strange love - Mid Canada Production

STRANGE LOVE
POSTER CONCEPTS
CAM GIGANDET
RACHELLE LEFEVRE
RILEY KEOUGH
FAMILY ARE THE ONES WHO HELP BURY THE BODIES
CENTURY STREET DISTRIBUTION presents a LOREM IPSUM is simply dummy text of THE PRINTING and typesetting industry.
LOREM IPSUM has been the industry's STANDARD DUMMY TEXT ever since the 1500s, when AN UNKNOWN PRINTER took a
galley of type and SCRAMBLED IT to make a type SPEECIMEN BOOK. It has survived not only FIVE CENTURIES, but also the
leap into ELECTRONIC TYPSETTING, remaining essentially unchanged. It was POPULARISED in the 1960s with the release of
LETERSET SHEETS containing LOREM IPSUM passages, and more recently with DESKTOP PUBLISHING SOFTWARE.
STRANGE LOVE
LOG LINE
While trying desperately to salvage their marriage, a couple is targeted by an opportunistic young woman, hell bent
on exploiting their tenuous relationship.
SYNOPSIS
REID’S problem is that his eyes wander. And he’s married. He loves his wife. Really. But he can’t stop himself from
sampling the forbidden fruits that seem to be dangling right in front of his face.
When Reid’s wife ABBEY catches him in the act, she’s gone like a bullet, leaving New York, heading back to her home
base and family…in Winnipeg.
Reid is devastated. It’s a true case of not knowing how much something means until it’s gone. He leaves his job in
the midst of an incredibly busy time and flies to Winnipeg to be with her, hoping this act will prove his willingness to
change.
But it’s going to take more than that for Abbey. A lot more. The stakes are higher than Reid realizes. Abbey has just
learned that she’s pregnant and is waiting to see how long Reid lasts in Winnipeg.
Truthfully, she doesn’t hold out much hope. Reid will see how different Winnipeg is from New York and soon tire of
her family’s willingness to end his life on her behalf. He’ll soon show his true colours and run back to New York and his
bevy of women.
But to Abbey’s surprise, Reid stays. He even starts working with the family’s landscaping business, all the while
sleeping on the couch, and doing whatever else it takes to get Abbey back.
While Reid struggles to prove himself to Abbey, he meets SIBELLE, an ambitious actress hell bent on advancing her
career. Sibelle encroaches on Reid’s already tenuous relationship with Abbey, creating a rift between them and using
Reid to unwittingly dispose of her estranged boyfriend. All at once, Reid, Abbey, and Abbey’s family are in danger,
forcing the couple to examine loyalty, love, and betrayal, as they never have before.
Now it’s Reid and Abbey, joined together by circumstance, struggling against time, trying not to be noticed by the
law, and scrambling to get rid of a dead body. And Reid, an only child who has just learned he’s about to be a father,
begins to ride the rollercoaster learning curve of what it means to be part of a family.
Strange Love: a story about the boundaries of fidelity and the strength of true love.
STRANGE LOVE
DIRECTOR &
VISUAL TREATMENT
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DIRECTOR’S VISION
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Adultery, trust and fidelity can always be relied upon to prompt an infinite number of people to divulge an infinite
number of stories sprouting from personal experience. Our intent in writing the story had a singular focus: if the story
is about a struggling marriage, what’s the hardest time we can give this couple to keep them from getting together?
This in turn led us to frame elements of the story— infidelity, truth, lies, murder—within a simple question: can this
marriage work?
“Strange Love” is as much “Blood Simple” as it is “Rachel Getting Married”, both of which share an unvarnished
realism with their characters and how they deal with life and death. You will root for and against these people, getting
your hands dirty in their respective outcomes.
The characters in “Strange Love” represent a wide collective of personalities: the curious, the trusting and the
seductive. The actors playing these roles need to connect as only family members can, their performances appearing
completely spontaneous. “Husbands and Wives” has this style of acting, with actors connecting as I would want
to see in “Strange Love” – making you believe in an instant that they are (respectively) daughters, wives, brothersin-law, fathers and mothers to be. And as such, characters will interrupt and talk over one another, adding to their
spontaneous believability and further positioning the audience as a fly on the wall, spectators to their unravelling and
eventual reunification.
Rehearsal will be key to achieving this, giving those playing family members a high degree of familiarity with one
another, in order that it spill onto the screen. As director, I will strive to facilitate this.
