"As a girl, you see the world like a giant candy store. " This is one of the first things we hear from Justine (Jennifer Aniston), the title character of THE GOOD GIRL. Justine, though, is no longer a girl - she is grown up, married and longs for a life more fulfilling than the one she leads with her house painter husband, Phil (John C. Reilly), and his ever-present buddy, Bubba (Tim Blake Nelson).
Justine discovers something of a soul mate in her co-worker, Holden (Jake Gyllenhaal), a creative, passionate young man who represents a chance for her to escape into a new world of emotional and sexual awakening. But when the affair quickly moves from liberation to weird obsession, Justine finds herself ensnared in a chaotic web of blackmail, larceny and love. .. all at the Retail Rodeo.
Is Justine ultimately a good girl? Can she make the right choice between her dependable husband and disturbed lover? Written by Mike White and directed by Miguel Arteta, THE GOOD GIRL gives Aniston the chance to create a character with the complexity of a present-day suburban Emma Bovary.
ABOUT THE GOOD GIRL
The makers of THE GOOD GIRL put its star, Jennifer Aniston, in a new place. Like a funhouse at a carnival, the experience was often strange, disorienting and sometimes scary, but the end result is a critically acclaimed performance and a thrilling chance to see her in a way we never have before. An independent film in every sense, THE GOOD GIRL attracted a cast that includes John C. Reilly (BOOGIE NIGHTS, MAGNOLIA), Tim Blake Nelson (O BROTHER, WHERE ART THOU?, CHERISH), Jake Gyllenhaal (OCTOBER SKY, DONNIE DARKO) and Zooey Deschanel (ALMOST FAMOUS).
In great company, and with a role that she related to without knowing precisely why, "I didn't know if it was a personal thing, or if it was my own mother or just women I know," Aniston embarked on a 33-day shoot that was shoehorned around her Thursday and Friday commitment to "Friends. " "Miguel is the kindest, most soft-spoken man," Aniston says. "It was weird. There was just something about trusting this man and I put my life in his hands and let him go with it. "
THE GOOD GIRL marks the third feature film made by Director Miguel Arteta and Producer Matthew Greenfield and the second pairing of Arteta with White as the screenwriter. Arteta and Greenfield's celebrated feature debut, STAR MAPS, premiered at the 1997 Sundance Film Festival and was released to critical acclaim by Fox Searchlight Pictures. It was followed by CHUCK & BUCK - penned by and starring White - which also premiered and sold at Sundance. THE GOOD GIRL was an official selection of the 2002 Sundance Film Festival, where it was acquired by Fox Searchlight.
Like Arteta and White's previous work, THE GOOD GIRL seeks truth, the crucial element that defines their collective cinematic vision. The team deftly examines the life of outsiders. Arteta explains the central theme of his work. "All the films deal with characters who do not have the tools they need to live a full life and to cope with life properly. " However, it is their honest approach to creating characters that gives Justine, like Chuck in CHUCK & BUCK, and Carlos in STAR MAPS, her universal appeal.
White penned THE GOOD GIRL during a "dark spot" in his personal life. He had recently completed the script for CHUCK & BUCK, which at the time seemed to have no foreseeable future. Meanwhile, White's savings had dwindled and, like the character Justine he would soon create, he saw no means for escape. "I wanted to write the film like a prison movie," explains White. "I wanted to capture the feeling that everyone is imprisoned and secretly plotting their escapes," he continues.
White would apply his trademark style as he developed the screenplay. His genuine approach to storytelling would allow him to again defy conventional genres as he created a provocative story that is simultaneously heart-wrenching and humorous, creating what he has coined "a comic ode to depression. .. I like films that walk the delicate line between comedy and pathos," states White. "The fun of writing is to explore that balance, trying to find something entertaining on the surface but something much weightier underneath. "
Although White rendered his signature approach to storytelling and character, he delicately balanced the screenplay's darker elements with broader human appeal. Wasteland Texas, a stark metaphor for Justine's emptiness, is juxtaposed with the story's compelling and sexy subject matter. White adroitly pierces the surface of human apathy to expose a virtual abyss of carnal and emotional desire. Again, White journeys to the fringe of society. However, with THE GOOD GIRL he taps the deepest and most universal of human needs - companionship, touch and understanding.
White's early work struck a chord with Arteta - whose personal yet highly accessible work also focuses on transcending comedy-drama formulas in favor of the candid study of the human condition - and his producing partner Greenfield. "The honesty of his characters is amazing," says Arteta. "His honesty cuts right through the bullshit. These characters are often very damaged individuals but easy to relate to. "
Greenfield concurs, explaining that White's screenplays are "actor-driven and about performance. " Greenfield was drawn to White's comic yet sensitive portraits, describing White's characters as "people in difficult circumstances who make terrible choices that hurt the people around them. " Still, Greenfield notes, "The stories have empathy and humor without belittling the characters. "
Of his collaborative efforts with Arteta, White remarks, "I feel totally confident when I walk away that Miguel is going to get it right while bringing his own creative perspective to the film. " Arteta had championed White's work for years and expressed a deep, personal interest in directing THE GOOD GIRL as well. He related to the characters' alienation and was intrigued by the accessible nature of Justine and Phil's relationship. "Despite seven years of marriage, they have never admitted to each other that they are each secretly yearning to escape their lives," says Arteta. "It's incredible how cut off we can feel from our own worlds," Arteta concludes.
