- Notes provided by Universal Studios -

In the futuristic action-thriller Repo Men, JUDE LAW (Sherlock Holmes, Cold Mountain) humans have extended and improved our lives plays Remy, one of the best organ repo men in the through highly sophisticated and expensive artifi-business. When he suffers a near-fatal injury on the cial organs. The dark side of these medical break-job, he awakens to find himself fitted with the throughs is that if you don't pay your bill, The company's top-of-the-line heart replacement...as well Union sends its highly skilled repo men to take as a hefty debt. But a side effect of the procedure is back its property...with no concern for your that his heart's no longer in the job. When he can't comfort or survival. make the payments, The Union sends its toughest
SANDEFUR (Journey to the
Center of the Earth, The Number
23), editor RICHARD FRANCIS-
BRUCE (Air Force One, The
Italian Job), costume designer
CAROLINE HARRIS (44 Inch
Chest, And When Did You Last
See Your Father?) and composer
MARCO BELTRAMI (The Hurt
Locker, 3:10 to Yuma).
Sapochnik, JONATHAN
MONE (The Wolfman, upcoming
Your Highness), MIKE DRAKE
(The Number 23, upcoming A Nightmare on Elm
Street), VALERIE DEAN (The Prestige) and
ANDREW Z. DAVIS (Role Models, Enemy of the State)
serve as the film's executive producers.

ABOUT THE
PRODUCTION

A Not-So-Different World:

Repo Men Begins
While driving in Miami one afternoon in 1997,
writer Eric Garcia was reflecting upon the way that
we own property in America. ``It occurred to me that
there's very little that we truly own, he explains.
``Even when we say we're a homeowner, few of us
actually are. The bank owns my house, and I'm nice
enough to continue to pay them or they'll come and
take it away. My mind took me from there to the
world of health care, which is quickly falling off a
precipice, and it wasn't a big stretch to imagine a
world where we had to pay for our organs.
Garcia put pen to paper and crafted ``The
Repossession Mambo, a novel that told of a not-
so-distant future in which humans were desperate to
stay young, vibrant and, if nothing else, alive. After
enforcer, Remy's former partner Jake (Academy Award(R) winner FOREST WHITAKER of The Last King of Scotland, Vantage Point), to track him down.
Now that the hunter has become the hunted, Remy joins Beth (ALICE BRAGA of I Am Legend, Blindness), another debtor who teaches him how to vanish from the system. And as he and Jake embark on a chase across a landscape populated by maniacal friends and foes, one man will become a reluctant champion for thousands on the run.
Joining Law and Whitaker for Repo Men are LIEV SCHREIBER (X-Men Origins: Wolverine, Taking Woodstock) as The Union's manager and top closer, Frank; CARICE VAN HOUTEN (Valkyrie, Body of Lies) as Remy's wife, Carol; and RZA (Funny People, American Gangster) as T-Bone, the musician whose encounter with Remy ends Remy's ability to do his job.
The action-thriller is directed by MIGUEL SAPOCHNIK (The Dreamer) and produced by SCOTT STUBER (The Wolfman, Couples Retreat). The film is written by ERIC GARCIA (Matchstick Men, Anonymous Rex) & GARRETT LERNER (tele-vision's House M.D., LAX). It is based on the novel ``The Repossession Mambo by Eric Garcia.
Repo Men's accomplished behind-the-scenes team is led by director of photography ENRIQUE CHEDIAK (28 Weeks Later, Turistas), production designer DAVID he shared his manuscript with fellow screenwriter Garrett Lerner, Garcia found that Lerner liked the story so much he thought it would make an incred-ible film.

Relying upon Lerner's television background and ability to structure storylines, the writers crafted the screenplay together. Still, they didn't believe that anyone would make their then comedy into a movie. Explains Lerner: ``The original story was fractured, and it needed structural work to become a movie. But I saw the movie as I read it. The images were so powerful and so funny and fresh. That level of dark comedy was along the lines of Pulp Fiction and Fight Club, but it had its own flavor.
Adds Garcia: ``We were able to keep the story very subversive, sick and twisted, but in a fun way. It was never a horror film. The original was always a comedy.
Executive producer Valerie Dean read the script and contacted the writers to develop the project. To do so, Dean brought in filmmaker Miguel Sapochnik, who had previously worked as a director of shorts and music videos. The writers recognized in Sapochnik a man who understood their sensibilities, and together they developed the script. Sapochnik immediately under-stood Garcia and Lerner's dark humor and social commentary and helped the writers craft an action-thriller that kept the spirit of their work. ``The story stayed with me because it was funny and had darkly comic social commentary, he recalls, ``but it didn't hit you over the head with it. Not only that, it was inherently entertaining.
Producer Scott Stuber came on board to develop the project under his shingle, Stuber Pictures, which has a first-look deal with Universal. ``I thought his short film, The Dreamer, was terrific and showed real imagination and a strong, specific visual style, says Stuber. ``Miguel had been developing the script, and when he first brought it to me, it was clear he had a great vision for the movie. With the financing and filmmakers in place, it was time to bring together a talented cast and build the imagined world of the not-so-distant future.

Hit Men and Refugees:

Casting the Action-Thriller
Oscar(R)-nominated performer Jude Law responded to the screenplay for Repo Men soon after his repre-sentative advised that he read it. Law met with Sapochnik at the very early stages of development. ``I was given the script by an agent when it was at a very early stage, says the actor. ``Over that year, having met Miguel and loving the originality of the script, I was fortunate enough to be a part of the piece's evolution.
Much like Lerner felt when he first read Garcia's original manuscript, Law admits he was ``immediately struck by the originality of the concept. I liked the dark humor mixed with a love story, a buddy movie and satire, and the challenge that juggling all those tones presented to me as an actor.

Sapochnik, Stuber and the writers were thrilled with Law's enthusiasm to play protagonist Remy, the man who loses his heart but gains a soul. Garcia recalls: ``Jude was always behind the script. We could have been spinning our wheels for Lord knows how long, but when he signed, we knew it was really happening.
Law describes his character: ``I play a guy who's just an upright working bloke doing his job. He's been highly trained and encouraged to kill, but then, like so many ex-military men, he's been cast off not knowing what to do with his skills at the end of a conflict. Remy finds an outlet through The Union, and his bizarre job gives him an epiphany that, ultimately, sends him on the run. What makes him interesting to me is that he's also a little bit of a philosopher and a writer, with an inner voice that's more poetic than he would let on.
Stuber was wowed by Law's dedication to trans-forming into the conflicted killer. ``We wanted someone who could bring darkness to the character of Remy, someone who believes in the nihilism involved in the job that they're doing, he says. ``But, ulti-mately, through the course of the movie, Remy has to find this emotional catharsis, and Jude has that rare ability.
Law became extremely dis-ciplined when it came time to prepare physically and mentally for the role. As well, the shooting schedule required numerous de-mands on the performer. Not only was he in almost every scene of Repo Men, he found himself in freezing cold weather during the many long night shoots. Coupled with wearing prosthetics while performing multiple physical feats, Law couldn't remember a produc-
tion that was more taxing. And he didn't miss a beat.
``Jude embraced the physical part of the movie without hesitation, Stuber continues. ``He worked out extensively and not only trained his body, but also learned complicated fight moves and techniques with a knife. He was 100 percent committed to the film.
When the filmmakers landed Oscar(R) winner Forest Whitaker to portray the role of Remy's brutish partner and best childhood friend, Jake, they knew that they had scored. While shooting a film in Louisiana, Stuber heard that Whitaker was also filming nearby, and the producer asked to meet with the actor to discuss the project. When Whitaker returned to Los Angeles, he and Stuber met with Sapochnik, and Whitaker became sold on joining the film.
Reflects Sapochnik: ``I can't imagine anyone other than Forest as Jake; he's turned an interesting char-acter into a multilayered and nuanced, lovable psychopath by bringing out a jovial quality that brought Jake to life. He's also given me an amazing experience in the edit room because I could choose the version and, ultimately, the arc of the character; he's provided so much to play with. That comes from his fascinating ability to reinterpret the same moment in each take.

