I Am Sam

Production Information

I Am Sam is the compelling story of Sam Dawson (Sean Penn), a mentally-challenged father raising his daughter Lucy (Dakota Fanning) with the help of an extraordinary group of friends. As Lucy turns seven and begins to intellectually
surpass her father, their close bond is threatened when their situation comes under the scrutiny of a social worker who wants Lucy placed in foster care.

Faced with a seemingly unwinnable case, Sam vows to fight the legal system and forms an unlikely alliance with Rita Harrison (Michelle Pfeiffer), a high- powered, self-absorbed attorney who initially takes his case pro bona as a challenge from her colleagues. On the surface the two couldn’t be further apart, but in reality they are subtly similar. Sam’s compulsive nature mirrors Rita’s more socially acceptable obsessive-compulsive nature. Her manic need for perfection and success alienates her from her own son and has been slowly destroying her self-worth.

Together they struggle to convince the system that Sam deserves to get his daughter back and, in the process, fuse a bond that results in a unique testament to the power of unconditional love.

New Line Cinema presents / Am Sam, directed by Jessie Nelson from a screenplay by Nelson and Kristine Johnson. Nelson also produces along with Edward Zwick, Marshall Herskovitz and Richard Solomon of the Bedford Falls Company. The executive producers are Claire Rudnick Po!stein, Michael De Luca and David Scott Rubin. The film stars Sean Penn, Michelle Pfeiffer, Dianne Wiest, Dakota Fanning, Richard Schiff, Loretta Devine and Laura Dern.
Rounding out the cast as Sam’s loyal group of friends are Doug Hutchison, Stanley DeSantis, Brad Allan Silverman and Joseph Rosenberg.

The film features a soundtrack of contemporary covers of classic Beatles songs, recorded by such acclaimed artists as Sheryl Crow, Eddie Vedder, Ben Harper, Ben Folds, The Wallflowers, Sarah McLachlan and Aimee Mann & Michael Penn.

I Am Sam (rated PG-13 by the M.P.A.A. for “language”) will be released in Los Angeles and New York on December 28th, 2001 and wide on January 11th, 2002.


I Am Sam is a powerful, emotional film about love, parenthood and the bonds of family. “I’m fascinated by what makes a family and how people create that in untraditional ways,” says director and co-screenwriter Jessie Nelson. “I think all parents at times feel confused and overwhelmed. It is a common bond between every parent on the planet, whether you’re disabled or not. Parents who are disabled provide a unique metaphor for how we’re all trying to get through an
incredibly challenging world and how we all ultimately need some type of support system.”

Raising a child is never easy, but like everybody, Sam Dawson (Academy Award nominee Sean Penn) has learned to adapt. Sam and his daughter Lucy (Dakota Fanning) have gotten through the basics, though not always in the conventional way, with the help of Sam’s tightly-knit group of friends. Though Lucy’s life has never been what anyone would ever call “normal,” it has always been animated with humor and full of love.

“Lucy and her dad go to IHOP on Wednesday, video night on Thursday, karaoke night on Friday,” says Dakota Fanning, the 7-year old newcomer who plays Lucy Diamond. “They just have the best time together.”

But when Lucy turns seven, social workers step in. Sam is mentally-challenged, and it will be up to the courts to evaluate his ability to raise Lucy. “Having Sam as a father has worked well so far,” explains co-screenwriter Kristine Johnson, “but as Lucy starts school, she is forced to deal with people’s attitudes and judgments about Sam as well as her own changing relationship with him.”

Lucy has begun to downplay her own intellectual and emotional growth, careful not to surpass that of her father. “She does it because she loves her dad,” says Fanning. “She doesn’t want to be older. She wants to stay the same as he is.”

When Lucy is removed from her home by county authorities and placed with a foster mother, Sam devises a plan. “My friends and I go through the Yellow Pages,” explains Sean Penn. “Through television we assume that if a law firm has three or four names it’s likely to be a good one. And which one represents those kinds of cases takes a little bit of deliberation amongst the group. And so we lock in on Rita Harrison’s firm and I go up and ask her to represent the case.”

Academy Award nominee Michelle Pfeiffer plays Rita Harrison, a driven lawyer who initially resists taking on such a long-shot case. “Sam sees Rita as the hero that can get his daughter back for him,” says Penn. “She’s a big time lawyer.
And she talks fast. That seems important.”

But Rita ultimately takes the challenge on a dare to prove to her co-workers that she will work a pro bona case. Says Pfeiffer, “Rita goes into it for all the wrong reasons, and I think once you enter the enormous heart of these people and their lives, you can’t help but be touched and become invested. And that’s what happens to her.”

Through her work with Sam, Rita begins to explore his role as Lucy’s parent, and comes to understand how even someone like her, who is considered normal by societal standards, can be daunted by the challenges of parenthood. “She has gotten so trapped by her trappings,” says Pfeiffer. “She has too many machines, too many gizmos, too many appointments and this overwhelming obsession to be perfect. She is so cut off from her heart in the beginning, one of these people who has to keep moving because if they stay in one place for too long, God forbid, somebody should make them feel something.”

“Rita needs to be tough and well put together, but below the surface she is fragile and vulnerable,” says producer Richard Solomon. “This film is about the journey that she takes and what a profound and lasting impact Sam has on her life.”

Sam is aided in his quest by his neighbor Annie, an agoraphobic pianist played by Academy Award winner Dianne Wiest, who has helped him throughout Lucy’s childhood. “Everyone has their own entrapments and their own imprisonments,” states producer Marshall Herskovitz. “Annie represents that in some way because she lives in her own imprisonment of anxiety and terror and in some ways that prison is worse than Sam’s.”

Sam’s devoted group of friends is comprised of Ifty, Robert, Brad and Joe, who stand by him in his hour of need. They not only join him in the weekly rituals of IHOP, karaoke and video nights, but support him emotionally, and even financially, at every turn as he tries to raise Lucy.

Doug Hutchison plays Sam’s best friend lfty, a man with severe Attention Deficit Disorder. “His personality is a marriage between mania and having a certain centeredness and stillness within the chaos,” says Hutchison.

Stanley DeSantis takes on the role of Robert, the overprotective and overtly paranoid caretaker of Sam’s group of disabled friends. “I think Robert considers himself to be the parent of the group,” explains DeSantis. “He is every parent that
yelled at you, ‘Don’t run with scissors,’ Don’t cross your eyes or they will stay like that.’ Every mantra that we were all brought up with, Robert takes upon himself, and feels that it’s his duty to pass it on to his friends. He is a chronic worrier, but the bottom line is he really cares about Sam.”

