“THE WITCHES OF EASTWICK”

Production Information –

Take care with what you dream, for your dreams may come true.

For three of its unmarried women residents, the present day New England town of Eastwick has become a dreadful bore. Steeped in staid colonial tradition, the quaint, picturesque hamlet is, in the minds of these strongly independent women, totally devoid of a single Mr. Right.

Alexandra Medford, Jane Spofford and Sukie Ridgemont gather ritually over cocktails every Thursday evening. Well into their third drink on one such occasion, their conversation gives vent to their mutual frustration.

The women each express an overpowering need for just one dynamic male capable of challenging their own liberated spirits, a man who could become their inspiration, their joy, their … everything. So consumed are the women with the notion, that their fantasies rapidly evolve into a frenzy of focused intent.

The sudden arrival in Eastwick of one Daryl Van Horne might, therefore, come as little surprise to the three. The wealthy, eccentric and charismatic stranger, who takes up residence in one of Eastwick’s historic mansions, fits their desires in every sense. But is his timely arrival sheer coincidence? Or, do Alexandra, Jane, and Sukie possess some extraordinary “gift” that has actually conjured him up? Who is this powerful, enigmatic individual who has arrived from nowhere more than willing to fulfill their wildest dreams?

Famous for his leading ladies and boudoir mien, Jack Nicholson stars as Daryl Van Horne in “The Witches of Eastwick” and faces three intriguing and stunning actresses upon whom he casts his devilish spell.

Cher, nominated for an Academy Award for her performance in “Silkwood” and then widely hailed in “Mask,” portrays Alexandra Medford, an earthy young widow and mother who sculpts curious little dolls. Susan Sarandon, Oscar-nominated as Best Actress in Louis Malle’s “Atlantic City,” plays Jane Spofford, a soft-spoken and unassuming elementary-school music teacher who finds herself newly divorced after a childless marriage.

And Michelle Pfeiffer, the versatile young actress who portrayed Al Pacino’s icy bride in “Scarface,” is Sukie Ridgemont.

Gifted with fertility, and the mother of six little girls, she is a reporter for the Eastwick town paper.

Based on the best-selling book by John Updike, “The Witches of Eastwick” is a supernatural thriller set in the 1980s that is also a comic battle of the sexes. It has a screenplay by Pulitzer Prize-winner Michael Cristofer, was directed by George Miller and was produced by Neil Canton, Peter Guber and Jon Peters. The director of photography is Academy Award-winner Vilmos Zsigmond, and John Williams, the Oscar-winning composer and conductor of the Boston Pops orchestra, has scored the picture.

For Australian director George Miller, “The Witches of Eastwick” is the latest in what is emerging as a body of work that can best be described as modern mythology. “We’re always striving to explain it all, and quite often the only way is through metaphors and symbols–and those are our stories,” he notes. “You like to think, ‘Ah, I want to be a filmmaker because I love making films.’ But as storytellers you’re really the servants of the collective subconscious. It’s not your story ultimately; if it has any resonance, it’s everybody’s story.”

An Immediate Choice

Producers Peter Guber and Jon Peters, whose successes include such films as “The Coler Purple,” “Flashdance,” “Missing,” “Caddyshack,” “The Deep,” and “A Star is Born,” were intrigued by Updike’s light-hearted, risqu~ tome of small-town witchcraft before it arrived on the bestseller list in 1984.

“The Updike book, like some of his others, is a fascinating exploration of the battle between the sexes,” said producer Peters. “The battle is classic but it was the sexy background of witchcraft that made it so appealing.”

Guber and Peters called up the enormous talent of Michael Cristofer, the Pulitzer Prize-winning playwright of “The Shadow Box,” to adapt the book.

To round out the producing team, they also called upon Neil Canton, fresh from his smash success “Back to the Future,” to join them in producing “The Witches of Eastwick.”

Miller’s Segue From Down Under

With the success of he “Mad Max” trilogy paving the way to a rewarding relationship between director George Miller and Warner Bros., the studio was eager to find a project that would appeal to the creative sensibilities of the Australian filmmaker.