Repo Men's producer agrees. ``What's great about Forest is that he is a big, imposing guy and can intim-idate you with either his size or his look, Stuber adds. ``He's got a great, steely gaze. But there's also this big, lovable teddy-bear sweetness to him. Because of these qualities, he is able to make his character much more interesting.
Whitaker explains his interest in the project: ``There are a number of things about this film that appealed to me as an artist. Jake is extroverted and with an acidic wit, which is fun to play; he's also a physical character, and I really enjoy martial arts. But in the end, there is an underlying message about what happens when we don't take care of people and they need to take care of themselves.
Though Remy and Jake are very different men and certainly have individual styles of doing their jobs, there's a buddy dynamic between them that dates back to their childhood and time together in the service. But all bets are off when Remy goes on the run and Jake is assigned to track him down for a lucrative bounty.
Whitaker elaborates on his character and Remy's kinship with Jake: ``Jake is a pretty straight-ahead guy in a lot of ways-a good friend and a good partner-but he gets into trouble when he's faced with letting go of the status quo when Remy decides to move on with his life and he quits being a repo man. It's an interesting and odd relationship of a friendship that is so steeped in the past.
``There's lot of humor involved in Remy and Jake's relationship and the way they view the world, continues Whitaker. ``Miguel found a balance between the dark humor and the action. I don't think the other elements of the film could work without having some of that juxtaposition of humor and real, ani-malistic aggression.
Describing the on-screen chemistry he had with his Union partner, Law reflects: ``Often, you're thrown together and people say, 'That's a good pairing,' or 'Those two will look good together,' but you never know until you're there whether it's going to work. In this case, it worked. ``On day one it was alchemy; Forest and I recognized the chemistry was

Remy shocks the hell out himself.
- 13 -
Sapochnik had seen actress Alice Braga in the Brazilian film Lower City and knew he wanted to meet with her for the part. ``Alice is one of the first people I met for the role of Beth, and she was impressive in her desire to understand and build a real character and not get stuck being a damsel in the action man's world, explains the director. ``She played a young and very tough prostitute with stoic qualities in Lower City, and I thought that was going to

be an important aspect of Beth's character.
Screen tests were done with a diverse group of other actresses, but it was Braga who captivated the filmmakers. Sapochnik notes, ``As soon as Alice came on, there was a palpable chemistry between her and Jude that existed even when they didn't say anything. That became a cornerstone in the relationship they developed on screen, where they can just look at each other and the audience feels the connection.
Sapochnik knew that Braga had a series of diffi-cult chores ahead of her. ``Beth is the romantic heart of the movie and has to grasp the audience in very few scenes, he says, ``so she had to have a charisma that audiences immediately get invested in. Alice turned out to be the anchor for our film.
Reflecting upon Beth and Remy's relationship, Braga notes: ``It's the kind of connection that is instant. The actress also commends Law's talent in helping develop their characters' chemistry: ``It's been amazing to work with Jude because he's the kind of actor who is both intense and very concen-trated. I'm inspired to act with someone who has that power of creation and such an emotional connection with the scene.
good from the get-go, and we immediately knew what we had to do as a pair.
Cast to portray the smooth-talking Frank, the manager of Jake and Remy's Union, was actor Liev Schreiber. Offers Sapochnik of Schreiber's talents: ``A lot of things make Liev right to play Frank, starting with his amazing voice. He has the perfect salesman voice and the glint in his eye that could make anyone sign on the dotted line. Liev's known for playing serious roles and as a great theater actor, but he's also very funny. He's menacing but also hilarious in this role. He was our perfect Frank.
Of being cast in the film, Schreiber notes: ``I had a suspicion that the filmmakers saw me in Mamet's Glengarry Glen Ross, which is all about the cutthroat world of Chicago real estate. The idea of a guy who is only a couple of steps away from a used car salesman running this company that sells people artificial organs to keep them alive was really inter-esting to me.
The character of the fugitive who agrees to help Remy navigate the world of the artificial-organ damned was a tricky one to cast. Beth had to be a strong woman who is Remy's intellectual and physical equal, as well as believable as his soul mate.

Law echoes his co-star's sentiments: ``The role of Beth was a hard part to get right, and Alice arrived like a fireball. She just lights up a set every time she walks on it. She's got incredible passion, enthusiasm and energy, and a rare combi-nation of maturity with a natural, wonderful naïveté and youth.
Cast as legendary musician and record producer T-Bone was rapper-turned-actor RZA. Remy encounters T-Bone in his home music studio when he is assigned to repossess T-Bone's artificial heart. As he happens to be a big fan of the artist, Remy is reluctant to reclaim the organ. The film-makers were also impressed by RZA, as they had been admirers of his since his days in the hip-hop group the Wu-Tang Clan.
With his core cast in place, the director was ready to build and populate his near future. Always self-deprecating, Sapochnik was keenly aware that he was working with some serious talent and expe-rience, especially with his two repo men, Remy and Jake. ``I told myself I better be good and not ask stupid questions, he laughs.
He needn't have worried, as his first dinner meeting with Law and Whitaker turned into some-thing of a guys' night out. ``There we were, three grown men standing in a hotel suite, demon-strating fight moves with butter knives. But out of that fun evolved a really interesting moment where I began to see little sparkles of things that they related to, that they understand about each other, and show a childlike excitement that was perfect...because both Remy and Jake have a very childish quality to them.
Law had confidence that Sapochnik would breeze through creating the technical aspects of the film. Still, he admits, ``What's amazed me is his natural ability to work with actors and his calm approach on set, even when we were filming like crazy on a schedule that was insane.

Artiforgs and
Synthetic Bodies:

Crafting Repossession
Describing the origin of the artificial organs (artiforgs) that are central to the story, Sapochnik says: ``In real life, they were initially developed in response to the growing number of people who were wounded on the battlefield. What we've done is created a world where the technology is taken the next step further, and we've added GPS devices to artiforgs sold by a privatized company. The artiforgs also have cosmetic value.
As his team imagined The Union's merchandise, production designer David Sandefur considered the mechanics of a car as if it were a human body. He began with a pump for the heart and a filter for the

Depending upon how much of the skin surface Sapochnik and DP Enrique Chediak wanted to show in a scene, creating the body took any-where from a couple of weeks to a month. The final step was to punch by hand the hairs on the proxy's head, one by one.

