bourne identity -about the film. a hollywood jesus movie review
bourne identity -about the film. a hollywood jesus movie review
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the
bourne identity
about this film
the bourne identity
about the film
this page was created on june 14, 2002
this page was last updated on
may 31, 2005
the bourne supremacy (2004)
the bourne identity (2002)
—review
—trailers, photos
—about this film
—spiritual connections
—forum
—review
—trailers, photos
—about this film
—spiritual connections
—forum
about
this film
a
great deal of the world is already familiar with jason bourne, the
enigmatic hero of three best-sellers by robert ludlum. until his death
shortly after the end of production of the bourne identity, ludlum
was one of the world’s most popular writers. he wrote the bourne
identity while the cold war was raging and the real-life international
terrorist carlos – a major character in the original novel –
was cutting a bloody swath across europe. two decades later, liman
faced the task – with ludlum’s blessing – of preserving
the spirit of that novel while placing bourne and his struggle in
a context that would speak to a new generation.
"the bourne identity is a really good story, and that’s
what i look for in anything that i do," said liman, who as a
new pilot, made his first solo cross-country flight to ludlum's residence
in glacier national park to secure the rights to the novel. "it
was a very dramatic arrival, coming in over the tetons,” he
continued. “it inspired mr. ludlum to give me the nickname ‘hollywood’
which is ironic because i'm a new yorker."
after securing the rights, liman set the project up at universal.
"i chose to work with universal because it was just as important
to them as it was to me to make this a character-driven movie and
not just a generic action movie," the director emphasized. "they
had a proven track record of taking chances in the pursuit of making
better films."
a
21st century spy film …
liman wanted to create a spy film for his generation. “most
of the spy films i’ve seen have had nothing in common with
anyone i’ve ever known,” he observed. “i’ve
spent time in washington d.c. through my father’s work on
iran-contra and i’ve seen real spies in action.”
liman and his collaborators knew that the originality of their interpretation
– which lowered bourne’s age by some 10 years –
demanded a star with finely honed acting skills and physical prowess
to match. matt damon was the first name to spring to mind, and the
actor was game.
“i wanted to do the bourne identity because of doug and his
sensibility,” damon said. “i knew that he would not
make a standard hollywood action movie, and i also knew that if
i was ever going to try something like this, i’d want to do
it with a guy like him.”
damon was especially pleased that the relationship between bourne
and wayward spirit marie kreutz – a character even more radically
altered from the novel than bourne himself – took front and
center stage in the script. while working on the screenplay, liman
and tony gilroy had modeled marie after the german actress whose
performance they had admired in run lola run. liman later cast that
actress, franka potente, in the role.
“you might consider casting franka as marie a bit of a gamble,”
acknowledged executive producer frank marshall, “because american
audiences have not seen much of her. but she has tremendous charisma
and energy. marie is a strong character, very much her own person,
not an appendage to the action hero. like matt, franka can do the
‘action thing,’ but she can also expertly handle the
dramatic side. so when you put these two actors into the shoes of
jason bourne and marie kreutz, you have an unusual combination in
what’s an unconventional, even existential, action movie.”
damon appreciated the choice. “casting franka was a great
idea,” he said, “especially since the story takes place
in europe. having this incredible german actress adds an entirely
different dynamic of culture and language to the story.”
potente was also grateful for liman’s emphasis on characters
involved in action, rather than the reverse. “i think this
movie could renew the kinds of espionage thrillers that hitchcock
did, with great action but very strong characters and relationships,”
she said.
“marie is definitely a person of her own. she is troubled,
but basically a normal person who finds herself attracted to a man
who is in very dangerous circumstances. it’s as if marie is
catapulted into this thrill ride, and she holds onto this guy who
seems to know what to do.”
damon and potente both undertook a strict regimen for the rigorous
physical work that would ensue during production, supervised by
stunt and fight coordinator nicholas powell and trainer michael
torchia. “i had about three months to work on the martial
arts, boxing and weapons training, which was like summer school
in assassin training,” damon quipped.
damon had to add bulk to his physique and study the filipino martial
arts discipline kali. “it’s very quick, three or four
move blocking, trapping, destruction techniques,” explained
nick powell. “you don’t see it on film very often, which
was exactly its appeal to doug. since jason bourne is trained as
a killing machine, the director wanted him to master a lethal fighting
technique different from anything audiences have seen before.”
at sea ….
liman began assembling his team of behind-the-camera artists and
crews, with the assistance of producer patrick crowley and executive
producer frank marshall, both highly seasoned professionals with
experience around the world, and in marshall’s case, a noted
director in his own right.
production was based in paris, which gave liman access to some of
the most talented motion picture artists and craftsmen available
in france. however, it also presented a tremendous challenge because
paris is one of the most logistically and bureaucratically difficult
cities in the world for filmmaking.
“filing for permissions and authorizations is incredibly complicated
in paris,” said crowley. “you have to prepare a dense
dossier on every single location you need, where every single truck
will park, exactly what your shots are, maps showing where the cameras
are going to be, and this dossier must go to the city hall and the
prefecture. however, unlike the u.s., french authorities never assign
a policeman, an authority or an official from any of the agencies
from which we have to secure our permission. and because the traffic
is so congested, making a company move from one location to another
in the course of a day is nearly impossible.
