(2 MB/) PRESS BOOK

JULIANNE MOORE
STEPHEN DILLANE
EDDIE REDMAYNE
ELENA ANAYA
UNAX UGALDE
Directed By Tom Kalin
Screenplay by Howard A. Rodman
Based on the book by Natalie Robins & Steven M. L. Aronson
BELÉN RUEDA
HUGH DANCY
Julianne Moore, Stephen Dillane, Eddie Redmayne
Elena Anaya, Unax Ugalde, Belén Rueda, Hugh Dancy
CANNES 2007
Directed by Tom Kalin
Screenplay Howard A. Rodman
Based on the book by Natalie Robins & Steven M.L Aronson
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SYNOPSIS
“Savage Grace”, based on the award winning book, tells the incredible true story of Barbara Daly,
who married above her class to Brooks Baekeland, the dashing heir to the Bakelite plastics fortune.
Beautiful, red-headed and charismatic, Barbara is still no match for her well-bred husband. The birth of
the couple’s only child,Tony, rocks the uneasy balance in this marriage of extremes. Tony is a failure in
his father’s eyes. As he matures and becomes increasingly close to his lonely mother, the seeds for a
tragedy of spectacular decadence are sown. Spanning 1946 to 1972, the film unfolds in six acts. The
Baekelands’ pursuit of social distinction and the glittering “good life” propels them across the globe.
We follow their heady rise and tragic fall against the backdrop of New York, Paris, Cadaques, Mallorca
and London.
INTERVIEW WITH TOM KALIN
What do you think it was that initially attracted you to ‘Savage Grace’? As in SWOON you have
again chosen a ‘taboo’ love story that culminates in murder, why?
Christine Vachon gave me ‘Savage Grace’ by Natalie Robins and Steven ML Aronson to read many years
ago. I was riveted by the sensational truth at the core the Baekeland story, but even more by the echoes
of classical tragedy. The sad beauty of the material drew me to it, the collision between elegance and
violence. But the film’s terrible climax, Barbara’s death, is only part of her story. The originality of her
uniquely American character (self-made woman of the 1940s with a born gambler’s instinct) and her
glittering rise and devastating fall contained the elements of what I believed would be an amazing drama.
After researching SWOON, I was intrigued by the central ambiguities of that case, particularly the riddle
of which (if either) partner was dominant in that relationship. Though in the end, I believe Richard Loeb
physically committed the murder of Bobby Franks, I also believe that Leopold and Loeb’s shared chemistry
was particularly combustible. So too, with SAVAGE GRACE, I wondered about the central question: did
Tony murder his mother or did in fact Barbara cultivate Tony, in a complicated form of narcissism, as the
tool with which to kill herself?
Finally, and most importantly, I was drawn to these deeply flawed characters, and in the end, feel a
complicated loyalty and empathy for them. (Orson Welles, “Judge not lest ye bore the audience”).
Tragedy, of course, is one of the inevitable human stories. To paraphrase a review of the book Savage
Grace, the tale of the Baekelands is one of ‘profound failure in the simplest duties of love.’
The film has an epic sweep over periods when atmosphere and attitudes were constantly changing.
What sort of artistic licence did you have to take in the adaptation? And do you think that this
particular type of structuring distances you from the original story?
I had an amazing collaboration with the writer of the film, Howard Rodman. We both knew the book
was too sprawling in its scope for a simple adaptation. (Savage Grace consists primarily of first-person
accounts of witnesses and participants in the Baekeland saga, spanning nearly a century.) Howard and I
began by separately identifying what we considered the five key moments of Barbara’s story. When we
compared results, most of them were the same.
In large part, our question was what to leave off screen and how to construct a story around the
significant turning points of these lives. Howard was brilliant at imagining scenes – the Cadogan Square
sequence, for instance, that had been merely hinted at by photographs included in the book and by others
I uncovered. Everything I needed to know about what happened between Barbara and Tony seemed
hidden in a 1971 photograph of Tony -- exquisitely slouched posture, cradling a cigarette -- sitting next to
Barbara, armoured in her Chanel and pearls, on a perfectly proper sofa.
The bathtub scene in Paris 1959 is also based on a rather startling photograph of an angelic twelve year
old Tony lounging in the tub, his gaze directed at the camera. Surely snapped by Barbara. The picture is
both tender and chilling and captures a moment of behaviour that hints at the iceberg below the surface.
These photographs were an invaluable resource for my later collaborators : Director of Photography
Juanmi Azpiroz, Production Designer Victor Molero and Costume Designer Gabriela Salaverri as well as
an army of others. Juanmi has remarkable skill at using light to express the evolution of atmosphere and
stillness to amplify growing tensions. Both Victor and Gabriela created a believable world for the actors to
occupy, with a subtle and exacting approach to period. For instance, the easy style of Tony and his friends
in mid-Sixties Cadaques was surprisingly timeless – no white go-go boots and miniskirts required. This
orchestration of a constantly changing mise-en-scène was remarkable, even more when you realise the
film was shot entirely in and around Barcelona. The experience of making a film in Spain has been one of
the highlights of my career.
In any story of this complexity there are inevitable simplifications, omissions and even modifications of
characters. Howard and I tried to capture what we believed to be emotionally truthful while maintaining a
healthy scepticism about the slippery nature of what becomes known as official history.
What drew you to Julianne Moore for the role of Barbara?
I met Julianne briefly when Todd Haynes made SAFE and then again later on the set of FAR FROM
HEAVEN. Julianne is one of the most gifted actors working today and she brings an astonishing range and
complexity to her work. I knew she would be unforgettable as Barbara and would instinctively know how
to convey the humanity and emotional depth the role demanded.
I sent her the script and we met for lunch shortly after. I chattered nervously, while she looked at a binder
of photographs of Barbara, Tony and Brooks I had brought. There was no denying her strong physical
similarity to Barbara. Though this was an added bonus, it is Julianne’s ability to reveal emotion through the
smallest moment of behaviour that brings Barbara to life. It was exciting too, to follow this character over
an extended period of time, to watch Julianne convey the arc of a life through both triumph and failure.