Greenfield also reacted personally to the screenplay and, specifically, to the character Justine. Greenfield says, "Justine is a character whose life feels familiar in some respects. .. She is unhappy with her job and her life but she is afraid to make changes. I understand being in that space. " Although Justine's life changes, it does not necessarily get better. "Like many people in the world, she does not learn," he explains.
White's humanistic touch also greatly appealed to executive producer Carol Baum, "I thought the script was amazingly fresh, funny and very moving. " A seasoned producer who forged an expansive career based on high-profile literary adaptations and a keen eye for discovering new voices, Baum instantly recognized White as a "rare talent" and signed onto the project.
Baum brought the script for THE GOOD GIRL to executive producer Kirk D'Amico, who had formed financing and sales company Myriad Pictures one year prior. "We fell in love with the material," recalls D'Amico, who had long admired Arteta's work. "The story is easily accessible because, on some level, we all feel alone. " Philip von Alvensleben of Myriad adds, "We all feel like we live outside of the world. " Myriad pledged its full support and financial backing, with D'Amico and von Alvensleben as executive producers.
The film was fast-tracked into pre-production and casting director Joanna Colbert was brought on board. The role of Justine had attracted the interest of several actresses, but the creative team was eager to meet with Jennifer Aniston, whose gift for comedy and, more importantly, knack for grounding comedy in reality made her an intriguing candidate.
While the dramatic role would mark a departure for Aniston, Arteta sensed that she could capture the irony of Justine, a seemingly "good girl" whose behavior, despite the best intentions, is at times anything but good. The two soon met and Baum recalls, "Miguel and Jennifer really hit it off. "
THE GOOD GIRL, recalls Aniston, "was such a gift. " Although the talented actress had long enjoyed success, she yearned for a fresh challenge, a serious understatement considering the strenuous demands of the role. "Justine is so complicated, so layered, yet seems so simple on the outside," explains Aniston. "I was riveted and just read page after page. " She instinctively understood Phil and Justine's loving but unfulfilling relationship, grasping the core of Justine - an empty woman desperately wanting to come alive. "Justine meets this young guy and feels something for the first time in a long time," she explains. Aniston was anxious to attack such a challenging project and felt the project was certain to become the "feel-weird movie of the year. "
Casting the role of Holden, Justine's young, fervent lover - nicknamed after J. D. Salinger's literary symbol for male adolescent angst - posed a complex challenge. Arteta, Greenfield and White realized that they needed to find an actor who could capture Holden's magnified earnestness without becoming cartoonish, and quickly began the painstaking process of interviewing roughly 100 actors.
After an exhaustive search, the team found their Holden in Jake Gyllenhaal, who Arteta notes, "has the ability to be tragic and funny at the same time. " Gyllenhaal's talent for coupling sincerity and arched menace appealed to Arteta, Greenfield and White. Fittingly, the team, who had always found great success at Sundance, approached Gyllenhaal at last year's festival. Gyllenhaal grasped the tragic undertone of Justine and Holden's connection, explaining, "They are just two lost people, who desperately want more out of their lives. " The filmmakers responded to Gyllenhaal's take on the character and the immediate chemistry he had with Aniston.
Gyllenhaal saw the role as an opportunity to grow as an actor, "For a long time I thought that being able to play a characteristic or mannerism was what acting was all about. " Gyllenhaal recognized that the part of Holden, the adamant boy in a man's body, could easily slip into a two-dimensional caricature, and welcomed the chance to "toe the line" delicately. Sharing the filmmakers' obsession with truthful emotion, Gyllenhaal comments, "Being real to a certain feeling is more courageous, scarier and certainly more interesting to watch. "
The filmmakers were excited to learn that John C. Reilly was available for the role of Phil, Justine's husband. Reilly had been loosely attached to the project for some time. "I just could not get John out of my mind," recalls Arteta, who considers Reilly one of the most "monumental" actors of our age. White, whom Reilly had known for years through mutual friends, phoned Reilly to formally invite him on board. Reilly remembers, "Mike called me and said, 'John, it's Mike White and I'm just calling to say let's party down. ' He just left a message and said 'party down' four or five times. And I said, 'Alright, Mike, let's party down. '"
Likewise, Tim Blake Nelson, who voiced early interest in the script, quickly enlisted for the role of Bubba, Phil's sidekick, a casting choice that suited Reilly perfectly. Reilly remarks, "I worked with Tim before on THE THIN RED LINE and I've known him for years. He is the ideal person to play the part. "
For Nelson, whose work includes writing and directing as well, his selection process as an actor has narrowed considerably, "My guiding principle as an actor is to be involved in interesting projects. " Nelson was excited to be working with Reilly again, and furthermore, "I wanted to make a movie with Miguel Arteta. " The two first met when they made their feature film directorial debuts at the 1997 Sundance Film Festival and again crossed paths at the Seattle Film Festival when they both took part in the Fly Filmmaking Series - a program where directors write, cast, shoot and edit a short film in one week.
