All I wanna Do

Alliance Communications presents

a Redeemable Features Production

a film by everyone who worked on it

All I Wanna Do

94 Minutes

Jeremy Walker

Jeremy Walker Associates

(212) 595-6161

SYNOPSIS

"All I Wanna Do" is a comedy about a closely-knit group of friends set at a traditional New England all-girls boarding school in 1963. But at its core, "All I Wanna Do" is also the story of young women who recognize their own value and potential when their all-female sanctuary becomes threatened by the specter of men. The film was written and directed by Sarah Kernochan, an established screenwriter making her feature directorial debut.

For Odie (Gaby Hoffmann), a pretty but moody teenager, being sent to Miss Godard's Prep School for Girls midway through the year is a little bit like being sent to prison. Miss Godard's has all kinds of rules, and a lot is expected of the girls there. But Odie soon discovers that the girls at Miss Godard's also have a lot of fun, and most important, the school is something of a haven where girls can behave, well, just like girls since there are no boys in sight.

After a tour of the campus guided by Abby (Rachael Leigh Cook), an uptight, brown-nosing "monitor" on the Self-Government Committee, Odie just wants to cry. But things start looking up when Odie meets her new roommates, Verena (Kirsten Dunst) and Tinka (Monica Keena). Verena is a schemer who likes to break the rules. Tinka is a smart-mouthed beauty (and would-be slut). Both are impressed with Odie's worldliness and her collection of R&B records, a sound they'd never heard before. Odie is quickly allowed into the girls inner circle, which includes Momo (Merrit Wever), a science whiz who wants to attend MIT, and Tweety (Heather Matarazzo), whose exuberant personality is saddled with an eating disorder for which she abuses syrup of ipecac.

On a trip into town, Odie and the other girls are in a soda shop when theyare accosted by a group of local boys who call themselves the Flat Critters. The boys are mostly concerned with fetishizing roadkill, although their leader, Snake (Vincent Kartheiser), is completely taken with Tinka. Tinka dismisses him.

Back at school, Verena and the other girls decide to allow Odie into their secret society, the D.A.R. (Daughters of the American Ravioli). The D.A.R. meets in a secret attic where they eat cold ravioli right out of the can and vow to help each other achieve their dreams for the future. Momo wants to be a biologist; Tweety, a psychiatrist. Verena wants to start her own magazine (Moi) and Tinka would like to appear on its cover as a fabulously famous actress / painter / folk-singer / slut. Odie's most personal ambition, which

But Verena is also somewhat appalled by Odie's desire to lose her virginity. Not because Verena is a prude, but because the whole point of the D.A.R. is to try to figure out how to avoid what at the end of their teenage years seems inevitable: becoming married with "three kids and two cars and a Colonial and a Collie." But in the spirit of friendship Verena and the other girls conspire to help Odie arrange a "randy-vous" in New York with Dennis (Matthew Lawrence), the boyfriend she left behind.

While Verena's schemes are clever, they don't turn out the way she and the D.A.R. had hoped. The attempt to plant porno magazines on Mr. Dewey backfires, and the steely headmistress Miss McVane (Lynn Redgrave) suspects Verena and doles out punishment and a grave warning of dismissal. And as for the forged note that would have let Odie get to NewYork for a tryst with her beloved Dennis, well, Miss McVane is a little too smart for that. But what is perfectly clear is just how much concern and affection Miss McVane has for her girls, even when they misbehave. In fact, Miss McVane knows all too well that mischief is a sign that something deeper is going on. Although the girls bridle at the rules, it is clear, too, that they respect their headmistress a great deal.

One night, when Tweety visits the attic in search of ravioli, she overhears a loud and argumentative meeting between Miss McVane and the school's board of trustees, the president of which happens to be uptight Abby's uptight mother. What she learns -- and shares immediately with the other members of the D.A.R. -- is that Miss Godard's is in dire financial straights and that the only way the school will survive is by merging with St. Ambrose -- an all boys' school in New Hampshire. To Miss McVane's horror, it seems clear that Miss Godard's is going coed.

Some girls react with sadness and anger. Some are overjoyed. But the worst thing about the news is that it divides the D.A.R. Verena, the leader, is convinced that the move to coeducation must be stopped. "Just imagine," she says. "You'll have to wash your hair every night. You'll have to sleep on rollers 'til your scalp bleeds. You'll have to get up at six every morning for the comb-out. Your lungs will be lined with hairspray. And then you'll need all that equipment to push up the tits -- and spray the pits -- and blitz the zitz. Then you stagger into class and you look perfect but you're exhausted. You're too tired to think. But that's OK because the teachers won't call on you anyway."