Producers Peter Guber and Jon Peters already had in hand a draft of the screenplay for “The Witches of Eastwick” from Michael Cristofer. For Miller, the material represented a bold departure from his action-oriented “Mad Max” films.

“After reading Cristofer’s screenplay,” Miller recalled, “I started to read the book in Germany and, as itraveled through Europe, the story haunted me; it intrigued me; it stimulated me. I hadn’t really considered the subject before and now I couldn’t stop thinking about it.”

Miller set up temporary quarters in Holltwood, conducting his business affairs in his native Sydney via long distance, while starting the lengthy process of pre-production in America.

Accustomed as he was to the familiar atmospher of filmmaking in Australia, he found a ready professionalism amongst

his new American crew. “Filmmaking is more casual in Australia,” says Miller. “But there, each member of the crew has a specific job which he or she does very well. It is a different way of making the same thing, but once you understand the system, you see how wonderfully it can work.”

Looking for Eastwick

The search for Eastwick was no easy task. Polly Platt, the production designer nominated for an Academy Award for “Terms of Endearment,” and location manager Sam Mercer logged over 20,000 miles traveling extensively throughout the northeastern United States and northern California in search of the story’s quintessential New England town. Two elements–a simple white church and a compact business district–became key to their search.

They found them in Cohasset, Massachusetts, a town of 7,700 located, coincidentally, next door to Platt’s hometown of Ringham and a short drive from Mercer’s birthplace in Weston. The centerpiece of the town is the historic First Parish meeting house, built in 1746 and situated on the picturesque town common. Cohasset also features a V-shaped business district ideally suited to the story. Aggressive effort by the Massachusetts Film Office helped to focus the filmmakers’ attention on the possibilities of making the movie there.

The people of Cohasset welcomed the filmmakers with huge crowds and open arms. Over 2,000 people showed up one Saturday morning to sign up for roles as extras in the movie. And local businesses reported a livelier-than-usual tourist trade throughout the summer.

Platt and her art department literally transformed this tranquil, wealthy community into the New England town of John Updike’s description. The work was so good, in fact, that more than one passing motorist was convinced that they had taken a mistaken turn when they couldn’t find Eastwick anywhere on their road maps.

Cohasset has since returned to normal. In fact, the filmmakers restored the town to its former self and said thank you by providing funds to aid the restoration of the First Parish Meeting House and to improve the expansive town common. Still, residents find an occasional feather mixed in with last year’s leaves … a souvenir that locals appreciate from a summer past.

Principal photography for “The Witches of Eastwick” began on location in Scituate, Mass., and continued in the Bay State cities of Norwell, Milton, Cohasset, Marblehead, Ipswich, and Boston. When the company shot at Milton Academy, it was very much a homecoming for production designer Platt, who had realized at her 30-year reunion that her alma mater would be ideal as the location for the script’s Lenox School.

Production returned to California and the soundstages of The Burbank Studios, The Burbank Studios Ranch, and local sites. The special visual effects artists at Industrial Light and Magic, the Oscar-winning effects company in San Rafael, California, were responsible for realizing some of the script’s magical moments. Rob Bottin, who received an Oscar nomination for his special make-up effects for “The Legend ;” performed the same function for “The Witches of Eastwick.” Among Bottin’s other film credits are “The Howling,” “The Thing,” and “Gremlins.”

About the Cast …

JACK NICHOLSON (Daryl Van Horne) has been nominated eight times for the Academy Award, which he won twice. He is also the recipient of six New York Film Critics Awards, a Cannes Film Festival Award as Best Actor, and two British Academy Awards, among others. Combining the timing and technique of a skilled actor with the charisma and presence of a great movie star, Nicholson is known for his eagerness to experiment with different types of characters and his ability to change his appearance radically from role to role. With Nicholson, one expects the unexpected.

