM LAI FU
SHIH CHENG YOU
SIU WING KONG
LEE KAR FAI
UN CHI KEONG
CARINA LAU KA LING
In Mandarin with English subtitles
Filmed in Hong Kong and Macau
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EROS
THE HAND
Director’s Statement
For me the experience of shooting THE HAND was a very intense and intimate one.
We began to work on the project in 2003, during the SARS epidemic. The original plan was to shoot in
Shanghai. Owing to the epidemic, it had to be revoked. Because of travel restriction, we could only shoot
in Hong Kong and Macau. We shot with a very basic crew as many had decided to leave the inflicted
area.
We tried to shoot as fast as we could. The last two days of shooting were done in a continuous 48-hour
shift. Each day, we went through our daily ritual of cleansing our hands and putting on masks. Upon the
advice of health authorities, we tried to avoid any physical contact with one another. This situation
inspired me to make a film about the act of “touch”.
What motivated me to do this film was Michelangelo Antonioni - who had been the guiding light for me
as well as filmmakers of my generation. I am deeply honored to have participated in this project. And, I
must also thank Ms. Gong Li, Mr. Chang Chen and the rest of the cast and crew for their unrelenting and
generous support for the film.
Wong Kar Wai
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Synopsis
It’s 1963, a hot summer afternoon. Zhang (Chang Chen), the tailor’s apprentice, is very nervous. It’s the
first time he’s ever been asked to fit a customer by himself. And the client is one of Master Jin’s most
important and demanding—Miss Hua (Gong Li), a famous courtesan.
Taking his seat in Miss Hua’s sumptuous apartment, he is embarrassed to overhear the murmurs of
lovemaking. As the sounds subside and the man departs, Zhang is summoned to Hua’s room.
Zhang can’t help himself—he has become aroused from what he has heard. Mortified, he stands in the
back of her bedroom holding his hands in front of him. Stunningly beautiful as she lounges in her lace
nightdress, Hua tells him, “Stand still…put your hands down.” Zhang obliges her.
“Take your pants off,” says Miss Hua. “Or I’ll tell your Master.” Zhang does as he is told. Miss Hua
takes his hand. Zhang is breathless, nearly ready to faint. “Never touched a woman before, have you?
Then how can you be a tailor? You’ll be touching many women.”
Miss Hua puts her hand between Zhang’s legs and begins stroking his thighs. “Now listen: your Master is
getting old. He said you have talents. One day you’ll become my tailor. Remember this feeling and
you’ll make me beautiful clothes.”
Miss Hua starts to move her hand. Zhang is torn between his excitement and his shame. And then, as
suddenly as it has begun, it is over.
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Zhang had many occasions to see Hua in the following years, but she does not mention their initial
encounter, or even display any interest in him. Many times he brings over dresses and is made to wait
while she goes about her business. But he remains fascinated. Every time he works on a dress, he feels
the caress of her hand.
As Zhang’s skills and reputation as a tailor grow, Hua’s career takes a downward turn. She goes through
men faster than dresses. Often she tries to deceive and exploit her lovers, but ends up doing the most
damage to herself. She is wasting her life and Zhang can only watch helplessly from the sidelines.
Eventually, she falls behind in her accounts and old Jin sends Zhang to collect. The apartment is the
same, but the atmosphere has completely changed. Hua enters, carrying a stack of dresses and tells Zhang
to sell them. “I can’t take them all with me,” she says. “Are you going somewhere?” asks Zhang. Hua
turns her head sadly. “You’ve made me so many dresses and I’ve never thanked you properly. I know
you like to drink.” As they clink glasses, Zhang can barely look at her, knowing her decline. And when
Zhang checks by her apartment sometime later, Hua is no longer there.
Several years go by. Once again Zhang is called to see Hua, but now she is staying in a seedy, rundown
hotel. Zhang is sad to see what hardship has done to Hua, but he is careful to say that she looks the same.
When she finds out that he still hasn’t found a wife, she asks, “What about me? You don’t think I’m not
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good enough, do you?” Zhang readily accepts, but it is soon clear that her offer isn’t serious. She has
summoned Zhang to make a dress to prepare her for a meeting with an old lover from America. It will be
her very last chance. Zhang says it won’t be necessary to take measurements—he knows her body so
well, he can do it with his hands. As his fingers move slowly down her slender frame, she grasps his
hands in hers in hers and cries.
Zhang works hard on the alterations. It’s his first chance to do something that may change the course of
Hua’s life—maybe even rescue her from ruin. Unfortunately, when he returns to her hotel with the dress,
he discovers that she is now working as a common streetwalker and has gotten ill. Desperate to help her,
he pays her rent.
The next time Zhang sees Hua she is lying in bed, deathly ill. He shows her the dress. “You shouldn’t
have come,” she says. “It’s contagious.” She tells him that he has made the dress in vain—her patron has
left and she is too sick to even try it on.
“Do you remember how we met?” she asks. Zhang nods. “And do you remember my hand? You must
have hated me that day.”
“No, I didn’t,” says Zhang. “I want to thank you. If it hadn’t been for your hand I wouldn’t have become
a tailor.”
“Come closer,” says Hua. “You’ve always been so good to me and I’ve never repaid you. I’m afraid I
won’t have the chance. I’ve lost everything. I used to have this body, but it’s no good anymore. All
that’s left is this pair of hands. You don’t mind, do you?”
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About the Filmmakers
WONG KAR WAI is acknowledged as one of the most exciting and influential directors in
contemporary world cinema. His concerns are typically suppressed desire, isolation, memory, and the
loneliness of urban landscapes; his style is dense, moody and lushly atmospheric.
Wong belongs to the mid-1980s Second New Wave of Hong Kong filmmakers, which also includes
directors Eddie Fong, Stanley Kwan and Clara Law. The Second Wave, is often seen as a continuation of
the First, as many of these directors worked as assistants to First Wave directors such as Tsui Hark, Ann
Hui and Patrick Tam (with whom Wong collaborated)
Born in 1958 in Shanghai, Wong moved to Hong Kong with his parents when he was five years old. He
became a scriptwriter for TV and later for films in the 1980’s, including “The Final Victory” (1987),
which was directed by Patrick Tam.
Wong Kar Wai's directorial debut was “As Tears Go By” (1988). The film, which established Wong's
strong visual style, introduced him to the world film community as an up-and-coming talent at the 1989
Cannes International Film Festival.
Wong gathered together Hong Kong's most popular young stars (including Tony Leung Chiu Wai and
Maggie Cheung) for his next project, “Days of Being Wild” (1991). The film, set in a vividly imagined
1960, won five Hong Kong Film Awards, including Best Film, Best Director, and Best Actor (Leslie
Cheung).
In 1992, he convened another all-star cast of Hong Kong actors to make a period martial-arts drama, one
which deliberately went against all the codes of the genre, in remote regions of China. The shoot for
“Ashes of Time” lasted nearly two years. The film world-premiered at the 1994 Venice Film Festival,
where it won the Award for Best Cinematography for Christopher Doyle.
During a break in the post-production of “Ashes of Time,” Wong made “Chungking Express” (1994), an
up-to-the-minute comedy of longing and romance. Tony Leung Chiu Wai, Faye Wong and Brigitte Lin
starred in the film, which became a cult hit in many countries.
“Fallen Angels,” based on an idea for a sketch that was written for “Chungking Express” but dropped at
the last minute, premiered at the 1995 Toronto Film Festival to widespread critical acclaim.
“Happy Together,” about two Chinese gay men exiled in Argentina during the hand-over of Hong Kong
to China, was filmed on location (with pick-up shots done in Taipei). The film world-premiered at the
1997 Cannes International Film Festival, where Wong was awarded the Best Director prize. The film,
which starred Tony Leung Chiu Wai and Leslie Cheung, also featured Chang Chen, star of “The Hand.”
“In the Mood for Love,” reuniting Wong with Tony Leung Chiu Wai and Maggie Cheung, was filmed in
Hong Kong, Thailand, and at Angkor Wat (in Cambodia). At the 2000 Cannes International Film Festival,
the film received awards for Best Actor (Tony Leung Chiu Wai) and its three cinematographers. It also
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won prizes for Best Foreign Film and Best Cinematography (Christopher Doyle and Pin Bing Lee) from
the New York Film Critics Circle the following year.
Wong next shot the short film, “The Follow,” starring Clive Owen and Mickey Rourke, for the BMW
series “The Hire.” The series also includes shorts by John Woo, Ang Lee, Tony Scott and Alejandro
González Iñárritu. He also directed a video for DJ Shadow called “Six Days,” which featured Chang
Chen.
Upcoming for Wong Kar Wai is “2046,” which was shot in various Asian countries with an international
cast, including Tony Leung Chiu Wai, Gong Li, Faye Wong, Takuya Kimura, Zhang Ziyi, Carina Lau Ka
Ling, Chang Chen, Thongchai McIntyre and Dong Jie, with a special appearance of Maggie Cheung.
CHAN YE CHENG (executive producer) has served as executive producer of all Wong Kar Wai’s films
since “Chungking Express.”
JACKY PANG YEE WAH (producer) has worked as co- producer of all Wong Kar Wai’s films since
“Chungking Express”. She also has co-produced Jeff Lau’s “Chinese Odyssey” and Joe Ma’s “Sound of
Colors” with Wong Kar Wai.