“however,” crowley emphasized, “this is one of
the greatest and most photogenic cities on earth, and i think locations
were selected that show the city in ways that most filmgoers have
never seen before.”
although director of photography oliver wood, film editor saar klein
and second unit director alexander witt are all based in america,
production designer dan weil and costume designer pierre-yves gayraud
are both french and the primary crew while shooting in france, were
mostly french as well.
as producer richard gladstein observed, "our intention was
to go to europe and make an american film, but with a european crew
and a european sensibility. we did not want to be a crew of tourists.”
before the huge challenge of paris, liman and company had to shoot
the film’s opening sequence on an italian fishing boat, in
the harbor of a typical italian coastal city. the filmmakers selected
the twin cities of imperia/oneglia in the northern italian province
of liguria, which provided not only a perfect harbor in which to
take the boat out for filming, but also a picturesque port next
door. docked in imperia’s harbor, the production discovered
a fishing trawler – the aventura – which matched the
script’s description of the craft that picks up jason bourne.
with the cooperation of local authorities and the italian riviera
alpi di mare film commission, and the expert help of veteran motion
picture marine coordinator ransom walrod, the production assembled
and constructed camera and lighting barges and assembled an impressive
array of support boats, preparing for the first night of filming.
“we were going to attempt to film the aventura, with matt
and the actors portraying the italian fishermen, off the barge in
the lee of the breakwater about a mile from shore,” recalled
crowley. but ferocious winds and heavy rains stalled the plan. the
company pulled back into harbor and commenced filming anyway, as
they did every day for a week. it would ultimately fall upon visual
effects supervisor peter donen, who had most recently created the
watery surroundings of u-571, to digitally create a huge ocean surrounding
the aventura.
it was a strange sight for the inhabitants of imperia, who strolled
along the waterfront to watch the nocturnal filming, with the aventura
bathed in klieg lights, showered with water from the six water towers
(in addition to the real rain which pelted cast and crew on a daily
basis) and surrounded with a mysterious layer of movie fog.
for the scene in which jason bourne disembarks from the aventura,
the boat sailed to the neighboring harbor of oneglia, and the rains
finally lifted enough one morning for liman and company to shoot
matt damon, as bourne, walking into an uncertain future in the lovely
italian seaside town. the sun was at last shining on the bourne
identity, as the entire company embarked for paris.
from hôtel regina to the 11th arrondissement …
the company filmed in a vast number of parisian locations, including
bourne’s lavish apartment on avenue kléber near the
arc de triomphe; on the banks of the seine with notre dame de paris
looming in the background; at the l’ile st. louis; within
the futuristic environs of la defense, the office/entertainment
complex to the north of the city; inside the venerable hôtel
regina, and directly across the street in the place des pyramides
and louis xiv’s jardin des tuileries; inside a grandiose residence
on the place des etats- unis utilized for wombosi’s mansion;
and at the lovely place du marché sainte catherine, the site
for the exterior of treadstone’s paris safehouse.
liman and his team also settled into belleville in the decidedly
untrendy 11th arrondissement. “belleville is actually more
typical of the real paris,” said liman, who also acknowledged
that the less glossy side of the city appealed to him as a story-
teller, just as the darker parts of los angeles had inspired him
for swingers and go.
“there’s enormous excitement to the street life in belleville
– the incredible balance of chinese, vietnamese, north african
jews, north african muslims, west africans,” crowley added.
“an authentic cantonese noodle parlor might be right next
door to a kosher tunisian restaurant, which visually gives you something
that you don’t typically think of when filming in paris.”
production designer dan weil, a lifelong resident of the city, agreed.
“belleville has always been an immigrant neighborhood at the
edge of paris,” he explained. “for me, it’s a
place i’ve gone to all my life on sunday for tunisian or chinese
food. but for tourists, it’s somewhat forbidden, like the
neighborhoods americans warn me against in new york or los angeles.
typically, these are the most interesting neighborhoods of all.”
the paris shoot featured two of the film’s biggest single
action set-pieces: bourne and marie – in her battered, vintage
red austin mini cooper (one of several production acquired and duplicated
each down to the last rust mark for filming) – being chased
by a batallion of french police cars, and bourne fighting for his
life in his apartment against a treadstone assassin.
“we shot for about 10 days through the streets of the city,
winding up in a big bang on the banks of the seine,” recalled
stunt coordinator nick powell. “there are crashes and a lot
of near misses. the point of the chase was to demonstrate how good
a driver bourne was under pressure, and how he could take this puny
little austin mini and utilize its diminutive size to escape his
pursuers.
“size is the only thing the mini has going for it,”
added powell, “because the engine and handling are not great.
we were trying to emphasize how it can get into certain areas that
a police car can’t, and how it can turn on a dime.”
for the battle between bourne and treadstone’s castel, portrayed
by french actor/stuntman nicky naude, all of damon’s martial
arts and boxing training came to the fore. “matt does virtually
everything in the fight,” noted powell. “we start off
with a little bit of the kali style, which develops into some thai
boxing and karate, with close combat stuff thrown in. and to emphasize
that bourne is so well-trained as a fighting machine that he can
turn anything into a weapon, he goes against castel’s knife
with a ballpoint pen!”
everyone agreed upon that damon was in top form. “matt was
in great shape even before he started his pre-filming training regimen,”
continued powell, “but he worked really, really hard to bring
himself to the next level. and he held up, continually fighting
for 12-hour shooting days. matt and nicky were really hitting limbs,
really banging forearms all of the time, arms against arms, legs
against legs. at the end of the day, you’re feeling quite
bruised. matt certainly knew it the next day, but he’s a real
trouper – the most uncomplaining actor that i’ve ever
come across for that kind of thing.”
damon was more modest about his action skills. “it’s
a lot of fun, and although it’s meant to look violent, no
one gets hurt. you make it look as real as possible, but at the
end of the day it’s choreographed like a dance. then you put
the intent in, and it all cuts together. nick powell is really great
at choreographing these fights. he did braveheart and gladiator,
which have really compelling battle and fight sequences.”
if i could be a camera …
liman’s maverick style, which often included operating the
camera, also appealed to damon. “the directors i’ve
really loved working with are the ones who are right in there, watching
it unfold live. someone like doug, who’s usually operating,
doesn’t miss anything. he’s framing it, he knows what’s
in and what isn’t, and what’s captured and what isn’t.”
