AMERICAN HISTORY X

American History X is a profound and stirring drama about the consequences of racism as a family is torn apart by hate. A graphic examination of extremism in America, the film follows one man's struggle to reform himself and save his brother after living a life consumed by violence and bigotry.

Written by David McKenna and directed by Tony Kaye, American History X is produced by John Morrissey. The story unfolds through the eyes of Danny Vinyard (Edward Furlong), who idolizes his older brother Derek (Edward Norton). Seeking retribution for his father's murder and burning for a way to vent his rage, Derek finds himself transformed by a philosophy of hate as he turns into a charismatic leader of a local white power movement. Despite his indisputable intelligence, his incendiary actions culminate in a brutal murder and, ultimately, a prison sentence.

Three years later, everyone awaits Derek's return: His mother Doris (Beverly D'Angelo) who prays for his safety; his girlfriend Stacey (Fairuza Balk) who longs for his return, and most of all Danny, who is desperate for his brother's love and guidance.

On the day of Derek's release from prison, Danny hands in a book report on Mein Kampf. Enraged, the school principal (Avery Brooks) demands that Danny write a new paper on the circumstances that led to Derek's incarceration. Through the narrative of this new assignment, the audience explores the events that haunt and define two brothers.

But unbeknownst to Danny, Derek is a changed man. Fresh from prison, he no longer views hatred as a badge of honor. Ashamed of his past, he is now in a race to save Danny and the Vinyard family from the violence he's brought down upon them.

Produced by New Line Cinema with the Turman-Morrissey Company, American History X is co-produced by McKenna with Jon Hess. The film also stars Stacy Keach, Jennifer Lien, Elliott Gould, Ethan Suplee and Guy Torry. Executive producers are Lawrence Turman, Steve Tisch, Kearie Peak, and Bill Carraro.

American History X is rated R by the MPAA and will be released in key cities beginning October 30th.

ABOUT THE PRODUCTION

While American History X was made with a no-holds-barred look at the very real underbelly of racism, this is not a film about skinheads or white power. This is a searing contemporary tragedy that grips one working-class family.

Screenwriter David McKenna grew up on the periphery of the burgeoning and sometimes violent punk-rock scene. He was privy to the narrow-minded behavior that inspired him to write American History X.

"I saw a lot of bigotry growing up, and it made me think about writing something about the world of hate-mongers. The point I tried to make in the script is that a person is not born a racist. It is learned through environment and the people that surround you," says McKenna. "The question that intrigued me is: why do people hate and how does one go about changing that? My premise was that hate starts in the family."

McKenna interviewed a number of "skinheads" and spent a great deal of time observing them in action. "I had seen documentaries that just didn't ring true to me, and I wanted to write an accurate portrayal of how good kids from good families can get so terribly lost."

"I wanted the characters to be as real as possible, not the shallow, stereotypical backwoods idiots we've all seen. I was tired of seeing protagonists that looked and sounded so stupid. While the notion of family is central to the story, American History X chronicles the rise and fall of a leader; a revered, larger-than-life icon who must confront the fact that he has unwittingly lured his impressionable younger brother into a dangerous underground war."

Producer John Morrissey first read the script more than 3 years ago. He was startled and captivated by the vivid characters and the powerful dialogue. "There's never been a secret to recognizing a terrific script because when you read it, you can't stop turning the pages," notes Morrissey. "More than anything else, I responded to the fundamental subject matter of racism and how it destroys individuals, families and communities, and by extension entire societies."

When the screenplay was brought to the attention of New Line Productions President Michael De Luca, he immediately embraced the project as a societal siren - a provocative story with a distinctive voice and a disturbing message.

"This was one of those rare scripts that struck a raw nerve," De Luca said. "I was intrigued by its intensity, conviction and brutal honesty. There was a brilliant character study woven into the screenplay, and I knew we had something special if we did it correctly. Now that the film is in the can, it's everything I had hoped for. The performances are explosive and frightening, and the film dramatically demonstrates both the subtle and overt roots of racism while also showing the possibility for redemption."

Because of the profound power of the film, Amnesty International USA plans to use American History X as an educational tool in the months to come. The world's leading human rights organization will embark on an extensive screening program at colleges and AIUSA functions nationwide.

At its core, this film shows the possibility of change. Says Morrissey, "It's not preachy and that's the beauty of American History X. These characters are tragically flawed, and you begin to feel sympathy for their fall into ignorance and hatred."