The characters in SAVAGE GRACE are complex. Could you give us a quick overview from your point
of view of the three main characters of Barbara, Brooks, and Tony?
BARBARA DALY BAEKELAND
Barbara Daly was born near Boston in 1920. When she was a teenager, her father committed suicide
and his body discovered by her brother, who later died in a car crash (perhaps not accidental). Like many
beautiful young women of her generation with little money, she was urged by her mother to make a
successful marriage. Courted by John Jacob Astor, she was declared one of the ten most beautiful
women in New York. She went to Hollywood briefly in the early Forties and did a screen test with Dana
Andrews.
She possessed a reckless charisma rare among women in her social circle and this volatility made her
a magnet for Brooks. Her fatal flaw lay in her narcissism (rooted in deep insecurity) and her obsession
with an unachievable notion of “society” and appearances. To those around her, she seems both brave
and foolish, and her acts of self-invention display great strength of imagination but also reveal her fear of
discovery and unmasking. But “society” alone is not enough for her and her need for love (from Brooks,
from Tony, from Sam) is both deeply vulnerable and, at times, all consuming.
BROOKS BAEKELAND
From ‘Savage Grace’ by Natalie Robins,Steven ML Aronson :
“ He [Brooks’ father George] also had dash, or what the French call panache. It was show. He
was always, metaphorically speaking, standing at a mirror. ...But finally, his arrogance and
his misanthropy were ego saving rationalizations for a deep shyness and sense of his social
incapacities. I know this because I am his son and have inherited many of the same disabilities. My
father roared out in the dark to keep the demons away. It was easy, being such a rich and protected
man. As my grandfather used to say, “One of the uses of money is that it allows us not to live with
the consequences of our mistakes.”
Though Brooks represents “society” to Barbara, he conceals from her his doubt as to whether this is
indeed true. (His father’s bad business decisions diminished the family fortune and Brooks privately
despaired that the genius of his grandfather was apparently not passed down to him.) He alternates
between snobbery and the knowledge that his grandfather despised all the affectations and trappings of
society. To a degree, Brooks will always hate himself for not rising above the limits of the world in which
he lives.
Trapped in his vanity and self-regard, he feels obligated to say what he believes to be the truth, without
tenderness or compassion. He continues the family cycle and finds a new object of contempt in his own
son, just as his father had in him.
ANTONY BAEKELAND
Tony never matures enough to transcend the conflicting, unbalanced sum of his parents’ influence,
frozen between Barbara’s possessive love and Brooks’ contempt and indifference. He has grown to be
unbalanced, with a highly developed imagination – he could become an artist or poet but is left weak and
lacking resilience in other parts of life. Outwardly appealing to those around him, he possesses a kind of
passive beauty, almost the mirror opposite of Barbara’s, inwardly fearing that he is ugly. He’s guilt ridden
in part by the failure of his parents’ relationship. He once said to a friend, “My parents are both very
young souls.”
Remarkably poised and apparently self-confident at age twelve, Tony never again feels this secure. When
we meet him in Cadaques at age twenty, he rebels against his parents (sleeping with Jake, taking drugs).
He unfortunately does not succeed in breaking free, however, and when Blanca leaves him for Brooks he
is never able to fully recover.
Though at first he wants to escape (his parents, his heritage) and to make something of himself (and in
this way he resembles Brooks) he finally loses his tenuous grasp on his motivation and his sanity and finds
himself watching his life unfold from a great distance.
Is there still a real attraction between Brooks and Barbara despite his disdain, even disgust for her?
Was their relationship not sadistic? What soured their marriage?
In many ways, Brooks was the weaker partner in an unbalanced marriage of extremes. Though, in his
way, he deeply loved Barbara, he was ill equipped to deal with her violent nature. I believe he eventually
began to despise Barbara for her ability to infiltrate his upper class world and blamed her for his unfulfilled
potential.
After Barbara’s suicide attempt, Brooks wrote in a letter to a friend:
“Barbara has just about drained all there is to drain out of romantic (and not so romantic) violence
where I am concerned... Her belief in force to get her way is fundamental in all things great and
small, as everybody from waiter to prime ministers have experienced, and I have had to deal with
that constantly for twenty five years. ...That is the trouble with melodrama – the climaxes are all
used up in Act 1.
...She claims, (when it has sentimental social value), to be a Catholic born and bred. What she
needs is some self-examination, not with a shrink but with a good old fashioned Irish priest, who
will ask her “What about it?” in those old fashioned ethical terms that she understood before she
went out to Hollywood in 1940 with John Jacob Astor hot on her lovely tail. It’s been show and little
substance ever since. I help in that, of course.“
How do you see Barbara and Brook’s feelings with regard to Tony’s homosexuality? A delicate issue
at the time, Barbara’s attitude seems all the while rather ambivalent...
Though some people believed that Barbara slept with Tony in an attempt to “cure him of his
homosexuality”, I think the truth is far more subtle and complex. Sexuality was only one element of their
ritual dance of dependence and wounding. Brooks was clearly repelled by Tony’s homosexuality and
believed it was at the root of his failure in life. Barbara’s attitude, however, was more ambivalent. Though
repelled by (Tony’s lover) Jake’s carnal magnetism and the spell he casts on Tony, she never abandons
Tony in the way Brooks does.
Later, she disapproves of Tony’s decadent circle in London and can’t bear when he disappears for days on
end, what she refers to in the bathtub scene as “the Afternoon of the Longest Laundry”. Her jealousy
here I think is fuelled by narcissism.
When she and Tony sleep with Sam, some have suggested that they were all taking psychedelic drugs,
and certainly hashish. An excerpt from a letter written by Barbara to Sam, after he visited them in
Mallorca, speaks volumes about her state of mind at the time :
“Our time together was not a playlet of Williams or a monstrous evocation of de Sade – but an
acting out in a truly classical & beautiful way of a very old myth. Because we are veterans of this
century we were unable to be really free and it is perhaps better that we were not, for some of us
have fragile psyches and the strain would have been too great.“
Is the film in some way a social issue movie, despite the milieu that it depicts? Do you think the
decadence that the Baekelands were surrounded with permitted an erosion of a certain morality?