New York looms over the entire film, though mostly in day dreams. We will see it as Reid sees it, an impossibly large
amusement park for adults. Reid’s flaw is his tendency to act on his day dreams and to turn them into reality. His
day dreams take the relatively universal response to a sexually attractive person and reveal its ridiculous side. They
provide a cinematic way of showing how the mind can influence our behaviour. And in this way, they help build to
Reid taking action to meet Sibelle.
The day dream sequences will be shot with their own cinematic arc. They will begin fuzzily, as though the kernel of
an idea, then take greater, more dangerous focus as the story continues. Reid always dreams as if he’s in New York,
where the visions of Sibelle follow him as she begins to encroach more and more into his daily existence. These
scenes will focus more on what is to come than reinforcing information we already know, reflecting Reid’s unconscious
state, whether it be cautionary, prone to seduction or fearful.
Sound, too, will play a role, with noises from New York invading Reid’s headspace while in Winnipeg, keeping him offbalance and reminding him of what he has left behind.
“Strange Love” will be shot in Widescreen (aspect ration 2:35) both for its cinematic effect, but also to emphasize
contrasts such as those featured between the complete metropolis of New York and the comparative sparseness of
Winnipeg. The use of widescreen will also allow us to create an imbalance in framing that increases through the film,
as Reid’s life spins more and more out of control. The widescreen will maximize Reid’s vision of New York – not merely
a city, but a spectacle...something huge, majestic, cosmopolitan…somewhere the successful live. It represents his
libido, always churning, never resting. See attached frame grabs for examples of this.
Seen through Reid’s eyes, Winnipeg will seem comparatively dull when nudged up against New York. Less colourful,
less chock full of energy, at least initially. But the appearance of Sibelle activates Reid’s fantasy life, kicking it into gear
and making Winnipeg seem more vibrant, more colourful…then later, more dangerous, showing us that both good
and bad can be found anywhere. Cinematography and sound design will reflect this.
Other contrasting elements are littered throughout the script, the passive with the aggressive, a career built on actors
and speculative financing versus one covered in grass clippings.
In the end, audiences will truly feel Reid has gone through the most stringent of tests…and survived to tell about it.
The finale, in which Reid begins to appreciate the often smothering and intrusive family members, will be a melding
of two worlds as the resort gives way to the reality of Lake Winnipeg. Thoughts of impending fatherhood lingering in
his head, along with vivid memories of how quickly life can change to death.
Robert Cuffley, Director, Co-writer
March 2011
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STORYBOARDS
Strange Love Storyboards
Marc Gomez
Scene 1 Page 1
Strange Love Storyboards
Scene 1 Page 1
Strange Love Storyboards
Marc Gomez
Scene 1 Page 1
Marc Gomez
Strange Love Storyboards
Marc Gomez
Scene 1 Page 1
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Scene 1
(Frame one) New York City, seen from EWS. We move down…
(Frame two) …Down, down, down…
(Frame three) …to street level, where there are WOMEN everywhere. We move through the streets…no men in sight.
The non-stop parade of women continues…
(Frame four) …Coming, going, approaching CAMERA, walking away from CAMERA, crossing frame left and right…
(Frame five) …Some pausing to cast a grin in our direction.
Scene 2
(Frame six) REID lying in bed, taking a moment to day dream.
(Frame seven) Wider now, looking down from above. Reid is next to ABBEY, his wife.
(Frame eight) They are in their New York apartment.
Scene 59
(Frame nine) Exhausted, Reid opens his laptop. He’s not in New York any longer. Not by a long shot. A New York
Poster on the wall behind him…
(Frame ten) Reid’s POV. JAVIER, Reid’s business partner, telling him of the excitement he’s missing back in the Big
Apple.
(Frame eleven) WIDER NOW – Reid is in the furthest place from New York. He is in a basement suite…in Winnipeg.
(Frame twelve) As the call finishes, Reid slips into a day dream. CAMERA tracks across the dungy basement…
(Frame thirteen) …travelling passed a darkened hot water tank, an ancient-looking furnace, only to re emerge
somewhere all together new…
Scene 60
(Frame fourteen) CLOSE NOW. Reid is face-to-face with SIBELLE. The two of them are covered with a white sheet.
