Flicka

A rancher's daughter (Alison Lohman) tames a mustang. Running Time: 95 minutes PG Parental Guidance Suggested

Adventure, Drama

Synopsis
A teenager (Alison Lohman) in modern-day Wyoming tames a mustang and dreams of, one day, running her father's (Tim McGraw) ranch.

Cast: Alison Lohman, Tim McGraw, Maria Bello, Ryan Kwanten, Dallas Roberts, Nick Searcy, Daniel Pino, Kaylee DeFer, Jeffrey Nordling, Dey Young, John O'Brien, Wade Williams

Producer(s): 20th Century Fox, Fox 2000 Pictures

Crew: Director - Michael Mayer, Writer - Mark Rosenthal, Writer - Lawrence Konner, Producer - Gil Netter, Executive Producer - Erin Lindsey, Composer - Aaron Zigman, Executive Producer - Rodney Ferrell, Cinematographer - J. Muro, Film Editor - Andrew Marcus, Casting - Jim Carnahan, Casting - Mindy Marin, Production Design - Sharon Seymour, Art Direction - Peter Borck, Set Decoration - Maggie Martin, Costume Designer - Molly Maginnis


Distributor: 20th Cent. Fox

Release Date: 10/20/2006
Running Time: 95 minutes
OFFICIAL SITE

PG	Parental Guidance Suggested

Production Notes: - Notes provided by 20th Century Fox. -



In FLICKA, a contemporary motion picture adaptation of Mary O'Hara's beloved novel My Friend Flicka, 16-year-old Katy McLaughlin (Alison Lohman) dreams of fulfilling her family legacy by working on her father's ranch in modern-day Wyoming. But Katy's father (Tim McGraw) wants more for her, insisting that Katy go to college. Katy finds a wild mustang, which she names Flicka, and sets out to make her a riding horse. But Flicka and Katy are more alike than she could have imagined. Like Katy, Flicka has a disdain for authority and is not about to give up her freedom without a fight.

The principal character in the book and in its two motion picture incarnations was an adolescent boy. But this new version tells the story through the eyes of headstrong Katy McLaughlin. Katy is enrolled in a private school on the outskirts of Laramie, Wyoming, but her heart is with her sprawling family ranch in the state's remote mountain region. Katy returns home to the ranch, and soon becomes enamored of a wild mustang filly she finds in the mountain woods. She names the long-legged, ebony horse Flicka, or "beautiful young girl," in Swedish

But Katy's rancher father, the equally-willful Rob, sees nothing but trouble coming from the untamed animal and discourages his daughter from keeping her. Nonetheless, conflicted by a need to harness her own wild ways yet stay true to a free spirit within, Katy sets out to break through to Flicka and transform her into a riding horse.

Despite her father's disapproval, Katy goes on and forms an unbreakable bond with the wild horse. Her relationship with Flicka becomes a catalyst for change for the entire McLaughlin family, which is at a major crossroads: Katy's dad is considering selling the ailing ranch, brother Howard (RYAN KWANTEN) wants to leave Wyoming for college in Boston, and her mother Nell (MARIA BELLO) is fighting to keep her family from falling apart.

Can Katy ultimately tame her beloved Flicka and prove everyone wrong about the wild-hearted mustang? Will Rob find a way to support his daughter yet still keep her safe through this momentous life passage? And can the McLaughlins hold onto the ranch that they've worked so hard to maintain throughout a sea of social and economic change?



The journey back to the big screen for the enduring story of "My Friend Flicka" began with a new script by veteran screenwriters Mark Rosenthal & Lawrence Konner, who have collaborated in the past on such hit films as The Jewel of the Nile and Planet of the Apes.

Recalls Rosenthal, "When [Fox 2000 President] Elizabeth Gabler approached us about adapting `Flicka,' we went straight back to the novel and decided to maintain its tone, which was deeply felt, but somewhat dark." Rosenthal continues: "We found its themes even more significant today, as the American West, particularly Wyoming, has become a playground of second homes for the new super-wealthy.