Brooks’ grandfather Leo wrote something that anticipates his grandson’s future dilemma:
‘‘Most of the time people who travel try to cajole themselves into the belief that they are enjoying
themselves, while in reality they are merely spending money right and left in increasing amounts
without great satisfaction, or they keep rushing from one country to another in vain search of
happiness. Such people will ordinarily finish by finding that two or three large capitals in Europe,
with very elaborately appointed hotels, agree best with their perverted psychological condition.”
A Family Motor Tour Through Europe, Leo H. Baekeland, 1907
Many authors have written about the doomed lives of American expatriates including Fitzgerald,
Hemingway, Bowles, and James. The role of class in American culture continues to define every social
interaction. Savage Grace is both the story of this very specific family and a cautionary tale about the price
of going so far from home (literally and spiritually) that you can never find your way back.
Tony’s parents are extraordinarily oblivious to the signs of his mental illness. Were they simply
ignorant or incredibly self-centred?
Many witnesses to Tony’s final decline tried to intervene, with little success. A friend of the Baekelands
confronted Brooks in the year before the murder :
I said, “Look here, your son is in a very bad state, he must have treatment.” He said, you know,
“It’s just fun and games”—those were his words.
This escalating cycle of “fun and games”, between first Brooks and Barbara and, later, Tony took a
devastating toll on all of them. Blind in so many ways to any alternative, their personalities bent under the
collective strain. They lived their lives in a state of perpetual childhood, each in their own way. There’s
also a delicate balance in this story between personal responsibility and inherited (or cultivated) self
destructiveness.
Tony’s once enchanting, poetic personality gradually disintegrated and he became increasingly angry and
violent toward Barbara. Ironically, he found some solace during his incarceration in Broadmoor through
Buddhism :
“I feel mummy’s presence around me, all the time. She is in every tree.”
Even still, to the end of his life, Tony was haunted by violent thoughts and dreams:
“Then I dreamed that Barbara had cut the back of my neck open so I could breathe.”
In the book, Brooks emerges the sole survivor of the tragedy, and perhaps the most culpable. To
the end, he disliked Tony—found him embarrassingly odd. What was at the heart of that? Why do
you think Brooks is threatened by Tony?
Brooks may seem arrogant on the outside, but he was actually quite perceptive about his particular brand
of marital unhappiness :
“I soon realized that whether Barbara was pregnant or not – and she was not – I had not married a
soul mate but a powerful and ambitious antagonist. She was a far more brilliant and a far stronger
personality than I ever was or could be.”
“...I always felt I was not a great enough man for her. What she needed was a Henry VIII. But of
course she finally had him – in her son, and he chopped off her head, so to speak.”
But he could be ruthless too, and remote in the extreme. When a friend confronted him about Barbara’s
suicide attempt, Brooks took no responsibility at all :
And I said “Listen, I think it’s more than a bid for sympathy, because if that‘s what she intended it
to be, she’s overdone it, because she damn near died... I told him she was in a coma. And he said,
“Well, if she dies, you know where I am.” That chilled me... [Then] he said – and this is what really
chilled me – he said, “When I met Barbara she was nothing, she was just this sort of redheaded Irish
kid. I practically picked her out of the chorus line.”
Brooks is profoundly disappointed by his son’s inability to achieve what he believes to be the destiny of his
family : greatness. But his disappointment with Tony is, in part, despair at his own failings.
Brooks is so annoyed by Barbara’s pretensions, but isn’t he just as pretentious? Does his conceit
mask a weak intellect?
According to many who knew him, Brooks had an original mind but lacked the discipline to realize the
fruits of his intellect. He excelled in his studies in Mathematics and Physics at Columbia University but
never finished the degree. For years he claimed to be writing a novel, though none has ever surfaced.
Both he and Barbara had a kind of brilliance, though each of a very different kind.
Do you see Brook’s new relationship with Blanca as different? Is their relationship more about him
respecting her intellectually and socially rather than the fact that she’s younger?
It’s too easy to judge Blanca, or to reduce Brooks’ relationship with her to a pale imitation of his marriage
to Barbara. Recently divorced and worldlier than many of the young expatriates who flock to Cadaques,
Blanca stands out from the crowd with her enigmatic beauty and her self-contained aura. Although she is
intellectually astute (she studied philosophy in Paris), she possesses a natural social charm and an innate
instinct for the “youth style” of the 1960s. Born to a middle class family, she masks her ambition with a
guileless, earthy quality that encourages people to underestimate her.
Blanca is a true chameleon, equally comfortable in jeans and peasant blouses and, later, when she marries
Brooks, haute couture. Comfortable in her skin, her confidence and elusive personality draws people into
her orbit. Initially attracted by Tony’s slightly passive, tender quality, she ultimately falls hard for Brooks’
(oddly charming) air of chilly egotism. The grandeur of the Baekeland family legacy fascinates her and
she is swept up by Brooks’ aura of “old-money” entitlement. Under his tutelage she rapidly transforms
from hippie-chick to bourgeois lady. Tony fails to hold her attention for long and he is wounded by her
abandonment.
Barbara initially welcomes Blanca into their lives and encourages Tony to pursue a relationship, but
recognizing an uncomfortably familiar social ambition, Barbara finally despises Blanca for her youth, beauty
and success at attracting Brooks. Though Blanca’s social climbing is unmasked through her radical reinvention, I didn’t want to judge her. The fascination of this material lies in its many conflicting angles of
view.
It’s been a little while since SWOON – yet you have been working in film and video ever since. Why
such a long wait to do another feature film? Has your work as a video artist informed your vision as
a feature film director?
My feature work after Swoon includes work as a Producer. I was Executive Producer of Rose Troche’s
debut feature, Go Fish that premiered to great acclaim at Sundance and Producer of Mary Harron’s
remarkable first feature, I Shot Andy Warhol that came to Cannes in 1996.
I directed a short film to commemorate the thirtieth anniversary of fashion designer Geoffrey Beene
inspired by silent film and featuring Marcia Gay Harden, Viveca Lindfors, Russell Wong and Claire Danes.