The bodies also had to have reinforced cavities that were large enough for the repo men to remove the heavy metal artiforgs. Making the bodies look as realistic as
possible was priority number one. Explains Clement: ``When we made a surgery torso, we usually made the organs out of silicon so they reflected light well. We also made plastic bits for the rib cage for an understructure so the skin didn't deform. We had all kinds of tubes coming in from different angles, and we had blood coming in...as well as any kind of bodily liquids that we needed in there.
``We put bladders underneath a lot of the organs so that we had movement inside, continues the designer. ``When you look at any surgeries that have been filmed, there's a lot of movement inside the body: the heart is moving, the lungs are breathing and things are shifting around.
Clement's team used layers of latex to create the bladders (similar to balloons) that were custom formed to fit underneath the organs inside the abdom-inal coelom and other cavities. To give them a real-istic ``squishy feel, guts were created out of soft silicon. As well, the team tested out various densities of material to ensure some organs were firmer than others. The crew used olive oil to give the organs a wet shine, and they even spent a full day testing various consistencies of fake blood to guarantee that it would read realistically on screen.
liver. ``We started with the real shape of a heart, with the correct number of valves and chambers, which was very mechanical and had an anatomical enclosure, he explains. ``Then we added some bulbs for fun.
The artiforgs were built by special makeup effects designer ANDREW CLEMENT, who used high-impact aluminum-filled epoxy resin that was metallized with a separate layer of chrome surfacing that gave it structure and rigidity. Though ultimately quite happy with his work, Clement admits that the heart was the toughest organ to build: ``It was like building a ship in a bottle because of the tiny motor, valves and chambers that actually open and close and pump blood through, all of which had to fit perfectly together.
Clement's team also had the task of creating the highly detailed, bloody prosthetic limbs and bodies, from which the artiforgs are removed. This was an area with which Clement was quite familiar, as he'd spent years working in an emergency room. The pros-thetic bodies, or ``cart bodies as Clement calls them, were silicon life casts of the actors.
Through a variety of mold-making steps, the team created the entire body and used several washes of five to six different colors to give the skin a translucent look.

As gory as the process sounds, Law understood that the attention to detail would only help make the repo men appear more realistic as they carried out their jobs. Says the actor: ``On various occasions, we had whole bodies that I was allowed to cut into, with working inner organs that I fished around for, wounds that I sealed and weird joints that were able to come out and go back into small knees, hips, hearts, livers, kidneys...all sorts. The execution of these designs is beautiful. These guys are anatomical artists.
To maximize production time, Clement's team redressed some of the same body cavities and reused them in several scenes in which the repo men extract organs. Says the designer: ``We were able to use the same body cavity as a backdrop and dress it however we needed. We took out organs we didn't need and replaced them with the organ that they were trying to repo. It allowed us to get a close-up shot of some-body's hand working up inside of it and reaching toward the organ that would be repossessed.
Prosthetic versions weren't the only bodies upon which operations occurred. Incorporating the live actors was also a big task with which Clement's team was involved. For example, during Remy's surgery scene, the crew hid the performer's body by using slant tables, which allowed Law to dis-appear quickly under the set, while they placed an artificial torso and pros-thetic legs on top of the operating table. Clement and his assistant were also under the dressing, using tubes and pneumatic cylinders to pump the heart, bladders, lungs and blood to make it look as if Remy was actually under-going surgery. ``We had medical techs who were experienced surgeons come in and put in the exact tools that they would need to operate, states Clement.
Braga's character also goes through surgery. In one of the film's most humorous scenes, Beth has her artificial knee replaced by a young but very experienced child. Explains Clement: ``Alice came in, and we did a whole day of intensive body casting, from head to toe. It's a complete duplicate of her. What we created allowed us to pull the entire knee apart and expose the arti-forg inside. We had blood tubes that spurted and leaked blood, and we dressed the knee with tendons that could be cut through.
Though the body casting took eight hours, Braga found the entire process fascinating. ``I've never done that before, says the actress. ``It was magical, in a way. It was like Disneyland for an actress, discovering how everything was made.
Clement's crew also developed a new technology to create The Union-symbol tattoos seen on the repo men. Combining dimensional appliances with the technology that makeup artists use to design fake tattoos, the team developed the brand used on the actors' necks. The application of the tattoos that were meant to look like raised, scarred skin took only minutes. They lasted all day and were easily touched up.
Several designs were created with different bar codes that symbolized a repo man's status, and the type of repossession that was performed (either legal or black market). For example, a Level 5 repo man such as Remy has reclaimed a large number of arti-forgs. His company-sponsored tattoo showcases five hash marks to indicate that he is at Level 5. A much greener (Level 1) repo man would only have one hash mark on his neck.

Perfecting Martial Arts:

Training Killers
As he believed it would inform their perform-ances mentally, Sapochnik felt that it was crucial that his cast was very prepared physically. He reflects: ``The physical training made them feel their strength inherently, without their needing to flaunt it.
Because Law was tackling a very physical role, he moved to Toronto several weeks before production began and took part in an intensive training course that included hours of training at Gym Jones. The trainers behind the bodies in the film 300 put the actor through a punishing four hours of fight training a day, followed by four hours of rehearsal with the director.
Sapochnik marvels at Law's commitment: ``I watched Jude physically transform to a point where it changed the look in his eye, and that can't be manu-factured. He discovered something about himself through training that he didn't know before, and he channeled that into his character.
``My trainer and I worked for about a month prac-ticing basic hand-to-hand combat before we started filming, recalls Law. ``We also worked with sticks, boxing and basic movement so that I could become very natural using any weapon from a knife or a stick to my fists.
The arduous physical aspects of Repo Men were also what helped attract Forest Whitaker to the role of Jake. An avid student of martial arts, Whitaker provides, ``I initially worked with a fight trainer, and then continued the weight training myself for the rest
of the film shoot.
Sapochnik was very involved in the choreography of the fight sequences and combat training. This skill-set development began with learning a Filipino style of martial arts, supervised by fight coordinator HIRO KODA, and it evolved into the performers' learning a hybrid of knife fighting, karate and kickboxing. Each character developed his or her own style of fighting, with all participants showcasing raw, acrobatic styles.
To prepare for her role, Braga spoke extensively with Sapochnik about how to showcase her char-acter's fighting style, which stems from surviving on the streets by any means necessary. Says the actress: ``Miguel and I chatted about how we would have Beth defend herself. It was important for my entire body to feel as if I could survive by myself without anyone protecting me because Beth doesn't have anyone. That's what makes her strong.

``The trainers were amazing, Braga continues, ``Not only did they make us lift weights, but they focused on training my entire body as a unit. The survivor-style training helped me fully develop my character.
Finally, what good would a repo man be without his trusty taser? Whitaker and Law were both trained to use a pistol that fired darts that ``electrocuted the person they hit before they extracted an organ. Sandefur's team built to precise specifications the guns necessary to detect and track artiforgs that were in default.