To fill out the cast, Arteta found rising talent, Zooey Deschanel to play the role of Cheryl, the eccentric clerk who shares the cosmetics counter with Justine. Deschanel relished the opportunity to work with Arteta and White, whom she had admired for some time, and was invigorated by Arteta's "playful" directorial style. "Miguel is very much a perfectionist but he wants to see different things," says Deschanel.
Finally, although White did not write the part for himself, Arteta asked him to accept the role of Corny, the Retail Rodeo's bible-thumping security guard, which was originally written with an older actor in mind. Asked about the unusual casting decision, Arteta comments, "I knew from the moment I read the script. .. Mike grew up in a religious environment. His father is a minister, so it is interesting that he plays the character who copes with his alienation through religion. "
ABOUT THE PRODUCTION
Once the central casting was complete, Arteta and Greenfield assembled a top-notch crew, including production designer Daniel Bradford (LEGALLY BLONDE) cinematographer Enrique Chediak (THE SAFETY OF OBJECTS) and costume designer Nancy Steiner (THE VIRGIN SUICIDES) for pre-production.
Arteta's directing process revolves around discovery, not contrived preparation. "I do not like to rehearse too much. .. I mostly like to have the actors have lunch and read the scenes without really acting them, just to break the ice. " Rehearsals were done with the camera rolling in the hope of capturing the organic and inspirational process of discovery on film. Arteta asks that the actors work on their feet, constantly exploring their characters and each other while involved in the moment of a scene, however, the director imposes the same terrifying but invigorating impromptu methodology on himself. "The audience can sense when there is an earnest attempt to reach truth, even if you don't always reach it. "
Arteta's approach to truth-seeking colors the overall design of the film as well. Production designer Daniel Bradford recalls, "Working with Miguel was great because his primary focus was on storytelling. .. This meant the art department was not required to invent arbitrary and unusual special effects. Rather, we were able to direct our efforts towards establishing what was true and essential to each environment. "
Attention to detail defines all the film's design elements. The team began as Bradford describes, "a simple story, told simply," with the Retail Rodeo the film's primary location and, according to Arteta and White, the key to the film's prison metaphor. Arteta and Bradford concentrated on creating an authentic Retail Rodeo that surpassed the thin veil of camp comedy to fit the film's darker elements. An abandoned store in Simi Valley was dressed to fit the part but, as Greenfield recalls, it was vital to eschew the cowboy hats and Texas clichés in order to create a believable, suffocating environment. "Life is the same every day at the Retail Rodeo," explains Greenfield. "We wanted to convey the feeling that life was bearable there, but not much more than that. "
Although the design concept was naturalistic, finding locations in sunny California to pass for small town Texas was difficult, specifically the search for Justine and Phil's house, which is painstakingly defined in the script. "Our principal character lived physically and emotionally in the very last house on the street, out from which stretched miles of dry, barren nothingness," clarifies Bradford. "And of course, everywhere, everywhere, everywhere there are palm trees which are not appropriate for West Texas. "
Cinematographer Enrique Chediak also worked with Arteta to achieve a simple way to tell the story without detracting from it. The director was not interested in "razzle dazzle" camera work. Adversely, Arteta proclaims, "We let the characters dictate what happens. The actors do not feel technically assaulted and they know that the honesty of what they are trying to convey is what the camera is following. "
Chediak and Arteta tried several different styles before agreeing to shoot the film using an underexposure technique. Greenfield defines the process, "We pushed the film two stops, underexposing the film, and then compensated for the underexposure in the processing. The technique opens up the grain and changes the colors slightly, creating a subtle, gritty effect that helps to ground the film in reality. "
Despite the seemingly fashionable cast, costume designer Nancy Steiner confesses, "There is no fashion in this film. .. We remained subtle and true to the characters. " Like the other design elements, Arteta focused on a realistic look. Greenfield explains, "We wanted it to feel real and to create an unglamorous look with hair and makeup. We wanted it to be very different from the look, in Jennifer's case, that people are used to. "
Notwithstanding the skilled cast and crew, the shooting schedule was strenuous. "We had a fast schedule and that's hard," recalls Arteta. "There are over 200 scenes in the film and we shot in 33 days," he says. Greenfield adds, "Justine is in almost every scene. There were no days off, no breaks. "
Aniston says, "There was nothing but this movie and sleep and the movie and sleep. " Arteta and Greenfield were elated with how Aniston responded to the pressure. "Surprisingly, Jennifer, who comes from a bigger budget world, led the spirit on set," Arteta remembers. "She encouraged everyone to feel like it was a special thing we were doing, to enjoy and appreciate it," he continues.