The cast also includes two actors with disabilities — Joseph Rosenberg and Brad Allan Silverman (who was previously the inspirational subject of the ABC television special “The Kid Who Wouldn’t Quit”), who plays the self-professed
ladies man of Sam’s group. “I really like the story and think that Sam is a great father. He has a wonderful loving heart which allows him to really communicate with his daughter Lucy,” states Silverman. “I know that Sam does have a
disability, but I don’t look at him that way. I look at Sam as a regular, normal human being.”

On the other side of Sam’s plight is Turner, the razor-sharp public attorney who opposes Rita in court. “This is a beautiful story that really tugs at the heart,” says Richard Schiff (The West Wing), who plays Turner. “While most people will
perceive Turner as the bad guy, the fact is that he’s really just doing his job and making decisions based on years of experience.”

Laura Dern portrays Lucy’s conflicted foster mother, Randy, who forms a close bond with her. “Randy is a wonderful option for this child, but Lucy also has such a bond with Sam that it’s heartbreaking to imagine her with anybody else,” says Dern. “It creates a complexity for her to figure out how to strip it all down and figure out what’s best for the child. It feeds this world of what really is proper parenting, and who can judge where love comes from, and what feels best for a child? There really isn’t a definitive answer.”

Rounding out the cast is Loretta Devine as Margaret, the social worker who removes Lucy from Sam’s home. “Margaret is overworked and over-pressured,” says Devine. “She has probably seen some cases where the child was harmed
and now she always recommends what she hopes is best for the child. Of course once she makes a decision, she doesn’t ever second-guess herself. She doesn’t want to take a closer look at Sam, but she believes she’s doing the right

As the moment of truth grows near, Sam and Rita form an unlikely bond. “What you have to see is that while Rita seems like she should be the most sane person in the movie, she really is the most insane and on the brink of falling
apart,” Pfeiffer explains. “Sam has this sense of honesty and truth that just busts her. Other people are intimidated and afraid of her, but Sam doesn’t feel any of that. She has closed off her heart, but completely by surprise, he finds a way in.”

“The thing to me is that Sam’s disability doesn’t in any way diminish his individuality or his humanity,” says Penn.

Making / Am Sam would not have been possible without the Los Angeles-based L.A. Goal, a non-profit organization founded in 1969 that serves adults with developmental disabilities. Director/co-screenwriter Jessie Nelson and co-screenwriter Kristine Johnson made extensive visits to the center while writing the screenplay, focusing particularly on mentally-challenged parents. “They were so non-judgmental,” recalls Nelson. “They were proud of every
accomplishment.” Adds Johnson, “I know that many of the people we met had a lot of pain in their lives, but they were very open with us and had so much integrity as human beings.”

The project found a home at the Bedford Falls Company, producers of such recent Academy Award-winning films as Shakespeare in Love and Traffic, when the company’s president Richard Solomon brought the project to co-founders
Edward Zwick and Marshall Herskovitz. “This story is about the creation of a very unusual family, which is something we’re always interested in,” notes Zwick.
Adds Herskovitz, “The script was impressively truthful and faced up to the reality of a man like Sam and what it means for him to try to raise a child. It didn’t shrink from the hard questions.”

The journey to find the right actor to portray Sam began and ended in Milan, Italy, where Jessie Nelson was vacationing with her family while at the same time Sean Penn, who had recently read the script, was working on another film. “Sean hadn’t formally committed yet, we were sort of circling each other, and while he was telling me about an idea he had for a scene, he stood up for a second and walked as Sam,” Nelson recalls. “I thought to myself, ‘Oh my God, this is too good to be true.’ In that moment and in that walk I was able to see the whole movie so clearly.”

‘The script really resonated with me and touched me as a parent,” says Penn.

With Penn signed on as Sam, Nelson felt that she had an actor who could bring the unique character to life in a completely original and authentic manner. “I knew how deep Sean could go and how meticulously he searches for the truth of a character,” states the director. “To me he’s the most brilliant actor of his generation. From the moment he came aboard, I feel like it elevated the whole project.”

Penn’s involvement in the project brought him and the filmmakers back to L.A. Goal. “When Sean got there he disappeared into the center and immersed himself in the experience,” recalls screenwriter Johnson. “He didn’t bring any ego
with him. He was there to discover and learn.”

“I wanted to go there to observe and be around people who face the kinds of challenges that the character of Sam encounters in the story,” Penn says. “I have a relative with Down syndrome, but I hadn’t spent any social time with other
men of my age who were mentally disabled. There was an increasing comfort level in both directions with each visit to L.A. Goal, as we began to realize that there’s just not that many really big differences between us about the important
things in life.”

“Sean came to L.A. Goal and I think he fit in pretty well,” says cast member Joe Rosenberg, a long-standing member of the organization. “He made us feel very comfortable and everyone liked him because he is a good person, which made me feel good about being Sam’s friend in the movie.”

Rita Harrison, the high-powered, high-strung attorney who becomes Sam’s counterpart in his quest to reclaim his daughter, was the next crucial role to cast.

Nelson, who had previously worked with Michelle Pfeiffer when she co-wrote the screenplay for The Stoty of Us, had the acclaimed actress in mind from the start.
“I love the idea of taking someone that the audience has certain expectations about and pushing it in a whole other direction,” states the director. “But I didn’t know if she would take that leap of faith with me. She is an extraordinary dramatic actress with great depth and soul, but she also has great comedic timing. It’s such a rare combination.”

Like Penn, whom Pfeiffer had attended the same acting class with twenty years before, Pfeiffer found herself profoundly moved by the story. “Stories about family and what defines a parent really resonate with me,” says Pfeiffer. “But I
was a little nervous about the character. Rita is so self-obsessed and busy that it takes her ten minutes into the scene to even realize that Sam is mentally challenged in some way.”

“Michelle’s the greatest: beautiful, vulnerable, edgy and always brave in her performances,” says producer Marshall Herskovitz. “She’s certainly an easy and obvious choice for a part like this, and a wonderful counterpart to Sean.”

The filmmakers were next faced with the challenge of finding a young actress who had intellectual and emotional maturity beyond her years while still retaining the innocence and vulnerability of a child. They found Lucy Diamond in virtual unknown Dakota Fanning.