(Frame fifteen) Reid and Sibelle are having sex together. Their faces close, clutching one another with their hands…
(Frame sixteen) INDUSTRIAL SOUNDS begin to rise in volume. SOUNDS of talking. Reid is in the throes of ecstasy
when…
(Frame seventeen) …Sibelle yanks the sheets off of them to reveal their location: a busy New York subway platform.
(Frame eighteen) Reid lies, flummoxed, as Sibelle stands over him, laughing.
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CINEMATOGRAPHY
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CINEMATOGRAPHY NOTES
JONATHON CLIFF
Drama by its very nature, it seems, is a tension of opposites and the subsequent resolution of these
opposites. “Strange Love”, as a story, has this in spades. To only mention a few, there is Reid’s
baser male instinct vs. fidelity and domesticity. There is New York vs. Winnipeg. There is Abbey vs.
Sibelle. There is the abstract ‘work’ of culture vs. the earnest toils of manual labour. I believe any
visual treatment of this film would have to embrace and explore these polarities, respecting their
differences in terms of tone and style and subsequently following them to their ultimate unification.
New York City is a place more mythologized than any other on earth. Most people in the world
only know it through films. As such, it should be treated as a real place physically. By that, I mean it
should not be idealized as it typically is by Hollywood with Brooklyn Bridge scenics and driving shots
around Columbus Circle up Central Park West. It should be treated visually as a place where people
live and work. Its idealization in this case comes from the sexual prism through which Reid sees it
and, as such, the montages of women should spring forth from it as if the pages of Vogue became a
three dimensional diorama.
I can see Reid and Abbey living somewhere south of 14th street in the subdued but beautiful hues
of the west village and I can see the women who populate his fantasies in stylized colours contrasting
with the environment enough to be visually stimulating in more ways then one. Reid and Abbey’s
domestic life exists within this ‘real’ city but at the same time it exists within a more naturalized space
in terms of lensing, lighting and composition. It subtly contrasts with the male gaze eroticism of
Reid’s inner fantasy world and to the same extent his work world, which is apparently an extension of
this fantasy.
Winnipeg on the other hand is a warmer, simpler place or at least appears as such when we first
encounter it in the film. It contrasts NYC by being a more open, expansive space with a slightly
more saturated colour palette. If NYC represents the randy energetic pace of spring, then Winnipeg
would represent the quieter more mature reality of late summer or early autumn.
Visually, Abbey’s family is not a static or staid picture of domesticity but rather a fluid and flowing
portrait mirroring the emotional vectors that engulfs every family in one way or another. The 2:40
aspect ratio is the perfect format to explore relationships and establish dynamics between characters
as it allows the constant presence (if desired) of more then one character in the frame without feeling
forced or staged. 2:40 is the perfect visual vessel to capture glances and dialogue in a backgroundforeground relationship.
Through Sibelle’s presence, the Winnipeg segment of the film will meander slightly more into the
realm of a stylized thriller. Her character and the world of her character should serve as a subtle
counter point to the world of Mick’s family. Her sexuality will be slightly fetishized by the lens.
Colour palette and lighting will enhance the paradoxical allure/danger that she represents to Reid.
The murderous tangent that she leads the family on will offer another chance for the film to visually
veer into the world of noirish tension which heightens the journey aspect of Reid’s character arc.
As a final note, it must be stressed that filmmaking is like jazz. One learns their scales and their
instrument in preparation to play with a band. When you hit the stage you react to the room and
the other players and what they bring to the table. If the stars align, you make music that stirs
something special in the audience.
Jonathon Cliff
Director Of Photography
STRANGE LOVE
CINEMATOGRAPHY
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Frame Grab (#1)
There are many instances in Strange Love where mood, imagery and tone can be suggested to
greater effect than if they were to be explicitly shown.
This still of Steve Mcqueen in Bullitt illustrates what I mean. Steve Mcqueen is surrounded by woman,
but the framing becomes more evocative when their presence is hinted at (as seen in foreground)
than if they were revealed in a more traditional matter Less is more, and sometimes it takes very little
to convey what you’re after with framing such as this.
Frame Grab (#2 and 3)
The same point is illustrated here with Dustin Hoffman in The Graduate. We see what he is looking
at, but because the image is in immediate foreground and somewhat out of focus, there is a sense of
wonderment that its created.
Showing the audience only one object in sharp focus, makes the secondary element (seen again
here, in soft focus) that much more evocative and alluring. See Director’s Vision for more examples of
this.