In short, Verena will not allow herself or her classmates to become slaves to what they euphemistically refer to as "the hairy bird."

Verena and Momo vow to stop the school's plans, and concoct a scheme that might just work. The choir from St. Ambrose is to visit Miss Godard's for a dance and recital. With a little homemade liquor, Tweety's ipecac and a handpicked St. Ambrose patsy, Verena and Momo have all they need to turn the occasion into a complete fiasco that will make all parties see how terrible it would be to merge the two schools.

The patsy is Bradley Stoner Frost IV ("Frosty") (Thomas Guiry), the wealthy grandson of a St. Ambrose trustee. The plan is to get Frosty caught in a compromising position in uptight Abby's bed. Problem is, Verena finds herself, of all things, attracted to Frosty, who as it turns out hates St. Ambrose but, because of his grandfather, has been unable to get himself expelled no matter what he tries.

In the meantime, the liquor being surreptitiously served at the dance is having its effect, and with all the boys on campus, Dennis has been smuggled in for Odie. It is their big night, their one chance, and the secret hiding place of the D.A.R. has been turned into a temple of seduction. This being 1963, boys and girls have learned how to be careful, and Dennis has thoughtfully come prepared with a new form of contraception -- for Odie to try to figure out how to use.

Putting the finishing touch on the evening, as the boys stagger in for their recital, Momo and Tinka hand out a "cure" for the boys' drunkenness, and Tweety reacts with horror when she sees that it is her beloved ipecac. Between its graphic effects the empty liquor bottles Verena has planted on the St. Ambrose bus and the discovery of Frosty, the merger between St. Ambrose and Miss Godard's seems most certainly doomed.

Alas, this is not the case. Verena is expelled, of course, and so is Frosty. But the merger will go on as planned, and the announcement is made in the chapel at Miss Godard's on the last day of classes. But the girls make a last stand: in a scene that is prescient to the campus demonstrations that will sweep the nation later in the decade, the girls of Miss Godard's unite and demand a voice in the merger.

ABOUT THE PRODUCTION

"All I Wanna Do," was a natural project for Sarah Kernochan to develop for her debut as a writer/director. Kernochan's background in the arts is as diverse as it is impressive. She co-produced and directed a documentary film, "Marjoe," which won an Academy Award in 1971; authored a musical, "Sleeparound Town," produced at New York's Public Theatre and later at Playwright's Horizons; has written such novels as Dry Hustle and co-wrote Adrian Lyne's controversial film "9 1/2 Weeks." Since then she has been successfully employed as a screenwriter for such acclaimed films as "Dancers," starring Mikhail Baryshnikov; "Impromptu," starring Judy Davis and Hugh Grant; and John Amiel's "Sommersby," starring Richard Gere and Jodie Foster, which she co-wrote. For "Sommersby," Kernochan's specific assignment had been to bring more depth and detail to Jodie Foster's character.

Certainly there are elements of "All I Wanna Do" that echo Kernochan's own young life. A native New Yorker, Kernochan attended Rosemary Hall, a prestigious boarding school for girls, then located in Greenwich, Connecticut. Kernochan graduated from Rosemary Hall in 1965.
Kernochan remembers that time in her life with a great deal of fondness. "There was a particular type of eccentricity and individualism that flourished there," she recalls, "primarily because we were out of male company. A lot of us were very expressive and wacky. What felt unique was that the girls supported each other in a particularly one-for-all, all-for one kind of way. Or as the script says, we 'reached inside and pulled out our colors and waved them as high as we could.' For this reason, boarding school had not been at all what I was expecting. People think that when girls all get together they can be very exclusive, hanging out in little groups or cliques which war with each other. But we tended to promote each other's strengths."

Kernochan remembers that some girls at Rosemary Hall really did think of the place as a prison, though. In fact, one of Kernochan's hobbies at the school was making films with an 8mm camera. One of those films was entitled "Love in a Pink Prison," so called because much of the school's architecture was pink adobe. Another film, called "The December Revolution," imagined the students overthrowing the faculty (as happens in "All I Wanna Do"). These 8mm films, which were written, directed, photographed and edited by Kernochan, were exhibited to the whole school at the end of each year; Kernochan still has them.