My short film Plain Pleasures starring Frances McDormand, Lili Taylor and Will Patton received a national
US broadcast on PBS. Since 1985 I have made a wide variety of short works in a range of media including
video, super-8, 16mm and installation. Exhibited internationally in museums, galleries and festivals, these
entirely hand-made works provide a liberating corollary to the enormity of feature film production. These
short, experimental pieces offer a laboratory for invention; a place to play and differ sharply from my more
classically structured narrative work.
FILMOGRAPHY
2007
Savage Grace
(Director / Writer with Howard Rodman / Co-Producer)
1997
Office Killer
(Co-Writer -- Directed by Cindy Sherman)
1996
I Shot Andy Warhol
(Producer -- Directed by Mary Harron)
1994
Go Fish
(Executive Producer)
1992
Swoon
(Director / Co-Producer)
TOM KALIN
Tom Kalin’s critically acclaimed films and videos have been screened at museums, film festivals, galleries
and broadcast on television throughout the world. From short experimental videos to feature-length
narrative films, he has created a diverse body of work, garnering top honors including the Berlin Film
Festival’s Caligari Prize and the FIPRESCI Prize at the Stockholm Film Festival. His films and videos are
in the permanent collection of the Centre Georges Pompidou, Paris and the Museum of Modern Art,
New York. Kalin has been awarded support from institutions including the Rockefeller Foundation,
the National Endowment for the Arts, the Jerome Foundation, the Paul Robeson Fund, the Peter Reed
Foundation, the American Film Institute, New York State Council for the Arts and the Wexner Center.
Commissions include The Whitney Museum, The American Center and The Kobe Museum, Japan.
Kalin’s debut feature, SWOON, was awarded Best Cinematography at the Sundance Film Festival, the
Open Palm for best first film at the Independent Feature Project’s Gotham Awards, among others.
Screened at festivals throughout the world, SWOON was released theatrically in over fifteen countries.
In 1994, Kalin was Executive Producer of the critically acclaimed GO FISH, released by the Samuel
Goldwyn Company. He was Producer of the award-winning I SHOT ANDY WARHOL in 1996 and CoWriter of artist Cindy Sherman’s directorial debut, OFFICE KILLER, in 1997. He recently directed the
feature film SAVAGE GRACE as Director, produced by Killer Films, Monfort Productions and Celluloid
Dreams and starring Julianne Moore, Stephen Dillane and Eddie Redmayne.
He is also in production on BEHOLD GOLIATH, an experimental narrative inspired by the life and work of
writer Alfred Chester. Combining super-8, digital video and 35mm film shot with an antique, hand-crank
camera, this piece uses the language of early cinema to convey the ravishing imagery, pathos and surreal
humor of Chester’s work. He recently screened a new piece, EVERY WANDERING CLOUD, at MoMA,
Basel Viper 2006 and the Seoul Film Festival. His work was featured in SWOON: Ten Years of Killer
Films at MoMA in 2005. Video Data Bank, Electronic Arts Intermix, V-Tape and Lux distribute his videos.
In 1993, fashion designer Geoffrey Beene commissioned the 35mm film, GEOFFREY BEENE 30;
screenings include the Walker Center, the London Film Festival and the Whitney Museum. Inspired
by the lyrical expressionism of silent film, GEOFFREY BEENE 30 unfolds in three short acts with no
dialogue. Featuring an ensemble cast including Marcia Gay Harden, Viveca Lindfors, Russell Wong
and Claire Danes, the film combines music and movement with lush, visual storytelling. In 1996,
Kalin directed the dramatic short PLAIN PLEASURES, based on a Jane Bowles story, starring Frances
McDormand, Lili Taylor and Will Patton. Screened at the Dresden Film Festival and the Wexner Center,
it received a national broadcast through American Playhouse on PBS.
In 1999, he completed the series THIRD KNOWN NEST, which screened at the Berlin Film Festival,
the Whitney Biennial, MoMA, the Guggenheim Museum, White Columns, the Getty Center, the Viper
Festival, Biennale de Lyon, Kunst Haus Dresden, Museo Nacional Centro de Arte Reina Sofia and the
ICA, London. His 1989 video, THEY ARE LOST TO VISION ALTOGETHER, screened at the Whitney
Biennial, the European Media Festival, Osnabruck, New Langdon Arts Gallery, Central Park Summer
Stage and the Foundation Calouste Gulbenkian in Lisbon.
Kalin was a founding member of the AIDS activist collective Gran Fury, which received The Brendan
Gill Prize (1989) and was included in the 1991 Venice Bienale. Gran Fury created billboards, bus signs,
posters and public projects in cities throughout the world with institutions including MoCA, Los Angeles;
Neue Gesellschaft fur bildende Kunst, Berlin; The New Museum, The Studio Museum of Harlem and
Tramways, Scotland.
He has taught at Brown University, Yale University and California Institute of the Arts. He is currently
an Associate Professor at Columbia University School of the Arts, Film Division. His essays and art
criticism have been published in Art Forum, Aperture, Us, The Village Voice, The Independent and book
anthologies including A Leap In The Dark, Les Gays Savoirs and How Do I Look? Kalin received a BFA
in Painting from the University of Illinois (1984); a MFA in Photography & Video from the School of the
Art Institute of Chicago (1987) and did postgraduate study at The Whitney Museum, Independent Study
Program (1988).
JULIANNE MOORE
Julianne Moore, an actress of exceptional range, has delivered outstanding work in both box office hits
and independent features.
Moore will soon begin production on BLINDNESS, a film adaptation of Nobel Prize-winning novelist Jose
Saramago’s book of the same name, to be directed by Fernando Meirelles. Her current films include
the action-thriller NEXT, in which she stars opposite Nicolas Cage, the upcoming independent feature
SAVAGE GRACE, about the Baekeland murders that took place in London in the 1970s, and I’M NOT
THERE, the Todd Haynes film in which seven characters embody a different aspect of the life and works
of Bob Dylan.