“Dakota possesses a real strength and wisdom that is well beyond her years,” observes director Nelson. “As it turns out, she has a relative that is similar to Sam’s character, and I think growing up around him has enabled her to bring a
certain empathy and dimension to her character.”

Nelson adds that Fanning also surprised her as an actor: “She often came to me after a take, saying, ‘I think I could go farther; I think I could give you more.’ To know the range of her talent at 7 years old is just astounding and we were lucky to have her in the film.”

The filmmakers cast Dianne Wiest as Annie, Sam’s helpful and nurturing neighbor. “Dianne is an extraordinarily gifted actress and was our first choice for the part,” says producer Richard Solomon. “We really went after her.” “Dianne liked the material so much she was willing to fly back and forth between New York while shooting “Law and Order,” says Edward Zwick. “She brought something to the role that was beyond our expectations.”

To play the County Counsel attorney Turner, the filmmakers cast Richard Schiff, one of the stars of the acclaimed NBC series “The West Wing.” “Richard is an actor we’ve worked with a lot and now, with the success of ‘The West Wing,’ the
world knows about his abilities,” says Zwick.

Laura Dern, who has starred in such controversial projects about parenting as “The Baby Dance” and “Citizen Ruth,” takes on the role of Randy, Lucy’s foster mother. “Laura brings such an inherent sympathy and humanity to the part, there’s no side to this character that could be perceived as arch or diabolical,” says Solomon.

To portray Sam’s circle of friends, the filmmakers discovered their ensemble in unlikely but, in the end, ideal places. Doug Hutchison, who is best known for his chilling roles in “The X-Files” and The Green Mile, took his part as Ifty seriously enough to stay in character throughout production. “The character of Ifty is Sam’s best friend, so there was always the hope that someone would come in and capture that rapport and be as unique a character as Sam was,” says
Nelson. “Sean and I were in the room when Doug read for the role. Doug stayed in character throughout the audition and we both thought to ourselves, ‘Does he really have this condition?’ We looked at each other and knew right in that
moment that he was Ifty.”

Though he came in to read for a different role altogether, Stanley DeSantis struck Nelson as the perfect embodiment of the character Robert. “Stanley has a wonderful way of capturing Robert’s paranoia and anxiety while still making him
such a caring friend to Sam,” says Nelson.

The last pieces of the puzzle to be cast for the film were the characters of Brad and Joe, the remaining members of Sam’s group. While writing the script, Nelson and Johnson based the roles on the characteristics of Brad Allan Silverman and Joseph Rosenberg, two long-standing members of L.A. Goal. So, it only seemed natural to the filmmakers to cast the two individuals as the characters in the film.

“I had always wanted to have real disabled actors in the movie, but I also wanted the right people for the role,” explains Nelson. “Brad and Joe are such wonderful actors that it wasn’t as if we had disabled people who were acting; we had actors that happened to be disabled.”

Since 1990, L.A. Goal has had a pioneering therapeutic arts program that provides people with developmental disabilities a forum to express feelings that they are not able to articulate in conventional ways. Both Silverman and Rosenberg participated in the acting program, with Rosenberg appearing in Los Angeles productions of “Fiddler on the Roof,” “Cats,” “The Wizard of Oz” and “Peter Pan.”

“I knew that the film would be significantly enhanced by their presence because the whole film grew out of our experiences with them. It was so evident that they were meant to be part of it,” Nelson notes.

The filmmakers agreed they’d not only assembled a dream cast in terms of actors, they also felt everyone shared a passion for the project. “For everyone, this was a journey about doing great work and we are blessed to have these people in the film,” says producer Richard Solomon.

Prior to the start of production, Nelson knew the best way to rehearse her accomplished group of actors was to discuss the script and “make sure the actors were comfortable with the beats of the film and each other,” she says.
“We didn’t want to over-rehearse so that we could capture a kind of freshness, spontaneity and reality on film.”

Principal photography commenced at the Los Angeles County Museum of Art, with particular drama and anticipation attached to the first day of production. “I didn’t actually see how Sean was going to play his character until the first day of shooting,” recalls Pfeiffer. “I think it worked on many levels for both of us because we didn’t really have to spend endless hours discussing our characters.
It was really just about showing up and discovering each other.”

Nelson likens Penn’s work on the film to “having Michael Jordan on the court.
Everybody’s game gets elevated when Sean steps onto the set. He’s like a truth serum that has a ripple effect into every department, and you want every bit of set dressing, every prop and camera angle to completely capture the truth of
what he’s doing. Even when Sean is not on camera he’s giving so much to the other actors during their close-ups.”

The presence of cast members Brad Silverman and Joe Rosenberg also had a profound effect on the entire production. “They have a great capacity for love, which is in many ways what this movie is about,” says Penn. “You can feel their
warmth and honesty when you spend time with them and they have such an inherent sweetness that is infectious and transparent in their performance.”

“On the day when Sean finally took the stand, Brad was crying because he couldn’t understand why anyone would kidnap Lucy and question Sam’s ability to be a good parent,” Nelson recalls. “He felt it so deeply, but he was also having
an experience as an actor of getting so into the scene that it felt real to him.
There was always that fine line of their own life experience and their burgeoning technique as actors. It was an interesting dynamic to watch evolve.”

Production continued to work its way through the 48-day shooting schedule in such quintessential Los Angeles locations as the Los Angeles County Museum of Art, the Veteran’s Memorial Building, Echo Park, Pershing Square and Grand
Central Market, as well as HOP, Target, Payless Shoe Store and Starbucks. In the film, Sam has been working at the local Starbucks bussing tables for the past seven years and the filmmakers secured special cooperation from the Starbucks Corporation to ensure an authentic experience of their work environment.

Nelson worked closely with director of photography Elliot Davis (Out of Sight) to bring an intimacy to the camerawork. “I wanted the film to have a look of moments being captured,” says Nelson, “that it was almost like watching a diary of these peoples’ lives, of moments that normally wouldn’t be seen.”

“Elliot is such an inspiring person to work with,” Nelson continues. “When the actors were crying during a scene, he would come up from behind the camera and be equally sad as if he was right there in the scene with them.”

Davis shot the film predominantly with hand-held cameras. “The vision never wavered from Jessie’s essence of what the film was about,” says Davis. “We wanted to do a very subjective view that would allow the viewer to eavesdrop on
Sam’s world. From that concept came the hand-held shooting style which allowed for time to be stretched or compressed to develop a form that would allow us to relay whatever emotional impact was needed.”