“doug has a real visual style,” agreed frank marshall.
“what he sees and feels goes right into the camera.”
another critically important visual element of the bourne identity
fell to french costume designer pierre-yves gayraud. rather than
dip into his mastery of haute couture – so elegantly displayed
in indochine and east-west – the designer made much grittier
choices in dressing matt damon and franka potente.
“we decided early on to keep a very simple look for matt as
jason bourne,” said gayraud. “the character begins with
clothing borrowed from the fishermen who save him – very old,
very dirty, a torn sweater, a filthy parka. he later begins to establish
his personality, but his clothes must never draw attention. he wears
practical clothes, the kind you might buy in a military clothing
store – t-shirts, jeans, boots. later, as he needs to gain
respectability to gain entry to offices and decent hotels, he wears
a simple long black winter coat.
“as marie, franka has two looks in the movie,” gayraud
continued. “the first is her gypsy/artist look, which is very
cool. our key hair stylist, kay georgiou, created multi-colored
hair for franka, very post-punk and on her, extremely attractive.
this contrasts with a more conservative look that she affects later.
we fabricated every single piece of wardrobe for franka ... nothing
was store-bought.”
gayraud patterned nykwana wombosi’s (adewale akinnuoye-agabaje)
uniform and civilian dress after zaire’s ex-dictator mobutu
sese seko and uganda’s idi amin dada. the character’s
numerous wives are dressed in a startlingly beautiful array of african
and western designs.
winter in prague …
the czech republic’s capital of prague, which has played virtually
every city in europe recently, primarily doubled as zurich, switzerland
for the bourne identity..
“unless you view zurich from far back, in which you see its
relationship to the lake, it’s not a highly visual city,”
crowley observed of the city the production scouted before settling
on film-friendly prague. “we knew that we could select locations
in prague that would be even more dramatic than what we could find
in zurich.”
“i expected zurich to be big and imposing because of the presence
of all those banks,” added production designer weil, “but
it’s a lot more provincial – neat, clean and sweet,
sort of a cross between strasbourg and berlin.”
however, what weil and his production team created in prague, assisted
by special effects supervisor philippe hubin and visual effects
supervisor peter donen, exceeded neat, clean and sweet. large swaths
of downtown prague were expropriated by the filmmakers and redressed
as zurich, with tons of faux snow both on the ground and floating
to earth, often abetting the real snow in wintry, sub-freezing prague.
joined by a contingent of highly skilled and experienced czech film
personnel, the bourne identity took full advantage of what the city
had to offer.
a defunct branch of the hypobank – on its way to being completely
refurbished as a luxury hotel – was cannily converted by weil,
supervising art director bettina von den steinen and set decorator
alexandrine mauvezin into the united states consulate in zurich,
one of the most important backdrops in the story. it’s here
that bourne, under suspicion by swiss police, tangles with marines
and other security personnel and suddenly connects with marie. three
stories of the consulate were created within, including the huge
visa room and office space above.
even the exterior was utilized for the thrilling climax to this
sequence, in which bourne scales down the 70-foot-high walls of
the building, which alternately saw damon himself dangling from
the lofty precipice by nothing more than a safety belt, and world-class
free-climber neil bentley – who conquered the nose of el capitan
in yosemite without safety harnesses – doubling him for the
more dangerous moves.
“climbing down the face of the building is probably the most
grueling thing i had to do,” confessed damon. “i’m
not an experienced rock climber, but i’ve done other movies,
like courage under fire and saving private ryan, where i had to
do a lot of running, diving, falling and shooting.”
“the challenge of the sequence was to make it look completely
natural for bourne to climb down the sheer wall of this building
like a mosquito,” noted nick powell. “matt was extraordinary,
and climbed down the last 30 feet of the building on his own. but
we brought in a climbing double rather than a stuntman, because
none of the stunt guys i know are in neil’s class.”
an exact replica of the building’s exterior was also designed
and built by dan weil and his crew on a soundstage at barrandov
studios for close-ups of damon scaling the walls.
logistically, the most complex zurich exterior shot in prague was
for scenes in which bourne wanders the wintry city streets. one
sunday in mid-january, authorities allowed the production to take
over jindrisska street, a major thoroughfare just off the even more
bustling wenceslas square. weil’s art department covered czech
street signs with their german counterparts, and even a huge banner
indicating the central prague post office was draped with a huge
white cross on a red background, the markings of the swiss flag.
the production acquired two prague city trams for the morning, painted
them in zurich colors, and then shut down the line so that filming
could commence.
many other central prague locations doubled not only for zurich,
but for paris locales as well. these included the legendary art
nouveau imperial cafe, still one of prague’s most popular
gathering places, and kampa park, in which bourne battles two zurich
police officers. the city’s famed barrandov studios also provided
weil with the space he needed for several major studio sets, including
the modernistic, nautically-themed offices for alliance security,
an impressively scaled vault at the gemeinschaft bank in zurich
and the interior of treadstone’s paris safehouse.
the company traveled outside the city limits to a frozen area aptly
known as “cesky sibir” (czech siberia) to portray bourne
and marie’s journey across the alps from switzerland to france.
and for the dramatic sequence set on a french farm, a real farmhouse
and its surrounding lands were discovered in the czech village of
suchdol, not far from ruzyne, prague’s international airport.
here, the cast and crew were truly challenged by the often brutal
cold and topographical conditions, with the grounds, frozen solid
in the mornings, turning to deep sludge by mid-afternoon on sunny
days.
through the weeks and months of filming, liman and his stars came
to a unique mutual understanding of the fresh techniques they had
all brought to the table. “it was great to work with both
matt and franka because i didn’t want to make a conventional
action movie, and neither did they,” he reflected. “none
of us wanted one false moment in this movie – that was the
standard we held ourselves to.