Moore’s recent credits include CHILDREN OF MEN, directed by Alfonso Cuaron and starring Clive
Owen, TRUST THE MAN, written and directed by Bart Freundlich, starring David Duchovny, Billy Crudup
and Maggie Gyllenhaal and FREEDOMLAND, opposite Samuel L. Jackson and directed by Joe Roth.
Moore is the ninth person in Academy history to receive two acting Oscar nominations in the same year
for her performances in FAR FROM HEAVEN (Best Actress nomination) and THE HOURS (Best Supporting Actress nomination). FAR FROM HEAVEN, the critically acclaimed film from Focus Features directed by Todd Haynes, co-stars Dennis Quaid and Dennis Haysbert. She was the recipient of many critics’
honors for her performance in this film including the National Board of Review, Los Angeles Film Critics
and Broadcast Film Critics, among others. She won the Independent Spirit Award for Best Actress for
her performance in the film and received Golden Globe and Screen Actors Guild Award nominations in
the same category. THE HOURS (Paramount Pictures), directed by Stephen Daldry, is based on the Pulitzer Prize-winning novel of the same name by Michael Cunningham, and also stars Nicole Kidman and
Meryl Streep. Among numerous honors for her performance in this film, and in addition to her Oscar
nomination, she received a Screen Actors Guild Award nomination for Outstanding Supporting Actress.
Moore’s additional film credits include: Joe Ruben’s THE FORGOTTEN, with Dominic West; the romantic
comedy, LAWS OF ATTRACTION, co-starring Pierce Brosnan; Jane Anderson’s THE PRIZEWINNER OF
DEFIANCE, OHIO; Lasse Hallstrom’s THE SHIPPING NEWS, with Kevin Spacey, Cate Blanchett and
Judi Dench; Bart Freundlich’s WORLD TRAVELER and THE MYTH OF FINGERPRINTS; HANNIBAL, in
which she starred as ‘Clarice Starling’ opposite Anthony Hopkins; EVOLUTION with David Duchovny;
Neil Jordan’s THE END OF THE AFFAIR with Ralph Fiennes (Academy Award, Golden Globe and SAG
Award nominations for Best Actress); Paul Thomas Anderson’s BOOGIE NIGHTS (Academy Award,
Golden Globe and SAG Award nominations for Best Supporting Actress) and MAGNOLIA (SAG Award
nomination for Best Supporting Actress); Robert Altman’s COOKIE’S FORTUNE with Glenn Close and
Liv Tyler, and SHORT CUTS (Independent Spirit Award nomination for Best Supporting Female); Gus Van
Sant’s re-make of PSYCHO with Vince Vaughn; AN IDEAL HUSBAND (Golden Globe nomination for Best
Actress) with Rupert Everett; THE MAP OF THE WORLD with Sigourney Weaver; Steven Spielberg’s
THE LOST WORLD; THE BIG LEBOWSKI, starring Jeff Bridges and directed by the Coen Brothers; the
Todd Haynes film SAFE (Independent Spirit Award nomination for Best Female Lead); Louis Malle’s VANYA ON 42ND STREET; James Ivory’s SURVIVING PICASSO; THE HAND THAT ROCKS THE CRADLE;
BENNY & JOON; THE FUGITIVE; NINE MONTHS; and ASSASSINS.
Moore’s additional honors include the Excellence in Media Award at the 2004 GLAAD Media Awards,
the Actor Award at the 2002 Gotham Awards and the “Tribute to Independent Vision” at the 2001 Sundance Film Festival.
After earning her B.F.A. from Boston University for the Performing Arts, Moore starred in a number of
off-Broadway productions, including Caryl Churchill’s ‘‘Serious Money’’ and ‘‘Ice Cream/Hot Fudge’’ at
the Public Theater. She appeared in Minneapolis in the Guthrie Theater’s ‘‘Hamlet’’, and participated
in workshop productions of Strindberg’s ‘‘The Father’’ with Al Pacino and Wendy Wasserstein’s ‘‘An
American Daughter’’ with Meryl Streep. Moore made her Broadway debut in 2006 in the Sam Mendes
production of ‘‘The Vertical Hour’’, an original play written by David Hare.
FILMOGRAPHY
2007
2007
2006
2006
2005
2005
2004
2004
2004
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SAVAGE GRACE
NEXT
CHILDREN OF MEN
FREEDOMLAND
TRUST THE MAN
THE PRIZE WINNER OF DEFIANCE, OHIO
THE FORGOTTEN
LAWS OF ATTRACTION
MARIE & BRUCE
THE HOURS
FAR FROM HEAVEN
THE SHIPPING NEWS
WORLD TRAVELER
EVOLUTION
HANNIBAL
THE LADIES MAN
MAGNOLIA
THE END OF THE AFFAIR
A MAP OF THE WORLD
AN IDEAL HUSBAND
COOKIE’S FORTUNE
PSYCHO
THE BIG LEBOWSKI
BOOGIE NIGHTS
THE MYTH OF FINGERPRINTS
THE LOST WORLD: JURASSIC PARK
SURVIVING PICASSO
ASSASSINS
NINE MONTHS
SAFE
ROOMMATES
VANYA ON 42nd STREET
SHORT CUTS
THE FUGITIVE
BENNY & JOON
BODY OF EVIDENCE
THE GUN IN BETTY LOU’S HANDBAG
THE HAND THAT ROCKS THE CRADLE
TALES FROM THE DARKSIDE
Dir. Tom Kalin
Dir. Lee Tamohori
Dir. Alfonso Cuaron
Dir. Joe Roth
Dir. Bart Freundlich
Dir. Jane Anderson
Dir. Joseph Ruben
Dir. Peter Howitt
Dir. Tom Cairns
Dir. Stephen Daldry
Dir. Todd Haynes
Dir. Lasse Hallstrom
Dir. Bart Freundlich
Dir. Ivan Reitman
Dir. Ridley Scott
Dir. Reginald Hudlin
Dir. Paul Thomas Anderson
Dir. Neil Jordan
Dir. Scott Elliott
Dir. Oliver Parker
Dir. Robert Altman
Dir. Gus Van Sant
Dir. Joel Coen
Dir. Paul Thomas Anderson
Dir. Bart Freundlich
Dir. Steven Spielberg
Dir. James Ivory
Dir. Richard Donner
Dir. Chris Columbus
Dir. Todd Haynes
Dir. David Yates
Dir. Louis Malle
Dir. Robert Altman
Dir. Andrew Davis
Dir. Jeremiah S. Chechik
Dir. Uli Edel
Dir. Allan Moyle
Dir. Curtis Hanson
Dir. John Harrison
STEPHEN
DILLANE
Stephen Dillane trained at the Bristol Old Vic Theatre School. His early theatre work included repertory
seasons at Belgrade Theatre, Coventry, Contact Theatre, Manchester and Chester Gateway Theatre.