He was born in Neptune, New Jersey, and raised on the Jersey shore before moving to Hollywood at the age of 17. After supporting himself with odd jobs, including a stint in the cartoon department at MGM, he made his debut as an actor in the Hollywood stage production of “Tea and Sympathy.” He studied acting with Jeff Corey and worked with Theatre West.

Nicholson’s feature film debut in 1958, as a teenager who thinks he is a murderer in “Cry Baby Killer,” began a decade of collaboration with producer-director Roger Corman, with whom he made a string of 20 “B” pictures before 1969. Although not taken seriously at the time, some of these films are today considered minor classics–“Little Shop of Horrors,” “The Raven” and “The Trip,” this last from a screenplay Nicholson authored. Among other films from this period were Bob Rafelson’s surrealistic “Head,” which Nicholson wrote, and two with Monte Hellman: “The Shooting,” which Nicholson co-produced, and “Ride The Whirlwind,” which the actor coproduced and co-scripted.

After ten years in the business, Nicholson finally achieved “overnight success” with a New York Film Critics Award and an Academy Award nomination for Best Supporing Actor as the boozy ACLU lawyer in Dennis Hopper’s “Easy Rider.” He made his directorial debut on “Drive, He Said,” before giving some of the most memorable performances of the ’70s: two more films directed by Bob Rafelson, “Five Easy Pieces” and “The King of Marvin Gardens”; Hal Ashby’s “The Last Detail,” for which he received both a New York Film Critics Award and an Oscar nomination for Best Actor; Roman Polanski’s “Chinatown,” again winning a New York Film Critics Award and an Oscar nomination; Michelangelo Antonioni’s “The Passenger”; Milos Forman’s “One Flew Over the Cuckoo’s Nest,” for which he won the New York Film Critics Award and the Oscar as Best Actor; Mike Nichols’ “Carnal Knowledge” and “The Fortune”; Arthur Penn’s “The Missouri Breaks”; Vincente Minnelli’s “On A Clear Day You Can See Forever”; Henry Jaglom’ s ”A Safe Place”; Ken Russell’s “Tommy”; and Elia Kazan’s “The Last Tycoon.” He returned to directing with the comic Western “Goin’ South,” in which he also starred.

In the ’80s, Nicholson continued to make audacious choices, both in his roles and his methods of portraying them.

In 1980, he turned loose his trademark “killer smile” as a murderous father running amok in Stanley Kubrick’s “The Shining” and worked a fourth time with director Bob Rafelson on a steamy version of James M. Cain’s “The Postman Always Rings Twice.”

Nicholson won an Oscar nomination and the British Oscar for his supporting performance as Eugene O’Neill in Warren Beatty’s “Reds.” Tony Richardson’s “The Border” followed, but it was Nicholson’s portrayal of a former astronaut in James L. Brooks’ “Terms of Endearment” that clinched yet another New York Film Critics Award and his second Oscar statuette, these for Best Supporting Actor. He received his sixth New York Film Critics Award and his eighth nomination from the Academy as the none-too-bright hitman in John Huston’s “Prizzi’s Honor.” Last year he starred in “Heartburn” with Meryl Streep and is working again with Streep in Hector Babenco’s screen adaptation of William Kennedy’s Pulitzer Prize-winning book Ironweed.

Few artists have taken bigger career risks and met with greater success than CHER (Alexandra Medford) when she made her stage debut in the Broadway production of Ed Graczyk’s “Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean.” She won thunderous praise and went on to reprise her role in Robert Altman’s screen version, for which she was nominated for a Golden Globe Award as Best Supporting Actress.

Her performance in the play inspired director Mike Nichols to cast her in “Silkwood,” and she promptly received an Academy Award nomination as Best Supporting Actress for her work.

Next, filmmaker Peter Bogdanovich tapped her talents to star in “Mask” as Rusty, the tough, unconventional, but loving mother in the poignant movie based on a true story.

Following “The Witches of Eastwick,” Cher went into two new film projects, Norman Jewison’s “Moonstruck” and Peter Yates’ “Suspect.”