Arteta reunited with his longstanding editor Jeff Betancourt, with whom he previously worked on CHUCK & BUCK and STAR MAPS. The two have developed an understood shorthand and bring the same focus to editing that Arteta brings to the rest of the filmmaking process. Betancourt explains, "Miguel and I are constantly searching for the truth of a scene. We are constantly striving to bring out the honesty of a particular moment. "
"Editing is, in a sense, another revision of the script," says Greenfield. He adds, "Miguel and Jeff take two approaches. They find the best performances and work hard to place them in a context that works. Then, they are very conscious of making the film work for the audience, constantly balancing the drama and comedy. " Together, they endeavor to match the film's various elements tonally and to unfurl the truthful cinematic moments for which Arteta and his team has become known.
ABOUT THE CAST
JENNIFER ANISTON (Justine Last)
Jennifer Aniston was recently seen starring opposite Mark Wahlberg in ROCK STAR, directed by Stephen Herek. Her other film credits include: SHE'S THE ONE, opposite Ed Burns and Cameron Diaz; PICTURE PERFECT, opposite Kevin Bacon and Olympia Dukakis, directed by Glenn Gordon Caron; 'TIL THERE WAS YOU, with Jeanne Tripplehorn, Sarah Jessica Parker and Dylan McDermott; the critically praised THE OBJECT OF MY AFFECTION, opposite Paul Rudd; and Twentieth Century Fox's OFFICE SPACE.
For her work as Rachel Green on the hit NBC television comedy "Friends," now entering its ninth season, Jennifer Aniston has earned two Emmy Award® nominations for Best Supporting Actress and two People's Choice Awards for Best Actress in a Comedy Series, as well as her most recent nominations for a Golden Globe Award for Best Supporting Actress in a Comedy, Drama or Mini-Series and a SAG Award for Best Actress in a Comedy.
JAKE GYLLENHAAL (Holden Worther)
Jake Gyllenhaal first garnered critical acclaim for his breakthrough performance as the star of Joe Johnston's OCTOBER SKY, alongside Laura Dern and Chris Cooper. The role earned him a Young Star Award nomination and a nomination for Best Actor at the Young Artist Awards. He moved on to play the title role in the fantasy thriller DONNIE DARKO, starring Drew Barrymore, Jena Malone and Noah Wyle, directed by first-time helmer Richard Kelly. The film was a favorite at the 2001 Sundance Film Festival and Gyllenhaal was nominated for an Independent Spirit Award for Best Actor.
Gyllenhaal can most recently be seen in Nicole Holofcener's LOVELY & AMAZING, with Catherine Keener and Brenda Blethyn. His additional film credits include the title role in Touchstone's BUBBLE BOY, with Swoosie Kurtz, CITY SLICKERS and JOSH AND S. A. M.
In the spring of 2002, Gyllenhaal made an impressive stage debut in the London production of "This Is Our Youth," opposite Hayden Christensen and Anna Paquin. This fall, Gyllenhaal stars as the lead in Touchstone's MOONLIGHT MILE, for director Brad Silberling, opposite Dustin Hoffman, Susan Sarandon and Holly Hunter.
JOHN C. REILLY (Phil Last)
In addition to THE GOOD GIRL, John C. Reilly will be seen in the coming year in Martin Scorsese's period drama GANGS OF NEW YORK, opposite Daniel Day-Lewis and Leonardo DiCaprio, Stephen Daldry's THE HOURS, opposite Julianne Moore, and Rob Marshall's CHICAGO: THE MUSICAL, with Renée Zellweger and Catherine Zeta-Jones.
Reilly has a longstanding relationship with director Paul Thomas Anderson, for whom he starred in the critically acclaimed ensemble drama MAGNOLIA, BOOGIE NIGHTS, opposite Mark Wahlberg, and HARD EIGHT with Gwyneth Paltrow and Samuel L. Jackson. Reilly played a lead role in the blockbuster hit THE PERFECT STORM and the independent feature THE ANNIVERSARY PARTY, directed by Jennifer Jason Leigh and Alan Cumming. Other film credits include: THE THIN RED LINE, DOLORES CLAIBORNE, HOFFA, GEORGIA, WHAT'S EATING GILBERT GRAPE?, STATE OF GRACE and CASUALTIES OF WAR.