The lighting, notes Davis, was “always interpreting and expressive. It wasn’t just a passive bystander. Sam had a very fluid point of view where he would be taking in the world around him, and what he became interested or not interested
in would dictate the movement of the camera and the lighting. Hand-held zooms helped us emphasize emotional impact from inside him, and the degree of movement was based on what emotions were transpiring.”

Acclaimed film editor Richard Chew (Star Wars, The Conversation) further developed the film’s unique visual and structural style. “It’s been a long journey to find a subjective cutting style to fit the story and camera movements,” says Chew. “Since it’s a very emotional story, Jessie, Elliot and I worked to impose a rawness to the film, using a loose, moving camera along with some improvisation on the set.”

Chew welcomed the challenge of the material, he says, “because I was allowed to break traditional rules about continuity cutting, a style which maintains a strict objective — representational — reality. Jessie encouraged me to explore how to maintain a subjective — psychological, emotional — reality.”

Production designer Aaron Osborne worked with Nelson and Davis in creating distinct worlds for each character to occupy. ‘We developed the look of the sets by trying to create a world from each one of the dysfunctional points of view and the oppositions that each one of them have,” notes Osborne. “A high-powered lawyer is going to live in a very different world than a mentally-challenged man.”

Costume designer Susie DeSanto spent time at L.A. Goal to prepare Sam’s wardrobe, interviewing the members to help her make choices they would make.
“I wanted to know where they shop and what kinds of clothes they like to wear,” she says. “I also talked to them about how they would dress a little girl.”

DeSanto continues, “From there I worked with Sean in the fitting room and we found a look that he felt worked. We decided to keep it pretty muted and very simple. Khakis, soft greens and pale colors.”

Rita’s surroundings would also transform. “We wanted Rita to be very angular and not very friendly,” explains Nelson. “We wanted to show that she hadn’t taken the time to make a home that integrated her child. The production team
created both sets and locations that captured the power, money and elegance of her character, while at the same time it was cold, empty and very minimalist.”

DeSanto wanted Rita’s style and colors to match her busy and streamlined lifestyle. “She is someone who doesn’t have time for shopping but has a lot of style and money,” the costume designer notes. “There weren’t a lot of gray areas in Rita’s life so I wanted to keep her in black and white almost exclusively.
Luckily, we had a relationship with Armani and it fit the story that her character would be the type of person who just goes to Armani for her clothes. When things get a bit softer towards the end of the film, we added some lavenders and
pale blues, and softened the fabrics.”

“Suzy did an incredible job collaborating with Elliot Davis and Aaron Osborne on the wardrobe of this film,” comments Nelson. “She was constantly looking for ways to express the characters.”

When principal photography ended, cast and crew alike felt they had all been on a journey together. “This film was as good an experience as I’ve ever had with a director,” reflects Penn. “Jessie offered such affection to cast and crew so that everyone really felt they were part of a group at large, all trying to make something truly special.”

“It’s been a crazy and wild ride,” adds producer Richard Solomon. “I think Sean, Michelle and all the actors were extraordinary, and to see Brad and Joe accomplish what they did was one of the most unique experiences of my life.
What Jessie accomplished on this film was truly remarkable.”

For Nelson, the process of making / Am Sam was a collaborative effort that touched everyone involved on a personal level. “I truly feel that this is one of those rare opportunities where the combination of what everyone brought to the
mix elevated the film so much that it turned out in a whole other way that exceeded my greatest expectations,” she concludes.


The Beatles play a prominent role in / Am Sam, from Sam naming his daughter Lucy Diamond after the song “Lucy in the Sky with Diamonds,” to his obsessive knowledge of dates, times and places of Beatles events, facts and trivia.

The permanence and timelessness of Beatles music became apparent to director/co-writer Jessie Nelson and co-writer Kristine Johnson in their research while writing the script. “When we went to the different organizations and
attended some of their music and chorus classes, every single one of them that we asked would say their favorite music was the Beatles, across the board,” says
Nelson. “Many of the people we met not only loved and idolized the Beatles but looked to them as guides on how to act in life. If someone was separating from a roommate, they might relate it to how the Beatles broke up. It was an accessible way into their world.”

Likewise, The Beatles became a common thread throughout the film. Nelson played Beatles music on the set throughout production to keep their feel in the actors’ heads. It seemed natural for these songs to play on the soundtrack, but
rights issues inspired the filmmakers to approach Sony Music about obtaining permission to create a soundtrack that would feature contemporary artists recording personal renditions of classic Beatles songs.

The filmmakers arranged for V2 Records West Coast A&R executive Jon Sidel to see the film, who in turn felt compelled to get label executive Kate Hyman and label president Andy Gershon involved with the film. Everyone involved jumped at the opportunity to create for this film what is perhaps the most ambitious collection of Beatles covers ever assembled. “In light of everything that has happened in the world, I Am Sam is the kind of film you want to believe in,” says Gershon.

Director Nelson and producer Richard Solomon collaborated with V2 Records to generate a wish list of artists they wanted for the soundtrack and ended up garnering a wave of interest from top artists.

Among the first to sign on was Pearl Jam frontman Eddie Vedder, who is a friend of Sean Penn. The song Vedder planned to perform was “You’ve Got to Hide Your Love Away,” a childhood favorite of his. The Wallflowers recorded “I’m
Looking Through You” at a studio owned by Jackson Browne, who sang harmony on the track.

Additional tracks include Aimee Mann & Michael Penn collaborating on “Two of Us”; Ben Harper performing “Strawberry Fields Forever,” and Sarah McLachlan performing a stirring rendition of “Blackbird.” Additional participating artists
include The Black Crowes, Ben Folds, Rufus Wainright and Sheryl Crow, among others.

The / Am Sam soundtrack, which will be released on January 8th, 2002, is produced by Kate Hyman and Jon Sidel of V2 Records and director/co-writer Jessie Nelson.

“I hope that when one listens to the soundtrack they will draw from it the artists’ inspirations from the movie and their affection for the music,” Gershon says.
“That what makes this collection of songs special is the way the artists were able to take a Beatles classic and make it their own.”

A portion of the proceeds from the sales of the / Am Sam soundtrack will be donated to L.A. Goal, a non-profit organization founded in 1969 that serves adults with developmental disabilities and was a touchstone to the cast and crew
throughout production.