In 1969, four years after she graduated, Kernochan learned that Rosemary Hall was to merge with Choate Academy, an all-boys school in Wallingford, Ct. "When I was at Rosemary Hall," says Kernochan, "the idea of a merger with any school was not even in the air." But, like Miss Godard's school in "All I Wanna Do," Rosemary Hall had taken no steps toward expansion. Says Kernochan, "We were pretty upset because it meant we were losing our old campus. What it meant was that we would never be able to go back there and that its individual qualities -- ideas that we treasured -- would be gone forever."

Like Miss Godard in "All I Wanna Do," the founder of Rosemary Hall was known as something of an eccentric with a very strong personality and, says Kernochan, had an influence on how generation of Rosemary Hall students conducted themselves. "Even if they hated being there, the school really did have an impact on everyone who went there. It was a seminal experience. Glenn Close was in my class, and we both started out being quite shy, and we both left the school flaming exhibitionists."

Kernochan had wanted to write a story set in an all-girls school for some time, but it was not until she had written "Impromptu," the acclaimed film based on the life of the great writer George Sand and her romance with the French composer Frederic Chopin, that she was able to put down the ideas that became the script for "All I Wanna Do." "Writing strong female characters -- and George Sand was certainly one of those -- was becoming something that I was known for, and I realized that an all-girls boarding school was the kind of place that was totally populated with strong characters."

"Impromptu," released in 1991 and directed by Kernochan's husband, James Lapine, may have opened Kernochan's mind about the possibility of making her own film, but it would be six years before "All I Wanna Do" got made. The fact is, once she wrote the script, she felt that it was the most personal work that she had ever done, and felt very protective of it. Producers and other film types with whom she had shared the script told her that it would need to be cast with big stars and, more troubling, a leading man would be needed.

Redeemable Features, the New York-based production company headed by Ira Deutchman, Peter Newman and Greg Johnson, came upon "All I Wanna Do" in an interesting way. Deutchman, who had founded Fine Line Features, and Newman, producer of such films as "Smoke," had met several times with James Lapine about directing a project developed by Redeemable. Although it turned out that Lapine would not be available for the film (he was busy with several projects, including the stage version of "The Diary of Anne Frank," which was coming to Broadway that fall), he got a sense of the kinds of films that Redeemable was producing and suggested that the partners look at his wife's screenplay for "All I Wanna Do."

"I loved the screenplay," says Newman, "and couldn't believe it hadn't been optioned by anyone. It took several meetings with Sarah to convince her that we believed in her instincts and that we would work to allow her to keep as much control over the project as she wanted."

Adds Deutchman, "When I read Sarah's script I not only laughed but was very moved. And even though it was a teen comedy on the surface, it had so much to say about women’s issues that it was no wonder that Hollywood would immediately want to change it. We felt that the very things that made it a tough sell, were what made the film original. I desperately wanted to see it get made."

Kernochan admits that part of her "personal mission is to change the landscape of women's roles. If there are good ones they are often too skimpy. Part of that is because men in the industry generally feel that strong female characters are somehow robbing their territory."

The deal to finance "All I Wanna Do" began to come together shortly after the 1997 Sundance Film Festival, during which time the partners at Redeemable Features met with Alliance Films' Andras Hamori. Hamori read the script on the plane back from Sundance to Alliance headquarters in Toronto; the deal was completed by the spring.

Principal photography began on "All I Wanna Do" that summer, after an exhausting casting process. Explains Kernochan, "All I Wanna Do” was difficult to cast because I felt like the actors playing these roles had to strike the right balance with one another. It was important to me that the actors genuinely like one another, that they would be able to help and care for each other the way their characters do in the film, and the way that girls often will do in group situations."

Kernochan chose a wide range of actors with various levels of experience to populate Miss Godards. Gaby Hoffmann and Kirsten Dunst, for example, came to the project with extensive knowledge of film production, having both worked for many years on big Hollywood movies such as "Volcano" (Hoffmann) and "Interview with a Vampire" (Dunst). "Gaby and Kirsten arrived on the set and knew absolutely what they were about, knew every facet of filmmaking. They really floored the crew to the point that they were very relaxed and made everyone around them more relaxed," recalls Kernochan.