Also an accomplished stage actor, Reilly starred on Broadway opposite Philip Seymour Hoffman in Sam Shepherd's "True West. "
TIM BLAKE NELSON (Bubba)
As an actor, Tim Blake Nelson is perhaps best known for playing Delmar opposite George Clooney and John Turturro in the Coen brothers' O BROTHER, WHERE ART THOU? Nelson recently wrapped production on A FOREIGN AFFAIR, written and directed by Dutch filmmakers Geert Heetebrij and Helmut Schleppi, in which he stars opposite David Arquette. He also stars opposite Jon Voight in HOLES, which will be released by Disney in January 2003. Most recently, Nelson was seen in CHERISH, directed by Finn Taylor, which screened in the Dramatic Competition at the 2002 Sundance Film Festival and in Twentieth Century Fox's Steven Spielberg-helmed MINORITY REPORT, co-starring Tom Cruise, Samantha Morton and Colin Farrell.
As a director, Nelson recently directed O, the controversial screen adaptation of Shakespeare's Othello, starring Mekhi Phifer, Josh Hartnett and Julia Stiles. Nelson's THE GREY ZONE, which he wrote and directed, stars Harvey Keitel, Steve Buscemi, Mira Sorvino, David Arquette, Allan Corduner and Natasha Lyonne. It made its debut at the 2001 Toronto Film Festival to great acclaim. THE GREY ZONE is a dramatic story of the Sonderkommandos, special squads of Jews who processed corpses in the crematoria at Birkenau. Shot in Bulgaria, it is based on Nelson's award-winning play and will be released by Lions Gate Films on October 11, 2002.
Nelson's debut as a filmmaker was the drama EYE OF GOD, which he also wrote. Starring Martha Plimpton, Hal Holbrook, and Kevin Anderson, the film had its world premiere in the Dramatic Competition at the 1997 Sundance Film Festival, and was released theatrically in the U. S. later that year. The film received the top award at the 1997 Seattle Film Festival, as well as the Tokyo Bronze Prize at the Tokyo Film Festival.
Nelson's other screen acting credits include Terrence Malick's THE THIN RED LINE, Mike Newell's DONNIE BRASCO, Hal Hartley's AMATEUR, Nora Ephron's THIS IS MY LIFE and Larry McMurtry's "Dead Man's Walk. "
ZOOEY DESCHANEL (Cheryl)
Zooey Deschanel is quickly becoming one of Hollywood's most sought-after young actresses. After making her feature film debut in 1999 in Lawrence Kasdan's MUMFORD, she starred with Billy Crudup, Kate Hudson and Frances McDormand in Cameron Crowe's critically acclaimed ALMOST FAMOUS. More recently, Deschanel starred in Barry Sonnenfeld's ensemble film BIG TROUBLE, in Revolution Studios' THE NEW GUY and opposite Don Cheadle in the 2001 Sundance Film Festival selection MANIC, which will be released later this year. Audiences will also soon see her star in ABANDON with Katie Holmes and in David Gordon Green's ALL THE REAL GIRLS.
JOHN CARROLL LYNCH (Jack Field, Your Store Manager)
Since his role as Norm Gunderson, Frances McDormand's sleepy husband in the Academy Award®-winning FARGO, John Carroll Lynch has appeared in a steady stream of feature films including: FACE/OFF, A THOUSAND ACRES, PUSHING TIN, ANYWHERE BUT HERE, THE NEXT BEST THING, WAKING THE DEAD, PAR 6, BUBBLE BOY, BUG and the upcoming CONFIDENCE.
Since 1997, Lynch has been a series regular on "The Drew Carey Show," for which he plays Drew's brother Steve. His additional television credits include the upcoming HBO film "Live From Baghdad," "Gideon's Crossing," and "Family Law," both opposite his wife, Brenda Wehle; as well as "The West Wing" and "Tuesdays With Morrie. "
Lynch began his professional career in the theater, spending eight years as a member of the Guthrie Theater Company in Minneapolis, for which he performed in more than 30 productions. Additionally, he performed in the original production of the Pulitzer Prize Winning "Dinner With Friends" at the South Coast Repertory Theater.
DEBORAH RUSH (Gwen Jackson)
Deborah Rush's feature film career includes THREE TO TANGO, opposite Dylan McDermott, Matthew Perry and Neve Campbell, YOU'VE GOT MAIL for director Nora Ephron, the Steve Martin-starrer MY BLUE HEAVEN, the Sidney Lumet-helmed FAMILY BUSINESS, and PURPLE ROSE OF CAIRO and ZELIG, both for the prolific Woody Allen.