Sean Penn (Sam Dawson)
Consistently astounding critics, his peers and audiences with his performances of uncommon intensity, range and intelligence, award-winning actor and acclaimed filmmaker Sean Penn has become one of the most respected and sought-after artists of his generation. With / Am Sam he delivers his most unusual and daring performance to date, starring as Sam Dawson, a man with the mind of a seven year-old but the heart of a fighter.

Penn made his feature film acting debut in 1981 in Harold Becker’s Taps and went on to win over audiences as the ultimate pothead surfer Jeff Spicoli in Amy Heckerling’s teen classic Fast Times at Ridgemont High. Among Penn’s many
praised film characterizations are the sleazy lawyer opposite Al Pacino in Brian De Palma’s Carlito’s Way, for which he received a Golden Globe award for Best Supporting Actor; an Irish-American mobster in State of Grace; a small-town boy drawn into a life of crime by his father in At Close Range; a young man who falls in love just as he is heading off to fight in World War II in the romance Racing with the Moon and a disillusioned American drug dealer-turned traitor in The Falcon and the Snowman.

In 1996, he received unanimous critical acclaim and Academy Award and Golden Globe nominations for Best Actor for his galvanizing performance as a convicted murderer awaiting execution in Dead Man Walking. More recently, Penn has garnered critical praise in Terrence Malick’s The Thin Red Line; Woody Allen’s Sweet and Lowdown, for which he received both Academy Award and Golden Globe nominations; the film version of David Rabe’s stage play Hurly Burly, for which Penn won Best Actor at the Venice Film Festival; Nick Cassavetes’ She’s So Lovely, for which Penn was honored with the Best Actor Award at the Cannes Film Festival; Oliver Stone’s U-Turn; and David Fincher’s The Game. He also recently starred in Up at the Villa, Before Night Falls and Weight of Water.

Behind the camera, Penn has written and directed the acclaimed dramatic feature films The Indian Runner starring David Morse, Viggo Mortensen, Patricia Arquette and Charles Bronson; The Crossing Guard starring Jack Nicholson,
Anjelica Huston, David Morse and Robin Wright-Penn; and, most recently, The Pledge, starring Jack Nicholson, Vanessa Redgrave and Robin Wright-Penn.

Penn has also received accolades for his work on the stage. He made his Broadway debut in “Heartland” and most recently was seen in Sam Shepard’s “The Late Henry Moss” in San Francisco.

Michelle Pfeiffer (Rita Harrison)
Three-time Academy Award nominee Michelle Pfeiffer turns in a surprising performance as Rita Harrison, an overtly ambitious, fast-lane lawyer who is focused 100% on success — until she meets Sam Dawson.

Pfeiffer gained her first Oscar nomination for her work in Dangerous Liaisons, for which she also won a BAFTA Award. She then earned both Oscar and BAFTA Award nominations and won a Golden Globe Award for her performance
opposite Jeff and Beau Bridges in The Fabulous Baker Boys. Pfeiffer again garnered Oscar and Golden Globe nominations for her work in Love Field. She has received additional Golden Globe nominations for Married To The Mob, The
Russia House, Frankie and Johnny and Martin Scorsese’s The Age of Innocence.

Pfeiffer made her feature film debut in Hollywood Knights and went on to gain international attention for her work opposite Al Pacino in Brian De Palma’s Scarface. She later joined Cher and Susan Sarandon as The Witches of East wick, opposite Jack Nicholson.

Through her production company Via Rosa, Pfeiffer has developed her own projects, including Jane Smiley’s Pulitzer Prize-winning novel A Thousand Acres.
She also produced and starred in the dramatic story of a mother’s journey to recapture her relationship with her missing son in The Deep End of the Ocean.
Her diverse performances also include Ladyhawke, Tequila Sunrise, Batman Returns, Wolf, Dangerous Minds, Up Close & Personal, To Gillian on Her 37th Birthday, One Fine Day, the animated epic The Prince of Egypt, A Midsummer Night’s Dream, The Story of Us and most recently, the summer blockbuster smash What Lies Beneath, opposite Harrison Ford.

Pfeiffer will next be seen in the screen version of the bestselling novel White Oleander.

Dakota Fanning (Lucy Diamond Dawson)
Seven year-old Dakota Fanning stars as Sean Penn’s extraordinary daughter, Lucy Diamond, who is forced into foster care on her 7th birthday. Fanning began her career at the age of five when she was picked from thousands of hopefuls for a national Tide commercial. She went on to land a co-starring role on television’s “ER” and to appear on such prime-time shows as “Ally McBeal,” “Strong Medicine,” “C.S.I.,” “The Practice,” “Malcolm in the Middle” and “Spin City.” She
most recently worked on writer/producer Edward Burns’ pilot “The Fighting Fitzgeralds” for NBC.

Fanning’s film roles include Tomcats, starring Jerry O’Connell, Shannon Elizabeth and Jake Busey and the AFI film Father X-Mas. Immediately after completing / Am Sam, Fanning went on to co-star in the Mandolin Entertainment/Propaganda thriller 24 Hours, co-starring Charlize Theron and Courtney Love. She will also appear in the upcoming Reese Witherspoon film, Sweet Home Alabama.

Dianne Wiest (Annie)
Dianne Wiest stars as Annie, Sam’s sophisticated neighbor and 24-hour-a-day advisor who could be his best advocate — if she could leave the house. Wiest is perhaps best known for her unforgettable appearances in five Woody Allen films: The Purple Rose of Cairo, September, Radio Days, Hannah and Her Sisters, for which she won the Academy Award for Best Supporting Actress, and Bullets over
Broadway, for which she also won the Academy Award for Best Supporting Actress. She also received an Academy Award nomination for her performance in Ron Howard’s Parenthood.

Currently, Wiest is also seen by television viewers as district attorney Nora Lewin in the acclaimed, Emmy Award-winning series “Law and Order.” Among Wiest’s extensive credits are such films as I’m Dancing As Fast As I Can, Footloose, The Lost Boys, Edward Scissorhands, Little Man Tate, The Scout, Cookie, Cops and Robbersons, The Birdcage, The Associate, Practical Magic, The Horse Whisperer and Portofino. She also starred in Peter Cohn’s Drunks which was
screened at the 1996 Sundance Film Festival, where she was honored with the Piper-Heidsieck Tribute for Independent Vision.