Evening out the cast of "All I Wanna Do" is Lynn Redgrave, who plays the pivotal role of Miss McVane, the headmistress of the school. As the character whose job it is to keep the girls, the heroines of the movie, in line, Miss McVane could easily have been written and played as a caricature, like the authority figures in, say, "Animal House." But what we get with Redgrave's portrayal is that of a cultured, educated, and caring figure (with the sculpted tones of a mid-Atlantic accent to match) whose love for her school and compassion for her girls is balanced by a hint of eccentricity. "I thought Lynn Redgrave was God-given," says Kernochan. "We were incredibly lucky to get her and it's as simple as that. She told me that she felt that the film said something important, and that's why she agreed to do it."

Before principal photography began, Kernochan and her young cast spoke a lot about what was going in1963 and about what it was like to be at an all-girls school at that time. "None of my actors had gone to prep school," says Kernochan, "and the attitudes about sex and men's roles and women's roles back then were something really new to them."

Once scene involves Verena (Dunst) arriving late to class, and offering the excuse to her male teacher that she was suffering from cramps. "In rehearsals, I kept asking for a reaction of shock from the other actors and particularly the extras," says Kernochan, "and I just wasn't getting it from them. Finally, it occurred to me that I had to explain that in 1963, menstrual cramps was simply not discussed, ever, and that just by mentioning them in front of a male teacher Verena was really crossing a line."

The would-be love scene between Odie and her boyfriend, Dennis, had to be put into perspective for the young actors, too. In the 50s, boys had been expected to bring "protection," in the form of condoms, to a liaison. But the birth control pill was changing everything, and suddenly it was the girl who was responsible for everything. So in addition to the natural awkwardness of the scene, Kernochan added contraceptive foam -- supplied, with not a lot of foresight or empathy, by Dennis. "It was really a way of illustrating the way that sexual roles were just beginning to shift," she says. "The idea that the girl was supposed to do it was a big change."

Kernochan points out that "Much of what occurs in 'All I Wanna Do' was informed by my experiences at an all-girls school, and the cast often asked me about whether a specific event had occurred in my life. But the fact is, just about everything is made up, and some things came from stories that I've heard over the years."

One character, Mr. Dewey, the lecherous history teacher, was based on a teacher that Kernochan remembers from school. "I didn't learn until the last couple of years that this guy had really been abusing one of my friends. But in 1963, the term sexual harassment had not been invented because the concept didn't exist yet."

In fact, the era captured by "All I Wanna Do" was just ahead of a time of profound change in America, particularly in terms of the roles that women were expected to play in society. The women's movement has not yet dawned, and even the idea of a campus protest -- the way "All I Wanna Do" ends -- "would have been a wholly original idea," says Kernochan. "Much of what I tried to do with the film was to foreshadow the enormous changes the world would be going through as these girls enter it, and to show that they will be a part of implementing that change. In fact, the codas at the end of the film are clues about how these characters would fare in the turbulent decade that was just beginning.”

The most delicate scene to shoot from a production standpoint was during the chorus recital, when the ipecac takes effect and dozens of boys begin to get sick. "When I saw the storyboards for the scene, I started laughing hysterically -- it was to be a very, very funny scene. But I realized how tough it would be precisely because it was so funny." The scene required many extras who all had to be fitted for school uniforms. For the vomit, the production came up with a combination of apple juice and granola thickened with cornstarch. Three cameras were set up to capture what was essentially a disgusting, hilarious but also choreographed chain reaction. But because of the numerous extras on camera, the wardrobe department could only come up with one change of clothes per boy, limiting the chance to get the scene to just two takes. "It was a funny scene, but deadly serious in a way. Any extra who 'lost it' on camera put the whole scene, and the whole production day, in jeopardy." Kernochan ended up firing one extra after the first take; the second went off without a hitch.

"Making this movie was the hardest thing I've ever done but also the most enthralling," Kernochan concludes, "and I was surprised by how much support and freedom I had. After all, how many people get paid good money to construct their own time machine, to go back to high school and not actually have to date anybody?

"My past experiences with filmmaking were frustrating in a sense because I felt helpless to prevent my scripts from being re-worked, when all of my instincts would cry out against it. With 'All I Wanna Do' I was able to shoot the script exactly as I had written it. But what made me particularly happy was that every single girl in the film was delightful, and I think that some lasting friendships were formed along the way."