Look of a Near Future:

Design and Visual Effects
Repo Men takes place approximately 20 years from the present in an unidentified North American city. The filmmakers crisscrossed the city of Toronto and used key buildings and soundstages to create the futuristic world. Sapochnik stresses that this is a world that is deeply immoral and flawed...yet is not that different from how we live today: stressed by war and debt.
The director envisioned the country to be domi-nated by Asian influence. ``Part of the idea was that in the future, China is going to become the dominant power, he offers. ``But rather than physically invade us, they will do it economically. So, they likely own and work at The Union.
Production designer Sandefur envisioned Remy and Jake's world as being constantly under construction and influenced by the Asian culture that has economically permeated America. ``I thought about Dubai and how the city has something like 30,000 sky cranes functioning at once, and how that seems to be a natural evolution of where we are now, he offers.
While designing the run-down section of the city called the metal graveyard, Sandefur was inspired by Kowloon Walled City, a now-defunct urban area in Hong Kong that had high rates of prostitution, drug use and gambling in the period from the 1950s to the '70s.
The Union's factory floor, which also brings the influence of Chinese culture into the film, was shot in a warehouse in Toronto. A green screen was used for set extension to make the space appear massive enough to house countless artiforgs. Explains Sandefur: ``I found a warehouse that was approximately 300,000 square feet. We set up a green screen around the central part of it, and we utilized it for its structure above, as well as the columns and the floor.
Adds Sapochnik: ``The deeper they go into The Union, the more and more Chinese it becomes. The scene in the factory floor with the millions of workers is taken directly from Chinese factories and the idea of row after row of people working.
The biggest challenge of creating this world was to keep it authentic and have it emerge naturally. The decision to shoot in Toronto was based on the city's filmmaking infrastructure, as well as a plethora of unique locations that worked to support the story.

as creating cityscapes and malls with CG buildings, digital matte paintings, jumbotrons and adver-tising blimps.

A digital set design was used for the factory floor sequence; it required CG set extensions, crowd replication and character anima-tion. As well, an actor's arm was replaced with a CG robotic arm for the sequence in the abandoned freighter. Additionally, the concept design and implementation of the LCD wallpaper in Peter's (Remy's young son) room featured a digital wall treatment that displayed footage of sharks swimming.
``Blood and gore enhancements were used primarily in the long corridor sequence in which Remy and Beth (toting an arsenal of weapons) fight their way through multiple adversaries. The reclama-tion room sequence in which Beth inserts her arm into Remy's chest was achieved by a multilayer com-positing of live-action motion-control plates and prosthetic elements.
For the tropical island sequence, the filmmakers wanted an area that reminded them of some of the uninhabited beaches in Fiji. They found what they were looking for on a tiny island in the Florida Keys. ``We wanted it to look like it was a completely aban-doned or deserted island, explains Sandefur. ``There were structures in the background that we were able to remove digitally. It's one of the few places in the Keys that actually looks like it's desolate.

Dressing the Cast:

Film Costumes
Costume designer Caroline Harris had the diffi-cult task of creating designs for Repo Men's world of Many of the places used have never been seen on film before, such as a new terminal at Pearson Airport.
On the opposite end of the spectrum, the crew found a suburban neighborhood that reminded it of the cookie-cutter homes in Edward Scissorhands. They used that area for Remy and Carol's home, the place where Remy can no longer simply abide by the rules of picket-fence life.
To draw the fine line between now and the near future, many of the locations needed to be augmented in postproduction with computer-generated effects. For example, the scene in which Jake and Remy cruise downtown was filmed overnight at Dundas Square, Toronto's version of Times Square. Though it's a busy spot, the fairly low skyline was digitally enhanced with additional structures and a monorail.
Creating the visual effects was a lengthy and involved process for AARON WEINTRAUB and his team from digital studio Mr. X. The scope of their work needed to create the futuristic world exceeded 350 visual effects shots. To accomplish this, a variety of techniques such as environment enhancement was used. It became necessary to design and augment existing locations, such the future. Tricky, because 20 years in the future isn't that far away, and though there are multiple elements of science fiction, it would have been easy to go overboard.

``Miguel is incredibly instinctive and had a clear visual idea of the look he was after, says Harris. ``It's a future world, but one that continues to function as we do now, but with a stronger Chinese influence. It's a world of mass production manufacturing, and it has China's interpretation of what would interest America and Europe.
Harris and Sapochnik imagined the idea that people in the future would wear synthetic fabrics such as nylon. And despite the future being somewhat somber, Harris imagined that color would still remain. ``We wanted to keep the world bright in order to avoid it being postapocalyptic, even though there are elements in which it might feel like that. I looked for images in which colors remained, no matter what. I remembered refugees from Kosovo and Serbia, where I worked in the '90s, wearing colors despite the horrors of what had happened there.
Harris wanted much of the clothing in the film to look worn and old. Believing that it's very difficult to make the color gray look dirty, the designer instead broke down clothing by dying color into pieces and putting the actors in layers. Many of the characters that sought refuge in the metal graveyard were to appear as if they'd been stuck in the same clothing they escaped in, and have been wearing these outfits every day for at least a year.
Ultimately, the costumes created for the repo men vaguely resembled protective gear, and Remy's clothes mirrored his journey. ``He starts off as an uptight thug and becomes a badass dude, sums Harris.
****
Universal Pictures presents-in association with Relativity Media-A Stuber Pictures production: Jude Law, Forest Whitaker in Repo Men, starring Liev Schreiber, Alice Braga, Carice van Houten. The music is by Marco Beltrami; the costume designer is Caroline Harris. The futuristic action-thriller's editor is Richard Francis-Bruce, ACE; the production designer is David Sandefur; and its director of photography is Enrique Chediak. The film's executive producers are Miguel Sapochnik, Jonathan Mone, Mike Drake, Valerie Dean, Andrew Z. Davis. Repo Men is produced by Scott Stuber, and its screenplay is by Eric Garcia & Garrett Lerner. The film is directed by Miguel Sapochnik. (C) 2009 Universal Studios. www.repomenarecoming.com

Jennifer Jason Leigh and Willem Dafoe. Law won several awards for his starring role in Wilde, opposite Stephen Fry and Vanessa Redgrave, including a

CAST
London Critics' Circle Film Award and an Evening
JUDE LAW (Remy) is one of the most sought-after talents in the acting world. He was recently seen starring opposite Robert Downey Jr. in the smash hit Sherlock Holmes, and in Terry Gilliam's The Imaginarium of Doctor Parnassus. The two-time Oscar(R) nominee worked with his friend Anthony Minghella on the director's final film, Breaking and Entering, opposite Juliette Binoche and Robin Wright Penn. Law also starred in Sleuth, oppo-site Michael Caine, and in Wong Kar Wai's My Blueberry Nights, opposite Natalie Portman and Rachel Weisz.