Wiest, who began her career touring with the American Shakespeare Company, earned the Obie, Clarence Derwent and Theatre World Awards as Best Actress for her performance in the “The Art of Dining.” She made her stage-directing
debut with “Not About Heroes” at the Williamstown Playhouse and starred in ‘The Summer House” at the Lincoln Center. On television, Wiest also starred in the Canadian series ” Road to Avonlea,” for which she won an Emmy Award in

Doug Hutchison (Ifty)
Doug Hutchison, who underwent a profound transformation to play Sam’s good friend Ifty, was most recently seen starring with Tom Hanks in The Green Mileand Jamie Foxx in Bait. His other film credits include A Time to Kill, Batman &
Robin, Fresh Horses and The Chocolate War. Hutchison can be seen in the upcoming crime thriller The Salton Sea opposite Val Kilmer. He also recently wrapped No Good Deeds, starring opposite Samuel L. Jackson and Milla Jovovich.

Hutchison is well known for two memorable recurring roles on television — Eugene Victor looms on “The X-Files” and the Polaroid Man on “Millennium.” He also appeared regularly on “Party of Five” and “Space: Above and Beyond” and
was a series regular on “Skip Chasers,” “Planet Rules” and “Local Heroes.”
On the stage, Hutchison has won DramaLogue Awards for his performances in “The Other 5%” at the Santa Monica Powerhouse Theatre and in “The Eight” at the Circle X Theatre in Hollywood. He has also appeared at the Los Angeles
Mark Taper Forum in “Julius Caesar” and “Hope of the Heart,” with the Yale Repertory in “The My House Play” and Off-Broadway at Playwrights Horizons in “Sparks in the Park.”

A Detroit native, Hutchison attended the renowned Julliard School of Drama in New York City. He has also trained under legendary acting coach Sanford Meisner and made his professional acting debut in the lead role of Garson Kanin’s play “Time and Chance.”

Stanley DeSantis (Robert)
Stanley DeSantis portrays Sam’s close comrade Robert, a man who takes paranoia to comical extremes. DeSantis received critical acclaim for his portrayal of Norman Neal Williams in the American Playhouse presentation of Armistead
Maupin’s “Tales of the City.” Other credits for this versatile actor include Ed Wood, Bulworth, Truth About Cats and Dogs, The Birdcage, Fools Rush In, Rush Hour, Clockwatchers, The Fan and, most recently, The Man Who Wasn’t There.
He will next be seen in the upcoming films Human Nature and Prime Gig.

Brad Allan Silverman (Brad)
Brad Allan Silverman was the inspirational subject of the ABC television special “The Kid Who Wouldn’t Quit.” The tremendous response to the special led him to supporting roles on “Quantum Leap” and “Life Goes On.” Silverman has also
appeared in L.A. Goal productions of “Jukebox Jam,” “Cats” and “Peter Pan.”

Born and raised in Glendale, California, Silverman enjoys many sports and is an active artist at L.A. Goal’s Inside Out Productions.

Joseph Rosenberg (Joe)
Joseph Rosenberg has appeared in L.A. Goal productions of “Fiddler on the Roof,” “Cats,” The Wizard of Oz” and “Peter Pan.” An active sports enthusiast, Rosenburg is a current member of the Los Angeles Special Olympics basketball
and bowling teams. His artwork has also been featured in L.A. Goal’s exhibitions.

Born in Uruguay, Rosenberg grew up in Los Angeles and is a graduate of Fairfax High School. He has been an active member of L.A Goal for over twenty years, serving as president during 2000.

Richard Schiff (Turner)
Richard Schiff adds another rich character to his roster with Turner, the County lawyer who passionately battle Michelle Pfeiffer in court. Schiff is perhaps best known as Toby Ziegler on the Award-winning television series “The West Wing,” for which he won the Emmy for Best Supporting Actor. But Schiff is also noted for a wide variety of character-driven performances that has made him one of our most prolific character actors today.

An accomplished veteran of over 40 feature film roles, Schiff has been seen in such diverse films as Malcolm X, Hoffa, City Hall, Seven, Michael, The Lost World: Jurassic Park, Deep Impact, Dr. Dolittle, Living Out Loud, Forces of Nature, Heaven and most recently Gun Shy, Whatever It Takes, Forever Lulu and Lucky Numbers.

On television, Schiff has also guest starred on “Ally McBeal,” “The Practice,” “ER,” “Murder One,” “NYPD Blue,” “LA Law,” “Murphy Brown” and “Chicago Hope.” Schiff began his career as a theater director for both off and off-off Broadway productions in New York. When he made the move to Hollywood, he kept his ties to the theatre, joining Tim Robbins’ award-winning “Actors Gang” and starring as ‘Goose’ in the West Coast premiere of David Rabe’s “Goose and Tom Tom,” for which he received a Dramalogue Award for Best Actor. He also garnered an Ovation Award nomination for his role in “Urban Folktales.”

Laura Dern (Randy)
Laura Dern portrays Randy, a caring suburban mom who decides to battle Sean Penn for custody of his daughter. Dern previously garnered an Academy Award nomination for her performance in Rambling Rose and received a Golden Globe award for her starring role in Afterbum.

This past summer, the versatile Dern was seen in Jurassic Park III while last fall she starred in the critically-praised Robert Altman film Dr. T and the Women opposite Richard Gere. Most recently she co-starred with Steve Martin in Novocaine and with William H. Macy in Focus, based on Arthur Miller’s novel.

Dern has been the recipient of numerous film awards including Best Actress at the 1996 Montreal Film Festival for her performance in Alexander Payne’s dark comedy Citizen Ruth. Last year, the Sundance Institute honored Dern with the
prestigious Piper Heidseick Award for Independent Vision at the Sundance Film Festival.

Dern made her screen debut at the age of seven in Martin Scorsese’s Alice Doesn’t Live Here Anymore. At the age of 11, she co-starred in Foxes with Jodie Foster. Dern won the Los Angeles Film Critics New Generation Award for her
performance in the coming-of-age story Smooth Talk. She went on to star in Blue Velvet and Wild at Heart, which won the Palme d’Or at the 1990 Cannes Film Festival. Her other film credits include October Sky, Jurassic Park, A Perfect
World, Mask, Fat Man and Little Boy, Haunted Summer, Teachers and Ladies and Gentlemen, The Fabulous Stains.

Dern made her directorial debut with the short film The Gift, which aired as part of Showtime’s “Directed By” series. She also starred in Showtime’s original film “Down Came A Blackbird.”