CAST

Verena Von Stefan KIRSTEN DUNST

Odette Sinclair GABY HOFFMANN

Miss McVane LYNN REDGRAVE

Abby Sawyer RACHAEL LEIGH COOK

"Frosty" Frost THOMAS GUIRY

Snake VINCENT KARTHEISER

Tinka Parker MONICA KEENA

Dennis MATTHEW LAWRENCE

Tweety Goldberg HEATHER MATARAZZO

Momo Haines MERRITT WEVER

Mr. Dewey ROBERT BOCKSTAEL

Miss Phipps BRENDA DEVINE

Page Sawyer ROSEMARY DUNSMORE

Harvey Sawyer NIGEL BENNETT

Mrs. Dewey JENNY PARSONS

Mrs. O'Boyle DOROTHY GORDON

Mr. Armstrong MICHAEL REYNOLDS

Susie CATERINA SCORSONE

Possum MICHAEL BARRY

Skunk ZACHARY BENNETT

Beagle AARON POOLE

Groundhog DANNY SMITH

Conrad Bateman NOAH SHEBIB

Schumacher PAUL NOLAN

Tinka's Date HAYDEN CHRISTIANSEN

Danforth CHRISTOPHER REDMOND

Photographer SHAWN ASHMORE

School Guard JACK DUFFY

Bert Chubb RICHARD McMILLAN

Choirmaster LES PORTER

Mlle. Mercier ANTONIA DI PORTAGO

Tomas NICU BRANZEA

Tinka's Mother BARBARA RADECKI

Odie's Mother PAULA BARRETT

Verena's Father ROBERT BIDAMAN

Tinka's Sister PHOEBE LAPINE

Student Monitor MARGARET E. CHIEFFO

Herald Tribune Girl SIMONE ROSENBERG

Girl at Dance TANIA HARBICK

Trustee RAY DOUCETTE

TV Reporter TINO MONTE

Hockey Mistress GAYLE REDSHAW

Police Captain ROGER DUNN

Mother HOLLY SEDGWICK

Father TREVOR BAIN

Mother VICKIE PAYS

Father MICHAEL KRAMER

Stunt Performers RANDY BUTCHER

ERIN JARVIS

JESSICA MEYER

REAGAN MOORE

BRYAN THOMAS

Loop Group VICTORIA ADILMAN

ELIZABETH BROWN

PAULO COSTANZO

JEFF DAVIS

TRACEY FERENCZ

NEIL FOSTER

COURTNEY HAWKRIGG

MARYKE HENDRIKSE

CHANTELESE KENT

RYAN KENT

FRANK RUFFO

KAT SHTAL

SUGITH VARUGHESE

DAMIEN WHITELY
THE FILMMAKERS
Writer/Director SARAH KERNOCHAN

Producers IRA DEUTCHMAN

PETER NEWMAN

Executive Producers ROBERT LANTOS

ANDRAS HAMORI

NORA EPHRON

Co-Producer CLARA GEORGE

Production Designer JOHN KASARDA

Costume Desigers ANN HOULD-WARD

JULIE GANTON WHITFIELD

Director of Photograpy ANTHONY JANNELLI

Editor PETER FRANK A.C.E.