"The story of an average, hard-working family eking out a living on the land and raising horses seemed to take on a whole new relevance in light of our country's current economic climate," Rosenthal elaborates.

It was Gabler who came up with the idea to make the story fresh and contemporary by turning the book's main character, a teenage boy named Ken, into "Katy." It was a brainstorm that challenged and inspired the writers. Says Rosenthal: "This new twist gave Rob, the father, an exciting dilemma: What if the child that really understood the land and the ranch was the daughter, and not the son? This coupled with her headstrong personality and sometimes irresponsible ways generated a new way to look at the material."

"Things pretty much flowed from the one central new idea," explains Konner, "allowing us to create a father-daughter story where both characters had to learn something about themselves and each other. Each one had to re-examine their role within a revised family dynamic."

The next step was attaching a director to the project, and the script was sent to Michael Mayer, who'd just directed his first feature, the well-received relationship drama A Home at the End of the World. Though Mayer, an acclaimed and highly successful Broadway theatre director, had no direct experience with horses or shooting action scenes, his grasp of storytelling and portraying human emotion made him an ideal candidate for the character-based FLICKA.

"I thought it was a really beautiful, universal story about the coming-to-terms of a father and daughter," says Mayer. "It just so happens that a wild mustang is at the fulcrum of their relationship.

"What moved me most is how hard the family tries to make it all work. Everyone has the best intentions; there are no villains other than the vagaries of time and circumstance."

With a completed script and a director on board, the cast for Flicka was then assembled. To play the pivotal role of determined young horse enthusiast Katy, the filmmakers zeroed in on the versatile Alison Lohman, who had impressed critics and audiences in such diverse films as White Oleander, Matchstick Men and Big Fish.

"Alison's a great actress," states the director. "Her performances have been amazingly soulful and truthful, with a depth that belies her years. I knew she could bring to Katy the exact combination of intelligence and emotional volatility."

"I was instantly drawn to the character of Katy," confirms Lohman. "I loved the fact that she's not afraid to be opinionated. Even though she's young, she stands her ground and knows what she wants. At the same time she's also very soft and girly. I really liked that contradiction in her."

The filmmakers then turned to music superstar -- and rising actor -- Tim McGraw to play Katy's intractable, but deeply loving father, Rob. McGraw, who made an impressive acting debut in 2004's hit football drama Friday Night Lights, welcomed the opportunity to play a more likable character. "Rob has his tougher moments, but he's a good guy and solid family man," says McGraw. "It was a great opportunity to do a movie that my kids -- and kids for generations to come -- could see and enjoy."

Family was also on McGraw's mind when he produced the film's soundtrack and wrote the original song "My Little Girl" with Tom Douglas, which McGraw performs as well. "The song has special meaning to me both for the film and being a father of three daughters," says McGraw

For Maria Bello, who was cast as Katy's strong and centered mother Nell, FLICKA was a departure from her edgier film credits like Permanent Midnight, The Cooler and A History of Violence. "I don't tend to be attracted to what could be considered `lighter' material," notes Bello, "but when I heard Michael Mayer was directing I realized I should pay attention. When I read the script, with its beautifully written relationships, I knew exactly why Michael was involved, and I knew I had to be too." Up-and-coming Australian actor Ryan Kwanten was next cast as Katy's college-bound brother Howard. Dallas Roberts, who starred in the director's A Home at the End of the World, was brought on as the McLaughlins' reserved, long-time ranch hand Gus. Danny Pino was then selected to play the ranch's other hand, the cocky heartthrob, Jack. Kaylee DeFer portrays Howard's wealthy, horse-loving girlfriend Miranda.