Her success in film reflects the superstar status she achieved in music 20 years ago. While still a teenager, she gained national attention in the ’60s as half of the singing duo Sonny and Cher. They had met as background vocalists at several of Phil Spector’s Hollywood recording sessions and initially began performing as Caesar and Cleo. By 1965 they had their first Top 10 hit with their first recording, “Baby Don’t Go.” Their second single, “I Got You Babe,” certified them as recording stars and has, to date, sold more than 3 million copies worldwide.

Since then, Cher has recorded “What Now My Love,” “Little Man,” “The Beat Goes On,” and the solo hits, “All I Really Want to Do,” “Bang, Bang,” “You Better Sit Down, Kids,” “Gypsies, Tramps and Thieves” and “Half Breed.” In all, she has recorded 11 gold and three platinum records. On television, Cher starred with Sonny on CBS’s “The Sonny and Cher Comedy Hour” and then had her own weekly variety series. In 1979 she displayed her comic talent in sketches with Lucille Ball, Shelley Winters and Elliott Gould on an NBC-TV special.

The versatile SUSAN SARANDON (Jane Spofford) was born in New York, raised in Edison, New Jersey and educated at Catholic University in Washington, D.C. She joined the Garrick Players before moving back to New York and, after only five days in the city, was offered her first part, a major role in the motion picture “Joe.” She described her next role, on the ABC-TV daytime drama “A World Apart,” as a “technical apprenticeship” and then landed more film work including “Lady Liberty” (1972) with Sophia Loren, “The Front Page” (1974) with Jack Lemmon and Walter Matthau, and “The Great Waldo Pepper” (1975) with Robert Redford.

The actress co-produced and appeared in “The Last of the Cowboys,” starring Henry Fonda and Eileen Brennan; sang as Janet in the cult movie classic “The Rocky Horror Picture Show” (1975); and played the lead in Sidney Sheldon’s “The Other Side of Midnight” (1977). In 1978 she appeared in both “King of the Gypsies” and Louis Malle’s “Pretty Baby,” which also starred Keith Carradine and Brooke Shields and, in 1979, was voted Star of the Year by the Motion Picture Bookers’ Association.

In 1980 Sarandon starred with Shirley MacLaine and James Coburn in “Loving Couples” and, in 1981, again for Louis Malle in “Atlantic City” (for which she received an Academy Award nomination as Best Actress and won the Canadian Genie Award as Best Actress in a foreign film).

Sarandon also starred for director Paul Mazursky in “Tempest” (1982), with David Bowie and Catherine Deneuve in “The Hunger” (1983), and for director Frank Perry in “Compromising Positions” (1985).

In the theatre, she was widely acclaimed for her performances in the Off-Broadway productions of “Extremities” and “A Coupla White Chicks Sitting Around Talking.” On Broadway, she has performed in the highly praised ensemble piece, “An Evening with Richard Nixon.”

Sarandon’s distinguished television credits include “Women of Valer,” the HBO presentation of “Mussolini, The Decline and Fall of 11 Duce,” the PBS American Playhouse production of “Who Am I This Time?” and the role of Zelda in “F. Scott Fitzgerald and the Last of the Belles.”

MICHELLE PFEIFFER (Sukie Ridgemont), the daughter of a businessman, was born and raised in Orange County, California. At Fountain Valley High School she took theatre mainly to

avoid English but soon discovered that theatre people were 11funny and refreshing.” After a stint as a supermarket checker, she started commuting to acting classes in Los Angeles and soon landed her first professional role on the television series “Delta House.” A month later, she made her feature film debut in “Falling In Love Again.”

Pfeiffer then co-starred as Suzy-Q, the carhop, in “Hollywood Knights” and played a debutante in “Charlie Chan and the Curse of the Dragon Queen.” Major attention came her way with “Grease 2” and important roles in television rnovies followed, including a floozie haunted by her past in “Callie and Son,” a foster parent to nine kids in “The Children Nobody Wanted” and Jenny, the wild sister, in “Splendor in the Grass.”