“it’s been exciting,” liman concluded. “hard,
too. but i could not have been surrounded by better people to take
on this challenge.”
about the cast...
matt damon (jason bourne) won an academy award® in 1998 for
best original screenplay with longtime friend ben affleck for the
critically-acclaimed drama good will hunting, a coming-of-age story
about a young mathematical genius from a tough background who can’t
live up to his potential. damon also earned an academy award®
nomination for best actor for his work in the title role. in addition,
he and affleck received a golden globe award for their screenplay,
and damon earned a golden globe nomination for his performance.
the film, directed by gus van sant, received seven additional oscar®
nominations, including best picture and a win for robin williams
for best supporting actor.
one of hollywood’s most sought-after talents, damon received
a golden globe nomination for best actor for his portrayal of an
opportunistic young man hired to coax a rich young american playboy
back home from italy in anthony minghella’s the talented mr.
ripley. the film also starred gwyneth paltrow and jude law.
damon starred with will smith in the legend of bagger vance, directed
by robert redford; and in all the pretty horses for producer mike
nichols and director billy bob thornton. the film, which also starred
henry thomas and penelope cruz, is based on the cormac mccarthy
novel.
damon and affleck starred as a pair of outcast angels in director
kevin smith’s dogma. in 1998, damon starred in the title role
of the world war ii drama saving private ryan for academy award®-winning
director steven spielberg, and in john dahl’s rounders. in
1997, damon made a cameo appearance in kevin smith’s chasing
amy and also starred as an idealistic young attorney in francis
ford coppola’s the rainmaker, based on the best-selling novel
by john grisham.
damon first gained the public’s attention in 1996 with a vivid
performance in edward zwick’s courage under fire, playing
a guilt-ridden persian gulf war soldier tormented by an incident
that occurred in the heat of battle. the versatile young actor made
his feature film debut in 1988 with a small role in mystic pizza,
then starred opposite brian dennehy in the 1990 tnt movie rising
son, and gained further notice on the big screen in 1992 as a fascist
preppy in school ties.
for director walter hill, damon handled a sizeable supporting role
as the green second lieutenant new to the west who narrates geronimo:
an american legend (1993). in 1995, he appeared in the good old
boys, directed by tommy lee jones for tnt.
in 1998, damon and affleck partnered with good will hunting associate
producer and longtime friend chris moore to form pearl street productions.
damon, affleck and moore recently executive produced stolen summer,
a feature film spawned by their effort to support new talent through
the project greenlight competition. the first greenlight contest
began in september 2000 with american citizens 18 years or older
invited to submit original screenplays electronically to www.projectgreenlight.com.
the winner, former insurance salesman pete jones, got to direct
his film, stolen summer, and received a million dollar production
budget. the 13-week project greenlight series on hbo documented
the making of that film.
damon attended harvard university, and gained his earliest acting
experience at the american repertory theatre as well as other boston-based
theatre venues. he is currently starring in the london production
of kenneth lonergan’s play, this is our youth, along with
casey affleck, his co-star in the feature film gerry. gerry, which
re-teams damon with gus van sant, will be released in the fall.
franka potente (marie kreutz) made an impression
on audiences worldwide in tom tykwer's critically acclaimed run
lola run in 1999. shot in real-time, the story follows lola as she
runs through the city streets of germany over a breathless 20 minutes
trying to scrape up $20,000 to save the life of her boyfriend. run
lola run won the 1999 audience award at the sundance film festival
and best foreign film at the 2000 independent spirit awards. it
was also nominated for best film not in the english language by
bafta (british academy of film & television arts).
last year, potente was seen in ted demme's blow, opposite johnny
depp and penelope cruz. in 2001, she also starred in the romantic
thriller the princess and the warrior, which re-teamed her with
writer-director tykwer in the story of two outlaw lovers.
potente recently completed filming try seventeen opposite elijah
wood and mandy moore. her german credits include nach funf im urwald
(1995), coming in (1996), rennlauf (1997), opernbail (1997), bin
ich schon (1997), schlaraffenland (1998) and anatomy (1999), a horror
film which was her country's highest-grossing film that year.
born and raised in munster, germany, potente attended the otto falckenberg
school in munich and the lee strasberg institute in new york city.
chris cooper (ted conklin) was nominated for a
1999 screen actors guild award and received acclaim for his supporting
role alongside kevin spacey and annette bening in the academy award®-winning
american beauty.
cooper was most recently seen as colonel burwell opposite mel gibson
in the patriot, a revolutionary war epic directed by roland emmerich.
also in 2000, cooper appeared with jim carrey in the comedy me,
myself and irene, for directors peter and bobby farrelly.