Before filming began, the director and his cast had to become as familiar and fluid as possible with handling horses. Since, aside from Tim McGraw, the group had little or no experience with the animals, a "Cowboy Camp" was created where they were able to train with the film's wranglers and learn everything they could about horses in a few short weeks.

The camp, led by head wrangler Rusty Hendrickson, introduced the actors to the horses they'd be riding, and established an overall comfort level with the animals. "Whether it was teaching them how to twirl a rope, get on and off a horse properly, or any other related nuance, the goal was to make sure the actors would be able to sell it on film," explains Hendrickson. Though everyone's aptitude around horses was different, the wrangler maintains "sometimes it's easier to teach someone who's sponging in the information, than someone who already knows everything. They just hear more."

As the actor who'd be spending the most screen time on or around horses, Alison Lohman had the most to learn. "You can't act like you can ride -- you can either ride or you can't," asserts Hendrickson. "So the first piece of business was getting Alison in the saddle. We had to bring her along fairly quickly, but we were all surprised and impressed with how well she did."

Says Lohman: "With riding a horse, I think it's just a matter of doing it, of just practicing and being with the horses, touching them, spending time with them. It was daunting and painful at first, but after weeks of training, it eventually started coming together. I was really proud of what I was able to accomplish in a relatively short time."

Lohman wanted to connect with the horses emotionally. Recalls Hendrickson, "Alison wanted to know what a horse needs and what she should expect in return. She was as hard-working about the relationship as she was with the riding."

Maria Bello, who also had little experience with horses, approached her training from a different perspective. "I'd always been attracted to horses, but also sort of afraid of them," she admits. "But after about my third lesson on Belle, the paint mare I ride, I suddenly understood what it meant to find your seat, to become one with the animal. It started to become a very Zen experience for me, this balance of control and surrender, which I look for often in my real daily life."

It was a crash course for director Mayer as well, who spent a lot of time preparing with Rusty Hendrickson as well as with the second unit director. "We talked about what horses can really do and what they can't do," remembers Mayer. "One of the funniest moments was when I asked if we couldn't make one of the horses `just look' at Flicka. The answer was `Michael, it's a horse, not an actor.' I quickly learned that horses aren't performers, but rather really beautiful, intuitive animals. The last thing they were going to care about is where I want them to look when I yell `action!'"

Tim McGraw, on the other hand, grew up riding horses in his native Louisiana, but curtailed his riding once he moved to Nashville to pursue a music career. "It all came back to me once I started working with the wranglers," affirms McGraw, "but I definitely had a lot of technical questions."

McGraw was anxious to try new things, especially when it came to roping. To that end, the wranglers set up a dummy they pulled behind an all terrain vehicle for McGraw to chase and rope -- on horseback. "I loved it," enthuses McGraw. "I haven't done any roping since I was a kid, and I could have practiced it all day long." From a practical point of view, it also helped improve his riding skills. Notes head wrangler Hendrickson: "Roping gives you a specific goal and takes away some of the mental focus that can inhibit the actual riding."

Strained backs and sore behinds aside, the actors all developed a great love and respect for the majestic animals. Says Tim McGraw: "When you're around them, you are in awe of their power, their sensitivity, and just how athletic they are. It's impossible not to form an incredible bond with them."

"I think horses are the prototype for what is beautiful and free," adds Alison Lohman. "When you are riding one, the connection is just so visceral and amazing."

The horses needed training, too. Hendrickson worked with ten other wranglers, thirty head of ranch horses, ten additional cast horses, plus six different "Flickas" to prepare the animals for filming. According to Hendrickson, one of the hardest "movie tricks" to teach a horse is to hit their marks, especially without a rider. "It takes a lot of practice. You literally have to put their mark out on the ground and lead them to it over and over, until they finally get it," he says. "Once they do, they'll hit that mark each time -- at liberty, of course."