Leading roles at the National Theatre followed with Archer in “The Beaux’ Stratagem,” Gerry Evans
in “Dancing at Lughnasa,” Edmund Tyrone in “Long Day’s Journey Into Night,” and Prior Walter in
“Angels In America,” followed by “Hush” written by April D’Angelis at the Royal Court. He won
the Richard Burton Shakespeare Globe Award in 1995 for the title role in “Hamlet” at the Gielgud
Theatre directed by Peter Hall. He played Clov in “Endgame” at the Donmar Warehouse directed by
Katie Mitchell, Artie in “Hurlyburly” at the Old Vic, and the title role of “Uncle Vanya” for the Royal
Shakespeare Company at the Young Vic, again directed by Katie Mitchell. He returned to the Donmar
Warehouse to play Henry in Tom Stoppard’s “The Real Thing,” for which he won Best Actor at the
Evening Standard Theatre Awards in 1999. He then played Tony in “Our Late Night” by Wallace Shawn
at the Royal Court, directed by Caryl Churchill. He returned to “The Real Thing” for a limited run in
the West End prior to Broadway where it played at the Barrymore Theater. On Broadway, Dillane won
the Best Actor Tony Award in 2000, the Best Actor Drama Desk Award in 1999/2000, and the Theatre
World Award in 2000, and was nominated for the Best Actor Outer Circle Award in 2000. He returned
to the West End to play George in “Life After George” directed by Michael Blakemore. In 2002 he
played Alexander Herzen in the Tom Stoppard Trilogy “Coast of Utopia” at the National Theatre directed
by Trevor Nunn. In 05 and 06 he performed a much praised solo version of “Macbeth” directed by
Travis Preston at the Redcat Theatre in Los Angeles, The Almeida in London, and the Sydney and
Adelaide Festivals in Australia, where he was nominated for Best Actor in the Helpmann Awards. Most
recent Theatre is the role of Jack in Caryl Churchill’s new two hander play “Drunk Enough To Say I Love
You?” at the Royal Court Theatre.
Dillane’s leading roles in films include Franco Zeffirelli’s “Hamlet” opposite Mel Gibson as Horatio,
“Stolen Hearts” (known as “Two If By Sea” in America), “Firelight” directed by William Nicholson
opposite Sophie Marceau, “Welcome to Sarajevo” directed by Michael Winterbottom with Woody
Harrelson and Marisa Tomei, “The Darkest Light” directed by Simon (“The Full Monty”) Beaufoy and
Bille Eltringham, “Ordinary Decent Criminal” opposite Kevin Spacey and Linda Fiorentino directed
by Thaddeus O’Sullivan, and “The Parole Officer” written by and starring Steve Coogan. In 2001 he
filmed starring roles in four films: Charles Harker in “Spy Game” directed by Tony Scott, Charlie in
“The Truth About Charlie” directed by Jonathan Demme, Simon in “The Gathering” directed by Brian
Gilbert and Leonard Woolf in “The Hours” directed by Stephen Daldry. “The Hours” was nominated
for Outstanding Performance by a Cast in a Motion Picture at the 2003 SAG Awards. Also in 2003 he
filmed Merlin in “King Arthur” directed by Antoine Fuqua.
Recent films are Mr Allen “Haven” directed by Frank E Flowers, Martin in “Nine Lives” directed by
Rodrigo Garcia, the lead role of Harry Vardon in “The Greatest Game Ever Played” directed by Bill
Paxton for Disney, “Goal!” directed by Danny Cannon, The Secretary in “Klimt” directed by Raul Ruiz
which was screened out of competition at The Berlin Film Festival 06 and “Goal II!” directed by Jaume
Collet-Serra.
In 2006 Dillane filmed the lead role of Jakob in “Fugitive Pieces” directed by Jeremy Podeswa, and
Brooks Baekeland in “Savage Grace” opposite Julianne Moore directed by Tom Kalin. Both films are
due for release in late 07.
He is currently filming “John Adams” a seven part TV series for HBO in which he plays the leading role
of Thomas Jefferson.
FILMOGRAPHY
2007 SAVAGE GRACE
2007 FUGITIVE PIECES
2007 GOAL! II
2005 GOAL!
2006 KLIMT
2005 THE GREATEST GAME EVER PLAYED
2005 NINE LIVES
2004 HAVEN
2004 KING ARTHUR
2002 THE HOURS
2002 THE TRUTH ABOUT CHARLIE
2001 SPY GAME
2001 THE PAROLE OFFICER
2000 ORDINARY DECENT CRIMINAL
1999 THE DARKEST LIGHT
1997 WELCOME TO SARAJEVO
1997 FIRELIGHT
1996 TWO IF BY SEA (UK: STOLEN HEARTS
1990/1 HAMLET
Dir. Tom Kalin
Dir. Jeremy Podeswa
Dir. Jaume Collet-Serra
Dir. Danny Cannon
Dir. Raul Ruiz
Dir. Bill Paxton
Dir. Rodrigo Garcia
Dir. Frankie Flowers
Dirs.Jerry Bruckheimer/Antoine Fuqua
Dir. Stephen Daldry
Dir. Jonathan Demme
Dir. Tony Scott
Dir. John Duigan
Dir. Thaddeus O’Sullivan
Dirs. Simon Beaufoy/Bille Eltringham
Dir. Michael Winterbottom
Dir. William Nicholson
Dir. Bill Bennett
Dir. Franco Zeffirelli
EDDIE REDMAYNE
Eddie Redmayne, a new comer to the big screen, has already made his mark working with some of
today’s top directors and talent in the industry.