WILLIAM CHANG SUK PING (production designer/costumes/editor) has served as production
designer on all of his friend Wong Kar Wai’s movies. In 1994 with “Chungking Express,” he also began
editing Wong’s movies.
Born in Shanghai and raised in Hong Kong, Chang is one of the most influential production designers in
Hong Kong, with credits on numerous films, videos and advertising campaigns. His other films include
Tsui Hark’s “Zu: Warriors from the Magic Mountain,” “The Blade” and “Butterfly Lovers,” and Stanley
Kwan’s “Women,” The Island Tales” and “Lan Yu.” He was costume designer on Chen Kaige’s
“Temptress Moon” and editor on “Zhou Yu’s Train.”
Chang shared the Grand Prize at Cannes in 2000 for his work on “In the Mood for Love.” He has received
thirty-three Hong Kong Film Awards nominations has won ten—five for art direction, four for costumes,
and one for editing.
Born in Sydney, Australia, CHRISTOPHER DOYLE (director of photography) has photographed all
but the first of Wong Kar Wai’s feature films, including “Days of Being Wild,” “Ashes of Time,”
“Chungking Express,” “Fallen Angels,” “Happy Together,” “In the Mood for Love” and “2046.”
He has received numerous accolades and awards for his work, including a Grand Prize at Cannes (shared)
and Best Cinematography from the New York Film Critics and the National Society of Film Critics for
“In the Mood for Love” and a Golden Osella at Venice in 1994 for “Ashes of Time.” He has been
nominated eleven times for Hong Kong Film Awards and has won five times.
A former sailor who speaks Mandarin and French, Doyle began working as a cinematographer in the
1980’s in Hong Kong, France and Taiwan before teaming up with Wong Kar Wai. His other films
include Zhang Yimou’s “Hero,” Phillip Noyce’s “The Quiet American” and “Rabbit-Proof Fence,” John
Favreau’s “Made,” Barry Levinson’s “Liberty Heights,” Gus Van Sant’s “Psycho,” Chen Kaige’s
“Temptress Moon,” and Edward Yang’s “That Day at the Beach.”
Doyle made his directorial debut in 1999 with “Away with Words,” which he co-wrote with critic Tony
Rayns. In 2000, he was the subject of Rick Farquharson’s documentary “Orientations: Chris Doyle—
Stirred But Not Shaken.”
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PEER RABEN (music) is best known for his long collaboration with the late German director Rainer
Werner Fassbinder. Starting with Fassbinder’s debut, “Love is Colder Than Death” in 1969, Raben
composed the scores for such films as” “The American Soldier,” “Beware of a Holy Whore,” “Fox and
His Friends,” “Mother Küsters Goes to Heaven,” “Satan’s Brew,” “Chinese Roulette,” “Despair,” “In a
Year of 13 Moons,” “The Marriage of Maria Braun,” “Lili Marleen,” “Lola,” “Veronika Voss,”
“Querelle,” and many others. Raben also produced and acted in many of the early Fassbinder films and
directed the film “The Blonde with the Sharp Curves,” and the TV movie “Adele Spitzeder.”
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About the Cast
GONG LI's (Miss Hua) remarkable talent and beauty has propelled her to success beyond her homeland,
making her an internationally renowned star and the leading face of Chinese cinema.
Born in the northeastern province of Liaoning, Gong Li enrolled in the acting department of the
prestigious Beijing Film Academy in 1985. A year before her graduation in 1989, she was offered the lead
role in Zhang Yimou's landmark film, “Red Sorghum,” which went on to win the Golden Bear at the 1989
Berlin Film Festival.
Following her breakthrough role in “Red Sorghum,” Gong Li built an international reputation through her
remarkable performances in subsequent films directed by Zhang Yimou, including “Operation Cougar,”
“Ju Dou,” “Raise the Red Lantern,” “The Story of Qiu Ju,” “To Live,” and “Shanghai Triad.”
Her other films include Li Han-hsiang's “The Empress Dowager,” Ching Siu-tung's “A Terracotta
Warrior,” Sylvia Chang's “Mary From Beijing,” Huang Shujin's “Painted Soul,” and Wayne Wang's
“Chinese Box,” opposite Jeremy Irons. She teamed three times with Chen Kaige, on “Farewell My
Concubine,” “Temptress Moon” and “The Emperor and the Assassin,” and most recently, she has made
two films with Zhou Sun: “Breaking the Silence” and “Zhou Yu’s Train.”
Gong Li has been the recipient of numerous awards throughout her career. In 1992, she received the
Silver Lion at the Venice Film Festival for her performance in “The Story of Qiu Ju,” and she was voted
best supporting actress by the New York Film Critics Circle in 1993 for her role in “Farewell My
Concubine.” In 1997, she served as a juror at the Cannes Film Festival, and has since been headed juries
at Berlin, Venice and Tokyo. Included in People Magazine’s “50 Most Beautiful People” in 1992, Gong
Li has served as a beauty ambassador for L’Oreal cosmetics. In 1998, the French government awarded
her “Officer des Arts et Lettres” for contributions to cinema.
CHANG CHEN (Zhang) is best known in this country for his role as Lo, the desert bandit in Ang Lee’s
“Crouching Tiger, Hidden Dragon.” He previously teamed up with Wong Kar Wai in “Happy Together”
and in a video Wong directed for DJ Shadow called “Six Days.” Chang also stars in Wong’s upcoming
“2046.”
Chang was born in Taipei, the son of actor Guozhu Zhang. He made his film debut at fourteen in the
leading role of “A Brighter Summer Day,” directed by Edward Yang (“Yi Yi”). His other films include
Edward Yang's “Mahjong,” opposite Virginie Ledoyen, “Flyin’ Dance,” “Betelnut Beauty,” and “Chinese
Odyssey 2002,” which was produced by Wong Kar Wai and directed by Jeffrey Lau.
Chang has been nominated twice for Hong Kong Film Awards, for “Happy Together” and “Crouching
Tiger, Hidden Dragon.”
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EQUILIBRIUM
Filmmakers
Written & Directed by
Producer/1st Assistant Director
Director of Photography
Production Designer
Costume Designer
Editor
Casting
Hair
Make-Up
Sound
STEVEN SODERBERGH
GREGORY JACOBS
PETER ANDREWS
PHIL MESSINA
MILENA CANONERO
MARY ANN BERNARD
DEBRA ZANE
WALDO SANCHEZ
JULIE HEWETT
PAUL LEDFORD
Cast
Nick Penrose
Dr. Pearl
Woman
ROBERT DOWNEY, JR.
ALAN ARKIN
ELE KEATS
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Director’s Statement
I wanted my name on a poster with Michelangelo Antonioni.
—Steven Soderbergh
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Synopsis
New York, 1955. Nick Penrose (Robert Downey, Jr.) is having his first session with psychiatrist Dr.
Pearl (Alan Arkin). Two things seem to agitate him—pressure in his advertising agency job and a
recurring dream.
“Two weeks ago yesterday,” says Penrose. “That was the day I lost my equilibrium.” It was the day after
he was told that his agency would be bidding the Samson account—and the day that Hal, the head copy
man, turned up in a ridiculous toupee. Not only did they have to come up with a new concept for the
Samson alarm clock—they had to find a way to do it without commenting about Hal’s rug.
His dream began exactly the same day. It involves a Woman (Ele Keats), though “it’s not a sex
dream…exactly,” says Penrose. In the dream Penrose knows the Woman, but he can’t recall who she is
when he wakes up. His attempts to remember have disturbed his wife Cecelia—and even provoked tears.
He is desperate that his wife will leave him if he can’t figure out who the dream woman is.
Dr. Pearl suggests that Penrose lie down on the couch, a technique that has worked well with his other
clients. Penrose climbs on the couch, shuts his eyes and starts to recall his dream. As he does so, the
doctor pulls out a pair of tiny binoculars that he has stashed in an ashtray. Dr. Pearl turns peers out the
window.
Penrose says that his dream begins just after he has had sex with the Woman. She gets up and goes to the
bathroom—and Penrose watches her.
The doctor walks across the room behind Penrose and searches through some drawers until he finds what
he is looking for—a larger set of binoculars.
In his dream, Penrose is excited thinking about the Woman in the bathtub, taking off her make-up, putting
up her hair…and then a telephone rings. The woman pays no attention to the phone.
Dr. Pearl crosses the room, raises the blinds on the window and looks out with the big binoculars. “Are
you worried about being discovered?,” he asks, pulling his chair right up to the window. Penrose says
that, in his dream, he doesn’t feel any guilt at all. Caught up in the memory, he relates how he watches
the Woman bathe and fix herself up for the day. Then she picks up her purse, sits down on the bed next to
him, kisses him and leaves. The phone rings and Penrose wakes up. Should I stop?” asks Penrose.
Dr. Pearl, perhaps a bit too stridently, urges Penrose to go back into his dream. Pearl is obviously
transfixed by what he sees out the window. As Penrose once again relates his dream, Pearl takes the
paper with his patient’s file on Penrose and folds it into a paper airplane. He opens the window.