Casting LAURA ROSENTHAL

ALI FARRELL, Associate

Music by GRAEME REVELL

Music Supervisor SUSAN JACOBS

Additional Music by ANDY PALEY

Production Manager TERRY GOULD

First Assistant Director WALTER GASPAROVIC

Second Assistant Director PENNY CHARTERS

Script Continuity JOANNE TOLLEY-HARWOOD

Camera Operator HARALD ORTENBURGER

Steadicam Operator TIM MERKEL

Toronto Casting NELLEKE PRIVETT

NYC Casting Assistant ANANDA ELLIS

LA Casting EVE BRANDSTEIN

LA Casting Associate SARAH THOMPSON

Associate Producer MELISSA CHESMAN

Production Coordinator HELENE C. VALINSKY

Assistant Production Coordinator EILEEN CUFFE

Production Auditor BRENDA KULVIETIS

Assistant Production Accountant SHERRY EAKIN

Post Production Auditor REBECCA SMITH

Location Manager/Second Unit PM BRIAN CAMPBELL

Location Manager KAREN PEREZ

Assistant Location Manager MICHAEL YANKOVITCH

Location P.A. RANDY MORGAN

Location Scouts SYLVIA OROTH

LISA JENSEN

Set Decorator LIZ CALDERHEAD

Buyer/Leadperson KAREN McCONNELL

Set Dressers ALEXA ANTHONY

KEITH REAUME

Property Master LEE WILDGEN

Props Assistant ANDREW SKEOCH

Contruction Coordinator JAMIE BURKE

Head Carpenter RICK FERNANDEZ

Assistant Head Carpenter JEFF FLINT

Key Scenic Painter JOHN GALBRAITH

Focus Puller KEVAN DUTCHAK

Second Camera Assistants JEREMY TABARROK

DENNIS KIM

Camera Trainees KRISTA TEAGUE

DEANNA CADETTE

Second Unit Photography HARALD ORTENBURGER

HARRY LAKE

Stills Photographers MICHAEL COURTNEY

JOHN MEDLAND

EVA V. GERLITZ

Set Wardrobe Supervisor NATALIE GYSEL

Wardrobe Assistants CHARLENE (CHUCK) SENIUK

SARAH ROSENSWEET

ANNA DAL FARRA

DAVID LAVITT

Key Make-Up Artist MARIE NARDELLA

Key Hair Stylist LUCY ORTON

Assistant Make-up TRISHA KEIGHRAN

Assistant Hair JEAN AYWAZ

RENEE CHAN

Extras Casting RITA BERTUCCI

Stunt Coordinator SHELLEY COOK

Animal Wranglers RICK PARKER

SUE PARKER

Special Effects Coordinator FRANK CARERE

Special Effects Assistant SEAN ARMSTRONG

Sound Recordist BRIAN AVERY

Boom Operator GAVIN COFORD

Gaffer IRA COHEN

Best Boy Electric MARK BERLET

Lamp Operators SHEM ELLIS

CHRISTOPHER TAKACS

MICHEL PAUL

Genny Operator STEVE CROSGREY

Key Grip RICO EMERSON

Best Boy Grip LISA LOGAN

Dolly Grip ROBERT COCHRANE

Company Grips RICHARD GAAL

CHRISTIAN DRENNAN

JOHN MACNEIL

Transportation Coordinator GLEN AVIGDOR

Driver Captain KEVIN PAUL BROWN

Drivers GREG McGRATH

MIKE BOWMAN

PHILIP WALLACE

ANTHONY HOLLIER

DAVE WALKER

DOUGLAS CAMPBELL

RICHARD HOOPER

Third Assistant Director KIRSTEEN McLEAN

Trainee Assistant Director ROBERT WARWICK

Production Assistants LISA FRANTILA

SEAN MORIARITY

MICHELLE BALCERS

Director's Assistant AMANDA ALDEN

Producers'Assistant SHEONA McDONALD

Craft Service REEL FOOD

Set Nurse JOAN HORN

Assistants to the Producers BRAD GROSSMAN

RICK MUNROE

Assistants to Mr. Hamori BELLA YURKOVETSKY

DEANA BOLTON

Alliance Administrative Assistant MILLIE TOM

Redeemable Features Interns SIMON KINBERG

ERIC BERNSTEIN

REBECCA SHEIR

Post Production Supervisor LISA KALUSHNER

Assistant Editor IRENE KASSOW

Supervising Sound Editor JANE TATTERSALL

Sound F/X Editor ROD DEOGRADES

Dialogue Editor MICHELE COOK

Assistant Effects Editor GRANT BONE

Assistant Dialogue Editor PUNAM KHOSLA

ADR Editor SUE CONLEY

ADR Recordists DARCEY KITE

GREG SHIM

Music Editors YURI GORBACHOW

ASHLEY REVELL

Assistant Music Editor CHRIS JANNETTA

Music Editing Facilities AESTHETIC DEVELOPMENTS

Foley Artist JOHN SIEVERT

Assistant Foley JIM EUSTACE

Sound by deluxe

Re-Recording Engineer DAVID APPLEBY

Re-Recording Assistants TIM O'CONNELL

TODD BECKETT

Negative Cutter FRANCONT FILM & VIDEO

Print Editor LEE MICHAEL SEARLES

Assistant Print Editor DAVID TARNAWSKY

Production Legal SLOSS LAW OFFICE,.P.C

JOHN SLOSS, ESQ

LYNN MARCUS, ESQ

PAUL BRENNAN, ESQ

BRENT COX

Soundtrack Legal GEORGE EDWARD REGIS, ESQ