Rush, who began her television career in 1970 on the television series "All My Children," has had roles in numerous series since including: "Law & Order - SVU," "Spin City," "Madigan Men," Comedy Central's "Strangers With Candy" and the BBC's "With Two Lumps of Ice. "
Her stage work includes the Broadway shows "Sisters Rosensweig," "Hay Fever" and "Noises Off," New York Shakespeare-In-The-Park productions of "Two Gentleman of Verona," "A Midsummer Night's Dream" and "The Taming of the Shrew," as well as Williamstown productions of "Tonight at 8:30" and "Arms And The Man. "
ABOUT THE FILMMAKERS
MIGUEL ARTETA (Director)
Miguel Arteta was recently honored with the 2001 Independent Spirit Award for Best Feature Under $500,000 for the highly acclaimed CHUCK & BUCK, which teamed Arteta with longstanding producer Matthew Greenfield and THE GOOD GIRL writer Mike White. Starring White, CHUCK & BUCK was released by Artisan Entertainment and premiered at the Sundance Film Festival, where Arteta came to prominence in 1997 with his feature debut STAR MAPS. Lauded by critics and audiences alike, STAR MAPS was released by Fox Searchlight Pictures and garnered five Independent Spirit Award nominations, including Best First Feature and Best First Screenplay.
Arteta made his network television debut directing an episode of "Homicide: Life on the Street" and has also directed episodes of "Freaks and Geeks," "Six Feet Under" and the ABC pilot "Elizabeth Street," produced by Martin Scorsese and Barbara De Fina.
After graduating from Wesleyan University, Arteta received an MFA from American Film Institute in 1993. His musical EVERY DAY IS A BEAUTIFUL DAY premiered at the Berlin Film Festival and was nominated for a Student Academy Award in 1990.
MIKE WHITE (Writer /"Corny")
Mike White wrote and starred in the critically acclaimed CHUCK & BUCK, which won an Independent Spirit Award for Best Feature Under $500,000 at the 2001 Independent Spirit Awards. The film was directed by Miguel Arteta, whom White met and befriended when he had a small part in Arteta's first film, STAR MAPS.
White returned to his native Los Angeles after graduating from Wesleyan University. He spent three years writing for television - "Dawson's Creek" and "Freaks and Geeks. " This past year, White teamed with Diane Keaton to create the television drama, "Pasadena," and scripted the comedy, ORANGE COUNTY, directed by Jake Kasdan. He is currently writing THE SCHOOL OF ROCK for Scott Rudin and Paramount Pictures.
MATTHEW GREENFIELD (Producer)
Matthew Greenfield is an independent producer whose previous film, CHUCK & BUCK, was nominated for five Independent Spirit Awards, winning the award for Best Feature Under $500,000. The digitally shot film was produced independently and premiered in competition at the Sundance Film Festival where it was picked up by Artisan. CHUCK & BUCK was also selected for the Dramatic Competition at the Deauville Film Festival, where it garnered the Best Actor Award.
Greenfield's first feature production, STAR MAPS, premiered at the 1997 Sundance Film Festival, where it was picked up for worldwide distribution by Fox Searchlight Pictures. Made independently and based on a story Greenfield wrote with director Miguel Arteta, STAR MAPS was released nationally in July 1997. The film was nominated for five Independent Spirit Awards, including Best Feature and Best First Screenplay.
Greenfield was recently named as one of the "Ten Producers to Watch" by Variety.
KIRK D'AMICO (Executive Producer)
A seasoned film production and distribution executive, Kirk D'Amico is president of Los Angeles-based Myriad Pictures. In addition to THE GOOD GIRL, D'Amico recently served as Executive Producer on a diverse slate of feature films including: PEOPLE I KNOW, starring Al Pacino, Kim Basinger, and Téa Leoni, produced by Myriad Pictures and Southfork Pictures, a division of Robert Redford's Wildwood Entertainment; and VAN WILDER: PARTY LIASION, starrring Ryan Reynolds and Tara Reid, co-produced with Tapestry Films.
D'Amico is also serving as Executive Producer on JEEPERS CREEPERS 2, the sequel to the highly successful original that grossed nearly $50 million dollars in US box office, and is one of a slate of films Myriad is producing with Francis Ford Coppola's American Zoetrope and MGM/United Artists. D'Amico is also acting as Executive Producer on IMAGINING ARGENTINA, written and to be directed by Christopher Hampton, with Antonio Banderas and Emma Thompson to star. D'Amico is also a producer on MY DARK PLACES, adapted by Jan Oxenberg from the autobiographical novel by James Ellroy, which will be directed by Robert Greenwald, and will star David Duchovny. MY DARK PLACES goes into production later this year.
Prior to founding Myriad Pictures, D'Amico served as Executive Vice President at Village Roadshow Pictures where he was responsible for the worldwide sales and co-productions of all theatrical and television product. As Vice President of International at the Samuel Goldwyn Company from 1994 to 1996, D'Amico was responsible for international theatrical, video and television sales.
PHILIP VON ALVENSLEBEN (Executive Producer)
One of Germany's most experienced distribution and production executives, Philip von Alvensleben is one of the principals and serves on the executive board of IN-motion AG, overseeing all film and television. He also serves as co-president of Myriad Pictures. In this role, von Alvensleben shares executive producer duties on all Myriad productions.