Pearl asks Penrose to visualize the woman’s purse and walk to it. Penrose is unable to, and this breaks the
spell of his reverie. He opens his eyes and is about to get up—
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“Don’t!” Dr. Pearl calls out, paper airplane in hand. “You’re in a very vulnerable state. It is crucial that
you not feel judged at this moment.”
Penrose leans back down. Dr. Pearl asks Penrose about his favorite part of the dream. “When she’s
standing in the door while the phone rings,” says Penrose. “It’s like she’s keeping the world away for a
moment.”
“The phone is an interruption from the outside world,” says Dr. Pearl. “Like an alarm clock…In the
dream she doesn’t answer the phone. She savors the moment...”
He throws the airplane out the window and waves.
Dr. Pearl leads Penrose through his morning routine. The alarm clock rings. Penrose would like to go
back to sleep, but if doesn’t, he’ll be late for work…
Meanwhile, Pearl’s gestures out the window grow more intense. He has caught someone’s attention!
When Penrose wakes up, he just wants a few more minutes of sleep, but it’s too much work to reset the
alarm. It would be nice would be to have a device that would turn the alarm off for a few minutes—and
then go off again.
Dr. Pearl acts out movements for “dinner,” “dancing,” etc.
“The Snooze Alarm,” says Penrose. “Wouldn’t you want one of those?” .
Pearl admits he would. He closes the window and moves his chair back.
Penrose rises and faces Dr. Pearl. He tells the doctor that he feels better. “There’s no need to thank me,”
says Pearl. “Days like this make me feel incredibly fortunate.”
However, Penrose suddenly feels very tired. Pearl suggests that he lie down the couch, while he does
some writing. As the psychiatrist slips out the door, Penrose falls into a dream….
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About the Filmmakers
Since his bold debut on the international film scene in 1989 with “sex, lies, and videotape,” STEVEN
SODERBERGH has continued to be one of the world’s most celebrated directors, balancing high-level
Hollywood success with bold, experimental work.
To date, Soderbergh is the only director to have two films—“Traffic” and “Erin Brockovich” —
nominated for Best Picture and Best Director in the same year (2000). His Academy Award for Best
Director of “Traffic” marks the first time since the 1928/29 Awards that a director has successfully
competed against himself.
“Traffic” also received Oscars for Editing, Supporting Actor (Benicio del Toro) and Adapted Screenplay.
Julia Roberts received the Best Actress Academy Award for the title role in “Erin Brockovich,” and the
film also received nominations for Best Supporting Actor (Albert Finney), Best Original Screenplay and
Best Picture.
Born in Atlanta, Georgia, Steven Soderbergh grew up in Baton Rouge, Louisiana, where he began making
short films as a teenager. After studying film at Louisiana State University, he moved to Los Angeles
where he worked as an editor and wrote screenplays. In 1986, he made a full-length concert film “Yes:
9012 Live,” for which he received a Grammy nomination.
Soderbergh’s first feature as a writer/director, “sex, lies, and videotape” (1989) created a sensation at its
debut at the Sundance Film Festival and went on to win the Palme d’Or at Cannes, and become a huge
critical and popular success upon its release. It also won the Independent Spirit Award for Best Director
and an Academy Award nomination for Best Original Screenplay, among other prizes.
He followed with “Kafka” (1991), the depression era drama “King of the Hill” (1993), the modern film
noir “The Underneath” (1995), the Spalding Gray documentary “Gray’s Anatomy” (1996) and the
experimental satire “Schizopolis” (1996).
“Out of Sight” (1998), an Elmore Leonard adaptation starring George Clooney and Jennifer Lopez,
became one of Soderbergh’s biggest successes. It was followed by another acclaimed film, “The Limey”
(1999), starring Terence Stamp.
After “Traffic” and “Erin Brockovich,” Soderbergh directed the retelling of “Ocean’s Eleven” (2001), the
fabled 1960’s Rat Pack film starring George Clooney, Matt Damon, Andy Garcia, Brad Pitt, Julia
Roberts, Don Cheadle and Bernie Mac. Switching gears, Soderbergh made a low-budget comedy on
digital video, “Full Frontal” (2002), which starred David Duchovny, Nicky Katt, Catherine Keener, Mary
McCormack, David Hyde Pierce, Julia Roberts and Blair Underwood. He then made “Solaris” (2002), a
new adapation of the classic science fiction novel by Stanislaw Lem, which starred George Clooney,
Natascha McElhone and Jeremy Davies. Soderbergh reassembled the original cast for the release of
“Ocean’s Twelve” (2004).
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In addition to his credits as a director, Soderbergh served as producer on Greg Mottola’s “The
Daytrippers” (1997) and on Gary Ross’ “Pleasantville” (1998). He also was executive producer on David
Siegel and Scot McGehee’s “Suture” (1994), Godfrey Reggio’s “Naqoyqatsi” (2002), and Graham
Robertson’s “Able Edwards” (2004).
In 2000, Soderbergh and George Clooney formed Section Eight, a film production company based at
Warner Bros. dedicated to helping worthy filmmakers realize their vision. Section Eight has since
produced or executive produced such films as Anthony and Joe Russo’s “Welcome to Collinwood,”
George Clooney’s “Confessions of a Dangerous Mind,” Christopher Nolan’s “Insomnia,” “Todd Haynes’
“Far From Heaven,” “Gregory Jacobs’ “Criminal” and John Maybury’s “The Jacket.” Among the
upcoming Section Eight projects are “David Gordon Green’s “A Confederacy of Dunces,” and Richard
Linklater’s “A Scanner Darkly.”
Recently, Section 8 produced and Soderbergh directed the highly praised HBO series
“K Street,” which blended Washington insiders like James Carville and Mary Matalin with its semifictional story.
His next project as director is “Ché” starring Benicio del Toro.
Producer/1st Assistant Director GREGORY JACOBS began his association with Steven Soderbergh in
1992, when he was hired as the first assistant director on “King of the Hill.”
Since that time he has served as Soderbergh’s first assistant director on eight additional films, including
“Solaris” (which he executive produced), “Full Frontal” (which he produced), “Oceans Eleven,”
“Traffic,” “Erin Brockovich,” “The Limey,” “Out of Sight,” and “The Underneath.”
A native of New Jersey, Jacobs attended NYU Film School. His first job in the film industry was as a
production assistant on John Sayles’ films “Matewan” and “Eight Men Out.” He became a second
assistant director in 1989 on Joel and Ethan Coen’s film “Miller’s Crossing,” then was reunited with
Sayles on “City of Hope” which he followed with Jodie Foster’s “Little Man Tate.”
Jacobs became a first assistant director in 1991, working for such notable filmmakers as Roland Joffe on
“Goodbye Lover” and John Schlesinger on “Eye for an Eye.” Among his other credits as a first assistant
director are Hal Hartley’s “Simple Men” and “Amateur,” Philip Haas’ “The Music of Chance,” and
Richard Linklater’s “Before Sunrise” (also associate producer) and “The Newton Boys.”
Jacobs made his writing and directing debut with “Criminal,” based on the Argentinian film “Nine
Queens,” and starring John C. Reilly, Diego Luna and Maggie Gyllenhaal.
PHILIP MESSINA (production designer) previously teamed with Steven Soderbergh on “Traffic,” “Erin
Brockovich,” “Oceans Eleven” (for which he received a nomination from the Art Directors Guild), and
“Solaris.” He first worked with Soderbergh on “Out of Sight,” for which Messina served as art director.
A native of Lawrence, Massachusetts, Messina began his career as a set designer on “Mermaids,” “School
Ties,” and “Housesitter,” which were filmed in the Boston area. Following a move to Los Angeles, he
worked as art director on “Hard Target,” “The Neon Bible,” “Reckless,” “The Associate,” “Zero Effect”
and “The Sixth Sense.” He also designed the sets for the the TV series “Freaks and Geeks.”
Messina was also production designer on Curtis Hanson’s acclaimed “8 Mile” and Gregory Jacobs’
“Criminal.”
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MILENA CANONERO (costumes) first worked with Steven Soderbergh when she designed the
costumes for “Solaris.” She most recently teamed with him on “Oceans Twelve.”
Canonero has won two Academy Awards for her costumes for “Chariots of Fire” and “Barry Lyndon,”
the latter shared with Ulla-Britt Söderlund. She has received five additional Oscar nominations, for “Out
of Africa,” “Tucker: The Man and his Dream,” “Dick Tracy,” “Titus” and “The Affair of the Necklace.”
Her numerous film credits include Wes Anderson’s “The Life Aquatic,” “Bulworth,” “Death and the
Maiden,” “Only You,” “Love Affair,” “Damage,” “Single White Female” (also production designer),
“The Godfather: Part III,” “Barfly,” “The Hunger,” “The Shining” and “A Clockwork Orange.”
A native of Turin, Italy, Canonero studied costume design and art history in Paris and London. She has
also designed costumes for operas at the Vienna Opera House, the Espoleto Festival and the Metropolitan
Opera House and has worked in theatre for the Teatro di Roma.
In 2001, the Costume Designers Guild honored Canonero with its Career Achievement Award.
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EQUILIBRIUM
About the Cast
ALAN ARKIN (Dr. Pearl) has long been recognized as an actor of great talent and versatility on stage,
screen and television.