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VISUAL TONES
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PRODUCTION DESIGN CONCEPT
Craig Sandells
The script for Strange Love allows for a dramatic visual statement without imposing a
specific design language. The design elements will be contextual, have purpose and
reinforce and support the story.
In part the visual success of Strange Love relies on a marked contrast between NewYork
and Winnipeg and the subsequent lifestyles and experiences afforded in each of those
centres.
NEW YORK
The images of the city will be suggestive of structure and energy.
A contemporary urban world that’s intense yet sophisticated. The framing will be stylized to
emphasize symmetry or purposeful asymmetry, a visual control that is always present but
never forceful.
The design will be both angular and linear in approach reinforcing the notion of Architectural
structure.
The color palette will be that of the built environment: greys, blacks, tans, metallics and
white and the addition of glass with various levels of transparency.
WINNIPEG
With the transition to Winnipeg the stylized framing disappears, replaced by a more natural
expression. There’s a certain softness to the image with an emphasis on a real palette of
natural colors, green being a pervasive color of a Winnipeg summer.
The conceptual emphasis will be on the notion of neighborhood. There’ll be mix and match
patterns, the incorporation of elements of design that happen in real situations, somewhat
random and individual.
The house will be in an established residential area, well treed and solid. Conceptually the
heart of the Winnipeg house will be the kitchen. The kitchen as foundation; the communal
area where all family members come to talk and share their day, have their say and express
their emotions.
Overall the Winnpeg look will be one of reality and apparent normalcy.
The one exception to the Winnipeg look will be :
Sibelle’s House:
Sibelle needs to stand out from the Winnipeg norm. She’s an independent spirit.
Her environment will be one of Bohemian chic. A world of found items artfully placed with
her own sense on inate taste.
There’s a sensuality to Sibelle; her world is filled with pattern, texture and color
predominantly pinks, lavenders and fuscia: the colors of flesh and seduction.
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VISUAL TONES
NEW YORK
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VISUAL TONES
WINNIPEG
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VISUAL TONES
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SIBELLE’S HOUSE
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COSTUME CONCEPTS
STRANGE LOVE
COSTUME CONCEPTS
PATTI HENDERSON
First and foremost in costuming Strange Love, is presenting a distinct difference in the attire of New
Yorkers compared to Winnipegers.
New York people have the ability to be completely cutting edge in their fashion choices as the retail
fashion houses are endless in this large city.
Winnipeg, on the other hand, has a few eclectic shopping districts but the main fashion provider
is The Hudson’s Bay Company. The Bay has improved their clothing lines offering far more fashion
forward options but there is absolutely no way they could compete with Macy’s, Nordstroms, Saks
etc that line the streets of Manhattan.
Reid is a high end yet casual kind of dresser. I see his look as expensive tailored dress shirts and
designer jeans. Reid leaves New York in a panic to follow Abbey. He has high hopes of Abbey
returning to New York with him. Once he reaches Winnipeg and finds that Abbey is not entertaining
the idea of returning with him, he must go out and purchase necessities that he would require.
These purchases are certainly not about being stylish.
Abbey is a self-employed professional woman. She doesn’t work 9 to 5 per se but meets with clients
on a regular basis. Abbey leans towards classic styles. She is sure of herself and it shows in her
sense of fashion. Abbey’s look is classic, crisp and a bit tailored. I don’t see her wearing shorts and
tank tops when she arrives home to a Winnipeg summer but capped sleeved, fitted tops and capris.
She would also wear simple sundresses and sandals. Abbey is an elegant but simple dresser.
Perle is the organic one in the family. She is the product of what her sisters are not. I envision her in
a bohemian sort of style. Perle looks great in boyfriend jeans with the rolled cuff, layered tank tops
with a men’s style vest over top. Adding to the look is a layering of long and short necklaces and
other artisan jewelry. Perle is a natural beauty who wears very little make-up. I see Perle shopping
at places like Urban Outfitters or Lucky Brand Jeans. She also loves to shop for key pieces at East
Indian and Vintage clothing stores. Textiles in Perle’s closet would include organic fabrics like linen,
cotton voile, worn denims and soft cotton jerseys.
Sibelle has never been to New York but you would swear that she was a recent transplant.