It takes a powerful actor to allow an audience to feel empathy for a demon, and the filmmakers were not originally thinking of Edward Norton for the role of Derek. Indeed, it was Norton who approached the producers after he read the script.

"Tony Kaye, John Morrissey and I spent five minutes with Edward, and the passion he had for the material was contagious. Then he did a screen test which was mind-boggling," recalls executive producer Steve Tisch, Academy Award®-winning producer of Forrest Gump.

To Norton, the chance to portray Derek Vinyard offered a rare and astounding range of opportunities for a young actor. "It's a challenge to take on a character, who, on initial introduction, is so enormously awful. I was attracted to the complexity of the role. This character travels so far within the course of the film. By the end, he's completely humanized and the audience might even be sympathetic, or at least, empathetic towards him," Norton said.

"Derek is very much a guy whose anger and rage have superceded his intelligence. They have paralyzed his boundless potential. I liked the transformation that he goes through as his intelligence reasserts itself over his anger."

Beyond the dramatic character arc, Norton appreciated the devices McKenna used to relay his hard-hitting story. As an example, he points to the way Derek and Danny are influenced by their father.

"If the dad was an over-the-top, ugly American bigot, it would let you off the hook. It wouldn't challenge you to confront the much more complex and sad reality of what goes on in this country. Derek is shaped by a typical family man. He loves his kids. He works hard. He's a good guy, a firefighter with professional frustrations that are grating on him. You understand the seeds of his anxiety and you can feel him looking for a scapegoat. You see how these social forces generate this bigotry. You can't dismiss him because he shares it with his son - he's transferring his message of ignorance in, what to him, is a loving, caring way."

In fact, Norton suggested that McKenna look for additional material in some of California Governor Pete Wilson's speeches about Proposition 209, which outlaws state-sponsored affirmative action programs. McKenna found a fertile treasure-trove and was inspired by the political rhetoric to formulate Derek's oratory as he rallies a group of malleable minions to violently storm a grocery store.

"There is a lot that Derek says during that speech that is valid," says Norton. "But it's the transmutation of that complaint into a ketchup bottle being broken over someone's head that is unnerving. What I find most compelling is that on some level, people may relate to what Derek is saying. But the tragic phenomenon is when the emotion and the rage dominates the intelligence, and that's what this story is all about."

Interestingly, McKenna originally intended Derek to be just a brute: someone who intimidated through raw power and malevolence. "But once Edward and I sat down and discussed the role, we developed a different motivation and drive. Edward brought a new character to the table, someone with an inner strength and intelligence to match the exterior toughness. He really changed the face of how I looked at the role and the film is a helluva lot stronger because of it."

According to Tisch, Edward Norton brought credibility and integrity to a controversial undertaking. "Making movies is about collaboration and Edward Norton has been a complete cheerleader of this project since day one. He has rallied the other actors, he's worked closely with Tony Kaye, and for the best reasons, he's gotten involved with honing the story. His grasp of film as an art is incredible. I can tell by how hard he works and the talent he brings to a movie that he's going to be working on both sides of the camera for as long as he wants."

Adds producer Morrissey, "One of Edward's fundamental gifts is his ability to depict really bright characters engaged in intellectual struggle. In Primal Fear, we saw an incredibly calculating, crazy character. In People vs. Larry Flynt, we saw him portray a straight-ahead, upright lawyer with a piercing intellect. In American History X, you will see him in another very cerebral role. Now that may sound dry and tedious, but if it does, you haven't seen this young man's short but distinguished body of work."

Adding another healthy dose of integrity to the production is acclaimed actor Edward Furlong, who plays the critical role of Danny Vinyard. The story unfolds through the eyes of Furlong's character, as he recounts the events that led up to Derek's incarceration.

However, when the gritty, black-and-white memories of his brother, who he idolizes as a hero, don't mesh with the reformed Derek, a palpable tension erupts between the two.

Suddenly, these brothers are at odds with each other, and because of the celebration surrounding the homecoming, they are continually interrupted as they attempt to reconcile the transformation that each has embraced.

"Eddie added perfect balance to the project," says Norton. "He has such a sensitive face and a soft-spoken style, we were physically and emotionally contrary characters, but you still had a real sense of our bond. That was crucial for this film to work."