Born in New York, Arkin studied at Los Angeles City College and first entered show business as a
member of the folk group The Tarriers. Arkin attracted more attention as a founding member of
Chicago’s improvisational revue, “Second City.” This led to his first part on Broadway, the lead in Carl
Reiner’s play “Erter Laughing” in 1963, for which he became an overnight success and won a Tony
Award. He later appeared o Murray Schisgal’s hit “Luv” and began directing, including the offBroadway production of “Little Murders,” as well as the 1971 screen version.
Arkin’s first feature, “The Russians Are Coming, The Russians Are Coming,” earned him a Golden Globe
for Best Actor as well as an Oscar nomination. He received a second Oscar nomination, and the New
York Film Critics’ Award for his touching performance as a deaf-mute in “The Heart is a Lonely Hunter
(1968). A second New York Critics’ Award came for his role in “Hearts of the West.”
His other films include “Catch 22,” “Joshua: Then and Now,” “The In-Laws,” “Edward Scissorhands,”
“Havana,” “Glengarry Glen Ross,” “Four Days in September,” “Mother Night,” “Slums of Beverly Hills,”
“Gattaca,” “Jakob the Liar,” “Grosse Pointe Blank,” “America’s Sweethearts,” and “Thirteen
Conversations About One Thing.” He has written and directed two short films, “T.G.I.F.” and “People
Soup.” The first opened the New York Film Festival and the latter received an Oscar nomination for Best
Short Subject.
For the past two years, Arkin starred in the acclaimed TV series “100 Centre Street,” written and directed
by Sidney Lumet. Other TV appearances include his Emmy-nominated performances in “Escape From
Sobibor” and as a guest star—as the father of his real-life son Adam—on “Chicago Hope.” He was also
seen recently on “The Pentagon Papers” and HBO’s “And Starring Pancho Villa as Himself.”
Arkin directed the television adaptation of the Broadway play “Twigs,” with Carol Burnett, and “The
“Visitor,” with Jeff Daniels, Swoosie Kurtz and Julie Haggerty, which won multiple international awards.
When not acting or directing, Arking devotes much of his time to music or writing. He has written six
books, the latest a children’s book entitled Cassie Loves Beethoven. An earlier work, The Lemming
Condition, has sold steadily for twenty years, and was honored by The Book Sellers of America by being
put in the White House Library.
ROBERT DOWNEY, JR.’s (Nick Penrose) versatility has come to the fore in a number of memorable
and disparate roles. He received an Academy Award nomination and won the British Academy Award
for Best Actor for his performance in the title role of Richard Attenborough’s “Chaplin” (1992).
The son of American independent filmmaker Robert Downey, Sr. (“Putney Swope”), Downey made his
film debut at the age of five playing a puppy in his father’s “Pound.” After appearances in films like
“Baby, It’s You,” “Firstborn,” and “Weird Science,” Robert joined the cast of “Saturday Night Live” for
one year in 1985. The following year he starred with Rodney Dangerfield in “Back to School and in 1987
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he was cast in the title role of James Toback’s “The Pick-up Artist.” His reputation grew with his
performance as a drug addict in “Less Than Zero,” based on Bret Easton Ellis’ novel.
During the late 80’s and early 90’s, Downey made a variety of films, teaming with many of Hollywood’s
leading actors:“True Believer” (James Woods), “Air America” (Mel Gibson) and “Soapdish” (Kevin
Kline), leading to his astounding performance in “Chaplin.” He joined the ensemble cast of Robert
Altman’s “Short Cuts” in 1993 and played a tabloid TV journalist in Oliver Stone’s “Natural Born
Killers.”
In 1995, Downey appeared in Jodie Foster’s “Home for the Holidays,” plus a filmed version of
Shakespeare’s “Richard III,” and the period film “Restoration,” with Hugh Grant and Meg Ryan.
Subsequent films included Mike Figgis’ “One Night Stand,” James Toback’s “Two Girls and a Guy,”
Robert Downey, Sr.’s “Hugo Pool,” and Robert Altman’s “The Gingerbread Man,” starring Kenneth
Branagh and Daryl Hannah. In 1999, he had a notorious scene with Mike Tyson in James Toback’s
controversial “Black and White” and in starred in Neil Jordan’s “In Dreams.”
He made his primetime TV debut joining the cast of the hit series “Ally McBeal,” in the role of attorney
Larry Paul. For this role, he won a Golden Globe, as well as an Emmy nomination.
In 2001, Downey costarred with Michael Douglas in Curtis Hanson’s “Wonder Boys” and starred with
Steve Martin and Eddie Murphy in the hit comedy “Bowfinger.”
Recently, Downey was seen in the title role of “The Singing Detective,” the remake of the BBC musical
drama, and the supernatural thriller “Gothika,” starring Halle Berry.
He recently completed filming “Kiss, Kiss, Bang, Bang” for writer/director Shane Black, is shooting
“Good Night. And Good Luck.”, directed by George Clooney, and has been cast opposite Nicole Kidman
in “Fur.”
ELE KEATS (Woman) was born in Paris and raised in Germany, Manhattan and Woodstock, New York.
She moved to Los Angeles when she was twelve and launched her acting career at fifteen with a Michael
Jackson Pepsi commercial. More work followed, including the television pilot for “The Outsider,”
produced by Francis Coppola and Fred Roos. She made her feature film debut in “There Goes My Baby,”
costarring Noah Wyle and Dermot Mulroney.
A trained singer and dancer, Keats has since appeared in over two dozen film and TV shows. Featured
roles include Garry Marshall’s “Frankie and Johnny,” “Newsies,” and the telefilm, “White Dwarf,” again
produced by Coppola. She has also guest-starred on numerous episodic TV shows including “C.S.I.” and
“Touched by an Angel.”
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THE DANGEROUS THREAD OF THINGS
Filmmakers
Directed by
Written by
Based on stories by
Producers
Executive Producer
Associate Producer
Line Producers
Director of Photography
Editor
Music
MICHELANGELO ANTONIONI
TONINO GUERRA
MICHELANGELO ANTONIONI
STEPHANE TCHAL GADJIEFF (Solaris)
RAPHAEL BERDUGO (Roissy Films)
JACQUES BAR (Cité Films)
DOMENICO PROCACCI (Fandango)
DANIELLE ROSENCRANZ
GUY AZIZA
MARC-ANTONIO BORGHESE
VALERIE LICURGO
MARCO PONTECORVO
CLAUDIO di MAURO
ENRICA ANTONIONI
VINICIO MILANI
Cast
Christopher
Cloe
The Girl / Linda
CHRISTOPHER BUCHHOLZ
REGINA NEMNI
LUISA RANIERI
In English and Italian with English subtitles
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THE DANGEROUS THREAD OF THINGS
Antonioni wonders: is a film born first in response to an intimate need of its author or are the images
destined to have a value – ontologically – for what they are?
I think that in this reflection resides the meaning – or better the presumptions of meaning that
Michelangelo Antonioni is searching for – of The Dangerous Thread of Things, A summer’s-end, intense
colors, a couple in crisis, the other woman. The sense of loneliness, the loss of affection, intimate
emptiness: the dangerous thread of things.
Rather than a story, Antonioni’s film is a mental adventure, where there is no use in looking for an actual
story, just rather let oneself be carried by the settings, the suggestions, the provocations, the sensations
which are beneath everything. And at the center of it all, there is always the woman, that universe of a
thousand refractions that Michelangelo Antonioni has explored in his entire work.
-- Carlo di Carlo
Curator of Michelangelo Antonioni’s museum in
Ferrara (Italy) and cinema historian
Making “Eros” was like opening so many windows onto places still unknown to us. It was like following
Michelangelo along that dangerous thread of things that only he has in his mind, and which are revealed
to us along a path that is as long as our lives.
It was very exciting to work with all those people who made this film.
Thanks for having given Michelangelo many days of life.
-- Enrica Antonioni
Executive Consultant
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THE DANGEROUS THREAD OF THINGS
Synopsis
Christopher (Christopher Buchholz), a fortyish American man and his Italian wife Cloe (Regina Nemni),
have come to an impasse in their relationship. They barely notice the magnificent ruins and landscapes of
Italy—let alone each other. Even though Cloe is sunbathing topless, he doesn’t glance at her body. “Why
don’t you admit that it’s over, so it will be clear once and for all and we’ll know what to do?” Cloe asks.
They get into Christopher’s sports car and drive off.
They stop at a beautiful canyon, where two young girls are singing as they bathe naked in a waterfall.
“It’s strange that we’ve never noticed such a magical place,” says Christopher.
At a restaurant, Christopher notices a pretty young Girl (Luisa Ranieri). “That’s the girl that lives in the
Tower,” says Cloe. They sit silently for a few moments, nothing to say. Their quiet is in stark contrast to
the boisterousness of the next table, where a large party dines merrily. Cloe drops her glass on the wood
floor—it bounces, but doesn’t shatter.
Cloe and Christopher walk down a forest path, framed by a long row of short trees bent over, which leads
them to an abandoned mooring. “I’ve always loved this place, but with you here it oppresses me,” says
Cloe. Soon the couple is fighting bitterly. Cloe storms off.