Redmayne’s on screen debut hit theatres this past Christmas in Robert De Niro’s dramatic thriller, THE
GOOD SHEPHERD starring Matt Damon and Angelina Jolie. He has completed filming on Shekhar
Kapur’s ELIZABETH: THE GOLDEN AGE, in which he plays the renowned English assassin Babington,
opposite Cate Blanchett, Geoffrey Rush and Clive Owen and will also appear with Toni Collette in the
crime thriller LIKE MINDS as a student accused of murdering a fellow classmate.
Later this year, Eddie will star in the thriller SAVAGE GRACE. This film is based on a true story set in
the high society of New York City in the 1940’s. Eddie plays the son of would-be Hollywood starlet,
Barbara Baekeland, played by Julianne Moore. Baekeland was so distressed at her son’s homosexuality
that she attempted to “cure” him, which led to tragic consequences. The film is directed by Tom Kalin
(SWOON).
Eddie recently completed production of THE OTHER BOLEYN GIRL. Based on the hit novel of the same
name and produced by Scott Rudin, the film follows the Boleyn sisters played by Natalie Portman and
Scarlett Johansson as they vie for the affection of King Henry VIII. He has also just signed on to star in
THE YELLOW HANDKERCHIEF with Maria Bello and William Hurt, directed by Udayan Prasad.
Born in London, Redmayne attended Trinity College, Cambridge, where he studied Art History. It was
whilst at college that a scout from Shakespeare’s Globe Theatre recruited Redmayne to appear in
the 400th anniversary production of ‘‘Twelfth Night.’’ His role as Viola opposite Mark Rylance got him
favorable reviews from critics, as well as an acting agent.
He went on to receive critical acclaim for his West End performance in Edward Albee’s powerful drama
‘‘The Goat or Who is Sylvia?’’ where he played a troubled teen opposite Jonathan Pryce. The role won
him the 2004 London Evening Standard Award and the 2005 London Critics Circle Theatre Award for
Outstanding Newcomer. He was also nominated at the 2005 Olivier Awards for the Best Performance in
a Supporting Role.
FILMOGRAPHY
2008 THE YELLOW HANDKERCHIEF
2007 THE OTHER BOLEYN GIRL
2007 SAVAGE GRACE
2007 THE GOLDEN AGE
2006 THE GOOD SHEPHERD
2006 LIKE MINDS
Dir.
Dir.
Dir.
Dir.
Dir.
Dir.
Udayan Prasad
Justin Chadwick
Tom Kalin
Shekar Kapur
Robert DeNiro
Gregory Read
ELENA ANAYA
FILMOGRAPHY
2007
2007
2007
2006
2006
2006
2005
2004
2004
2003
2003
2002
2002
2001
2002
2001
2000
2000
1999
1998
1998
1998
1996
1996
SAVAGE GRACE
Dir. Tom Kalin
MIGUEL & WILLIAM
Dir. Inés Paris
IN THE LAND OF WOMEN
Dir. John Kasdan
CAPTAIN ALATRISTE
Dir. Agustín Díaz Yanes
STAGE KISS
Dir. Eduardo Carrillo
ARTHUR & THE MINIMOYS
Dir. Luc Besson
FRAGILE
Dir. Jaume Balagueró
DEAD FISH
Dir Charley Stadler
VAN HELSING
Dir. Steven Sommers
TWO TOUGH GUYS
Dir. Juan Martínez Moreno
URBAN MYTH CHILLERS
Dir. Oskar Santos
TALK TO HER
Dir. Pedro Almodóvar
RANCOUR
Dir. Miguel Albadalejo.
NO NEWS FROM GOD
Dir. Agustín Díaz Yanes.
THE BLUE ROOM
Dir. Walter Doehener
SEX AND LUCIA
Dir. Julio Medem
Best Supporting Actress, Screen Actors Guild of Spain Award
Best Supporting Actress Goya Nomination
INVIERNO DE LAS ANJANAS
Dir. Pedro Telechea.
PENITENTS’ TREE2006
Dir. Jose María Borrell.
THE WIPPED OUT FOOTPRINTS
Dir. Enrique Gabriel.
BLACK TEARS
Dir. Ricardo Franco.
WHERE THE WORLD ENDS
Dir. Xavier Villaverde.
GRAND OCCASIONS
Dir. Felipe Vega.
FAMILY
Dir. Fernando León.
AFRICA
Dir. Alfonso Ungría.
THEATER
“HOMEBODY KABUL”
“GELSOMINA”
“MORSELS”
Dir. Mario Gas
Dir. Aeysha Walsh.The Guggenheim Museum
Dir. Maxi Rodríguez - Sala Olimpia
UNAX UGALDE
After having acted in several television series, Unax Ugalde moved into feature films and has since
become one of the most important actors of his generation. He has played in “Bailame el agua” by
Josetxo San Mateo, “Mi dulce” by Jesús Mora, “Héctor” by Gracia Querejeta, “Frió sol de invierno” by
Pablo Malo, “Volverás” by Antonio Chavarrías o “Reinas” by Manuel Gómez Pereira and more recently
in, “Alatriste” by Agustín Díaz Yanes and “Goya’s Ghosts” by Milos Forman. Since appearing in Tom
Kalin’s “Savage Grace”, he has appeared in Nick Newell’s “Love in the Time of Cholera” with Javier
Barden, playing the adult role of Florentino Atienza.
FILMOGRAPHY
2006
2006
2005
2005
2004
2004
2003
2003
2003
2002
2002
2001
2000
2000
LOVE IN THE TIME OF COLERA
SAVAGE GRACE
GOYA’S GHOSTS
ALATRISTE
REINAS
ROSARIO TIJERAS
FRÍO SOL DE INVIERNO
CÁMARA OSCURA,
HECTOR
DIARIO DE UNA BECARIA
VOLVERAS
LA BELLA DURMIENTE
MI DULCE
BAILAME EL AGUA
Nick Newell
Tom Kalin
Milos Forman
Agustín Diaz Yanes
Manolo Pérez Pereira
Emilio Maille
Pablo Malo
Pau Freixas
Gracia Querejeta
Josetxo San Mateo
Antonio Chavarría
Eloy Lozano
Jesús Mora
Josetxo San Mateo
HUGH DANCY
After having graduated from St. Peter’s College, Oxford, in 1997, where he read English literature, Hugh
moved to London to pursue his wish to become an actor.