cooper starred as the father of an amateur rocket enthusiast in
the acclaimed coming-of-age drama october sky, which was screened
at the 1999 venice and deauville film festivals. he had previously
earned a best actor nomination in 1997 from the independent spirit
awards for his work in john sayles’ lone star. nearly a decade
earlier, cooper made his feature film debut in sayles’ matewan.
among cooper’s previous film credits are robert redford’s
the horse whisperer, great expectations, a time to kill, money train,
this boy’s life, guilty by suspicion and sayles’ city
of hope.
upcoming, cooper will play the pivotal role of laroche in adaptation,
reuniting the writer (charlie kaufman) and director (spike jonze)
of being john malkovich. the film is loosely based on susan orlean’s
novel, the orchid thief, which follows a sexually frustrated screenwriter’s
attempts to adapt orlean’s anecdotal novel for the screen.
on the small screen, cooper has had roles in a number of longform
projects, including the miniseries lonesome dove and return to lonesome
dove. he most recently starred in hbo’s breast men, and includes
among his other credits alone, one more mountain, ned blessing,
bed of lies, darrow, in broad daylight, a little piece of sunshine,
law and order and journey to genius.
born in kansas city, missouri, cooper attended the university of
missouri school of drama and started his professional career on
the new york stage. his theater credits include of the fields lately
on broadway, the ballad of soapy smith and a different moon.
clive owen (the professor) received wide acclaim
for his starring role in mike hodges’ croupier. born in coventry,
warwickshire, england, owen has a long list of credits that include
the feature films vroom, close my eyes, century, the rich man’s
wife, bent and the echo. he was seen most recently in the comedy
green fingers and in robert altman’s gosford park.
owen’s extensive television work on both sides of the atlantic
have included starring roles in the series chancer, sharman, split
second and the recent bbc hit second sight; and the tv movies lorna
doone, class of ‘61, the magician, nobody’s children,
an evening with gary lineker, the return of the native and doomsday
gun.
while filming his role in the bourne identity, owen began shooting
a series of unique internet-based “mini-movies” for
bmwfilms.com and executive producer david fincher, portraying a
character who recurs in each film. these shorts were being directed
by such filmmakers as ang lee, john frankenheimer, guy ritchie and
wong kar-wai.
brian cox (ward abbott) began his professional
acting career just before his 15th birthday as an apprentice of
the dundee repertory theatre in his native scotland. he enrolled
in the prestigious london academy of music and dramatic arts two
years later, kicking off a highly successful stage career which
continues to this day. cox’s plays on the west end and in
british and scottish repertory theatre have included as you like
it, peer gynt, romeo and juliet, othello, when we dead awaken, in
celebration, hedda gabler, cromwell, julius caesar, herod, macbeth,
danton’s death, moby dick, the danton affair, misalliance,
three sisters, the taming of the shrew (which earned him the british
theatre association drama award for best actor), frankie & johnny
in the claire de lune and richard iii.
in 1985, cox co-starred with glenda jackson in strange interlude
on broadway and in london, earning his second british theatre association
drama award for best actor. later, his performance in rat in the
skull in both new york and london occasioned his first olivier award.
cox’s portrayal of king lear in the royal national theatre
company’s world tour was the basis of his first book, the
lear diaries. he received a second olivier award for the title role
of titus adronicus for the royal shakespeare company. he returned
to the u.s. for both skylight and st. nicholas, and completed a
critically acclaimed run on broadway in the tony award-winning play
art. he recently returned to the london stage to star in the enthusiastically
received dublin carol, and has directed productions of i love my
life, mrs. warren’s profession, the philanderer, the master
builder and richard iii.
cox made his feature film debut as leon trotsky in nicholas and
alexandra, reprised his theatrical role in lindsay anderson’s
film of in celebration and originated the role of dr. hannibal lecter
in his first american film, michael mann’s manhunter. his
numerous subsequent films in both britain and the u.s. have included
hidden agenda, iron will, rob roy, braveheart, the long kiss goodnight,
chain reaction, the glimmer man, kiss the girls, desperate measures,
the boxer, rushmore, the corrupter, the minus man, for love of the
game, and recently, the cup, 2001 sundance film festival favorites
super troopers and l.i.e., and affair of the necklace.
on television, cox has appeared in the year of the sex olympics,
z cars, minder and other series, the dramas bach cantatas, churchill’s
people, therese raquin, the lost language of cranes, the cloning
of joanna may, six characters in search of an author and the mini-series
the devil’s crown, grushko and longitude. in the u.s., cox
starred with alec baldwin in the tnt film nuremberg, and recently
made his tv directorial debut on the hbo prison drama oz.
adewale akinnuoye-agbaje (nykwana wombosi) received
an image award nomination in 2000 for his role of prisoner #93a234,
simon adebisi, on the acclaimed hbo series, oz. he was also a series
regular on showtime’s linc’s.
akinnuoye-agbaje has appeared in such feature films as delta of
venus, congo, ace ventura: when nature calls, legionnaire, kat &
allison, and the mummy returns. in addition to his series work,
akinnuoye-agbaje has also been seen on television in new york undercover,
pensacola, cracker, the mini-series 20,000 leagues under the sea,
the showtime movie enslavement: the true story of fanny kemble and
the hbo movie deadly voyage.
akinnuoye-agbaje received a masters in law from the university of
london.
who’s who behind the scenes …
doug liman (director/producer) has become acknowledged
as one of the most vibrant and original young voices in american
film with his critically acclaimed features swingers and go.
born in new york city, liman attended the international center of
photography while still in high school. he attended brown university
in providence, rhode island, where he helped found the school’s
student-run cable television station.