"I'm more surprised by Eddie Furlong than I am by Edward Norton because I expected Norton to be brilliant with a capital "B". And it turns out that Eddie Furlong is too," says Morrissey. "He represents a loss of innocence and a youth culture that is susceptible and vulnerable to society's ills."

"I knew this film would be controversial because it was hitting a real ugly hot button," Furlong said. "But this was not designed to be safe and sanitized or conventional. It was intended to be intense and provocative and I think it has succeeded beyond all our best hopes. If one person changes because of what we've created, the whole process will be worth it."

"Eddie really stepped up to the plate on this film. You can't keep your eyes off him," says screenwriter McKenna. "He's added so much depth to what I've written, I am truly pleased."

The casting for the roles of school principal Bob Sweeney and Cameron Alexander, who both battled for the soul of Derek Vinyard, were critical decisions for the filmmakers.

"Both Avery and Stacy represent opposing forces and for both roles we needed actors of stature, power and age," adds Morrissey.

Brooks was hired immediately after meeting with the filmmakers. "Avery did a real interesting thing with his character," notes Morrissey. "He could have easily been a stock mentor -- the type that comes in and provides a few moral platitudes. But Avery was not afraid to add a little bombast and complexity to the role. He's not just purely good, and that is revealed in the infirmary when he visits Derek. You get a sense that he was an angry young man himself, and that is an important turning point in the film. He was terrific and I loved how he dropped his righteous moralizing and opened up to Norton in that scene."

Originally, the role of Cameron was envisioned as a younger contemporary of Derek's. But as the story evolved, Cameron became more of an elder statesman of the white power movement. Veteran actor Stacy Keach was cast as the recruiter of the skinheads, a conservatively-dressed businessman with a relaxed manner.

Keach was drawn to the project because of it's tough, hard look at American society. "We've seen a lot of movies like this recently, whether it's Dead Man Walking, Natural Born Killers, or Leaving Las Vegas. I think this film will spark a lot of discussion and hopefully people will focus on the need for young people to have an identity. Kids are looking for a place to belong and they will find it in gangs or hate groups or anywhere else."

"We had an amazing cast that also includes magnificent performances by Beverly D'Angelo, Elliott Gould, Fairuza Balk, Ethan Suplee and Guy Torry," Tisch said. "It was marvelous the way everyone came together and made the material work."

According to Morrissey, D'Angelo was particularly helpful in adding a sense of humanity to the project. "The mother was perhaps the most underwritten role in the film, and Beverly challenged us to add more depth to the character and she was right. She brings enormous love and passion to her role and she worked with David McKenna so that there was an understandable justification and reasoning for her character to behave in the way she has. I think she added a lot more dimension to the whole film and certainly a greater rationality to the family and the events that befall the family."

Tony Kaye, who makes his feature film directorial debut with American History X did triple duty on the project by also serving as director of photography and the camera operator. An unorthodox and unique approach, it is the same style Kaye has successfully employed on his award-winning commercials and videos he has filmed around the world.

"Tony waited a long time to make a film because he's highly selective. If you look at his work in commercials, you'll see a guy who takes chances and who has a definite point of view. What he has delivered is a thoughtful, compelling film with amazing performances and a unique visual style," says Morrissey.

Tisch concurs: "When I read a script, I try to visualize what the movie is going to look like. I never visualized what Tony brought to this. He is a singular talent. He shoots in a hyper-realistic way where he is able to bring the audience into the scene and make them feel like they are right there sharing the experience."

Beyond his storytelling prowess, his directorial style proved advantageous because, as a camera operator, he also preferred a lot of natural light allowing for an accelerated production schedule. Recalls Morrissey, "Normally if you do 30 set-up shots in a day that is good. If you're pushing, you can do 40. On the first day, Tony did 123. That's a lot of set-ups. Nobody believed it."

"Tony's style created an intimacy with the actors and crew that is highly unusual. Because he wore so many hats, he interacted with them in ways that most directors never would."

ABOUT THE CAST

Edward Norton (Derek Vinyard) has appeared in the films Primal Fear, Everyone Says I Love You, and The People vs. Larry Flynt. He received an Academy Award® nomination and a Golden Globe Award for Best Supporting Actor for his work in Primal Fear. For his work in all three films he received the Best Supporting Actor Awards from the National Board of Review, the Los Angeles Film Critics, the Boston Film Critics and the Texas Film Critics, as well as the Most Promising Actor Award from the Chicago Film Critics.