In 2006, Law was seen in All the King's Men, opposite Sean Penn, and starred in The Holiday, opposite Cameron Diaz and Kate Winslet.
In 2003, Law received Oscar(R) and Golden Globe nominations for Best Actor in Cold Mountain. He was also nominated for Academy(R) and Golden Globe awards and won a BAFTA for his per-formance as Dickie Greenleaf in The Talented Mr. Ripley.
In 2004, Law starred in Sky Captain and the World of Tomorrow, opposite Gwyneth Paltrow, and I Heart Huckabees, directed by David O. Russell. He starred as the title role in Alfie, for director Charles Shyer, and lent his voice to Lemony Snicket's A Series of Unfortunate Events. He also co-starred in Mike Nichols' Closer, alongside Julia Roberts, Natalie Portman and Clive Owen.
In 2002, Law starred in Sam Mendes' Road to Perdition, opposite Tom Hanks and Paul Newman. He also starred in David Cronenberg's eXistenZ, opposite Standard British Film Award.
His American film debut was in the futuristic film Gattaca, opposite Uma Thurman and Ethan Hawke. Other film credits include Clint Eastwood's Midnight in the Garden of Good and Evil, in which he starred opposite Kevin Spacey and John Cusack, and Jean-Jacques Annaud's World War II epic Enemy at the Gates.
Law starred opposite Kathleen Turner and Eileen Atkins in the hit Broadway play Indiscretions, for which he won a Theatre World Award and received a Tony Award nomination for Best Performance by a Featured Actor in a Play. He originated the role of Michael in the same play in London, for which he received an Ian Charleson Award.
FOREST WHITAKER (Jake) is one of Holly-wood's most accomplished actors, directors and producers who has showcased his talents in a multitude of demanding and diverse roles.

After winning almost every critics' award in 2007, he received an Academy Award(R) for Best Actor, a Golden Globe for Best Performance by an Actor in a Motion Picture-Drama, a Screen Actors Guild Award for Best Actor and a BAFTA for his performance as Ugandan dictator Idi Amin in The Last King of Scotland. That same year, his inde-pendent film American Gun, in which he starred and produced, was nominated for a Film Independent Spirit Award.

Whitaker garnered more critical attention for his performance on FX's The Shield, opposite Michael Chiklis, and for his performance on ER, for which he garnered an Emmy nomination in the category of Outstanding Guest Actor in a Drama Series. He was recently seen in the suspense thriller Vantage Point, opposite Dennis Quaid and Matthew Fox; lent his voice to Where the Wild Things Are, for director Spike Jonze; and was seen in The Air I Breathe, with Kevin Bacon and Andy Garcia. Whitaker was also seen in Winged Creatures, which tells the story of a diverse group of strangers who form a unique rela-tionship with each other after surviving a shooting at a Los Angeles diner. The film also starred Dakota Fanning, Jackie Earle Haley, Jennifer Hudson and Kate Beckinsale.

At the 2005 Toronto International Film Festival, Whitaker wowed audiences with three outstanding films. He starred in a compelling, dark thriller titled A Little Trip to Heaven, opposite Julia Stiles. Whitaker delivered a shuddering performance and proved that he is one of the best actors of his generation in the fundamentally subversive and religiously complex film Mary, opposite Matthew Modine. Finally, he executive produced and starred opposite Donald Sutherland in the film American Gun.
With three college scholarships already under his belt, Whitaker received a fourth scholarship, set up by Sir John Gielgud, upon his entrance to the drama program at the University of California, Berkeley. A seasoned stage veteran at 21, baby-faced Whitaker made his film debut in the 1982 film Fast Times at Ridgemont High. From that point on, Whitaker has been making history. In 1988, Whitaker was named Best Actor at the Cannes Film Festival for his brilliant portrayal of jazz legend Charlie Parker in Clint Eastwood's Bird, and earned widespread recognition for his performance as Jody, the hostage British soldier in Neil Jordan's Academy Award(R)-winning film The Crying Game.
He garnered a CableACE Award nomination for his performance in the Showtime original film Last Light, directed by Kiefer Sutherland. He also starred in the HBO film Criminal Justice, for which he earned a CableACE Award nomination, and The Enemy Within, for which Whitaker received a Screen Actors Guild Award nomination.
In 1999, Whitaker played the title role of a spiri-tual gangster in Ghost Dog: The Way of the Samurai, directed by Jim Jarmusch. The film premiered at the 1999 Cannes Film Festival and screened at the 1999 Toronto International Film Festival to critical acclaim. Ghost Dog was nominated for a Film Independent Spirit Award for Best Feature. The film's soundtrack was a co-venture with Whitaker's own company, Spirit Dance.
In 2001, Whitaker appeared in The Fourth Angel, an action-thriller set in London, opposite Jeremy Irons. Whitaker starred in and executive produced the television miniseries Feast of All Saints, which won an Emmy and was nominated in two other categories. Prior to that, he starred in and executive produced Green Dragon, the first feature film production of this entity, which won the Humanitas Prize in addition to the Audience Award at the South by Southwest Film Festival. He also produced Door to Door, starring William H. Macy, for TNT under the Spirit Dance banner. This telefilm was nominated for two Golden Globes, one Emmy and was also honored by the American Film Institute.
In 2002, Whitaker starred in the ASCAP award-winning film Panic Room and was nominated for a Black Reel Award for Best Supporting Actor. Whitaker starred in Joel Schumacher's Phone Booth, opposite Colin Farrell, for which he received Black Reel and Image Award nominations for Best Supporting Actor and Outstanding Supporting Actor in a Motion Picture.
In 2003, Whitaker appeared to critical acclaim, opposite Ossie Davis, in the Showtime movie Deacons for Defense, for which he received a SAG nomination for Outstanding Performance by a Male Actor in a Television Movie or Miniseries. Whitaker produced Chasing Papi and directed First Daughter, starring Katie Holmes.

Whitaker made his feature film directing debut with the critically acclaimed, box-office hit Waiting to Exhale. He first gained recognition as a director for his debut film, the 1993 HBO original film Strapped, and went on to direct Hope Floats, starring Sandra Bullock. He also executive produced each of these films' multi-platinum soundtracks, which earned a combined total of 14 Grammy nominations. His short film, John Henry, was released in February 2002 for Black History Month.
Whitaker's other credits include Witness Protection, for HBO, and the feature films Light It Up; Phenomenon; Species; Smoke; Prêt-à-Porter; Jason's Lyric; Platoon; Good Morning Vietnam; Consenting Adults; Stakeout; The Color of Money; Johnny Hand-some; Downtown; Diary of a Hitman; Body Snatchers; and Vision Quest.
LIEV SCHREIBER (Frank) is widely considered one of the finest actors of his generation, with a repertoire of resonant, humanistic and oftentimes gritty portrayals that have garnered the actor the strongest praise in film, theater and television. His most recent choices continue this path. In 2008, Schreiber starred opposite Daniel Craig and Jamie Bell in Defiance, a World War II-era drama directed by Edward Zwick. The three actors starred as Jewish brothers who escape from Nazi-occupied Poland to the forests of Belarus to join the resistance, and endeavor to build a village in order to protect themselves and others in danger.