The wranglers were also involved in choosing the various horses that would alternate in the title role. They met with the filmmakers and, after agreeing on the exact color and description of Flicka, created a team of Flicka's. "Before prep we didn't know which horse would be good at what, but we knew all of the things we were going to try and attempt with them," relates Hendrickson. "You just hope the horse that ultimately looks best in close-up is also as skilled and athletic as the others, and in this case, it worked out."

Thanks to the extensive preparation, the actors and the horses worked together in perfect concert. There were, however, a few surprises along the way, including how "ready for their close-ups" the horses could actually be. Recalls Danny Pino, who plays Jack: "The horses we had on set were seasoned veterans. They'd be calm and very cool; then they'd hear `rolling' and their ears would kinda prick up. Then they'd hear `speed' and they'd start to get a little antsy. By the time Michael would yell `action,' they'd be looking for their mark.

Adds director Mayer: "I eventually started to say `go' around the horses instead of `action.' And very quietly at that."

To effectively shoot the most film's most demanding set piece, a wild mustang race, Mayer knew the animals would have to be given very specific parameters. "The horses can be trained to go from, say, `A to B,' explains the director, "so it became about constructing a whole series of `A to B's' for them and basically building the stampede on film."

"It's kind of like pouring water on the ground and estimating which way it's going to run," remarks Hendrickson. "You create a sanctuary for the horses, a place where they have food and water and no pressure, and they get to like that place. Then you take them away from this sanctuary and just let them go. Of course, they'll want to go back there -- and that's what you end up filming."

Though FLICKA is set in Wyoming, much of the movie was shot in the Los Angeles area, which also has its share of imposing mountains and pristine vistas. Says Muro: "We had to work around the city's modern exteriors and look for the natural beauty that often goes unseen in contemporary Los Angeles. When you watch the film, it's amazing to realize so many of these gorgeous, striking images were actually shot in L.A.

"We also wanted to challenge ourselves on the `reality vibe' of this project. We wanted to avoid the typical, overlit `family look,' which was ultimately consistent with film's slighty darker, more unique approach to its classical subject matter."

The filming of a scene depicting Katy's dawn ride at the ranch was another tough assignment. "It was a hard scene to coordinate and compose," states Muro. "It took a lot of extra planning and scheduling to pull off properly. Some of Katy's horse ride to her mountain ridge home was shot in L.A., while other parts were filmed on location in Wyoming. The two locales meant shooting out of sequence. As we ended up filming day for night, as well as during actual dusk, we had to continually adjust our exposure to end up with uniform light and color throughout the entire scene. It was tricky, but it worked.

"I want audiences to feel so inspired by the beauty of this sequence," adds Muro. "That they'll want to go home, jump on a horse, and take the same kind of fantastic ride that Katy does."

Lohman has her own hope for the audience -- that the film will bring them back to nature and remind everyone that the country's wide-open spaces needs to be preserved and honored. "It can't all be tract homes and malls," the actress declares. "We need to have some land left."

"Each character in the film is kind of a paradigm of American individualism, each pursuing their own version of the American dream," says director Mayer. "There's something in the picture that speaks to all of us, because we know that you don't get something for nothing in this land--the one that we created here.

"None of our characters go without making a really intense personal sacrifice, in one way or another. Yet, in the process, they all end up honoring each other as well, which I think is really beautiful."



ABOUT THE CAST

ALISON LOHMAN (Katy McLaughlin) first gained widespread attention for her acclaimed performance as Astrid, a teenager bounced around the foster care system in White Oleander, in which she starred opposite Michelle Pfeiffer, Renée Zellweger and Robin Wright-Penn.

Lohman started acting in professional theater when she was nine years old and, by the time she was a high school senior, was honored with a National Foundation for the Advancement of the Arts award. Lohman was later offered a scholarship to New York University for Theater, but decided to move to Los Angeles instead to pursue a film and television career.

The actress's early acting credits include such features as The Thirteenth Floor, The Auteur Theory, and The Million Dollar Kid, as well as the telefilm Sharing the Secret. She appeared on the television shows "Pacific Blue," "Seventh Heaven" and "Safe Harbor."