Something about her attire makes her stand out, yet it is achieved in a very subtle way. Sibelle is
beautiful in whatever she wears. She is the kind of woman that makes other women question their
own self- esteem and some others wince with the pain of jealousy. Being the type of woman that
tries to get whatever she wants from men, she dresses the part. She wears shorter skirts that show
the muscle tone of her legs, tops with lower necklines, seductively contrived outfits. Sibelle has just
walked out of the pages of Elle Magazine...
The overall look is defined by the contrast between our three main women as well as the
juxtaposition between Winnipeg and New York.
Patti Henderson
Costume Designer
www.pattihenderson.ca
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COSTUME CONCEPTS
REID
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ABBEY
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COSTUME CONCEPTS
SIBELLE
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PERLE
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LETTER FROM EDITOR
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EDIT NOTES
MATTHEW HANNAM
Strange Love follows Reid from the concrete jungle of New York City to the barren Canadian prairies.
Editorially there are many opportunities to emphasize the scope of his journey both physically and
emotionally.
As the story begins we are confined by the congestion of the city, buildings, faces and bodies
provide the claustrophobic environment that causes Reid to break. As he chases Abbey to her family
home, the confinement of the city is lost and replaced by an overbearing and impeding family
presence. It is here that Reid trades the lack of physical space for a more existential barrier of the
family life he has been running away from. The film will transition from the broader strokes of a New
York City movie producer trying to salvage his marriage to a husband trying to save his family.
At the heart of the story the editing will be most important in tracking his journey, The style will shift
emphasis from exterior pressure to interior, landing at the end with a man who has travelled not only
a long distance geographically but also emotionally.
Matthew Hannam
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COMPOSERS
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BROKEN SOCIAL SCENE
The soundtrack and and original music composition will be provided by Brendan Canning and Martin
Davis Kinack from Broken Social Scene. Brendan and Marty will of course bring their band mates in
as required to create the killer score and new original songs for the film.
BSS’s historical success with film composing and song placement is evident through their work on
such films as: Trigger, Scott Pilgrim vs. The World, The Tracey Fragments and Half Nelson.
BSS is as relevant as ever scoring the most Juno nominations, five, at this years show. Through the
bands existing social media outlets and HUGE fan base we will be able to help promote the film and
raise awareness amongst those who will buy the movie just because of BSS.
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CASTING
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REID
GARRETT HEDLUND
Garrett is an American actor who’s work includes Achilles’ cousin Patroclus in the major motion picture Troy (2004)
opposite Brad Pitt. His next feature was Friday night lights (2004) starring Billy Bob Thornton, in which Garrett played
a high school football player.
He then landed a starring role opposite Mark Wahlberg in Four Brothers (2005), playing one of four brothers whose
mother is murdered. His most recent works include Tron (2010 and Country Strong (2010).
ARMIE HAMMER
Armie is an American actor. After appearing on television and playing the title role in 2008’s Billy: Ihe Early Years, he
became known for his portrayal of the Winklevoss twins in the 2010 film The Social Network. His upcoming film roles
include Clyde Tolson in J. Edgar, Prince Albert Alcott in Tarsem Singh’s Snow White, and The Lone Ranger in the
upcoming eponymous film.
STRANGE LOVE
CASTING
STRANGE LOVE
REID
MICHAEL FASSBENDER
German born actor, Michael, is best known for playing Lt. Archie Hicox in Quentin Tarantino’s Inglourious Basterds
(2009) and Magneto in the superhero film X-Men: First Class (2011). His other credits include Jane Eyre (2011), the
Sky One television series Hex, the HBO miniseries Band of Brothers, Zack Snyder’s 300 (2007), and the 2008 BAFTAwinning film Hunger.
HENRY CAVILL
Henry is a British actor. He has appeared in the films The Count of Monte Cristo and Stardust, and played the role of
Charles Brandon, 1st Duke of Suffolk, on the Showtime series The Tudors, from 2007 until 2010. He has been cast as
Superman in the 2013 film Man of Steel.
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CASTING
STRANGE LOVE
REID
ADAM BRODY
Adam is an American film and television actor and part time musician. He began his career in 1995, appearing
on Gilmore Girls and other series, and subsequently came to fame for his role as Seth Cohen on The O.C. Brody
subsequently appeared in several film roles, including Mr. & Mrs. Smith, Thank You for Smoking, Jennifer’s Body, In
the Land of Women, Cop Out, and Scream 4.