Between film assignments, Pfeiffer polished her craft in the Los Angeles theatre production of 11Playground in the Fall,” portraying a feminist student.

Then came the starring role in Brian DePalma’s “Scarface,” followed by Richard Donner’s “Ladyhawke,” John Landis’s “Into the Night,” and the dual role of Faith Healy, an actress on-the-rise, and patriot Mary Slocum, the character Faith plays in “Sweet Liberty,” directed by and starring Alan Alda.

VERONICA CARTWRIGHT portrays the prophetic Felicia Gabriel. The demanding role demonstrates the maturity of this English-born actress who appeared before the camera as a child in William Wyler’s prestigious “The Children’s Hour” and in episodes of the popular series “Alfred Hitchcock Presents” and “Leave it to Beaver.”

She won a regional Emmy for her work in “Tell Me Not in Mournful Numbers” and followed with a regular stint as Fess Parker’s daughter.on the “Daniel Boone” series. She has since alternated between film, theatre, and television, appearing in such important feature films as Hitchcock’s “The Birds,” “Inserts,” the re-make of “Invasion of the Body Snatchers,” “Goin’ South,” “Alien,” “The Right Stuff,” and most recently “The Flight of the Navigator.”

RICHARD JENKINS, a leading member of the prestigious East Coast Trinity Repertory Company in Providence, Rhode Island, plays Cartwright’s dutiful husband Clyde, the editor of the town newspaper. Trinity colleague KEITH JOAKUM appears as Raymond Neff, the bombastic school principal, and seven-foot, three-inch actor/filmmaker CAREL STRUYCKER is Daryl Van Horne’s (Jack Nicholson) unusual manservant, Fidel.

About the Filmmakers …

GEORGE MILLER (Director), the high-energy Australian director and co-creator of the “Mad Max” trilogy of films, was a young medical intern, well on his way to a medical career, when his life changed. In the final year of his studies at the University of New South Wales Medical Faculty, Miller and his twin brother entered a one-minute film in a student competition and won first prize–a course at a film workshop in Melbourne. There, he met his future partner, Byron Kennedy, and co-created two short films before completing the course.

Miller returned to medicine, interning at St. Vincent’s Hospital in Sydney, but spent his weekends writing screenplays. When Kennedy and Miller collaborated again, it was on the 14-minute short “Violence in the Cinema – Part One,” a satire on the violent content of current films. It won two Australian Film Institute awards and was shown at the Sydney and Moscow Film Festivals in 1972.

Now, as Kennedy Miller, they decided to tackle lengthier projects. After doing a docudrama, they moved into feature films in 1979 with a thriller about Mad Max, a futuristic highway cop who descends into “the dark side” when those around him are brutally killed. Although the film was made on a shoe-string budget, “Mad Max” marked a giant stride in the renaissance of the Australian film industry–it was the most successful Aussie film to that date–and an auspicious debut for Miller himself.

Journeying to Los Angeles, Miller studied techniques of filmmaking and acting before co-writing (with Terry Hayes) the screenplay of “The Road Warrior,” a sequel to “Mad Max.” It was released to worldwide acclaim in 1982; was voted Best Foreign Film by the Los Angeles Film Critics Association; won the Grand Prize at France’s Avoriaz Festival; and made more than 20 lists of the ten best films of the year. As a result, Miller was invited by Steven Spielberg to direct the “Nightmare at 20,000 Feet” episode of “Twilight Zone: The Movie.” He accepted and took a temporary leave of absence from his Australian television project, a series entitled “The Dismissal.I’

Miller then returned to Australia to resume his ventures there. In July, 1983, his friend and partner, Byron Kennedy, was killed in a helicopter crash in New South Wales.

Despite the deep personal and professional loss, Miller went on to co-produce two 10-hour mini-series for Australian television–“Bodyline” and “The Cowra Breakout”–before beginning production on the third film in the Max Max trilogy, “Mad Max Beyond Thunderdome.”