Christopher drives up to the Tower where the Girl he had seen in the restaurant lives. It is an austere, but
spectacular stone structure, next to a body of water. He knocks on the front door, but no one answers.
The Girl ambles up the beach and invites Christopher to come in. “I hope you don’t mind the chaos.”
The interior is laden with modern art and furniture. The Girl leads Christopher upstairs to the roof terrace,
where there are staggering views in all directions. “I’m cold,” she says, and leaves him. Christopher
stays for a few moments, deeply affected by what he sees.
Meanwhile, the Girl has gone to her bedroom and taken off her clothes. When Christopher enters, he
asks, “What would happen if I laid down too?” “I’d tell you my name,” she answers. They make love.
In the morning, Christopher gets dressed and prepares to go. “My name is Linda,”she says. He leaves
without telling her his name.
It is now late autumn. Cloe sits in a SUV in a wooded area near a beach. Horses run gambol freely in the
field in front of her. Her cel phone rings—it’s Christopher, calling from Paris, where it’s already
snowing. “I wish it would snow here too,” says Cloe. Christopher thinks her words mean that she wants
him to be there with her. “My love doesn’t end,” she says. “It’s just your attitude.” With the phone and
distance separating them, the two are somehow able to talk about their troubles in a more calm and
accepting way than before. Still, Christopher makes no commitment to return to Cloe.
Linda drives up in a truck and walks to the deserted beach. As she approaches the water, she dances
along its edge, swinging her coat over her head. Picking up a driftwood stick, she traces curving patterns
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in the sand. Soon she has stripped off all her clothes, and is twirling happily on the beach, and dancing
into the water itself. After a time, she stops and lies on her back on the beach.
Cloe is walking on the same beach. Like Linda, she takes off her clothes and dances into the sea. She
moves with the boldness and grace of a trained dancer. Eventually she encounters Linda sleeping on the
beach. Cloe moves forward, until her shadow casts over Linda’s nude form. Linda opens her eyes and
smiles…
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THE DANGEROUS THREAD OF THINGS
About the filmmakers
MICHELANGELO ANTONIONI has been universally recognized as one of the great masters of
cinema, celebrated for such classic films as “L’Avventura,” “La Notte,” “Eclipse,” “The Red Desert,”
“Blowup,” and “The Passenger.” His contribution was to bring the language of modern art to narrative
films--to communicate the alienation, fragmentation and confusion of the contemporary world through his
visionary images.
Antonioni was born in the northern Italian city of Ferrara in 1912. As an undergraduate at the University
of Bologna, he wrote for the theater and film criticism for the magazine Cinema. He later attended film
school at the Centro Sperimentale. Antonioni began his work in film as a screenwriter and assistant
director in the early 1940's, and in the later half of that decade, he made six short documentaries. When
Antonioni was 38 years old, he directed his first fiction feature, “Cronaca di un amore” (“Story of a Love
Affair,” 1950), and then made four other films in the mid-1950's, including “Le amiche” (“The Girl
Friends,” 1955) and “Il grido” (“The Outcry,” 1957).
Antonioni burst into international prominence with the 1960 Cannes Film Festival premiere of
“L'Avventura” (“The Adventure”). While the film was repeatedly booed at the screening due to its slow
pace, it was given a Special Jury Award for “a new movie language and the beauty of its images.” It
didn’t take long for the quality of the the film to be more generally appreciated, and by 1962,
“L’Avventura” placed second on the Sight and Sound critics poll for the ten best films in history
“L'Avventura” was the first part of a projected trilogy, and it was quickly followed by the second and
third parts, “La notte” (“The Night,” 1961) and “L'Eclisse” (“Eclipse,” 1962), and his first color film,
“Red Desert” (1964), all of which starred Monica Vitti.
After “Red Desert,” Antonioni began to make films in other countries, beginning with “Blowup (1966),
made in Britain, which became an enormous worldwide commercial success. He then made “Zabriskie
Point” (1970) in the United States and “The Passenger” (1975), which starred Jack Nicholson, in Africa
and England. During this time, Antonioni visited China to make a four-hour television documentary.
Antonioni made only two feature films in the 1980’s, “The Mystery of Oberwald” (1981), shot on video,
and “Identification of a Woman” (1982). In 1985, he was partially paralyzed by a stroke and became
unable to speak. He came back to cinema in 1995 with “Beyond the Clouds.” Based on four of his short
stories, the film was a collaboration with Wim Wenders, who served as a standby director and also
directed a sequence to link the four films. Antonioni and Wenders won a FIPRESCI prize at Venice for
the film.
In 1995, Antonioni won a special Academy Award for his lifetime achievement in film. (He had
previously been nominated as Best Director and Best Original Screennplay for “Blowup.”) Among the
countless prizes he has been awarded for his films and body of work include: a Golden Bear at Berlin for
“La Notte,” a Golden Lion at Venice for “Red Desert” (plus a 1983 Career Golden Lion), and a Golden
Palm at Cannes for “Blowup.”
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TONINO GUERRA (screenwriter), legendary Italian screenwriter, novelist and poet, has collaborated
with Michelangelo Antonioni throughout his career, on “L’Avventura,” “La Notte,” “Eclipse,” “Red
Desert,” “Blowup” (Academy Award nomination) “Zabriskie Point,” “The Mystery of Oberwald,”
“Identification of a Woman,” and “Beyond the Clouds.”
Guerra has worked with many of the world’s leading international directors, including Federico Fellini
(“Casanova ’70,” “Amarcord,” “And the Ship Sails On,” “Ginger and Fred”), Francesco Rosi (“The
Mattei Affair,” “Lucky Luciano,” “Christ Stopped at Eboli,” “Three Brothers,” “Chronicle of a Death
Foretold,” “The Truce”) Vittorio de Sica (“Marriage Italian-Style,” “A Place for Lovers,” “Sunflower”),
Theo Angelopoulos (“Landscape in the Mist,” “Ulysses’ Gaze,” “Eternity and a Day”) and Andrei
Tarkovsky (“Nostalghia,” “Tempo di viaggio”). Guerra, who has written nearly a hundred films, has
received three Academy Award nominations for his work, on “Blowup,” “Casanova ‘70” and
“Amarcord.”
STÉPHANE TCHAL GADJIEFF (producer) previously teamed with Antonioni on “Al di la delle
nuvole” (Beyond the Clouds). Tchal Gadjieff has a long relationship with director Jacques Rivette, for
whom he has produced “Out 1,” and “Les Filles du Feu.” His other films include Marguerite Duras’ “La
Femme du Gange,” “India Song,” and “Baxter, Vera Baxter,” Benoît Jacquot’s “L’Assassin musicien”
(The Musician Killer), Robert Bresson’s “Le Diable Probablement” (The Devil Probably), Charles
Matton’s “L’Italien Des Roses,” and the animated film “Le Chien, le général et les oiseaux,” written by
Tonino Guerra. He also produced Jean Luc-Godard’s television series “Six Fois Deux.”
DOMENICO PROCACCI (producer) has produced such films as “Respiro,” “Dark Blue World,” “The
Ebalmer,” “Dust,” “Alexandra’s Project,” “The Samsara,” “Super 8 Stories,” “One Last Kiss,” “The
Monkey’s Mask,” “Ecco fatto,” “Radiofreccia,” “The Quiet Room,” “Life and Extraordinary Adventures
of Private Ivan Chonkin,” and “Bad Boy Bubby.” He has won three David di Donatello Awards-- for
“Respiro” (Best Producer) and “The Ebalmer” and “Respiro” (Best Film). His recent film, “Remember
Me,” played at the 2004 Sundance Film Festival.
RAPHAEL BERDUGO (producer) is owner/president of Roissy Films, a well known French
international sales company, founded in 1973. Berdugo served as producer on “Le Chien, le général et
les oiseaux.” His other credits include “Respiro” and “Mes enfants ne sont pas comme les autres” (as
associate producer) and “Slogans” (as co-producer). Berdugo also co-produced
The Accompanist (by Claude Miller), All the Mornings of the World ‘by Alain Corneau ( Cesar Best
French film), “My Father the Heros” by Gerard Lauzier, “ A Heart in Winter” by Claude Sautet ,
“Kennedy and I” by Sam Karmann, The Thief by Pavel Chukrai (nominated for the Golden Globe and
the Academy Award of Best Foreign Language film).
JACQUES BAR (producer) has produced over eighty theatrical and television films. His credits include
the miniseries “The Count of Monte Cristo,” “My Father the Hero,” “The Babysitter,” “ Fellini’s
“Vitelloni,” Antonioni’s “La Signora Senza Camelie,” “Bridge to the Sun,” “Once a Thief,” , “The
Outside Man,” “Jules Verne’s Mysterious Island of Captain Nemo,” “Guns for San Sebastian,” “Joy
House,” “The Day and the Hour,” “Any Number Can Win,” “A Monkey in Winter,” and “The
Counterfeiters of Paris.”