Alliance Pictures Business and Legal Affairs ANDREA WOOD

JENNY HACKER

TMP, Legal Affairs MARK QUAIL

Dolby Stereo Consultant BRADFORD L. HOHLE

Unit Publicists JEREMY WALKER

VK & ASSOCIATES
VIRGINIA KELLY
STEPHANIE KEATING

Catering CAPERS ON LOCATION

SHOOTS CATERING

Insurance AON/RUBEN-WINKLER

Bond Provided by FILM FINANCES, INC

Production Financing Provided by EQUICAP FINANCIAL CORPORATION

Payroll BULLOCH-DISC ENTERTAINMENT
PARTNERS

Video by deluxe

Color by deluxe

Color Timer ALFREDO FRASSON

Customer Service Manager STAN FORD

Filmed on EASTMAN KODAK

Prints by deluxe

Camera Equipment & Lenses PANAVISION CANADA

Grip & Lighting Equipment PANAVISION CANADA

Opticals by FILM EFFECTS INC.

Opening Titles Design by SPIN PRODUCTIONS

Production Services Provided by HAIRY BIRD FILMS, LIMITED PARTNERSHIP

Score Produced by GRAEME REVELL

Additional Music Produced by ANDY PALEY

Music Consultant PETER DELACORTE

Assistant Music Supervisor ERIN FUTTERMAN

Score Recorded at RED ZONE STUDIOS, LA

STUDIO X, SEATTLE

Thanks to TRAFALGAR CASTLE SCHOOL

WHITBY, ONTARIO

SEATTLE GIRLS CHOIR

THE HIT FACTORY, NY

JACK DEUTCHMAN

KAREN HERMELIN

JAMES LAPINE

ALAN WERTHEIMER

JOHN LESHER

GREG JOHNSON

DIANE CONN

CECILIA ROQUE

ONTARIO FILM DEVELOPMENT CORPORATION

TORONTO FILM LIAISON OFFICE

Special Thanks to NEW YORK STAGE & FILM

Extra Special Thanks to CHOATE-ROSEMARY HALL

For Opening Title Sequence Photos
"Death of a Salesman" Courtesy of Arthur Miller

Soundtrack Available on Rhino Records

Performed and Written by Rufus Thomas

Performed by Ben E. King

Performed by the Sensations

Performed by Dee Dee Sharp

Performed By Billy Valentine

Performed and Written by Otis Redding

Performed by Darlene Love

Performed and Written by Solomon Burke

Performed by Darlene Love

Performed and Written by Carla Thomas

Performed by The Essex

Performed by Freddie Scott

Performed by Smokey Robinson & The Miracles

Performed by The Fingernails

With future Redeemable Features partner Greg Johnson, Newman produced Wayne Wang's Berlin and Locarno Film Festival award-winning "Smoke" as well as Wang's "Blue in the Face" and the independent sci-fi comedy "Space Truckers." He most recently produced "Lulu On The Bridge," Paul Auster's directorial debut.

For television, he has shot Jonathan Demme's documentary "Cousin Bobby," the American Playhouse production "Blown Sideways Through Life," the telefilm "The Wright Verdict," the Showtime feature "Thy Neighbor's Wife," the pilot for the series "The Pretender" and an episode of PBS' "Trying Times" (directed by Jonathan Demme) among others.

Revell went on to compose exotic, experimental scores for "Body of Evidence" and "Strange Days." He also provided some of the dark menace behind "The Hand That Rocks The Cradle" and teamed with Japan's Kodo drummers for John Woo's "Hard Target." He continues to travel the globe and experiment with the latest in computerized music; his scores for "No Escape" and "Until The End of the World" mix symphony orchestras with voices from pygmy and Papua-New Guinea tribesmen, while "The Craft" and "Spawn" meld high-tech synthesizers and samplers. He also mixed ethnic and industrial rock for "The Crow," writing the haunting theme "It Can't Rain All The Time" with Jane Siberry.

Alliance Communications

Alliance Communications is a worldwide supplier of filmed entertainment with credits that include Atom Egoyan's "The Sweet Hereafter," winner of the Cannes Film Festival 1996 Grand Jury Prize, Patricia Rozema's "When Night Is Falling," Egoyan's "Exotica" which won the Cannes International Critic's Prize, Jean Claude Lauzon's "Leolo" and Bruce Beresford's "Black Robe." The company is headquartered in Toronto, with offices in Montreal, Vancouver, Los Angeles, Paris, London and Shannon.

Girls Boarding School Glossary circa 1963