Producer NEIL CANTON produced the megahit “Back to the Future” and the cultish “The Adventures of Buckaroo Banzai.” Born and raised in New York City, Canton went to American University in Washington, D.C. and after graduation landed a summer job as assistant to Peter Bogdanovich. Canton worked on six films for the director, including such productions as “What’s Up, Doc?,” “Paper Moon,” and “Nickelodeon.” He also spent two years working on Orson Welles’ long-awaited “The Other Side of the Wind” and then left to work with Walter Hill on “The Warriors.” Canton will reteam with Robert Gale to produce the sequel to “Back to the Future.”

The quality and quantity of THE GUBER-PETERS COMPANY productions have made it one of the most prolific, successful and creatively acclaimed companies in the entertainment field.

Prior to his joining forces with Jon Peters, Peter Guber was the global studio chief of Columbia Pictures, where he oversaw the development and production of such highly successful films as “The Last Detail,” “Taxi Driver,” “Shampoo,” and “Tommy.”

Leaving Columbia in 1976, Guber formed and became co-owner and Chairman of the Board of Casablanca Records and Filmworks.

Jon Peters’ initial foray into feature film production was the smash hit “A Star is Born,” starring Barbara Streisand. The film has earned over $100-million and won an Academy Award for Best Song. His next production was the hit comedy “The Main Event,” starring Streisand and Ryan O’Neal. This was followed by the elegant mystery-thriller “Eyes of Laura Mars,” starring Faye Dunaway, and the top box-office hit “Caddyshack,” which brought together the talents of Bill Murray, Chevy Chase and Rodney Dangerfield and has earned over $70-million. In 1976, Peters was named Producer of the Year at Show-A-Rama.

Guber’s film successes include “The Deep,” the top box office hit of 1977, which garnered both Academy Award and Golden Globe nominations; “Midnight Express,” which won six Golden Globes (including Best Picture), two Oscars (including Best Musical Score, out of six nominations, including Best Picture), three British Academy Awards, and the Los Angeles Film Critics Association Award; and “Thank God, It’s Friday,” its featured song, “Last Dance,” winning the Golden Globe, Academy and Grammy Awards for Best Song. In 1979, Guber received the Prior to his joining forces with Jon Peters, Peter Guber was the global studio chief of Columbia Pictures, where he oversaw the development and production of such highly successful films as “The Last Detail,” “Taxi Driver,” “Shampoo,” and “Tommy.”

Leaving Columbia in 1976, Guber formed and became co-owner and Chairman of the Board of Casablanca Records and Filmworks.

Jon Peters’ initial foray into feature film production was the smash hit “A Star is Born,” starring Barbara Streisand. The film has earned over $100-million and won an Academy Award for Best Song. His next production was the hit comedy “The Main Event,” starring Streisand and Ryan O’Neal. This was followed by the elegant mystery-thriller “Eyes of Laura Mars,” starring Faye Dunaway, and the top box-office hit “Caddyshack,” which brought together the talents of Bill Murray, Chevy Chase and Rodney Dangerfield and has earned over $70-million. In 1976, Peters was named Producer of the Year at Show-A-Rama.

Guber’s film successes include “The Deep,” the top box office hit of 1977, which garnered both Academy Award and Golden Globe nominations; “Midnight Express,” which won six Golden Globes (including Best Picture), two Oscars (including Best Musical Score, out of six nominations, including Best Picture), three British Academy Awards, and the Los Angeles Film Critics Association Award; and “Thank God, It’s Friday,” its featured song, “Last Dance,” winning the Golden Globe, Academy and Grammy Awards for Best Song. In 1979, Guber received the honor of Producer of the Year from the National Association of Theater Owners.

In 1980, Peter Guber and Jon Peters joined forces in PolyGram Pictures, of which they became Chairmen of the Board. Under that banner, their productions included the acclaimed “Missing,” starring Sissy Spacek and Jack Lemmon. “Missing” received the Cannes Film Festival’s Grand Prize for Best Film–the Palme d’Or, and Best Actor Award ‘for Jack Lemmon. The film also drew nominations for five Golden Globe Awards and four Academy Awards, including Best Picture, winning for Best Screenplay. It also won seven British Academy Awards.