MARCO PONTECORVO (director of photography), the son of acclaimed director Gillo Pontecorvo
(“The Battle of Algiers”), made his debut as a director of photography on Francesco Rosi’s “The Truce,”
based on Primo Levi’s memoir and starring John Turturro. His other films include “The Guest,” “Katja’s
Adventure,” “On the Beach Beyond the Pier,” “Voices,” and Richard Loncraine’s “My House in
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Umbria,” with Maggie Smith and Chris Cooper. In 2002, Pontecorvo wrote and directed a comic short
film, “Two Hours: Flat Calm,” which starred John Turturro.
CLAUDIO di MAURO (editor) previously collaborated with Michelangelo Antonioni on “Beyond the
Clouds” in 1995. He has edited over fifty films and TV shows, including “Che ne sara di noi,” Ho visto
le stelle, “Remember Me,” “Ma che colpa abbiamo noi,” “One Last Kiss” (David di Donatello Award for
Best Editing), “Azzuro,” “Come te nessuno mai,” “Ecco fatto,” “Diary of a Rapist,” “The Flight of the
Innocent,” “The Invisible Wall,” “Forever Mary” and “Soldati—365 all’alba.” In 1984, Di Mauro also
directed a short documentary “Los Roques.”
LORENZO MATTOTTI (Artist for Interstitial Segments) is a world-renowned comic book artist,
illustrator and fine artist. His work has often been seen on the covers of the New Yorker as well as in
magazines like Vogue and Le Monde.
After studying architecture in Venice, Mattotti began creating comic books in the 1970s, often in
collaboration with various writers. His early work included an adaptation of Huckleberry Finn and Il
Segnore Spartaco, which Art Spiegelman published in Raw. Mattotti received international acclaim and
numerous awards for Fires in 1986. After the success of Fires, Mattotti began to combine his comic book
work with illustrations for magazines, books and gallery shows. Among his illustrated books are Cenere
(written by Tonino Guerra), Pinocchio, Le Pavilion sur le dunes, Rouge, Eugenio, Un soleil lunatique,
Les aventures de Barbe Verte, Acrobazie, Dante’s Inferno, Dr. Jekyll & Mr. Hyde, Un fantasma nella
stanza, and Angkor. His comic books include Labyrinthes, Murmure, El cosmografo Sabastian Caboto,
L’Homme à la Fenêtre, Tran Tran, Stigmates, Ligne Fragile, and Le bruit du givre. The prolific Mattotti
also published numerous collections of his art, often in tandem with his gallery showings.
In 1993, Mattotti’s book Eugenio was turned into a 37-minute film in 1999 by Jean-Jacques Prunès,
which has been shown on television around the world. Mattotti has also created many posters, notably for
the 2000 Cannes Film Festival, as well as for Unicef and Amnesty International.
Born in Brescia, Italy in 1954, Mattotti now lives in Paris.
CAETANO VELOSO’s song “Michelangelo” has been used as background in Mattotti’s works. One of
the most important figures in contemporary Brazilian music, Veloso is also a poet, filmmaker and activist.
Born in a small town in the northern state of Bahia in 1942, Veloso studied at the University of Arts. In
1966, his sister recorded his first compositions and soon after, he recorded his first album with Gal Costa
"Domingo"
In 1968, with Gilberto Gil, he helped create Tropicalismo, a cultural movement that celebrated traditional
Brazilian music and also non-Brazilian musical styles. He recorded his first solo album Caetano Veloso
and was awarded several prizes at several TV Festivals.
In 1969, with Gil he performed at Castro Alves Theater in Salvador and the concert was recorded live.
Barra 69 was the album. That year, Caetano and Gil were forced by the military regime to leave the
country and went to London. There, he recorded his first album in English and performed in several
European cities.
He returned to Brazil in 1972, and released another album Transa and recorded live with Chico Buarque:
caetano e Chico Juntos a ao Vivo. Soon after, he released others: Araca Azul in 1974, Temporada de
Verao in 1974, Joia and Qualquer Coisa in 1975.
28
In 1976, again with Gil, Gal Costa and Maria Bethania, he toured Brazil under the name of Doces
Barbaros, They released an album and a film. In 1977, influenced by the Nigerian culture, he released
Bicho. The same year, his Alegria, Alegria was published, a collection of articles and poems he had
written from 1965 to 1976.
During the 1970's and 80's he released Muito in 1978, Maria Bethania & Caetano Veloso in 1978,
Cinema Transcendental in 1979, Outras Palavras in 1981, Cores Nomes in l982, Uns in 1983, Velo in
1984, Totalmente Demais in 1986 and Caetano in 1987. He mixed traditional Brazilian and South
American music with rock and Bossa Nova with his 1989 release Estrangeiro.
His first U.S. album was released in 1987, Caetano Veloso, and was a selection of songs from the two
previous decades. In 1991, Circulado was released. Circulado Vivo, widely considered a masterpiece,
was released in l992.
Reunited with Gil, they released Tropicalia 2 in 1993.
Veloso received the Antonioni Prize, a prestigious prize granted to international artists. He then
composed the song ”Michelangelo” in honor of the Italian Maestro. This song is the music background of
the linking sequences created Mattotti .
29
EROS
THE DANGEROUS THREAD OF THINGS
About the Cast
CHRISTOPHER BUCHHOLZ (Christopher), the son of German actor Horst Buchholz (“The
Magnificent Seven”) and French actress Myriam Bru, was born in Los Angeles, and has gone on to an
international career as an actor. In his earliest films, he used the last name Rhode, his grandfather’s
surname.
Buchholz’s first main role was as assassin Ali Agca in Giuseppe Fina’s movie “The Plot to Kill the Pope”
in 1986, for which he was awarded Best New Actor at the Florence Film Festival. Fluent in English,
French, Italian and German, he has worked steadily in theatre, television and film all over the world. His
films include “The House on Carroll Street,” “No Fear, No Die,” “Covert Assassin,” “Diên Biên Phu” and
“Luther,” with Joseph Fiennes and Alfred Molina. Buchholz directed two one-act plays by Chekhov,
“The Bear” and “The Marriage Proposal,” as well as two short films, “Happy Birthday” and “Les Jardins
des Mauvais Garçons.” Last year, along with his mother and his sister Beatrice, he published Horst
Buchholz: His Life in Pictures, a tribute to his father.
REGINA NEMNI (Cloe) originally pursued a career as a dancer, studying at the school of ballet at the
Teatro ala Scala of Milan. Federico Fellini discovered her performing at La Scala and asked her to dance
in his film “And the Ship Goes On.” Nemni was seen on Fellini’s set by Carlo Lizzani, who gave her a
major role in his 1984 TV film “Nucleus Zero,” followed by “Leonardo,” and other film and TV work.
In the early 90’s, Nemni relocated to New York City, where she studied acting at NYU, at Lee Strasberg
Theatre Institute and with Sandra and Greta Seacat. In New York, she appeared often in the theatre, in
“Fool for Love,” and “Antony & Cleopatra,” among others.
LUISA RANIERI (The Girl / Linda) was a Neapolitan theatre and television actress when she booked a
commercial job for Nescafe. The spot, “Anto, fa Caldo!” became a national catchphrase and made a
celebrity out of the twentysomething actress. She was soon a favorite in national magazines and roles
followed in Leonardo Pieraccioni’s “The Prince and the Pirate” and Giulio Base’s telefilm “Maria
Goretti.” For her perfomance in “The Prince and the Pirate,” Ranieri received the Giuseppe De Santis
Award as the Best New Face of the Italian Cinema.
*
*
30
*
EROS has been initiated and produced by
Raphaël Berdugo, Stéphane Tchal Gadjieff and Jacques Bar
THE HAND
Produced, written and directed
By WONG KAR WAI
Starring
GONG LI
CHANG CHEN
And
TIN FUNG
Executive Producer
CHAN YE CHENG
Producer
JACKY PANG YEE WAH
Director of Photography
CHRISTOPHER DOYLE
Music
PEER RABEN
Editor and Production Designer
WILLIAM CHANG SUK PING
Line Producer
ALICE CHAN
Sound Designer
CLAUDE LETESSIER
TU DUU CHIH
Post-production Consultant
STEPHANE KOOSHMANIAN
A Jet Tone Films Production
Copyright 2004 by Block 2 Pictures Inc.
EQUILIBRIUM
-------------------------------------------------------------------------------------------------------------Written and Directed
By STEVEN SODERBERGH
----------------------------------------------------------------------------------------------------------------Produced by
GREGORY JACOBS
Director of Photography
PETER ANDREWS
Production design by
31
PHILIP MESSINA
Edited by
MARY ANN BERNARD
Costume design by
MILENA CANONERO
Casting by
DEBRA ZANE, C.S.A.
-------------------------------------------------------------------------------------------------------------Starring
ROBERT DOWNEY, JR.
ALAN ARKIN
and
ELE KEATS
------------------------------------------------------------------------------------------------------------Unit Production Manager/First Assistant Director
GREGORY JACOBS
Second Assistant Director
BASTI VAN DER WOUDE
----------------------------------------------------------------------------------------------------------------THE DANGEROUS THREAD OF THINGS
----------------------------------------------------------------------------------------------------------------Directed by MICHELANGELO ANTONIONI
----------------------------------------------------------------------------------------------------------------Starring
CHRISTOPHER BUCHHOLZ
REGINA NEMNI
LUISA RANIERI
--------------------------------------------------------------------------------------------------------------- -Based on the book “Quel Bowling sul Tevere”
By MICHELANGELO ANTONIONI
Published by EINAUDI
Screenplay
MICHELANGELO ANTONIONI
TONINO GUERRA
Executive Consultant
ENRICA ANTONIONI
Director of Photography
MARCO PONTECORVO (a.i.c.)