Dern’s television accomplishments have been acknowledged with a Golden Globe nomination for her role in “The Baby Dance” for Showtime and an Emmy Award nomination for her guest-starring role in the controversial “Puppy Episode”
of the comedy series “Ellen.” She also starred in Showtime’s critically-acclaimed film noir series “Fallen Angel,” for which she received an Emmy nomination.

Loretta Devine (Margaret)
Loretta Devine, who plays the social worker Margaret, has compiled an impressive list of film credits including such films as Maya Angelou’s Down in the Delta, Bill Dukes Hoodlum, Stanley & Iris with Robert De Niro and Little Nikita
opposite Sidney Poitier. Devine has received two NAACP awards for her supporting roles in Forrest Whitaker’s Waiting to Exhale and Penny Marshall’s The Preachers Wife with Denzel Washington and Whitney Houston. Her recent credits include Urban Legends: Final Cut, What Women Want, Book of Love and Kingdom Come. She currently plays teacher Marla Hendricks on “Boston Public” for Fox Television and is the voice of Muriel in Eddie Murphy’s animated cartoon
“The PJ’s.”

Devine has starred in numerous television movies and miniseries including “Rebound,” “Clover,” “Don King: Only In America” and “Jackie’s Back.” She also starred as Rudy Dandridge in the critically-acclaimed HBO movie “Introducing
Dorothy Dandridge.” On the New York stage, she has originated the roles of torell’ in the Broadway musical “Dreamgirls” and ‘Lillian’ in Bob Fosse’s “Big Deal.”


Jessie Nelson (Director/Producer/Co-Screenwriter)
Director/Producer/Screenwriter Jessie Nelson struck a chord in the hearts of moviegoers with her directorial debut Corrina, Corrina starring Whoopi Goldberg, Ray Liotta and Tina Majorino. She followed the film by co-writing the 1998 box office hit Stepmom starring Julia Roberts and Susan Sarandon. Nelson most recently co-wrote and produced with Alan Zweibel The Story of Us, directed by Rob Reiner and starring Bruce Willis and Michelle Pfeiffer.

Nelson began her career as an actress in New York working with the Obie Award-winning experimental theater Mabou Mines in Joseph Papp’s Public Theater. She went on to the New York Shakespeare Festival starring opposite Raul Julia in “The Tempest” in Central Park.
Brought out to Los Angeles by Columbia Pictures’ talent development program, she went on to act in numerous films and series. Used to the creative collaborative of her New York theater experiences, Nelson co- wrote her first screenplay (about her experiences as a waitress) which sold to Disney Studios. Surprised by the lack of control writers have over their material, Nelson set out to learn how to direct.

Nelson began her career as a filmmaker when she directed the documentary, “My First Time,” which paved the way for her acceptance into the prestigious Chanticleer program, where she directed the award- winning film “To The Moon Alice” for Showtime. Nelson is married to filmmaker Bryan Gordon and lives in Los Angles with their daughter Molly June Gordon.

Edward Zwick (Producer)
Edward Zwick received an Academy Award as one of the producers of 1998’s Best Picture winner, Shakespeare in Love, directed by John Madden, and most recently produced the Oscar-winning Traffic, directed by Steven Soderbergh.

Zwick began directing and acting in high school. He trained as an apprentice at the Academy Festival in Lake Forest, and, while studying literature at Harvard, he continued writing and directing for the theatre. Upon graduation, he was
awarded a Rockefeller Fellowship to study abroad with some of the major innovative theatre companies. In Europe, he supplemented his fellowship income by writing magazine articles and later he worked for Woody Allen in Paris on the film Love and Death.

Zwick was accepted as a Directing Fellow at the American Film Institute, where he directed the short film Timothy and the Angel, which won first place in the student film competition at the 1976 Chicago Film Festival and caught the
attention of the producers of the television series, “Family.” He was invited to write an episode and subsequently became the show’s story editor. He then began directing episodes, and eventually was named producer for the final season.

Zwick later directed such television films and pilots as “Paper Dolls,” “Having It All”, “Making Out” and “The Outsiders.” For his work on the television movie “Special Bulletin” (as Director, Producer and Co-writer), Zwick received two Emmy Awards. It also marked the beginning of his collaboration with Marshall Herskovitz, with whom he then created the Emmy Award-winning television show, “thirtysomething.” Later, they would work together on the series “My So- Called Life,” “Relativity” and the current hit “Once and Again.”

Zwick began his feature film career with About Last Night… He then went on to direct the Academy Award-winning film Glory. Following that, he directed Leaving Normal and the hit film Legends Of The Fall, which won an Oscar for
Cinematographer John Toll. Zwick then reteamed with Denzel Washington in two timely and relevant films, Courage Under Fire and The Siege.

To- date, Zwick has been honored with three Emmy Awards, the Humanitas Prize, the Writers Guild of America Award, two Peabody Awards, a Directors Guild of America Award and the Franklin J. Schaffner Alumni Award from the
American Film Institute.

Marshall Herskovitz (Producer)
Along with Edward Zwick, Marshall Herskovitz created the Bedford Falls Company in 1985, which immediately made its mark in television with the Emmy Award-winning ABC series “thirtysomething.” For his work on the series, Herskovitz received two Emmy Awards, two Directors Guild Awards, a Writers Guild Award, a Humanitas Award, a Golden Globe Award, a People’s Choice Award, and the Peabody Award, among other honors. Herskovitz and Zwick most recently produced the highly acclaimed, Academy Award-winning Traffic, an intricate and moving drama about drugs in American society.

Herskovitz became interested in filmmaking while studying at Brandeis University, where he wrote a screenplay of “Beowulf” as his senior thesis. After graduation he wrote, produced, and directed a short film entitled In Footsteps, which gained him acceptance to the American Film Institute in 1975, at which he earned an MFA in 1978. Herskovitz then spent several years writing and directing for episodic television, including such shows as “Family” and “The White
Shadow,” until he teamed up with Edward Zwick to create the multi-award winning television movie “Special Bulletin.” Herskovitz won two Emmys, a Writers Guild Award, and the Humanitas Award for his work.

Herskovitz and Zwick then teamed to found The Bedford Falls Company, named for the town in It’s a Wonderful Life, as a home for their film and television projects. In addition to “thirtysomething,” the company has produced such
acclaimed television dramas as “My So-Called Life,” “Relativity” and the current hit “Once and Again.”