They followed with Franco Zeffirelli’s “Endless Love,”· whose title song was nominated both for an Academy Award and the Grammy for Best Song and won the Golden Globe Award, The American Music Award and The People’s Choice Award for Music.

Another of their hits was “An American Werewolf in London,” written and directed by John Landis. This film won the first Academy Award ever given for Special Make-Up and Effects by Rick Baker.

With “Flashdance,” Guber-Peters enjoyed spectacular success: the film grossed over $130-million. They received three Academy Award nominations, winning the Award for Best Song, “Flashdance, What a Feeling,” sung by Irene Cara; two Golden Globes, and four Grammy Award nominations, with a win for Best Song for Cara.

Three years after forming PolyGram, Guber and Peters sold it and formed their current association, The Guber Peters Company, of which they are co-chairmen and co-owners.

The partners have an unmatched record in feature film production including “The Coler Purple,” directed by Steven Spielberg. The film garnered eleven Academy Award nominations (including Best Picture), five Golden Globe nominations (with a win for Best Actress), two National Board of Review Awards (including Best Picture), and the Director’s Guild Award for Steven Spielberg.

In addition to partnering with Amblin Entertainment on Warner Bros.’ forthcoming action-comedy-adventure “Innerspace,” Guber-Peters has also completed the new comedy “Who’s That Girl,” starring Madonna and Griffin Dunne, scheduled for summer release by Warner Bros.

MICHAEL CRISTOFER, the multi-talented screenwriter, won the Tony and Pulitzer Prizes for his play “The Shadow Box.” He also won the Humanitas Award for his teleplay of the work.

Born and raised in New Jersey, he shares Susan Sarandon’s academic background at Catholic University in Washington, D.C. In 1966, he moved to San Francisco, where he worked in improvisational theatre and then returned to the East Coast as an actor. He appeared in productions at the Long Wharf Theatre, the Arena Stage and Andr~ Gregory’s Philadelphia Theatre of Living Arts.

Cristofer turned his talent toward writing and also staged his first play, “The Mandala.” Then, in 1968, he traveled to Beirut, where he studied humanities at the American University.

In 1969 he returned to New York and acted on the stage in “Plot Counter Plot” and appeared at The Public Theatre, The Theatre De Lys and the Washington Theater Club in productions of “The Taming of the Shrew,” “Antigone” and “Dr. Faustus.”

By 1972, Cristofer had moved to Los Angeles, where he was acting under Gordon Davidson’s direction in productions of “Mahagonny” and “Tooth of the Crime” before writing “The Shadow Box,” which premiered at the Mark Taper Forum and subsequently moved to the Long Wharf and Broadway.

Cristofer then acted with Meryl Streep in “The Cherry Orchard” at Lincoln Center’s Vivian Beaumont Theatre and promptly won a Theatre World Award for his portrayal of Trofimov. He also won an Obie for his work in “Chinchilla” at the Phoenix. Then in 1983, he returned to the screen to act opposite Diane Keaton in “The Little Drummer Girl.”

More recently, Cristofer has written the stage plays “Ice,” “Black Angel” and “The Lady and the Clarinet.”

VILMOS ZSIGMOND (Director of Photography), who was once described as the “poet-magician” of cinematographers, won an Oscar for his work with Steven Spielberg on “Close Encounters of the Third Kind” and picked up a nomination from the Academy for “The Deer Hunter.” Among his other credits are “Cinderella Liberty,” “The Rose,” “Deliverance,” “Winter Kills,” “Scarecrow,” “Blow Out,” “Heaven’s Gate,” “Table for Five,” “The Sugarland Express,” “The Last Waltz” (with Lazlo Kovacs), “Obsession,”

“No Small Affair,” “Flesh and Blood,” “The Hired Hand,” and a quartet of Robert Altman films, “A Wedding,” “Images,” “The Long Goodbye” and “McCabe and Mrs. Miller.”