Lohman was seen in Ridley Scott's Matchstick Men, opposite Nicholas Cage; Tim Burton's Big Fish, with Ewan McGregor; and Atom Agoyan's Where the Truth Lies, in which she co-starred with Kevin Bacon and Colin Firth. She also starred in Fox TV's drama series Pasadena.

The actress will soon be seen with Robin Williams and Holly Hunter in the dark comedy The Big White, and will be "heard" in Robert Zemeckis's animated fantasy-adventure Beowulf.



TIM McGRAW (Rob McLaughlin) has earned a place in the front ranks of American entertainment, regardless of medium. In his musical journey he has sold over 33 million albums, 4 million singles and placed 26 singles at #1. His enduring status as one of country music's most popular and respected live performers has seen his concert tours consistently rank at #1 in country music and top-five in all genres.

He has established a noteworthy presence in movies, with his well-received debut in Friday Night Lights opposite Billy Bob Thornton; in television, where he has had three highly rated NBC specials; and in pop music, his duet with rapper Nelly stayed atop the charts for no fewer than thirteen weeks. It is an impressive body of work, one that has made him one of America's most important and popular performers across the board. His standing among the entertainment public as a whole is exemplified by his scores of awards and nominations including three Grammys, eleven Academy of Country Music Awards, nine Country Music Association Awards, eight American Music Awards, three People's Choice Awards, and much more.

He remains one of the music world's hottest draws, and this year's Soul 2 Soul II Tour 2006 found him reunited with wife Faith Hill for a repeat of the 2000 tour that drew critical accolades and broke box office records across America. Anticipation for a follow-up was widespread and upon conclusion, the 55 city tour is now history-making as the highest grossing tour in country music history surpassing Madonna as the top touring American artist this year.

Through all his success, McGraw's eyes have always been focused squarely on the music. He has taken full control of his most recent projects, recording with his touring band, putting his artistic stamp more solidly than ever on the material he chooses to record. The success of that approach is highly evident with his tenth project, Tim McGraw Reflected: Hits Vol 2, his second collection of greatest hits, which is currently certified platinum becoming McGraw's 9th album to consecutively debut at #1 on the albums chart.

For FLICKA, McGraw again forged new career firsts, releasing a song co-written specifically for the movie on his newly established record label, StyleSonic Records. "This is the first song I've ever written for a movie," McGraw explains, "and the first song I've ever written that I've recorded for one of my records. Tom (Douglas) came to the set and we spent time talking about the father-daughter relationship in the movie." Executive Produced by McGraw, the Motion Picture Soundtrack for FLICKA includes `"My Little Girl" co-written with Tom Douglas and performed by McGraw as the end title song to the movie.



MARIA BELLO (Nell McLaughlin) has become one of Hollywood's busiest and most respected actresses after impressing critics and audiences alike in such films as Permanent Midnight, Auto Focus, The Cooler, Secret Window, and David Cronenberg's A History of Violence. For The Cooler, Bello received 2003 Golden Globe and Screen Actors Guild Award nominations for Best Supporting Actress.

Bello's other feature credits include Payback, Sam the Man, Coyote Ugly, Duets, China: the Panda Adventure, 100 Mile Rule, Nobody's Perfect, John Sayles' Silver City, the 2005 remake of Assault on Precinct 13, The Sisters, and The Dark. Most recently, she appeared in the acclaimed satire from Fox Searchlight Pictures, Thank You For Smoking, co-starring with Aaron Eckhart, William H. Macy, and Robert Duvall.

On television, the actress starred for a season as headstrong pediatrician Dr. Anna Del Amico on the NBC hit E.R., for which she won a Screen Actors Guild Award. She also starred opposite Scott Bakula in the CBS spy series Mr. & Mrs. Smith. Other TV credits include episodes of such shows as Misery Loves Company, Nowhere Man, The Commish, and Due South.