liman began making short films at the age of seven and on into junior
high school. he attended the graduate program of the school of cinema
and television at the university of southern california, where he
directed his first feature project, the comedy thriller getting
in (a.k.a. student body), which starred stephen mailer, matthew
perry, andrew mccarthy and christine baranski.
liman made a splash with the indie hit swingers which he produced
and directed. made on a shoestring budget of $250,000 – money
he scraped together with the help of his father, the late iran-contra
investigator arthur liman, who also served as counsel to the production.
liman acquired the script from the film’s screenwriter, jon
favreau and he cast him along with vince vaughn, ron livingstone
and patrick van horne, to star in the story of the search for love
in and around los angeles’ retro swing bars.
liman’s adrenaline-driven next effort, go, was comprised of
three separate but related sections, each focusing on different
members of the film’s talented ensemble, including sarah polley,
katie holmes, taye diggs, william fichtner, jane karakowski, breckin
meyer and jay mohr. imbued with freshness of vision and execution,
go premiered at the sundance film festival and opened to overwhelming
positive notices. liman also served as director of photography on
both swingers and go. following go, liman produced sarah thorp’s
see jane run, starring clea duvall and kevin corrigan and helped
produce the critically acclaimed kissing
jessica stein.
his projects have proven that liman has a passion and a unique eye
for spotting new and distinctive talent. the stars of swingers,
go and kissing jessica stein have
the distinction of having launched their feature film acting careers
and screenwriting voices from a doug liman film.
liman has also directed highly acclaimed and popular commercials
including the nike golf commercial starring tiger woods effortlessly
juggling a golf ball with his club and foot – a spot which
became a national phenomenon.
liman is a founding partner of the entertainment production company
hypnotic, which produces, markets and distributes independent film
and television properties. hypnotic serves as the production entity
for all of liman’s film, television and commercial projects.
his interests outside of filmmaking include working for the legal
action center, which provides pro-bono legal work on behalf of people
with addictions, hiv and convictions and with safe space, which
does work on behalf of homeless teens in new york. he works on the
campaigns of new york politicians and supports young new york-based
artists by exhibiting their works in his tribeca loft. he is also
an avid outdoor enthusiast who guides river trips, climbs, mountaineers
and is an accomplished pilot.
tony gilroy (screenplay) has written or co-written
several highly successful films, including dolores claiborne and
the devil’s advocate, both of
which were directed by taylor hackford. gilroy has also written
or co-written the cutting edge, for better and for worse, extreme
measures, bait and shared adaptation credit for armageddon. gilroy’s
most recent project was the action drama proof of life, also directed
by hackford and starring meg ryan, russell crowe and david morse.
gilroy, who was born in manhattan and raised in upstate new york,
is the son of pulitzer prize-winning playwright/director/screenwriter
frank d. gilroy (the subject was roses).
william blake herron (screenplay) both wrote and
directed the independent films skin art and a texas funeral, the
latter starring martin sheen, isaiah washington, joanne whalley
and robert patrick. herron also wrote hard country starring clint
eastwood. his feature screenplays also include fake, liar, cheat
and fast forward, as well as aerospace thriller, timber and mayhem.
in addition, he wrote two episodes of the series lazarus man.
patrick crowley (producer) has worked his way up
the production ladder, from assistant director to his current position
as one of the industry’s most highly valued producers.
born in orange, california, crowley received a bachelor’s
degree in political science from the university of california at
berkeley and a master’s degree in communications from stanford
university. he then became an adjunct professor of communications
at stanford, where he taught film from 1972-75. afterward, crowley
directed documentaries and had a video production company in san
francisco.
moving to los angeles in 1980, crowley produced a number of commercials
directed by multi academy award®-winner conrad hall. he then
entered the directors guild of america as a first assistant director,
working with such filmmakers as curtis hanson on losin’ it,
roger spottiswoode on under fire, barry levinson on the natural,
karel reisz on sweet dreams and john schlesinger on both the falcon
and the snowman and the believers.
crowley served as co-producer on true believer, produced by walter
parkes (one of his students at stanford) and lawrence lasker. he
then worked as unit production manager on revenge, directed by tony
scott. crowley was executive producer of the large-scale science
fiction thriller robocop 2, nora ephron’s comedy smash hit
sleepless in seattle and edward zwick’s historical romance
legends of the fall. he produced robocop 3.
crowley became executive vice president, production at new regency
productions in 1994, where for six years he supervised production
and post-production on such films as l.a. confidential, a time to
kill, entrapment, fight club, the
devil’s advocate, city of
angels, the negotiator, heat, tin cup, cobb, boys on the side,
under siege 2: dark territory and many others. he is a partner in
the estudio network internet company, which provides consolidated
purchasing and crucial database information for both studio and
independent films.
crowley is currently the executive producer on charlie’s angels
2.
richard n. gladstein (producer) is the head of
the los angeles-based motion picture production company filmcolony,
ltd. founded by gladstein in may of 1995, filmcolony is committed
to working with a broad range of distinctive filmmakers and telling
compelling and unique stories.
gladstein is currently producing never land, starring johnny depp.
directed by marc forster, the film tells the story of how j.m. barrie
was inspired to write the play peter pan through his relationship
with five fatherless boys and their mother in turn-of-the-19th century
london. the film will be shot this summer in london.
currently shooting in los angeles, gladstein is the executive producer
of the danny devito directed film, duplex, a satirical black comedy
about a young couple (ben stiller and drew barrymore) who buys a
duplex in brooklyn, only to be tortured by their elderly upstairs
tenant.