Norton appears this Fall in Rounders, directed by John Dahl. He is currently shooting David Fincher's Fight Club with Brad Pitt, and is set to produce, direct, and star in Keeping the Faith next year.

Mr. Norton is on the Board of New York Signature Theatre Company, with whom he first performed in the 1994 premiere of Edward Albee's "Fragments."

He also serves on the New York Board of the Enterprise Foundation, which works to create decent, affordable housing for low-income families.

Edward Furlong (Danny Vinyard) was born in Glendale, California, and had no acting ambitions until he was approached by casting agent Mali Finn and began to entertain the idea of acting. Finn put him up for the role of John Connor in the 1991 movie Terminator II opposite Arnold Schwarzenegger and Linda Hamilton. When Furlong won the part, his career was launched.

From there, Furlong took an unconventional route through Hollywood, which led to him working with some of the top people in the business and in the independent film arena. His work included starring opposite Jeff Bridges in American Heart (1992), A Home of Our Own (1993) with Kathy Bates, Little Odessa (1994) with Tim Roth, and The Grass Harp (1996) with Walter Matthau. More recently, he starred opposite Meryl Streep and Liam Neeson in Barbet Schroeder's Before and After.

Most recently, he starred in the hit Fine Line comedy Pecker for John Waters, and is currently before cameras starring in the New Line comedy Detroit Rock City.

Furlong has been the recipient of several awards including an MTV Movie Award for Best Breakthrough Role, a Saturn Sci-Fi Award for Best Young Actor for Terminator II, and an IFP Spirit Award for Best Supporting Actor for his performance in American Heart.

Beverly D'Angelo (Doris Vinyard) is an accomplished performer with more than 50 films to her credit and has been praised for her work on screen, television and the stage.

Most recently seen in Vegas Vacation (the fourth installment of the Vacation films with her on-screen husband Chevy Chase), D'Angelo's films include Annie Hall, Hair, Coal Miner's Daughter (for which she received the Los Angeles Film Critics Award, a Golden Globe nomination and a Country Music Award for singing on the film's soundtrack), Pacific Heights, Daddy's Dyin', Who's Got The Will?, The Miracle, and Eye for an Eye.

On-stage, D'Angelo starred in "The Zinger" and "Rock-a-Bye Hamlet," and she received the Theater World Award for Best Actress, as well as an Outer Critic Circle nomination, for her role on Broadway in Sam Shepard's "Simpatico" in 1995. In addition, D'Angelo received an Emmy Award nomination for her role in "A Streetcar Named Desire." Her television films include "The Jerry Sherwood Story," "Menendez: A Murder in Beverly Hills," "Talking With..," "Sweet Mouthful" and "Edie & Pen."

Born in Columbus, Ohio, D'Angelo studied Fine Arts at the American School in Florence, Italy, and at age 17 worked as an animator for Hanna Barbera Studios.

Avery Brooks (Bob Sweeney) can be seen as Captain Benjamin Sisko on the television series "Star Trek: Deep Space Nine." He was seen earlier this year in The Big Hit, with Mark Wahlberg and Lou Diamond Phillips.

Brooks was the first Black MFA graduate in Acting & Directing from Rutgers University. He is also a tenured professor of the Mason Gross School of the Theatre Arts at Rutgers.

Stacy Keach (Cameron) was most recently seen opposite Kurt Russell as Malloy in John Carpenter's Escape from L.A. A veteran of stage, screen and television for almost 30 years, Keach graduated from U.C. Berkeley, attended the Yale School of Drama and was a Fulbright Scholar at the London Academy of Music and Dramatic Arts.

He made his film debut in The Heart is A Lonely Hunter (1968), then co-starred in Robert Altman's Brewster McCloud (1970), George Roy Hill's The Life and Times of Judge Roy Bean (1972) and John Huston's Fat City (1972). He co-wrote, as well as starred (with brother James) in The Long Riders (1980). Other film credits include That Championship Season, Sunset Grill, Gray Lady Down, as well as Up In Smoke and Nice Dreams with Cheech and Chong.