In 2009, Schreiber starred in Gavin Hood's X-Men Origins: Wolverine as Victor Creed, the beastly nemesis of Wolverine, a role revisited by Hugh Jackman. In this prequel to the hit X-Men trilogy, Jackman's Wolverine is keen on seeking revenge against Creed (who is secretly the mutant Sabretooth) for killing his love. He also starred in Ang Lee's Taking Woodstock.
Showing his versatility, Schreiber recently appeared in two period adaptations: Mike Newell's Love in the Time of Cholera, alongside Benjamin Bratt and Javier Bardem in 2007, and The Painted Veil, starring Edward Norton and Naomi Watts in December 2006. Schreiber has also starred alongside Meryl Streep and Denzel Washington in The Manchurian Candidate; alongside Julia Stiles in The Omen; alongside Ben Affleck in The Sum of All Fears; and alongside Hugh Jackman in Kate & Leopold. Utilizing his theater and Shakespearean background, Schreiber starred as Laertes in Hamlet, with Ethan Hawke. Schreiber also starred in The Hurricane, the acclaimed biopic starring Denzel Washington, and opposite Diane Lane and Viggo Mortensen in A Walk on the Moon.
An accomplished stage actor, Scheiber's portrayal of Ricky Roma in the 2005 Broadway revival of David Mamet's Glengarry Glen Ross earned him a Tony Award. In the summer of 2006, Schreiber returned to the stage in Shakespeare in the Park's production of Macbeth and, in early 2007, he returned to Broadway to star in Eric Bogosian's Talk Radio. This first Broadway staging of Talk Radio opened at the Longacre Theatre in March of that year. Ben Brantley of The New York Times declared, ``With Talk Radio, Mr. Schreiber...confirms his status as the finest American theater actor of his generation. Schreiber was nominated for his second Tony for his portrayal of radio host Barry Champlain.
Schreiber has also made use of his deft technique working in television. Truly making a name for himself with his portrayal of Orson Welles in HBO's RKO 281, Schreiber again worked with the network for the emotional Lackawanna Blues. Schreiber's expressive voice is also showcased in his voiceover and narration work, taking center stage for prominent pieces on HBO and PBS. One of America's foremost narrators, Schreiber has lent his voice to sports docu-mentaries such as Mantle, :03 From Gold and A City on Fire: The Story of the '68 Detroit Tigers, as well as the PBS documentary series Nova and Nature.

In 2005, Schreiber made his directorial debut with Everything Is Illuminated, adapted from Jonathan Safran Foer's best-selling novel of the same name. Prior to the publication of the novel, Schreiber read an excerpt in The New Yorker, secured the rights, wrote the screenplay and subsequently brought the project to Warner Bros. The film, starring Elijah Wood, was recognized by the 2006 National Film Board as one of the top-10 films of the year.
Brazilian-born actress ALICE BRAGA (Beth) has received critical acclaim and international recognition ever since her stirring per-formance in City of God helped catapult the film to multiple Golden Globe and Oscar(R) nominations. Appear-ing in nearly a dozen films in just five years, Braga, already a fixture of Brazilian cinema, has captured Hollywood's attention with a host of promising projects on the horizon. Braga was recently seen in David Mamet's Redbelt, which chronicled the life of a jiujitsu master, played by Chiwetel Ejiofor, who must enter the ring to redeem his honor after being conned by movie stars and promoters.

Braga recently starred opposite Will Smith in the blockbuster I Am Legend, and opposite Harrison Ford and Ray Liotta in Crossing Over, a film about the lives of immigrants living in Los Angeles and their efforts to achieve U.S. citizenship. She appeared in Blindness, based on the novel by Nobel Prize winner José Saramago. Directed by Fernando Meirelles, the film also starred Julianne Moore, Mark Ruffalo, Danny Glover and Gael García Bernal.
Braga's past credits include her portrayal of a carefree art student, opposite Diego Luna, in Sólo Dios Sabe (Only God Knows), which premiered at the Sundance Film Festival; Journey to the End of the Night, an independent film set against the backdrop of the Brazilian sex-trade industry, with Mos Def and Brendan Fraser; Cidade Baixa (Lower City), a riveting drama about the dangers of a love triangle; and the offbeat comedy O Cheiro do Ralo (Drained).
Alice most recently wrapped 20th Century Fox's Predators, starring opposite Adrien Brody. This modern remake of the cult classic is due in theaters this summer.
CARICE VAN HOUTEN (Carol) has become one of the most beloved actresses in her native country the Netherlands. She has won several awards including three Golden Calf Awards for Best Actress and was voted Best Dutch Actress of All Time by the Dutch audience in 2008. Her stunning performance in Paul Verhoeven's war epic Black Book marked the beginning of van Houten's international breakthrough. In the Tom Cruise/Bryan Singer film Valkyrie, she starred as the female lead Nina von Stauffenberg.

Van Houten was born in Leiderdorp (near Leiden) on September 5, 1976. In 1995, she was accepted by both the Maastricht and Amsterdam drama acade-mies, and she started her television career as a student at the Academy of Fine Arts in Amsterdam. While there, she was awarded the 1999 Pisuisse Prize for most promising graduating student and the 2000 Top Naeff Prize for her theater work. A day before receiving the Top Naeff Prize, she was awarded the Golden Calf for Best Actress in a TV-Drama for Martin Koolhoven's Suzy Q.

In 2006, van Houten shined as Jewish singer Rachel Stein in Paul Verhoeven's critically acclaimed Black Book. One year later, van Houten displayed great comic talent in the romantic comedy Love Is All. The film was a major box-office hit and became one of the most successful Dutch films of all time.
Bryan Singer's Valkyrie was the first major Holly-wood production in which van Houten appeared. That same year, New York magazine proclaimed her Woman of the Year and Vanity Fair featured her in a ``Vanities article.
Of her role in the 2009 Dutch box-office hit A Woman Goes to the Doctor, Variety wrote, ``Carice van Houten in another attention-grabbing perf as the two-timed, terminally ill woman...often steals the show, delivering some of the pic's best lines with an increasingly biting cynicism.
Van Houten's upcoming films include From Time to Time, directed by Julian Fellowes; Black Death, directed by Christopher Smith; and the Dutch film De gelukkige huisvrouw, directed by Antoinette Beumer.

ABOUT THE
FILMMAKERS

MIGUEL SAPOCHNIK (Directed by/ Executive Producer) has been making movies since he was old enough to pick up a camera. After a foundation course in art and a stint as a muralist, he worked as a storyboard and scenic artist on such features as Train-spotting, A Life Less Ordi-nary and Small Faces. His storyboards have been published in Dazed and Confused magazine. It is this artistic vision that Sapochnik brings to his own work.