in post-production is levity, a dramatic journey of a man determined
to resolve his dark past. written and directed by ed solomon and
produced by gladstein, the film stars billy bob thornton, morgan
freeman, holly hunter and kirstin dunst.
gladstein is most proud of having produced the cider house rules,
which was nominated for seven academy awards® in 2000, including
one for himself for best picture. michael caine won an oscar®
for best supporting actor and john irving won for his screenplay
adaptation of his own best-selling novel. the film was directed
by lasse hallström and stars tobey maguire, charlize theron,
delroy lindo, paul rudd and michael caine.
january of 1999 marked the release of she’s all that, a high
school romantic comedy produced by gladstein, directed by robert
iscove and starring freddie prinze, jr., rachael leigh cook, anna
paquin and matthew lillard. hurlyburly, starring sean penn, kevin
spacey, robin wright-penn, chazz palminteri, garry shandling, anna
paquin and meg ryan, was produced by gladstein and released in december
of 1998. the film was adapted by david rabe, based on his own play.
gladstein was also the producer of mark christopher’s 54 and
executive producer of quentin tarrantino’s jackie brown.
prior to the formation of filmcolony in 1995, gladstein served as
the executive vice president of production of miramax films, where
for two years he supervised the company’s motion picture development
and production. while there, he was the executive producer of quentin
tarantino’s pulp fiction, sean penn’s the crossing guard
and john duigan’s the journey of august king. he also supervised
the productions of robert altman’s ready to wear, wayne fleder’s
things to do in denver when you’re dead and four rooms, the
ensemble film from writer/directors alison anders, alex rockwell,
robert rodriguez and tarantino.
prior to joining miramax, gladstein was vice president of production
and acquisitions at live entertainment. during those years, he was
involved in the production and acquisitions of such films as bob
roberts, king of new york, light sleeper and the bad lieutenant,
as well as executive producing reservoir dogs.
prior to that, gladstein was the director of acquisitions and distribution
for angelika films in new york. previously, he served in various
physical production capacities on both television and film productions
in new york.
gladstein and his wife lauri, a musician, currently reside in los
angeles with thei son milo.
frank
marshall (executive producer) with an impressive number
of landmark films to his credit as a producer, frank marshall has
also excelled as a director, and found the time to devote himself
to numerous endeavors in public service and sports.
marshall has more than 50 films under his belt as producer, including
raiders of the lost ark, indiana jones and the temple of doom, indiana
jones and the last crusade, poltergeist, gremlins, the goonies,
the color purple, an american tail, empire of the sun, who framed
roger rabbit, the land before time, the back to the future trilogy,
cape fear and the sixth sense. he
has already made several trips to the academy awards®, having
been nominated in the best picture category in 1982 for raiders
of the lost ark and again in the same category for the color purple
with fellow producers steven spielberg, quincy jones and kathleen
kennedy. one of his most recent projects, m. night shyamalan’s
1999 box office smash the sixth sense,
was nominated for six academy awards®, including best picture.
as a director, marshall’s credits include the summer 1995
hit adventure, congo, based on michael crichton’s best-selling
novel; the sensitive true-life drama, alive, from piers paul read’s
non-fiction book; the thriller arachnophobia; and an episode of
the emmy award®-winning hbo miniseries, from the earth to the
moon.
marshall began his motion picture career as assistant to peter bogdanovich
on the director’s cult classic, target. he was then asked
by bogdanovich to serve as location manager for the last picture
show and what’s up, doc? before graduating to associate producer
on the filmmaker’s next five movies, including paper moon
and nickelodeon.
marshall was line producer on martin scorsese’s the last waltz,
the heralded musical documentary on the band. he then began a two-film
association with director walter hill, first as associate producer
on the driver, then as executive producer of the warriors, both
of which have also attained a certain cult status among cineastes.
marshall was also line producer of orson welles’ legendary
unfinished film, the other side of the wind, to which he periodically
returned from 1971 through 1976.
raiders of the lost ark marked the beginning of marshall’s
epochal collaboration with steven spielberg, george lucas and kathleen
kennedy. following the productions of e.t. the
extra-terrestrial and poltergeist (which he produced), in 1981
he formed industry powerhouse amblin entertainment with spielberg
and kennedy. during his tenure at amblin, marshall also produced
such films as fandango, young sherlock holmes, innerspace, *batteries
not included, dad, the money pit, noises off, always and hook, as
well as his directorial debut, arachnophobia.
marshall left amblin in the fall of 1991 to pursue his directing
career. together with kathleen kennedy, he formed the kennedy/marshall
company under which alive was the company’s first release.
in 1995, he directed congo and produced the highly-acclaimed film
the indian in the cupboard with kennedy and jane startz. in 1997,
he directed his episode of from the earth to the moon, which centered
around the apollo 11 moon landing.
the kennedy/marshall company’s most recent productions include
snow falling on cedars, a map of the world, the
sixth sense and olympic glory, the first official large format
film of the olympic games. forthcoming is signs, directed by m.
night shyamalan. marshall is also producing another large format
film, the young black stallion, directed by simon wincer.
robert
ludlum (novelist/executive producer), the best-selling
author of nearly two dozen novels published in 32 languages and
40 countries, has long been acclaimed as the master of suspense
and international intrigue. he has thrilled millions of readers
worldwide beginning with the scarlatti inheritance in 1971 and continuing
with such novels as the rhinemann exchange (1974), the aquitaine
progression (1984), the icarus agenda (1988) and the trio of works
featuring master spy jason bourne – the bourne identity (1980),
the bourne supremacy (1986) and the bourne ultimatum (1990).