Following his television debut in 1965 on the comedy series "Get Smart," Keach became a familiar face to television viewers in 1983 when he began his role as Mike Hammer in a series of television movies based on the best-selling Mickey Spillane novels. He starred in the mini-series "The Blue and the Gray," "Mistral's Daughter" and the title role in "Hemingway" (1988), which earned him a Golden Globe Award and an Emmy nomination. He received a Cable Ace nomination in John Carpenter's "Body Bags"(1993).

On stage, he received a Tony nomination for his Broadway debut in 1969 in "Indians" and received three Obie Awards for his work in "Long Day's Journey Into Night," "Hamlet" and "MacBird" at the New York Shakespeare festival.

Fairuza Balk (Stacy) debuted as Dorothy in Disney's Return To Oz (1985) when she was nine-years-old, then appeared in various motion pictures made for television. In 1992, she played a rape victim in the television movie "Shame," a performance that won her a Best Actress nod at the Cable Ace Awards.

Among her feature film roles, Balk co-starred opposite Tim Roth as the teenage runaway Caril Ann Fugate in Starkweather: Murder in the Heartland (1993). Other film credits include Milos Forman's Valmont (1989) and Allison Anders' Gas-Food-Lodging, (1992) for which Balk received an Independent Spirit Award for Best Actress.

Her recent film credits include the 1996 releases The Island of Dr. Moreau and The Craft, as well as Things To Do in Denver When You're Dead (1995), and the 1994 movies Imaginary Crimes and Tollbooth. Upcoming films include a cameo in The Maker for Tim Hunter, opposite David Thewlis in American Perfekt, and opposite Adam Sandler in The Waterboy.

Jennifer Lien (Davina Vinyard) played Kes on the 1995 television series "Star Trek: Voyager" and was a regular on the 1993 ABC series "Phenom." Prior to that, she was Hannah Moore on the daytime soap "Another World," in addition to various stage and voice over assignments.

She will also be seen in the upcoming features SLC Punk and Gates of Wrath.

Elliott Gould (Murray) is one of this generation's most accomplished actors. Gould, who can currently be seen in the Fox series "Getting Personal," first came to prominence in The Night They Raided Minsky's (1968) and then in the 1969 groundbreaking comedy, Bob & Carol & Ted & Alice, for which he was nominated for an Academy Award®. In 1970, he received a Golden Globe nomination for his role as Trapper John in Robert Altman's film of the novel M.A.S.H.

Altman later cast Gould as private eye Phillip Marlowe in 1973's The Long Goodbye. Gould also appears in cameos in Altman's Nashville and The Player. Among his more than 60 films are memorable roles in Getting Straight, California Split, Harry and Walter Go To New York, The Devil and Max Devlin, and as a dim-witted hood in Bugsy. Most recently, he appeared in The Big Hit, Johns, City of Industry, and the television miniseries of Stephen King's The Shining. For the last couple of years he has appeared on the hit series "Friends" as the father of Monica and Ross.

A native of Brooklyn, Gould started working in his first Broadway chorus line when he was 18. By 1962, he captured the lead in the musical "I Can Get It For You Wholesale." In 1996 he returned to the stage in "Deathtrap," which made a national tour to 25 cities.

GUY TORRY (Lamont), a successful standup comic who got his start on Russell Simmons' "Def Comedy Jam," spent most of 1998 performing in the long-running "Kings of Comedy" national tour and producing the weekly "Phat Comedy Tuesdays" showcase he created in Los Angeles.

Torry plays a critical role in American History X as Lamont, a fellow inmate and co-worker of Derek's who helps Norton's character to overcome the racist mindset that has gripped him and led to his incarceration.

He has been seen in such films as 187, Ride, Don't Be a Menace to South Central.., and Sunset Park, as well as UPN's ensemble comedy "Good News," which now airs on BET. Additionally, he has written for such shows as "Martin," "Minor Adjustments," and "Moesha," among others.

He will also be seen in the upcoming features G's Trippin' and Life, directed by Ted Demme and starring Eddie Murphy and Martin Lawrence.

Ethan Suplee (Seth), a native of New York, first got interested in acting during High School when his Drama teacher was his mother. Suplee most recently was seen in Chasing Amy and Mallrats, both directed by Kevin Smith. He also starred in the 1998 Toronto Film Fest-premiered Desert Blue, directed by Morgan Freeman, and the 1997 Sundance-premiered 35 Miles From Normal.