In 1996, after completing his postgraduate course at the Arts University College at Bournemouth with distinction (as the youngest student the school ever had), Sapochnik kicked off his professional life working on promos and directing spots for bands like The Charlatans and The Brand New Heavies.
His ambitious 15-minute short film, The Dreamer, was conceived as a project to put Sapochnik on Hollywood's radar. With awards at the Palm Springs International Film Festival and ending up on short lists for both BAFTA and Academy Award(R) nomina-tions, The Dreamer achieved its purpose, earning Sapochnik development deals with several major studios including Miramax, Focus Features and Working Title as a writer and a director. In 2006, his short film earned him a place on the prestigious Saatchi & Saatchi New Directors' Showcase as one of the top-25 new directors in the world.
More recently, Sapochnik completed a short film/music video for acclaimed U.K. band UNKLE and is currently working on an original graphic novel titled ``The Source.

ERIC GARCIA (Screenplay by/Based on the novel ``The Repossession Mambo by) is the internationally best-selling author of ``Anonymous Rex, ``Casual Rex, ``Hot and Sweaty Rex, ``Matchstick Men: A Novel About Grifters With Issues, ``Cassandra French's Finishing School for Boys and ``The Repossession Mambo. His novels have been published in 22 coun-tries and translated into 14 languages.
His 2003 book, ``Matchstick Men, was made into a film starring Nicolas Cage and Sam Rockwell and directed by Ridley Scott. In 2004, his acclaimed sci-fi noir ``Rex series was turned into a two-hour television movie.
GARRETT LERNER (Screenplay by) is an American writer and television producer. He is best known for his work as an executive producer and writer of House M.D. For the series, he has been nom-inated for four Emmy Awards and recently received the Writers Guild Award for Best Episodic Drama for his work on the episode ``Broken. He has previously written for several other shows, most notably Boston Public, Smallville and Roswell.
In March 2008, producer SCOTT STUBER (Produced by) transitioned the company he founded with Mary Parent into Stuber Pictures. This producing agreement with Universal Pictures began in 2006, after he left his post as the studio's vice chairman of worldwide production. Prior to that, Stuber had served as president of production since February 2001, having joined Universal Pictures as senior vice president of production in August 1997. Now, Stuber solely runs Stuber Pictures.
As a producer, Stuber has put together a prolific and varied slate of films that includes tent-pole come-dies; star-driven dramas and thrillers; and high-profile books and original scripts by established and visionary writers. Stuber Pictures has development and production deals with the industry's foremost directors, writers and actors.
Universal recently released the Stuber-produced action-horror The Wolfman, starring Oscar(R) winners Benicio Del Toro and Anthony Hopkins, along with Emily Blunt and Hugo Weaving; the comedy Couples Retreat, starring Vince Vaughn, Jon Favreau and Jason Bateman; and the romantic drama Love Happens, star-ring Aaron Eckhart and Jennifer Aniston.
Also slated for a 2010 release is Your Highness, from the comedic team of Danny McBride and Ben Best, directed by David Gordon Green and starring McBride, James Franco, Zooey Deschanel and Natalie Portman; and Love and Other Drugs, based on Jamie Reidy's book ``Hard Sell: The Evolution of a Viagra Salesman, about the behind-the-scenes look at Pfizer and the launching of its most popular drug. The film is directed by Edward Zwick (Blood Diamond) and stars Anne Hathaway and Jake Gyllenhaal.
Upcoming projects in various stages of produc-tion include the motion picture adaptation of Battleship, based on Hasbro's classic naval combat game and directed by Peter Berg (Hancock, The Kingdom); the epic period film 47 Ronin, written by Chris Morgan (Wanted) and starring Keanu Reeves; the film adaptation of the hugely popular EA video game Army of Two, to be written by Scott Z. Burns (The Bourne Ultimatum, The Informant!); and Moby Dick, a reimagining of the Herman Melville whale tale that Timur Bekmambetov (Wanted) will direct.
Stuber's first production under the Stuber/Parent banner was summer 2006's breakout comedy hit You, Me and Dupree, starring Owen Wilson, Kate Hudson and Matt Dillon. Summer '06 also brought audiences the blockbuster hit The Break-Up, starring Vince Vaughn and Jennifer Aniston. These two comedies were followed by Peter Berg's critically acclaimed film The Kingdom; the Martin Lawrence comedy Welcome Home Roscoe Jenkins; and the David Wain sleeper hit Role Models, starring Paul Rudd and Seann William Scott, which grossed more than $100 million worldwide.

During Stuber's eight years at Universal-five of which he spent co-running production-he was respon-sible for many of the studio's critically acclaimed and commercially successful films, including King Kong, Jarhead, A Beautiful Mind, Seabiscuit, Cinderella Man, Munich, Meet the Parents, Meet the Fockers, The Bourne Identity, The Bourne Supremacy, About a Boy, The 40-Year-Old Virgin, 8 Mile, Spy Game, The Family Man, The Nutty Professor, Nutty Professor II: The Klumps, The Mummy franchise, the American Pie fran-chise, The Fast and the Furious franchise, Friday Night Lights, Bring It On and many others. Of the dozens of films Stuber supervised, more than 20 of them have grossed more than $100 million domestically.
In addition to his work on Repo Men, JONATHAN MONE (Executive Producer) recently served as an exec-utive producer on Stuber Pictures' action-horror film The Wolfman, starring Oscar(R) winner Benicio Del Toro, Oscar(R) winner Anthony Hopkins and Golden Globe winner Emily Blunt. He also serves as an executive producer on Stuber Pictures' upcoming epic comedy-adventure Your Highness, starring Danny McBride, James Franco, Natalie Portman and Zooey Deschanel.
Currently a senior vice president at Stuber Pictures, Mone previously worked as an associate producer on two successful sports dramas for Disney, 2004's Miracle, starring Kurt Russell, and 2006's Invincible, starring Mark Wahlberg.
A graduate of Middlebury College, Mone currently lives in Los Angeles.
MIKE DRAKE (Executive Producer) began his career at film school at California State University, Northridge. Upon graduating, Drake quickly began producing independent films with budgets big and small, with veteran filmmakers and first-time directors alike.
In the past 10 years, Drake has produced 17 films including the hit comedy The Whole Nine Yards, star-ring Bruce Willis and Matthew Perry, the boxing drama Against the Ropes, starring Meg Ryan, and the open-wheel racing action film Driven, starring Sylvester Stallone, to name a few.
In 2004, Drake produced the film Something the Lord Made and won the Academy of Television Arts & Sciences Primetime Emmy Award. The critically acclaimed HBO film was also nominated for a Golden Globe and won numerous accolades including the Peabody Award for Excellence in Broadcasting, an NAACP Image Award and an American Film Institute Award. Drake was also nominated for the prestigious David L. Wolper Producer of the Year Award given by the Producers Guild of America.
Drake had two films released in 2007: the drama Martian Child, starring John Cusack, and the psycho-logical thriller The Number 23, starring Jim Carrey.
VALERIE DEAN (Executive Producer) is cur-rently working as an independent producer on several projects. Her credits include serving as an executive producer on Christopher Nolan's The Prestige, star-ring Christian Bale and Hugh Jackman, and serving as associate producer on Bill Condon's Kinsey, star-ring Liam Neeson in the title role.
Dean was formerly senior vice president of produc-tion at Pretty Pictures, overseeing feature film, televi-sion and theater development for writer and director Neil LaBute and producer Gail Mutrux. She began working with Mutrux in 1996 on projects ranging from Mike Newell's Donnie Brasco to LaBute's Nurse Betty, after serving as a story editor for Barry Levinson's Baltimore Pictures.
ANDREW Z. DAVIS (Executive Producer) and Stuber Pictures are currently involved with postpro-duction on Your Highness, starring Danny McBride, James Franco, Natalie Portman and Zooey Deschanel. They recently produced Role Models.