Before Myriad Pictures, von Alvensleben formed Alive Entertainment, which developed, financed and produced quality TV series and feature films, with a first-look deal with Alliance Atlantis. TV projects with Alliance Atlantis included the ABC miniseries "Me and My Shadows" (starring Judy Davis) about the legendary Judy Garland and her daughter. The show was nominated for 13 Emmys and Davis won for best actress. Other TV projects include "Pensacola - Wings of Gold," starring James Brolin, and "18 Wheels of Justice. " Feature films include HARLEM ARIA, starring Gabriel Casseus, Damon Wayans, Christian Camargo and Paul Sorvino and 7-TEEN SIPS, starring Leo Fitzpatrick and Heather Bergdahl.
CAROL BAUM (Executive Producer)
Carol Baum recently finished CAROLINA, directed by Marleen Gorris (ANTONIA'S LINE) and written by Katherine Fugate. The movie stars Julia Stiles, Alessandro Nivola and Shirley MacLaine and is set to open in March 2003. She also recently released MY FIRST MISTER, written by Jill Franklyn, which opened the 2001 Sundance Film Festival. The film stars Leelee Sobieski, Albert Brooks, John Goodman, and is directed by Christine Lahti.
Baum executive produced SNOW FALLING ON CEDARS from the best-selling book by David Guterson and adapted by Ron Bass. The Ethan Hawke-starrer was directed by Scott Hicks (SHINE). She produced Columbia Pictures' FLY AWAY HOME with John Veitch. The picture, which has won many honors including the Christopher Award, starred Anna Paquin, Jeff Daniels, and was directed by Carroll Ballard (THE BLACK STALLION).
Baum teaches Script Development to graduate students at the prestigious Peter Stark Producing Program at U. S. C. 's School of Cinema-Television. She served as president of Sandollar Productions for 10 years, where she produced such hits as FATHER OF THE BRIDE, the Academy Award-winning HBO documentary "Common Threads: Stories from the Quilt," IQ, JACKNIFE, BUFFY THE VAMPIRE SLAYER, SHINING THROUGH and KICKING AND SCREAMING.
SHELLY GLASSER (Co-Producer)
Shelly Glasser is currently producing the Laura Linney-starrer KEVIN APPROACHES, which is slated to begin shooting in the fall, and is in pre-production on the sequel to DANCES WITH WOLVES for Intermedia. In addition, she is co-producing FLYPAPER, in development at Newmarket.
Glasser previously served as senior vice president of production and acquisition at Initial Entertainment Group, where she oversaw all aspects of acquisition, development, production and post-production. As head of production, Glasser presided over several high-profile projects, including PING with Judge Reinhold; VERY BAD THINGS, starring Christian Slater and Cameron Diaz; SAVIOR, produced by Oliver Stone and starring Dennis Quaid; MONTANA, starring Kyra Sedgwick and Stanley Tucci; THE FLORENTINE, with Chris Penn, Tom Sizemore, Jim Belushi and Michael Madsen; and the Leslie Nielsen star vehicle FAMILY PLAN.
Prior to IEG, Glasser co-produced Hollywood Pictures' PREFONTAINE. Her line-producing credits include Miramax's CURDLED and Showtime's RIOT, the acclaimed anthology piece about the L. A. riots. She supervised production of JASON'S LYRIC for Gramercy, Universal's AMERICAN ME and the acclaimed pilot episode of "ER" for Warner Brothers. Her production management credits include WHITE MAN'S BURDEN and the Academy Award-winning short film TREVOR.
Glasser began her career at KABC-TV before moving on to associate produce the Academy Awards telecasts. She later worked as a production coordinator with credits including Robert Altman's SHORT CUTS.
GINA KWON (Co-Producer)
Independent producer Gina Kwon's accomplishments span the worlds of feature and documentary films. Kwon has enjoyed a longstanding relationship with THE GOOD GIRL's filmmaking team of director Miguel Arteta and producer Matthew Greenfield. She began as production manager on their first feature, STAR MAPS, associate produced their second film, CHUCK & BUCK, which won the 2001 Independent Spirit Award for Beat Feature Under $500,000, and served as co-producer on THE GOOD GIRL. All three of their films debuted at the Sundance Film Festival to critical acclaim and were immediately picked up for theatrical release.
Kwon currently co-produces the documentary series "The Residents," airing on TNT in 2003. Created by R. J. Cutler (Academy Award-nominated producer of THE WAR ROOM), the 13 one-hour episodes track the lives of doctors through their harrowing first years of residency at UCLA Medical Center. This follows Kwon's work as associate producer and story editor for Cutler's 2001 Emmy Award-winning documentary series "American High" about a group of high school students in suburban Chicago. The series was produced for Fox Television and subsequently aired on PBS nationwide.
From 1996 to 1999, Kwon was VP at Myriad Pictures, heading acquisitions and worldwide distribution of the company's extensive library of specialized feature and documentary films. During this stint, she acquired Academy Award-nominated docs WACO: THE RULES OF ENGAGEMENT and SPEAKING IN STRINGS: NADJA SALERNO-SONNENBERG, and associate produced STEVE MCQUEEN: THE KING OF COOL for AMC.