On television, he co-starred with Eric Stoltz in the 1996 HBO original movie "Don't Look Back" (written by Billy Bob Thornton) and for parts of three seasons was featured as the kind-hearted bully in the ABC series "Boy Meets World." He will soon be seen in the upcoming features Tyrone, Takedown, and Kevin Smith's Dogma.

WILLIAM RUSS (Dennis Vinyard) has been seen previously in such films as Cruisin', The Border, and The Right Stuff. A series regular on "Boy Meets World," he has also starred in such television movies as "Crime Story," directed by Abel Ferrara and "Crazy from the Heart," directed by Tom Schlamme. His Broadway experience includes "Basic Training of Pavlo Hummel."

ABOUT THE FILMMAKERS

TONY KAYE (Director/Cinematographer), an internationally acclaimed commercial director and artist, makes his feature film directorial debut with American History X.

In 1995, Kaye was listed in "The A-Team" for the world's hottest commercials directors by Adweek magazine. Kaye's innovative commercials for clients such as the 1996 Olympic Games, Volkswagen, Dunlop Tires, British Rail, Volvo, Barclays and Nike have won him countless awards for direction, cinematography and editing.

Attracted to American History X because of the relevant social issues the film addresses, Kaye has put his talent toward other thought-provoking societal concerns, such as Greenpeace, Drug-Free America, Romanian orphans, and a documentary he has been making for the last four years that explores the abortion debate in the United States. Kaye has been traveling the country shooting a cross-section of Americans with differing cultural, religious and political views, as well as leaders from both the pro-choice and pro-life sides

His Grammy-nominated Soul Asylum music video "Runaway Train" was cited as one of 1994's Top 5 music videos by Spin and won a Billboard Music Video Maximum Impact Award, the first-ever given.

John Morrissey (Producer) most recently produced the comedy Booty Call, the first production from the Turman-Morrissey Company. Morrissey also produced The Tie That Binds, starring Daryl Hannah; the HBO Original Film "Sensation," starring Eric Roberts; the low-budget comedy 9 ‡ Ninjas, Deep Down; and Dr. Jekell and Ms. Hyde, starring Tim Daly and Sean Young. He and partner Lawrence Turman formed The Turman-Morrissey Company in 1996. Their next project will be an adaptation of the Donald Westlake novel "What's The Worst That Can Happen?" directed by Sam Weisman.

Prior to producing, Morrissey acted on and Off-Broadway, as well as in many regional theaters. He was a contract player on both "General Hospital" and "The Guiding Light." In addition, he made many appearances on television and was a cast-member on the CBS sitcom "Eisenhower & Lutz."

David McKENNA (Screenwriter/Co-producer) is a 28-year-old Orange County native whose script for American History X marks his penchant for dealing with controversial topics and examining them from all sides.

As a student at San Diego State University, McKenna wrote a play about date rape which evolved into the screenplay "Jello Shots," currently in production. His third script, also in development, is "Blow," a story about the Medellin drug cartel in the late 1970's and early 1980's.

Lawrence Turman (Executive Producer) most recently executive produced Booty Call. Prior to that, he produced, alone or with partners, such feature films as The River Wild, Running Scared, Short Circuit, Mass Appeal, Caveman, The Great White Hope, and in 1967, the groundbreaking The Graduate.

For television, Turman executive produced "She Lives," "Get Christy Love," "The Morning After," "Between Two Brothers," "Gift of Love," "News at Eleven" and "Jesse."

In 1991, he accepted the appointment of Director of the Peter Stark Producing Program at the University of Southern California School of Cinema-Television, where he is now a full professor.

Steve Tisch (Executive Producer) is a recipient of an Academy Award® as one of the producers of Forrest Gump, the fourth-largest grossing domestic box office film of all time.

Tisch had an impressive slate of films in 1997, with the release in July of Wild America, for which he was executive producer, starring Jonathan Taylor Thomas of TV's "Home Improvement." In addition, he served as producer of The Postman, starring and directed by Kevin Costner.

After a stint at Columbia Pictures, Tisch left his position as a production executive to become an independent producer. In 1977, he produced Outlaw Blues where he met Jon Avnet. Joining to form Tisch/Avnet Productions, Tisch and Avnet worked together on such feature film projects as 1983's sleeper hit Risky Business starring Tom Cruise, as well as Deal of The Century and Coast to Coast. In 1984, Tisch/Avnet produced "The Burning Bed," the controversial and dramatic television feature film starring Farrah Fawcett. The production, which received 11 Emmy nominations, holds the distinction of being the highest-rated television film ever aired on NBC.