Davis was the producer on the blockbuster comedy Rush Hour 3 and executive producer of Rush Hour 2, both directed by Brett Ratner and starring Jackie Chan and Chris Tucker. Prior to that, he execu-tive produced Universal's Red Dragon, starring Anthony Hopkins, Edward Norton and Ralph Fiennes, and The Family Man, starring Nicolas Cage and Téa Leoni, both directed by Ratner; the critically acclaimed coming-of-age drama, Love & Basketball, directed by Gina Prince-Bythewood, starring Omar Epps, Sanaa Lathan and Alfre Woodard; the mega hit Enemy of the State, starring Will Smith and Gene Hackman; and Love Affair, starring Warren Beatty and Annette Bening. Davis also produced the action film Volcano, starring Tommy Lee Jones and Anne Heche. His other producer credits include Lost Angels, Sid and Nancy and Tapeheads.
Davis served as head of production for Stuber Pictures and as executive vice president of production for MGM. Earlier in his career, was an executive at The Walt Disney Company before signing an inde-pendent production deal with the studio under his own banner, Andrew Davis Productions.
Davis is a graduate of the University of Southern California School of Cinema-Television.
In 1999, Daily Variety named ENRIQUE CHEDIAK (Director of Photography) one of ``10 Cinematographers to Watch, and he hasn't disappointed. His film credits include 28 Weeks Later; The Flock, starring Richard Gere and Claire Danes; Down in the Valley, starring Edward Norton; Turistas; Lies & Alibis; Crónicas; A Home at the End of the World; and Undefeated for HBO, which Enrique co-directed with John Leguizamo. Prior to this, he shot Brown Sugar, The Good Girl, which premiered at the 2002 Sundance Film Festival, The Safety of Objects, Songcatcher, Boiler Room and The Faculty, directed by Robert Rodriquez.
Chediak won the 1997 Sundance Film Festival's Best Cinematography Award for Hurricane Streets.
His feature film debut was American Southern, directed by John Joshua Clayton.
Born in Quito, Ecuador, Chediak studied still photography in Madrid and communications in Santiago, Chile, before entering New York University's film school graduate program in 1992, where he won the Best Cinematography award at NYU's First Run Film Festival.
DAVID SANDEFUR (Production Designer) is an accomplished art director, who marks his second credit as production designer with Repo Men. Last year's Journey to the Center of the Earth 3D was his first. Sandefur is currently shooting Warner Bros.' Yogi Bear, directed by Eric Brevig.
Sandefur's credits include The Number 23, directed by Joel Schumacher and starring Jim Carrey; The Break-Up, with Vince Vaughn and Jennifer Aniston; Richard Donner's sci-fi adventure Timeline; F. Gary Gray's hit crime-thriller The Italian Job, starring Mark Wahlberg and Charlize Theron; and the Robert DeNiro/Eddie Murphy action-comedy Showtime.
Sandefur's credits as a supervising art director include Doug Liman's Mr. & Mrs. Smith and Michael Bay's The Island. As an assistant art director, he con-tributed to such varied films as the 1960s-set romantic comedy Down With Love, Steven Spielberg's ultra-futuristic Minority Report, the crime-thriller Swordfish and Renny Harlin's nautical thriller Deep Blue Sea. For his work on Wolfgang Petersen's The Perfect Storm, the Art Directors Guild nominated Sandefur for an Excellence in Production Design Award, an honor he shared with the art direction team.
RICHARD FRANCIS-BRUCE,ACE (Editor) has been nominated for three Academy Awards(R) for his work on The Shawshank Redemption, Se7en and Air Force One. He has also been nominated four times by his peers for the American Cinema Editors Eddie Award

for The Shawshank Redemption, Air Force One, The Rock and Harry Potter and the Sorcerer's Stone.
Already a leading editor in his native Australia when he was invited by George Miller to edit The Witches of Eastwick, Francis-Bruce received an award from the Australian Film Institute for Best Achieve-ment in Editing for his work on Phillip Noyce's Dead Calm, after being nominated three times for Careful, He Might Hear You, Short Changed and Bullseye.
Francis-Bruce's many other credits include David & Fatima, Lorenzo's Oil, The Italian Job, Path to War, The Green Mile and The Perfect Storm.
CAROLINE HARRIS (Costume Designer) was nominated for a BAFTA for her design on the period costume drama An Ideal Husband, starring Cate Blanchett, Rupert Everett and Julianne Moore. She was nominated for an Emmy for her work on the HBO television movie Iron Jawed Angels, starring Hilary Swank and Anjelica Huston.
Her recent credits include Mr. Nice, starring Rhys Ifans and Chloë Sevigny, to be released later this year; 44 Inch Chest, starring Ray Winstone and John Hurt; and And When Did You Last See Your Father?, starring Jim Broadbent and Colin Firth. Other credits include A Knight's Tale, starring Heath Ledger; Croupier, starring Clive Owen; Still Crazy, starring Stephen Rea and Billy Connolly; Ripley Under Ground, directed by Roger Spottiswoode; The Governess; Swept From the Sea, starring Rachel Weisz; Othello; In the Bleak Midwinter; Before the Rain; and Very Annie Mary.
Two-time Academy Award(R) nominee MARCO BELTRAMI (Music by) was a protégé of acclaimed composer Jerry Goldsmith. Shortly thereafter, Beltrami got his big break by scoring Wes Craven's Scream. In his approach to scoring the film, Beltrami threw away conventional horror music clichés. Instead, he likened the film to a Western and, calling upon the influences of his idol Ennio Morricone, went on to write one of the most unexpected and imaginative scores in recent memory. The score gathered much attention for the young composer and the sound became Scream's signature. Wes Craven remarked in the liner notes of the film's soundtrack, ``Without Marco's genius, Scream would have been little more than a whisper.
Beltrami has scored blockbuster films including Terminator 3: Rise of the Machines, Live Free or Die Hard, Hellboy and I, Robot, before finding his way back to Western compositions when Tommy Lee Jones hired him to score The Three Burials of Melquiades Estrada. The film won the Best Actor and Best Screenplay awards at the Cannes Film Festival, and it featured a suspenseful and beautiful Western score. Walk the Line director James Mangold was a fan of the score and hired Beltrami to write the music for 3:10 to Yuma. Michael Rechtshaffen of The Hollywood Reporter wrote, ``The impressive work extends behind the scenes to...Marco Beltrami's percolating score, which subtly yet effectively signals Yuma's status as a thinking person's Western.
His work on 3:10 to Yuma and The Hurt Locker garnered him Academy Award(R) nominations for Best Original Score.
-repo men-