Born in Hungary in 1930, Zsigmond was graduated from the Budapest Film School with Lazlo Kovacs, who would become another outstanding cinematographer. They fled Hungary in 1956, taking with them film of the revolution that they had shot with a camera concealed in a shopping bag. The two men landed in New York in 1957 and then moved to Los Angeles, where they worked as still photographers and lab technicians and made educational films. When Zsigmond earned his union card, he began to work on commercials, a pursuit that he

still follows with considerable success between feature film commitments. Zsigmond credits his entry into motion pictures to his friend Kovacs, who recommended him to director Robert Altman for “McCabe and Mrs. Miller.”

POLLY PLATT (Production Designer) was born in Texas and raised all over the world.

After collaborating on several New York theatrical productions with director Peter Bogdanovich (whom she married), the two arrived in Hollywood in 1964, where Roger Corman hired them to work on several low-budget projects, including the 1971 release “Targets,” which Bogdanovich both wrote and produced and on which Platt worked as production designer.

Through producer Bert Schneider, the pair received financing to make “The Last Picture Show,” which was critically hailed. Although Platt and Bogdanovich were divorced shortly after

“The Last Picture Show,” the two continued to collaborate on “Paper Moon” and “What’s Up, Doc?,” and Platt became the first woman member of the Society of Motion Picture and Television Art Directors, Local #876.

Platt followed as art director on “The Bad News Bears” and “The Thief Who Came to Dinner” and first received screen credit as production designer on the remake of “A Star is Born,” starring Barbra Striesand and Kris Kristofferson.

Having long wanted to write screenplays, Platt was offered the opportunity to work with French director Louis Malle on his first American movie, “Pretty Baby,” which she both wrote and associate produced. Platt later returned to production design with “Young Doctors in Love” and “The Man With Two Brains.” She subsequently served as production designer for James L. Brooks on “Terms of Endearment” and received an Oscar nomination for her work on the film. Following “The Witches of Eastwick,” Platt reteamed with Brooks, this time as Executive Producer of a yet untitled picture.

Boston Pops conductor JOHN WILLIAMS (Composer) is one of the film and music industries’ most renowned talents. In addition to having received 21 Academy Award nominations, he has won four Oscars and 15 Grammy awards.

Williams has composed the music and served as musical director for more than 75 major films, including “Goodbye, Mr. Chips,” “Jaws,” “Star Wars” (which sold more than fourmillion soundtrack albums) and its sequels, “Close Encounters of the Third Kind,” “Superman – The Movie” and “E.T. – The Extra-Terrestrial” (for which he won his most recent Oscar for Best Original Score). He also scored both of Steven Spielberg’s hugely successful “Raiders of the Lost Ark” and “Indiana Jones and the Temple of Doom.”

In addition to his film music, Williams has written symphonies; appeared as guest conductor with world-famous orchestras; written Emmy-winning television scores, and recorded film soundtrack albums which have reached gold and platinum status in sales. He also composed the themes for the 1984 Los Angeles Summer Olympics and “Liberty Fanfare” for the Statue of Liberty celebration.

RICHARD FRANCIS-BRUCE (Film Editor) was born in Sydney, Australia. He began his film career as an assistant editor for the Australian Broadcasting Corporation in 1966, and became an editor in 1969, working in current affairs and the documentary field. Moving into the area of drama, FrancisBruce worked on the series “Ben Hall,” “The Outsiders” and “Patrol Boat,” as well as the mini-series “Golden Soak,” “The Timeless Land” and “The Levkas Man.”

He left the ABC to edit the feature “Goodbye Paradise,” directed by Carl Schultz, and returned to television the following year with the acclaimed Kennedy Miller mini-series, “The Dismissal.” In 1983, he edited the multi-award-winning Australian film, “Careful, He Might Hear You,” for which he received an Australian Film Institute nomination for best editing. Just prior to “Mad Max Beyond Thunderdome,” Francis-Bruce edited the Kennedy Miller mini-series “Bodyline” and “The Cowra Breakout.”