ENRIQUE CHEDIAK's (Director of Photography)
Enrique Chediak's recent credits include: director Rose Troche's THE SAFETY OF OBJECTS, produced by Killer Films, which screened at the 2001 Toronto Film Festival; FORTY ACRES AND A MULE'S 3 AM, which screened at the Sundance Film Festival; and Rigas Entertainment's 2000 Sundance entry SONGCATCHER, which was released by Lions Gate Films this past summer. Chediak is currently working with director Rick Famuyiwa on Fox Searchlight Pictures' BROWN SUGAR.
Honored by Variety as one of the "Ten Cinematographers to Watch" in 1999, Chediak's additional credits include New Line's BOILER ROOM for Team Todd and director Ben Younger, as well as Robert Rodriguez' THE FACULTY for Miramax. Chediak received the 1997 Sundance Film Festival's cinematography award for his work on director Morgan J. Freeman's HURRICANE STREETS and later worked with the director on DESERT BLUE. Additional credits include FROGS FOR SNAKES and GETTING OFF.
Born in Quito, Ecuador, Chediak studied photography in Madrid and communications in Santiago, Chile before entering NYU's film graduate program. Chediak received the cinematography award at NYU's First Run Film Festival for the student shorts ANGELES DON'T KNOW, MEMORIAL DAY and DARKNESS. In 1997, he wrote and directed his graduate thesis film EL RIO, which garnered second place at the 1998 NYU Wasserman Awards, the Best Student Short Award at the 1998 Hamptons Film Festival and both the Best Student Short and Audience Awards at the 1998 Shorts International Film Festival.
JEFF BETANCOURT (Editor)
Jeff Betancourt previously worked with director Miguel Arteta on both STAR MAPS and CHUCK & BUCK. Additional feature projects include GET OVER IT and BILLY'S HOLLYWOOD SCREEN KISS with director Tommy O'Haver.
For television, Betancourt edited the Warner Bros. ' one-hour comedy "Opposite Sex" and is currently editing "The United States of Leland" with writer/director Ryan Hoge.
Betancourt completed the Walt Disney Screenwriting Fellowship and graduated with an MFA from USC's School of Cinema-Television.
DANIEL BRADFORD (Production Designer)
Daniel Bradford funnels his diverse design background, encompassing art direction, set design and building design, to mark his debut feature as production designer with THE GOOD GIRL. Most recently, Bradford served as art director for the Reese Witherspoon smash comedy LEGALLY BLONDE. Additional art direction credits include BOUNCE, PANIC, SHE'S SO LOVELY and JACKIE BROWN for director Quentin Tarantino with whom Bradford previously partnered as set designer on PULP FICTION.
Bradford's set design credits include RUSHMORE, GODZILLA, ERASER and OLEANNA. He began working as a feature set designer on David Mamet's "A Life In The Theater," starring Jack Lemmon and Matthew Broderick. Additionally, Bradford has loaned his set design expertise to the television programs "Arli$$" and "The Ben Stiller Show. "
NANCY STEINER (Costume Designer)
Costume designer and stylist Nancy Steiner has worked extensively in film, music videos, commercials and print. Film credits include: director Michael Gondry's HUMAN NATURE, starring Patricia Arquette, Tim Robbins, Rhys Ifans, Miranda Otto and Rosie Perez; THE MILLION DOLLAR HOTEL, directed by Wim Wenders and starring Mel Gibson and Milla Jovovich; Sofia Coppola's acclaimed film debut THE VIRGIN SUICIDES, starring James Woods, Kathleen Turner, Kirsten Dunst and Josh Hartnett; Todd Haynes' SAFE, starring Julianne Moore; THE WINNER, directed by Alex Cox and starring Rebecca De Mornay, Vincent D'Onofrio, Delroy Lindo and Billy Bob Thornton; and BONGWATER, starring Luke Wilson, Alicia Witt and Andy Dick, directed by Richard Sears.
In the music video arena, Steiner has worked with some of today's hottest acts, including No Doubt, David Bowie, Air, the Red Hot Chili Peppers, Björk, Sheryl Crow, Smashing Pumpkins, Stone Temple Pilots, R. E. M. and the Rolling Stones. Commercial campaigns include Levi's, Earthlink, Gap, Volvo, Nike, Volkswagen, Sprint, Adidas and Budweiser.
As a stylist, Steiner's print career includes work with Cameron Diaz, Gwyneth Paltrow, Sade, Milla Jovovich, Sheryl Crow, Lori Petty, Tom Hanks and R. E. M. Her work has appeared in "Vanity Fair," "Marie Claire," "Allure," "Interview," "US," "Rolling Stone," "Detour" and "Premiere," among others.