Herskovitz made his feature directorial debut with Jack The Bear, starring Danny DeVito, then produced Legends of the Fall, starring Brad Pitt and Anthony Hopkins, and produced and directed the historical epic Dangerous Beauty starring Catherine McCormack and Rufus Sewell.

Richard Solomon (Producer)
Richard Solomon is president of The Bedford Falls Company, where he executive produced the Academy Award-winning Traffic. Under his presidency, the company also produced the acclaimed series “Relativity,” the current hit “Once and Again” and the feature films Shakespeare In Love and The Siege.

Prior to joining The Bedford Falls Company, Solomon was president of Donner- Shuler Productions where he co-produced Radio Flyer, Free Willy, Free Willy 2: The Adventure Home, Assassins and Conspiracy Theory and also oversaw the
development of projects such as Dave and Maverick.

David Scott Rubin (Executive Producer)
David Scott Rubin most recently co-produced screenwriter Daniel Waters’ directorial debut Happy Campers for Di Novi Pictures. Rubin also produced writer/director Jason Freeland’s adaptation of James Ellroy’s Brown’s Requiem for Lions Gate Films, the 1997 Toronto Film Festival standout Touch Me and Cleopatra’s Second Husband, which premiered at the 1998Los Angeles
Independent Film Festival.

Kristine Johnson (Co-Screenwriter)
Kristine Johnson, who along with co-writer and director Jessie Nelson, spent several years of her life to bring / Am Sam from idea to screen. She previously co-wrote Imaginary Crimes with Davia Nelson, which starred Harvey Keitel, Kelly
Lynch and Fairuza Balk. While working with producer Larry Brezner, she was involved with the development of such films as Good Morning Vietnam and Coupe De Ville and was co-producer of Throw Momma From the Train. Currently
working on a script with director Allison Anders, Johnson lives in Los Angeles with her husband and three children.

Elliot Davis (Director of Photography)
Elliot Davis brings his unique visual sensibilities to / Am Sam with a visceral, hand-held style that takes audiences inside Sam’s unpredictable world. Davis previously won acclaim for his stylish cinematography on Steven Soderbergh’s
critically acclaimed thriller Out Of Sight. Davis had earlier earned an Independent Spirit Award for his work on Soderbergh’s The Underneath and also collaborated with the director on the films Gray’s Anatomy and King of the Hill.

Davis has also collaborated with director Alan Rudolph on a number of films, including Equinox, Love at Large, Mortal Thoughts and Breakfast of Champions.
Among his credits are also Forces of Nature with Ben Affleck and Sandra Bullock, Lawn Dogs, Get on the Bus, Larger Than Life, Things to Do in Denver When You’re Dead, Mother’s Boys, The Cutting Edge, Bright Angel and Miles From Home.

Davis’s most recent film credits include John Schlesinger’s The Next Best Thing, Light It Up and White Oleander starring Michelle Pfeiffer, Renee Zellweger and Robin Wright Penn.

Aaron Osborne (Production Designer)
Aaron Osborne has previously designed for numerous independent films, including Luckytown Blues, Trippin, Another Day in Paradise, Don’t Be A Menace to South Central While Drinking Your Juice in the Hood with the Wayans brothers, Top of the World with Dennis Hopper and Spent. He also served as a production designer on the 1998 television series Wind on Water and the 1999
teen hit Drive Me Crazy.

Osborne also has an extensive theater background running the Los Angeles Theater Carnivale performance troupe where he is a three-year “Best of LA” Award winner.

Susie DeSanto (Costume Designer)
Susie DeSanto has collaborated numerous times with Michelle Pfeiffer as the costume designer on the films What Lies Beneath, One Fine Day and Deep End of the Ocean, as well as the recently-completed White Oleander. She also
designed the costumes for the box office hit Miss Congeniality, starring Sandra Bullock and Michael Caine.

Her other film credits include Hope Floats, Bad Girls, Teaching Mrs. Tingle, A Dangerous Woman and Ruby.

Richard Chew, A.C.E. (Editor)
Richard Chew is an Academy-Award winner for his work as co-editor on the 1977 classic Star Wars. He was also nominated for an Oscar and honored with a British Academy Award for One Flew Over the Cuckoo’s Nest. Prior to that, Chew won his first British Academy Award with Walter Murch for The Conversation.

Additional credits include Hope Floats, That Thing You Do!, Waiting to Exhale, Singles, Men Don’t Leave, Clean and Sober, Real Genius, Risky Business, My Favorite Year and Goin’ South.

Most recently, he worked on Shanghai Noon, for which he received an A.C.E. Award Nomination. Chew began his career in documentaries and in 1967 worked as a cameraman and editor on The Redwoods, which won an Oscar for Best
Short Documentary.

John Powell (Composer)
Steeped in classical tradition, yet drawn to the idea of turning it on its head, John Powell has composed a series of acclaimed motion picture soundtracks since arriving in American four years ago. He brought out the film noir undertones of John Woo’s direction for Face/Off and co-wrote four imaginative scores for the animated films Antz, The Road to El Dorado, Chicken Run and Shrek. He’s also the creative voice behind the hip, experimental scores for Forces of Nature and Endurance. Powell’s most recent feature credits include Evolution and Rat Race.

Powell attended London’s Trinity College of Music, where he studied composition, earning the John Halford and the Boosey and Hawkes Music College Awards. While at Trinity, Powell joined performance art group Media Arts. With longtime collaborator Gavin Greenaway, he composed music and sound for their conceptual performances. Although the duo left the troupe upon graduating in 1986, they continue to co-create mixed-media installation pieces with artist Michael Petry, the most recent featuring bare-bottomed men and a German brass ensemble.

Powell made his first foray into feature films at London’s Air-Edel Music in 1989. There he worked along side composers Hans Zimmer and Patrick Doyle, assisting Doyle with the score of Into the West and writing cues and working as
an electronic music programmer for Zimmer on White Fang.

In 1994 Powell left Air-Edel to co-found (with Greenaway) London-based commercial music house Independently Thinking Music (ITM). Together they composed scores for more than a hundred high-profile European ad campaigns.

Arriving in the States in 1997, he immediately scored two Dreamworks TV projects: the second season of Steven Spielberg’s “High Incident” and the pilot “For the People.” He also arranged songs composed by Stephen Schwartz for the Dreamworks animated feature The Prince of Egypt.

Some of Powell’s other film credits include With Friends Like These and Just Visiting, as well as the upcoming films Eye See You and Pluto Nash.