born in new york city and raised in short hills, new jersey, ludlum
enlisted with the marines during world war ii and served in the
south pacific. he worked as an actor and producer before beginning
his prolific writing career. ludlum had several books underway when
he died of a massive heart attack at age 73 on march 12, 2001. the
paris option, a collaboration between ludlum and writer gayle lynds,
was published after his death.
oliver wood (director of photography) has photographed
films that range the spectrum from big-scale action to intimate
drama and raucous comedy. after beginning his career with leonard
kastle’s black & white cult classic the honeymoon killers
– one of the most influential independent films of the last
three decades – wood photographed such lower-budgeted films
as don’t go in the house and amos poe’s alphabet city.
he then forever changed the look of episodic television by serving
as director of photography on michael mann’s miami vice. wood’s
work on miami vice was noticed by director renny harlin, who approached
him to serve as director of photography on his epic-sized action
thriller die hard 2.
since then, wood has photographed films in every genre, among them
bill and ted’s bogus journey, rudy, sister act 2: back in
the habit, terminal velocity, mr. holland’s opus, celtic pride,
2 days in the valley, john woo’s face/off,
switchback, mighty joe young, u-571
and the upcoming eddie murphy comedy, pluto nash.
dan weil (production designer) has applied his
talents to some of france’s most important films of the last
decade, including collaborations with director luc besson which
have included the big blue, la femme nikita, the professional (aka
leon) and the fifth element. each film featured strikingly different
backdrops, from the gritty realism of the professional to an amazingly
and often humorously conceived world of the future in the fifth
element.
weil’s credits have also included black mic moc, moitie-moitie,
hors la vie, belle maman, le libertin, the dancer and agnieszka
holland’s controversial english-language total eclipse, which
depicted the relationship between 19th century poets arthur rimbaud
(leonardo dicaprio) and paul verlaine (david thewlis).
pierre-yves gayraud (costume designer) is one of
france’s premier artists in his field, perhaps best known
in the u.s. for two large-scale epics directed by regis wargnier,
indochine and east-west, as well as agnieszka holland’s total
eclipse.
the oscar® winning best foreign film indochine, set during the
french occupation of vietnam and filmed in that country, starred
catherine deneuve and vincent perez and brought gayraud and collaborator
gabriella pescucci cesar award nominations. east-west, which also
featured deneuve and starred sandrine bonnaire and oleg menchikov,
was an oscar® nominee for best foreign film, and won a best
picture nomination from the cesar awards.
gayraud’s other french cinema credits have included le brasier,
le batard de dieu, les amoureux, le peril jeune, rosine, rai, when
the cat’s away..., clubbed to death, love, etc..., tenue correcte
exigee, docteur chance, the red dwarf, lila lili, monde parallele,
mais qui donc la-haut plume la lune? and belphegor, which starred
sophie marceau and julie christie.
after the bourne identity, gayraud created the costumes for another
period film, 24 hours in a woman’s life with agnès
jaoui and frances barber. he is currently working on director josée
dayan’s dangerous liaisons with a cast including catherine
deneuve, nastassia kinski, leelee sobieski and rupert everett.
saar klein (film editor) is a two-time academy
award® nominee for work on terrence malick’s the
thin red line (which he co-edited with leslie jones and billy
weber) and cameron crowe’s almost famous (which he cut with
joe hutshing). he was also the editor on endurance, a documentary
of olympic runner haile gebreselassie’s life.
klein was born in israel and moved to new york with his family at
the age of 10. he graduated from vassar college (with a ba in psychology)
in 1989 and moved to los angeles in 1992. aside from editing, klein
has also directed. most recently, he directed a public service announcement
for project open hand, a non-profit meals-on-wheels service in san
francisco. he intends to continue directing as well as editing.
john powell (composer) steeped in classical tradition,
yet drawn to the idea of turning it on its head, john powell has
composed a series of acclaimed motion picture soundtracks since
arriving in america four years ago. he brought out the film noir
undertones of john woo’s direction for face/off
(1997) and co-wrote imaginative scores for the animated films
antz (1998), the road to el dorado (1999), chicken
run (2000) and shrek (2001). he’s
also the creative voice behind the experimental score for forces
of nature (1999) and endurance (1999), which fuses african,
arabic and western music to tell the story of the world’s
fastest runner. powell’s credits in 2001 include evolution,
rat race and i am sam.
powell studied composition at london’s trinity college of
music, where he earned the john halford and the boosey and hawkes
music college awards and joined performance art group media arts.
with longtime collaborator gavin greenaway, he composed music and
sound for their conceptual performances. although the duo left the
troupe upon graduating in 1986, they continue to co-create mixed-media
installation pieces with artist michael petry, the most recent featuring
bare-bottomed men and a german brass ensemble.
powell made his first foray into feature films at london’s
air-edel music in 1989. there he worked along side composers hans
zimmer and patrick doyle, assisting doyle with the score of into
the west and writing cues and working as an electronic music programmer
for zimmer on white fang.
in 1994 powell left air-edel to co-found, with greenaway, london-based
commercial music house independently thinking music (itm). together
they composed scores for more than a hundred high-profile european
ad campaigns. arriving in the states in 1997, he immediately scored
two television projects: the second season of stephen spielberg’s
high incident and the pilot for the people. he also arranged songs
composed by stephen schwartz for the prince
of egypt (1998).
powell’s film credits also include with friends like these
(1998), just visiting (2001), eye
see you (2002) and the upcoming pluto nash.
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