In 1986, Tisch formed his own production company, The Steve Tisch Company. His most recent theatrical releases include The Long Kiss Goodnight, which he executive produced; Dear God, and Corrina, Corrina. Other feature films include Soul Man, Hot to Trot, Big Business, Heart Condition, Bad Influence, and Heart of Dixie.

Also upcoming from Mr. Tisch are two dramas: Looking for an Echo, starring Diane Venora and Armand Assante; and Lock, Stock, and Two Smoking Barrels, starring Sting, both of which he will serve as executive producer.

Kearie Peak (Executive Producer) has served as co-producer on the films Dear God, which starred Greg Kinnear, and Wild America starring Jonathan Taylor Thomas.

Peak began her career as a production assistant on the series "Divorce Court," and later became Steve Tisch's assistant. In 1989, she left Tisch for a production position at Carolco Pictures, where she was involved with the production of such films as Terminator 2 and Total Recall. In 1993, Peak rejoined Tisch as vice president of feature development and was soon promoted to president of the company.

BILL CARRARO (Executive Producer) served as co-producer on Woo, from New Line Cinema, starring Jada Pinkett Smith. Other producing duties for New Line include executive producing the upcoming Corruptor with Chow Yung-Fat and Mark Wahlberg, and as co-producer on A Thin Line Between Love and Hate, with Martin Lawrence and Lynn Whitfield.

In 1996, Carraro produced "The Tuskegee Airmen" for HBO Pictures which received an Emmy Award nomination for Best Picture. Other producing credits include The Walking Dead, Jason's Lyric, and while serving as president of production at Aaron Russo Films, Carraro produced Missing Pieces and Off and Running.

ALAN HEIM (Co-Editor) received an Academy Award® for his editing of All That Jazz, as well as an Academy Award® nomination for his editing of Network. He most recently edited the films Leave It to Beaver, Copycat, and Dennis the Manace. Among the more than 20 films he has edited are The 12 Chairs, Godspell, Lenny, Hair, The Fan, Star 80, She's Having a Baby, Funny Farm, Valmont, Quick Change, and Billy Bathgate.

JERRY GREENBERG (Co-Editor), has worked on such films as The French Connection, Apocalypse Now, Kramer vs. Kramer, Scarface, Dressed to Kill, The Untouchables and Christmas Vacation. He recieved an Academy Award® as well as a BAFTA Award for his work on The French Connenction, and was nominated for Academy Awards® for the work he did on Apocalypse Now and Kramer vs. Kramer.

Jon Gary Steele (Production Designer), a native of Arkansas, graduated with an Architecture degree from the University of Arkansas before moving to Los Angeles to work in the movie business in the mid-1980's. His feature credits include Edie & Pen, Final Combination, When The Party's Over and The Runestone. For television, he has designed the look for the series "High Society," as well as "The Arsenio Hall Show," "Muddling Through" and "77 Sunset Strip."

Douglas Hall (Costume Designer) most recently lent his design skills to Billy Bob Thornton's hit Sling Blade and Traveller starring Bill Paxton. Hall also designed the costumes for the film The Apostle, written, directed and produced by Robert Duvall. Hall was assistant costume designer for The Oldest Confederate Widow, as well as a number of Hallmark Hall of Fame telefilms. He served as art director for the movie Three of Hearts.

A native of Massachusetts, Hall attended Southern Methodist University in Dallas, and then the Rhode Island School of Design.

ANNE DUDLEY (Composer), has achieved success in both the classical and pop genres. On the classical side, she was trained at the Royal College of Music, where she recieved a Performer's Diploma, and at King's College, where her Master's was awarded. Her pop pursuits include recordings made with ABC, Frankie Goes to Hollywood, and Malcolm McLaren, as well as with The Art of Noise, the highly innovative and influential group of which she was a founding member. Additionally, she has written with and arranged for artists such as Jeff Beck, Phil Collins, Seal, Elton John, and Pulp.

Films she has scored include The Crying Game, Buster, Felidae, The Sadness of Sex, The Grotesque, and Hollow Reed, in addition to her Academy Award®-winning work on The Full Monty, the soundtrack of which has gone triple-platinum. Her work will also be featured in the upcoming Pushing Tin.