JIM STURGESS
Jim is a British actor and musician. His breakout role was playing Jude in 2007’s Across the Universe. He appeared
in the historical drama The Other Boleyn Girl in the supporting role of George Boleyn opposite Natalie Portman,
Scarlett Johansson and Eric Bana. He also starred in 21 as the male lead Ben Campbell, a movie about five MIT
students, who, by counting cards, take Las Vegas casinos for millions. Sturgess’ co-stars in 21 include Kevin Spacey
and Laurence Fishburne.
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CASTING
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REID
TAYLOR KITSCH
Kitsch starred in the NBC series Friday Night Lights as football player Tim Riggins. He signed on to play Remy LeBeau
in the X-Men franchise spinoff X-Men Origins: Wolverine and soon after Steven Silver’s The Bang Bang Club.
Kitsch will be staring in Peter Berg’s film adaptation of the Hasbro guessing game Battleship, as Naval commander
Alex Hopper.
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CASTING
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ABBEY
JESSICA CHASTAIN
Jessica was raised in Northern California. She began performing in Shakespearean productions and her film credits
include Terrence Malick’s The Tree of Life (2011) as well as a retelling of Shakespeares Coriolanus (2011).
ROSE BYRNE
Rose is an Australian actress. She made her screen debut in 1994 with a small role in the film Dallas Doll. In 2000 she
played a leading role in the Australian film The Goddess of 1967, which brought her a Venice Film Festival award for
Best Actress.
Since 2007, she has played Ellen Parsons in the cable television series Damages, which has earned her two Golden
Globe Awards nominations and two Emmy Awards nominations. In 2011, she starred in the financially successful films
Insidious, X-Men: First Class and Bridesmaids.
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CASTING
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ABBEY
RACHELLE LEFEVRE
An increasingly recognizable actor around the world, Rachelle shot to global stardom in her role as Victoria in Twilight
and its sequel, New Moon. Since then, she has appeared in Casino Jack with Kevin Spacey as well as Barney’s Version,
opposite Paul Giamatti and Dustin Hoffman.
CHRISTINA HENDRICKS
Christina is well known for her role in Mad Men and was named “Sexiest Woman in the World” by Esquire magazine
in 2010. She will soon be seen in Detachment, opposite Adrian Brody, and Drive, opposite Carey Mulligan and Ryan
Gosling.
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CASTING
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ABBEY
STANA KATIC
Stana is the star of ABC’s hit show, Castle, and has also appeared in such feature films as the most recent James Bond
film, Quantum of Solace, as well as The Spirit.
Upcoming film credits include For Lovers Only and The Double, opposite Martin Sheen and Topher Grace.
EVANGELINE LILLY
Evangeline was born in Fort Saskatchewan, Alberta and is known for her role on Lost (2004-2010) playing Kate Austen.
She’s added to her credits the Oscar winning film The Hurt Locker (2008) and will fill the role of Tauriel in the up
coming Hobbit (2012 & 2013) franchise Directed by Peter Jackson.
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CASTING
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ABBEY
SARAH POLLEY
Sara is a Canadian actress, singer, film director, and screenwriter. Polley first attained notice in her role as Sara Stanley
in the Canadian television series, Road to Avonlea. She has also starred in such films as Exotica, The Sweet Hereafter,
Guinevere, Go, The Weight of Water, My Life Without Me, The Adventures of Baron Munchausen, Dawn of the Dead,
Splice, and Mr. Nobody.
Polley made her feature film directorial debut with Away from Her, for which she won a Genie Award for Best
Achievement in Direction and was nominated for an Academy Award for Best Adapted Screenplay.
COBIE SMULDERS
Cobie is a Canadian actress and former model. She got her big break when she landed the role of Juliet Droil in the
ABC program “Veritas: The Quest” (2003). She is known for her role as Robin Scherbatsky on the CBS television
series How I Met Your Mother (2005-Present).
Upcoming Film Credits Include Grassroots (2011) and The Avengers (2012), opposite Samuel L. Jackson, Robert
Downey Junior and Scarlett Johansson.
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CASTING
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ABBEY
LAURA VANDERVOORT
Laura is a Canadian actress known for her roles as Kara Zor-El (Supergirl) in the television series Smallville, Sadie
Harrison in the television series Instant Star, and Lisa in the television series V.
EMMANUALLE CHRIQUI
Emmanuelle is a Canadian actress who has appeared on both television and in cinema. She is perhaps best known
for her role on HBO’s Entourage as Sloan McQuewick, as well as the love interest of Adam Sandler in the movie You
Don’t Mess with the Zohan.