Editor
CLAUDIO DI MAURO (a.i.m.)
Original Music by
ENRICA ANTONIONI
VINICIO MILANI
Sound Engineer
GEORGES PRAT
Production Designer
STEFANO LUCI
32
Costume Designer
CARIN BERGER
First Assistant Director
DAVID PUTORTI
Assistant to Michelangelo Antonioni
ANDREA BONI
Line Producer for EASY MAÑANA
MARCANTONIO BORGHESE
Line Producer for FANDANGO
VALERIA LICURGO
Associate producer
GUY AZIZA
Executive producer
DANIELLE ROSENCRANZ
produced by
RAPHAEL BERDUGO, STEPHANE TCHAL GADJIEFF, JACQUES BAR and DOMENICO PROCACCI
Linking Sequences created
By LORENZO MATTOTTI
In collaboration with STUDIO EYE (Italy)
ALESSANDRO PADERNI
FERRUCCIO MACOR
TONI CASULA
song “Michelangelo Antonioni” by
CAETANO VELOSO
THE HAND
EQUILIBRIUM
THE DANGEROUS THREAD OF THINGS
CAST
Miss Hua
CAST
Nick Penrose
CAST
Christopher
GONG LI
ROBERT DOWNEY, JR.
CHRISTOPHER BUCHHOLZ
Zhang
CHANG CHEN
Dr. Pearl/Hal
ALAN ARKIN
Cloe
REGINA NEMNI
Master Jin
TIN FUNG
The Woman/Cecelia
ELE KEATS
The Girl/Linda
LUISA RANIERI
First Assistant Director/Unit Production Manager
GREGORY JACOBS
Girls by the Cascade
CECILIA LUCI
KARIMA MACHEHOUR
Second Assistant Director
BASTI VAN DER WOUDE
Barman
RICCARDO MANFREDI
CREW
Casting
DEBRA ZANE, C.S.A.
Waiter
VALERIO BURRONI
Gardener
PELINO TARANTELLI
Hua’s Servant, Ying
AUNTIE LUK
Hua’s Lover, Zhao
ZHOU JIANJUN
Tailors
SHEUNG WING TONG
WONG KIM TAK
TING SIU MAN
YIM LAI FU
SHIH CHENG YOU
SIU WING KONG
LEE KAR FAI
Hotel Concierge
UN CHI KEONG
With Special Thanks to
CARINA LAU KA LING
Set Decorator
KRISTEN TOSCANO MESSINA, S.D.S.A.
Camera Operator
DUANE “DC” MANWILLER
First Assistant Camera
GLENN BROWN
Guests at the Restaurant
MARIA BOSIO
CARLA MILANI
VINICIO MILANI
UGO QUATTRINI
JASON CARDONE
CARIN BERGER
ENRICA ANTONIONI
Production Manager
CARLY WONG TUNG FA
Production Sound Mixer
PAUL LEDFORD, C.A.S.
Second Assistant Director
GIORGIA CACCIATORE
Production Coordinator
WENDY CHAN WAI SZE
Boom Operator
ANTHONY ORTIZ
Continuity
MARISA AGOSTINI
33
Production Secretary
JAMIE HO CHING MAN
Utility Sound
ALEX NAMES
Director’s Consultant
CLAUDIO GABRIELE
Production Assistants
ALEX LAU SUN PUI
YUNG KA LOK
KWAN HONG CHUEN
Production Supervisor
JULIE M. ANDERSON
Coordinator
DOMINIQUE RAYROLES
Script Supervisor
ANNIE WELLES
Legal Matters
JOËLLE GIRAUD
Unit Manager
SI CHUN HUNG
Property Master
LANCE LARSON
Assistant to Raphaël Berdugo
CORINE DESSARTS
Production Accountant
EDMOND POON PUI MAN
Assistant Property Master
MIKE MALONE
First Assistant Director
LEE CHIU WAH
Leadman
PAUL RICHARDS
Second Assistant Director
HUI SIN SZE
Set Dressers
RICHARD ANDRADE
JEFF DAMAL
Continuity
CHAN PO CHUN
Second Unit Camera
LAI YIU FAI (H.K.S.C)
Clapper
Best Boy Electric
HO KIN KWONG
RAYMOND A. GONZALES
Loader
LAU TIN WAH
Lighting Technicians
MICHELLE LeDOUX
DAMON MARCELLINO
Video Unit
LIN PAK SHING
Gaffer
WONG CHI MING
Best Boy
KWAN WING CHEUNG
Focus Puller
LUCIANO TEOLIS
First Assistant Camera
ARMANDO BARBIERI
MATTEO CARLESIMO
Film Loader
WILL DEARBORN
Gaffer
JIM PLANNETTE
Still Photographers
WING SHYA WING HONG
JASON WU MING JER
Steadicam Operators
MARCO PIERONI
ROBERTO RUZZOLINI
Second Assistant Camera
E.J. MISISCO
Dolly Grips
HO PO WING
HO KA FAI
Camera Grips
LAU WAI KWAN
KWOK KEI LICK
Camera Operator
ALDO CHESSARI
Second Assistant Camera
GIULIO MARCELLO
Video Assist
MARIE SEBAH
Boom Operator
ERWAN KERZANET
Makeup and Hair
CARLA VICENZINO
Assistant Makeup and Hair
FEDERICA GOBBINI
Rigging Gaffer
R. MICHAEL DeCHELLIS
Key Grip/Dolly Grip
PAUL THRELKELD
Set Dresser
MARTINA IACUBINO
Best Boy Grip
THOMAS CURRAN
Stand-By Prop
FRANCO COSTANTINI
Company Grips
BREK COONEY
CHAD HERR
GREG HEWETT
DAVID SANTOS
Props
MASSIMILIANO ROCCHETTI
Post-Production Coordinator
MONICA VERZOLINI
First Assistant Editor
DAVID KIRCHNER
Electricians
CHAN HON SUNG
KWAN WING KIN
KWAN WING SHING
Assistant Editor
NORMAN WALKER
Art Director
ALFRED YAU WAI MING
Editorial Assistant
DAVA WHISENANT
Assistant Art Directors
LUI FUNG SHAN
CHAU SAI HUNG
Special Effects Coordinator
KEVIN HANNIGAN
Makeup Artist
KWAN LEE NA
Hair Stylists
WONG BO CHUEN
BOWER NG YUK HO
Wardrobe
LUK HA FONG
Props Master
WONG TZE ON
Props Men
MACHI TANG KANG WAH
CHAN CHING KAN
SIU PING LAM
TSANG CHIU YEE
Production Sound Mixers
KUO LI CHI
CHU SHIH YI
Assistant Editor
MICHELA "NATASHA" DI VITO
PETRA STRANZ
Sound Editor
GIANLUCA CARBONELLI
Special Visual Effects by
INDUSTRIAL LIGHT & MAGIC
A LUCASFILM LTD. COMPANY
Visual Effects Supervisor
MASSIMILIANO ROCCHETTI
Associate Costume Designer
EDUARDO CASTRO
Visual Effects Producer
JEFF OLSON
Costumer
CATHERINE WALL
Visual Effects Coordinator
STACEY SHEAR
Key Makeup Artist
JULIE HEWETT
Color Timing Supervisor
BRUCE VECCHITTO
Key Hairstylist
WALDO SANCHEZ
Digital Artists
ALAN TRAVIS
PATRICK JARVIS
RICCARDO ZANETTINI
Location Manager
KEN LAVET
Key Set Production Assistant
KEITH POPELY
Digital Composing Consultant
DORNE HUEBLER
Set Production Assistant
NICOLE LUTHER
Executive Producer
GAIL CURREY
Production Accountant
SONYA LUNSFORD
Special Effects Supervisor
DAVID BUSH
First Assistant Production Accountant
JASON HINKEL
Boom Operators
HSU YU TENG
KANG YUNG CHIEN
Production Coordinator/
Assistant to Mr. Soderbergh and Mr. Jacobs
34
Special Effects Coordinator
DANIEL DOMINIC ACON
Special Effects
HSU CHENG YI
BETSY DENNIS
Assistant Editor
ANDY CHAN CHI WAI
Production Secretary
JULIA COYOTE
Editing Assistant
LIN PAK SHING
Production Office Assistant
MATT NOVELLO
Dialogue Editors
WU SHU YAO
MAGDA HABERNICKEL
Department Assistants
CHRISTOPHER JUST WEAVER
ANNIE YUN
Sound Editor
GREGOIRE COUZINIER
Casting Associate
MIA LEVINSON
Foley Editor
BENEDICT JUST
Publicist
SPOOKY STEVENS
Foley Artists
KUO LI CHI
FELIX KRATZER
Still Photographer
MELINDA SUE GORDON
Foley Recordist
SOERN BLUTGEN
Music Editor
TU DUU CHIH
Re-Recording Mixer
MICHAEL HINREINER
Pre-Mixed at
3H STUDIO / TAIPEI
ARRI SOUND / MUNICH
Final Re-Recording at
RAMINDRA RECORDING STUDIOS LTD/ BANGKOK
Chinese Subtitles
RACHEL CHEN PAO HSU
English Subtitles
JACOB WONG HING CHEUNG
MICHAEL WERNER
FRANCO RAGUSA
MARCO CORRIDORI
Gaffer
ALBERICO NOVELLI
Electricians
SAMY NOVELLI
MARCELLO PERICONE