His first acting job came from Lynda la Plante who cast him in the TV series ‘‘Trial and Retribution II’’
where he played one of the three disciples of a mesmeric killer (Ian Glenn). This introduction to television
was quickly followed by a series of major roles in television series/ adaptions. The BBC’s ‘‘Dangerfield’’,
starring Nigel Havers as ‘‘David Copperfield’’ in a production of the Charles Dickens’ novel, directed by
Peter Medak, along side a large cast of British and American actors, including Eileen Atkins, Anthony
Andrews, Nigel Davenport and Sally Field. Danny in the hugely popular ‘‘Cold Feet’’, Leon in an adaptation
of Madame Bovary directed by Tim Fywell, and D’Artagnan in ‘‘Young Blades’’, a story inspired by Dumas’
Three Musketeers.
At the end of filming Young Blades in France Hugh returned to England to take on a stage role for the first
time in several years. Billy and the Crab Lady, was one of the first staged at the newly renovated Soho
Theatre and offered Hugh a new opportunity to play a comic role.
In May 2000 Hugh began filming on ‘‘The Sleeping Dictionary’’, a love story written and directed by Guy
Jenkin and almost all shot on location in Sarawak, Borneo, playing alongside Bob Hoskins and Jessica
Alba. August 2000 saw Hugh return to the theatre to perform in ‘‘To the Green Fields Beyond’’ by Nick
Whitby and directed by Sam Mendes.
2001 took Hugh to Morocco to film Ridley Scott’s Oscar nominated ‘‘Black Hawk Down’’. Produced by
Jerry Bruckheimer, it is the story of the US Army’s ill-fated mission in Somalia in 1993. Prior to filming,
Hugh spent a week at the US Rangers notorious boot camp in Georgia along with his fellow cast
members, Ewan McGregor, Jason Issacs, Tom Sizemore and Josh Hartnett. He then went on to film the
crime thriller ‘‘Tempo’’ directed by Eric Styles, staring opposite Melanie Griffith and Rachel Leigh Cook.
November 2002 Hugh returned to the small screen with his role in the BBC’s adaptation of George Elliot’s
emotionally intense, ‘Daniel Deronda’ and then went on to spend several months on location in Ireland,
filming ‘‘Ella Enchanted’’, directed by Tommy O’Haver.
In the second half of 2003, Hugh returned to Ireland to take on the role of Galahad in Jerry Bruckheimer’s
‘‘King Arthur’’. Antoine Fuqua directed this epic drama, which dealt with the history and politics of
Arthur’s reign in 5th Century Britain, and Hugh starred alongside the cream of today’s British talent,
including Clive Owen, Keira Knightley and Ray Winstone.
In July 2004 Hugh travelled to Rwanda to take on the lead role in Michael Caton-Jones’ ‘‘Shooting Dogs’’
playing Joe Connor, a volunteer teacher in a Rwandan school that becomes a UN retreat position. Hugh’s
next role was that of Essex in Elizabeth I, co-starring Helen Mirren as Queen Elizabeth I and Jeremy
Irons. The project reunited Hugh with the director, Tom Hooper, and was shot during June and July 2005
in Lithuania. From there, Hugh went to Bucharest to work on ‘‘Blood and Chocolate’’, directed by Katja
von Garnier co-staring Olivier Martinez and Agnes Bruckner.
He will next be seen in Lajos Koltai’s ‘‘Evening’’ with Vanessa Redgrave, Claire Danes and Toni Collette.
FILMOGRAPHY
2007 THE JANE AUSTEN BOOK CLUB
2007 EVENING
2007 SAVAGE GRACE
2007 BLOOD AND CHOCOLATE
2006 BASIC INSTINCT 2: RISK ADDICTION
2005 BEYOND THE GATES a/k/a SHOOTING DOGS
2004 KING ARTHUR
2004 ELLA ENCHANTED
2003 TEMPO
2001 BLACK HAWK DOWN
2003 THE SLEEPING DICTIONARY
Dir.Robin Swicord
Dir Lajos Koltai
Dir.Tom Kalin
Dir. Katja von Garnier
Dir. Michael Caton-Jones
Dir. Michael Caton-Jones
Dir. Antoine Fuqua
Dir. Tom Haver
Dir. Eric Styles
Dir. Ridley Scott
Dir. Guy Jenkin
Cast
Julianne Moore
Barbara Baekeland
Stephen Dillane
Brooks Baekeland
Eddie Redmayne
Antony Baekeland
Elena Anaya
Blanca
Unax Ugalde
Black Jake
Belén Rueda
Pilar Durán
Hugh Dancy
Seth
Crew
Director
Writer
Tom Kalin
Howard A. Rodman
Based on the book’’Savage Grace’’ by Natalie Robins & Steven M.L. Aronson
DOP
Production Designer
Edited by
Costume Designer
Haute Couture Wardrobe
Sound
Original Score
Producers
Executive Producers
Co-executive Producers
Co-Producers
Production
In association with
Juanmi Azpiroz
Victor Molero
Tom Kalin
John F. Lyons
Enara Goicoetxea
Gabriela Salaverri
Didier Ludot
Juan Borrell
Bela da Costa
Jaime Fernández
Fernando Vélazquez
Iker Monfort
Katie Roumel
Pamela Koffler
Christine Vachon
John Wells
Temple Fennell
Johnathan Dorfman
Hengameh Panahi
Stephen Hays
Peter M.Graham II
Howard A. Rodman
Elvira Morales
Christian Baute
Alberto Aranda
Xavi Granada
Yulene Monfort
Tom Kalin
Monfort Producciones
Killer Films
Celluloid Dreams Productions
ATO Pictures
120 dB Films
A Contraluz Films
Videntia Frames