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CASTING
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SIBELLE
MEAGAN GOOD
Meagan is an actress, filmmaker and producer. She has appeared in Eve’s Bayou, Saw V as well as Stomp the Yard,
among many other films.
Meagan is currently starring opposite Angela Bassett in Jumping the Broom.
SARA PAXTON
Sara is an American actor best known as the lead in The Last House on the Left. Upcoming releases include: Shark
Night 3-D and New Year’s Eve, opposite Ashton Kutcher, Katherine Heigl and Robert De Niro.
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CASTING
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SIBELLE
OLIVIA THIRLBY
Best known for appearing opposite Ellen Page in Juno, Olivia also starred in the Sundance favourite The Wackness, as
well as in HBO’s Bored to Death.
Olivia was recently described by Vanity Fair as one of “Hollywood’s New Wave.”
ELIZABETH OLSEN
“Lizzie” Olsen is an American actress and the younger sister of Mary-Kate and Ashley Olsen. The Hollywood Reporter
and Variety heralded Lizzie’s break-out performance in Silent Night, one of two films she appeared in at Sundance this
year.
Lizzie has since signed on to the film Red Lights, opposite Cillian Murphy and Robert De Niro.
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CASTING
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SIBELLE
ALEXANDRA DADDARIO
Alexandra has appeared in numerous films, from the independent The Squid and the Whale and The Babysitters to
the studio film Percy Jackson and the Lightening Thief. Upcoming roles include Bereavement and David Fincher’s
remake of The Girl with the Dragon Tattoo.
Alexandra was recently named one of V Magazine’s New Generation Faces to Watch in 2011.
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CASTING
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SUSAN
MARY LYNN RAJSKUB
Mary Lynn has a career as an actress, but also as a comedian. Her film appearances include: Little Miss Sunshine,
Legally Blonde 2, as well as P.T. Anderson’s Punch Drunk Love.
Her television work includes playing the well known character Chloe O’Brian in 24, opposite Keifer Sutherland.
SARAH WAYNE CALLIES
Sarah is well known for her work on Prison Break, but was exposed to a whole new fan base as the female lead in
AMC’S The Walking Dead.
Sarah’s most recent project is Faces in the Crowd, opposite Milla Jovovich.
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CASTING
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SUSAN
NIA VARDALOS
Initially appearing on television in shows such as Two Guys and a Girl and The Drew Cary Show, Nia shot to fame
when she wrote and starred in the international smash My Big Fat Greek Wedding.
Nia continues to write and direct as well as to act in various productions, most recently, writing and starring in the
upcoming Larry Crowne, opposite Tom Hanks and Julia Roberts.
STRANGE LOVE
CASTING
STRANGE LOVE
MICK
ROBERT FORSTER
An Oscar Nominee for his work in Jackie Brown, Robert has appeared in over 50 films, including Mulholland Drive
directed by David Lynch and the upcoming The Descendants, starring George Clooney.
GABRIEL BYRNE
Gabriel is a well-known and recognizable actor whose wide-ranging work includes such films as
Miller’s Crossing and The Usual Suspects.
He is currently the star of HBO’S In Treatment.
STRANGE LOVE
CASTING
STRANGE LOVE
JOCK
SHAWN ASHMORE
Shawn’s credits include X-Men and its two sequels, Terry (receiving a Gemini nomination for his portrayal of Terry Fox),
as well as the festival favourite, Frozen. His up and coming work includes The story of Bonnie and Clyde.
HENRY THOMAS
Henry shot to fame with Steven Spielberg’s E.T. and has appeared in over forty films since then, which include Gangs
of New York, The Suicide Kings and Legends of the Fall, opposite Brad Pitt.
STRANGE LOVE
CASTING
STRANGE LOVE
PERLE
ZOSIA MAMET
Daughter of screenwriter David Mamet and actress Lindsay Crouse, Zosia has appeared in films such as the Academy
Award nominated The Kids are Alright, and Greenberg, starring Ben Stiller.
On television, Zosia appears on AMC’s hit show, Mad Men, as well as The United States of Tara.
JANE LEVY
Jane is new to the acting scene, but has already made an impact on Showtime’s critically acclaimed Shameless, opposite Emmy Rossum and William H. Macy. Even more recently, she has been cast as the lead in ABC’s comedy pilot,
Suburgatory.