CLAUDIO GALICCHIO
Genny Operator
ENZO MASSOLI
Key Grip
MAURIZIO SALVATORI
Grips
ENRICO STELLA
ROBERTO DIAMANTE
Construction Coordinator
CHRIS SNYDER
Drivers
ANTONIO ELETTI
GIULIANO TROIANI
General Foreman
WILLIAM GIDEON
Nurse
ESTELA CAPOTE GUANZON
Foreman
JAMES PANIAGUA
Legal Consultant
STUDIO PONTI-DE SANCTIS
Foremen
JOHN MOORE
DALE SNYDER
Camera and Equipment Rental
CINESERVICE F.LLI CARTOCCI
Plaster Foreman
ADAM L. BARKER
Transports
T.C.T. TRANQUILLI
Propmaker
BUD KUCIA
Laboratory
CINECITTÁ
Transportation Coordinator
JON CARPENTER
Film Checker
PASQUALE COZZUPOLI
ELIDE GAMBERINI
Post-Production Coordinator
SANDRINE DE MONTE
Drivers
RICH BENNETTI
SHANE GREEDY
STEVE HOWARD
PAUL TUMBER
Digital Color Grading Supervisor
WILLIAM CHANG SUK PING
Craft Service
JEFF WINN
Re-Recording Mixer
CLAUDIO CHIOSSI
Digital Intermediate by
MIKROS IMAGE / PARIS
(single card)
Post-Production Sound
LARRY BLAKE
English Dubbing Realized by
CINEMA E DINTORNI
Visual Effects Supervisor
GILLES GAILLARD
Grading Artist
JACKY LEFRESNE
Scanning Technicians
ALEXANDRA POCQUET
CHRISTINE SZYMKOWIAK
SEBASTIEN MINGAM
On-Line Editing
BEATRICE BAUWENS
Dubbing recordist
STEFANO VADALÁ
Foley Recorded at
TWENTIETH CENTURY FOX
Sound Editing and Re-Recording
SWELLTONE LABS/NEW ORLEANS
Post-Production Manager
PASCAL GIROUX
Opticals
CINESITE
Camera and Lighting Equipment
SALON FILMS (H.K.), LTD
Italian Version
CARLO DI CARLO
Foley Mixer
DAVID BETANCOURT
Fine Recording Technician
MATHIEU LECLERCQ
Film Processed by
KANTANA ANIMATION CO., LTD
English Dubbing Director
ELIANA LUPO
Foley by
ALICIA STEVENSON
DAWN FINTOR
Mix Assistants
MATT COBY
JAY GALLAGHER
Macau unit
Production Manager
ALICE AUGUSTO
Production Coordinator
AO POU IAN
Re-Recorded at
FONO ROMA
Horses
FABRIZIO MEI
Hotel
LA PALMA - CAPALBIO
Music Recorded at “La Pompa” by
CARLA PALLINI
Negative Cutter
PAUL E. TANZILLO
Mixed at Forum (Rome) by
LUCIANO TORANI
Laboratory
FOTOKEM
Protools Operator
MARIO STRUGLIA
Lab Liaison
LES MEEK
Press Office
DANIELA STAFFA
Assisted by
MARINELLA DI ROSA
Color Timer
DAN MUSCARELLA
Cutting Continuity
MASTERWORDS
MUSIC
“Hao Chun Xiao” (好春宵)
Written by Xu Lang (徐朗) & Chen Dongsun (陳棟蓀)
Performed by Wu Yingyin (吳鶯音)
Courtesy of China Record Co.
“Qiang Wei Chu Chu Kai” (薔薇處處開)
Insurance
CINESICURTÁ
Press Office for Mr Antonioni
MARIO & ENNIO LONGARDI
Digital Intermediate by
TECHNICOLOR DIGITAL INTERMEDIATES
International Press
RICHARD LORMAND
Digital Film Colorist
SCOTT GREGORY
Unit Production Manager
35
Written by Chen Gexin (陳歌辛)
Performed by Gong Qiuxia (龔秋霞)
Publisher: EMI Music Publishing Hong Kong
Courtesy of China Record Co.
“Wo You Yi Ke Xin” (我有一顆心)
Written by Yao Min (姚敏) & Chen Dieyi (陳蝶衣)
Performed by Yi Min (逸敏)
Publisher: EMI Music Publishing Hong Kong
Courtesy of EMI Music Hong Kong
“Gen Ni Kai Wan Xiao” (跟你開玩笑)
Written by Yao Min (姚敏) & Chen Dongsun (陳棟蓀)
Performed by Yao Li (姚莉)
Courtesy of China Record Co.
LEONARDO CELLAI
Digital Intermediate Coordinator
APRIL McMORRIS
Production Coordinator
SILVIA GEMINIANI
MUSIC
“The Second Afro-Cuban Jazz Suite”
Written by Chico O’Farrill
Performed by Chico O’Farrill and his Orchestra
Courtesy of The Verve Music Group
Under license from Universal Music Enterprises
“Tito On Timbales”
Written by Tito Puente
Performed by Tito Puente featuring Mongo
Santamaria
Courtesy
of Tico Records/Sonido Inc.
“Hong Deng Lu Jiu Ye” (紅燈綠酒夜)
Written by Huang Yuanzhi (黃元之) & Wei Tian (韋天)
Performed by Wu Yingyin (吳鶯音)
Courtesy of China Record Co.
Camera Dollies by Chapman/Leonard Studio
Equipment, Inc
Filmed with PANAVISION ® Cameras & Lenses
THANKS
Hong Kong Film Services Office
Lands Department
Equilibrium - Copyright © 2004 Ipso Facto, Inc.
All Rights Reserved.
Production Assistants
RAMON PANZAVOLTA
ALESSANDRO FIDANZA
RICCARDO TRILOCCO
Assitant to Mr. Tchal Gadjieff
JASON CARDONE
Accountant for Fandango
CLAUDIO ZAMPETTI
Accountant
DINO PISCINI
Cashier
LAURA CIMARELLI
Sponsor's Research
RITA GARI CINQUEGRANA
********************************
Macau Government Tourist Office
Kwun Kee Tailor
George Wong of Headquarters
Chen Mi Ji
Shun Tak Holdings Limited
A/T
Anteprima
Agnes B.
Cartier
THANKS
SACRA SpA for generously allowing us to shoot
at the TORRE DI BURANO and for the constant
attention in maintaining an oasis of pure nature
Giorgio Armani for Christopher Buchholz’ clothes
Fendi for Regina Nemni’s clothes
Moschino
La Perla
La Fornarina
Damiani for Jewelry
The Hand - Copyright © 2004 Block 2 Pictures Inc.
All Rights Reserved
Samocar and Giovanni Malagò for BMW and Maserati
********************************
Il Campanile Arredamenti
Vivaio L’Archiverde di Daniele Tomassini
Quadrifoglio di Andrea Bonomi per Flos Spa
Autogerma SpA
Stabilimento Balneare L’Ultima Spiaggia – Capalbio
Ristorante La Selva Nera – Capalbio
Ristorante Le Aiole – Arcidosso
Ristorante Vinicio – Ansedonia
Antonella Vivarelli Colonna
Marcello Cima
Adalberto Sabatini
Patrizia e Salvatore Lazzoi
LOGO: LOCAFIT
gruppoBNL
The Dangerous Thread of Things - Copyright © 2004 Roissy Films, SAS Solaris, SA - Citè Films Productions, SA - Fandango Srl
All Rights Reserved
********************************
DOLBY DIGITAL
IN SELECTED THEATRES
SDDS SONY DYNAMIC
DIGITAL SOUND
KODAK
MOTION PICTURE FILM
Post-Production Managers
GUY COURTECUISSE
CHRISTELLE DIDIER
Color Grading
SONIA NABIL
Digital Supervisor
GÈRARD SOIRANT
Coordination
ODILE BÈRAUD
End Titles
CUSTOM FILM EFFECTS
36
Recording
CHRISTOPHE SABRE
SÈBASTIEN GUYOT
EYE STUDIO (UDINE, ITALY)
Editing
CHIARA ANDREUSSI
Lighting Technician
GIUSEPPE MANGIA
Stagehand
ANTONIETTA NIMIS
Secretary
NADIA BIZZOTTO
A Franco - Italian - Luxemburger co-production
with Delux (Jimmy De Brabant)
In association with Film Fund Luxemburg
The characters and events portrayed in this motion picture are
entirely fictitious. Any similarity to any person, living or dead,
is coincidental and unintentional.
EROS Copyright © 2004 Block 2 Pictures Inc. - Ipso Facto, Inc. Roissy Films, SAS - Solaris SA - Citè Films Productions, SA - Fandango Srl
All Rights Reserved.
International Sales
Roissy Films
Asian Sales
Block 2 distribution
37