STRANGE LOVE
WEB ELEMENT
STRANGE LOVE
HOW FAR FOR LOVE
WEBSITE
Strange Love definitely puts its two leads, Reid and Abbey, in a pressure cooker environment and
then forces them to make difficult, potentially life altering decisions. The decisions are motivated
largely by love.
While looking for an internet component to accompany the film, we came up with the idea of putting
out a question via a website – how far have you gone for love? – and letting people post their
personal (and anonymous) experiences on the site. The site itself (www.howfarforlove.com) would
then link to Strange Love’s own, independent movie website, which in turn would link to show times,
press info, etc.
The site will be similar to www.postsecret.com, a site where anyone can anonymously post secret
information about their life while never revealing their identity.
How Far For Love will be moderated and updated regularly. We’ll be looking for the insane, the
romantic, the nostalgic, the maudlin, the gross, the sweet, the rough and the tragic.
PLEADS
During our initial preparation to launch the website, www.howfarforlove.com, we tested the
waters first, soliciting friends and acquaintances to get an idea whether people would respond to
something like this. They did.
STRANGE LOVE
BUDGET OUTLINE
STRANGE LOVE
STRANGE LOVE
-DRAFT BUDGET @ April 4, 2011DIRECTOR: Robert Cuffley
PRODUCER(S): Kyle Irving
WRITERS: Robert Cuffley and Jason Long
Exchange Rate = .05
Acct#
1100
1200
1300
1400
1500
PREP: 6 Weeks
SHOOT: 35 Days In WInnipeg with 7 x 5 day weeks-11hr days
SECOND UNIT:
4 Days In New York City
PICTURE EDIT: 16 Weeks
POST (Sound + Delivery): 5 Weeks
LOCATION: Winnipeg, MB Canada, NYC
UNIONS: DGC Tier B, IATSE Tier 2
UNIONS: SAG, ACTRA
Category Description
STORY, RIGHTS & CONTINUITY
PRODUCER'S UNIT
DIRECTOR
CAST
DEVELOPMENT COSTS
Total Fringes
Page
1
1
1
2
3
Total Above-The-Line
2000
2100
2200
2300
2400
2500
2600
2700
2800
2900
3000
3100
3200
3300
3400
3500
3600
3700
4000
4100
4200
PRODUCTION STAFF
EXTRA TALENT
SET DESIGN
SET CONSTRUCTION
SET STRIKING
SET OPERATIONS
SPECIAL EFFECTS
SET DRESSING
PROPERTY
WARDROBE
ACTION PROPS:PICTURE VEH
MAKE-UP & HAIRDRESSING
LIGHTING
CAMERA
PRODUCTION SOUND
TRANSPORTATION
LOCATIONS
PRODUCTION FILM & LAB
SECOND UNIT
TESTS & RESHOOTS
STAGE RENTAL EXPENSE
Total Fringes
5
6
7
8
9
9
10
11
12
12
13
14
15
16
17
18
20
24
24
25
25
SPECIAL PHOTOGRAPHIC EFX
FILM EDITING
MUSIC
POST PRODUCTION SOUND
POST PROD. FILM & LAB
MAIN & END TITLES
DELIVERY REQUIREMENTS
Total Fringes
26
26
26
27
28
28
28
17,000
110,451
100,000
60,253
160,000
10,500
8,456
10,820
477,480
PUBLICITY
INSURANCE
GENERAL EXPENSES
INDIRECT COSTS
Acct#
198,823
103,119
110,817
237,828
5,000
132,289
37,091
80,087
39,275
81,143
2,000
111,945
135,775
252,052
55,716
93,282
217,392
181,014
100,000
5,000
32,000
283,353
2,495,001
Total Post Production
6500
6700
6800
6900
Gravy
264,167
320,128
155,620
2,493,022
54,000
471,524
3,758,461
Total Production
4400
4500
4600
4700
4800
4900
5000
Total
30
30
30
31
Category Description
Total Fringes
Page
76,000
75,000
44,700
686,748
Page 2
Total
450
Total Other
EV 2011 KJI
COMP. GUARANTEE--FLAT FEE : 2.5%
882,898
190,346
CONTINGENCY : 10.0% (0 excluded)
761,384
Total Above-The-Line
3,758,461
Total Below-The-Line
3,855,379
Total Above and Below-The-Line
7,613,840
Grand Total
8,565,570
STRANGE LOVE
STRANGE LOVE