Bello stars opposite Nicolas Cage in Oliver Stone's World Trade Center.



RYAN KWANTEN (Howard McLaughlin) first acted in his native Australia on such TV series as A Country Practice, Echo Point, and Water Rats; the miniseries Spellbinder: Land of the Dragon Lord; and in the feature Liquid Bridge.

He then began working in the U.S. and was seen in the ESPN movie The Junction Boys and in episodes of such series as The Handler and Tru Calling. Kwanten went on to have a regular role on Aaron Spelling's WB drama series Summerland, and, more recently, starred in the indie feature America Brown. He will next be seen in Universal's Silence, a thriller from the creators of the horror hit Saw.



ABOUT THE FILMMAKERS.

MICHAEL MAYER (Director) made his feature film directorial debut on 2004's A Home at the End of the World, written by Michael Cunningham, and starring Colin Farrell, Robin Wright Penn, Dallas Roberts, and Sissy Spacek.

One of the most successful theatre directors working today, Mayer has an impressive list of Broadway credits including Thoroughly Modern Millie (Drama Desk Award, "Best Director of a Musical"); An Almost Holy Picture; Uncle Vanya; You're a Good Man, Charlie Brown; The Lion in Winter; Side Man (also in London and Washington, DC); A View from the Bridge (Tony Award, "Best Revival"); and Triumph of Love.

Mayer's Off-Broadway work includes The Credeaux Canvas, Stupid Kids, Baby Anger, Antigone in New York, and View of the Dome. In addition, he directed regional productions of An Almost Holy Picture (La Jolla, California; Princeton, New Jersey), Thoroughly Modern Millie (La Jolla, CA), and the national tour of Angels in America. Mayer is also the Resident Director of Manhattan's Roundabout Theatre.



MARK ROSENTHAL & LAWRENCE KONNER (Screenwriters) have been screenwriting partners for over 20 years. Their many produced feature credits begin with 1985's The Jewel of the Nile and The Legend of Billie Jean, and are followed by such films as Superman IV: The Quest For Peace, The In Crowd, The Desperate Hours, Star Trek VI: The Undiscovered Country, The Beverly Hillbillies, For Love or Money, Mercury Rising, Mighty Joe Young, the 2001 Planet of the Apes remake, and Mona Lisa Smile. They also wrote the telefilm Sometimes They Come Back, based on the Stephen King novel.

Most recently, Rosenthal and Konner collaborated on the upcoming fantasy-adventure Eragon for Twentieth Century Fox.



GIL NETTER (Producer) has also produced the features A Walk in the Clouds, High School High, BASEketball, Dude, Where's My Car? Phone Booth, My Boss's Daughter and, more recently, the Farrelly Brothers comedy Fever Pitch.

Netter served as executive producer on the films The Naked Gun 2 1/2: The Smell of Fear, My Life, The Naked Gun 33 1/3: The Final Insult, First Knight, My Best Friend's Wedding and Unconditional Love.

Upcoming producing projects include the satire The Untitled Onion Movie, the gambling drama Chasing the Whale, and the coming-of-age comedy 8 Track.



J. MICHAEL MURO (Director of Photography) is a longtime camera operator who earned his first director of photography credit on the Kevin Costner western Open Range. He went on to shoot Crash for writer/director Paul Haggis, followed by the musical Roll Bounce.

During Muro's career as a camera operator, he worked on dozens of major feature films including Field of Dreams, The Abyss, Dances With Wolves, The Doors, Terminator 2: Judgment Day, JFK, A Few Good Men, Falling Down, True Lies, Clueless, Casino, Father of the Bride II, Heat, L.A. Confidential, Titanic, Runaway Bride, The Insider, Any Given Sunday, The Family Man, The Fast and the Furious, Rush Hour 2, Red Dragon and X2.

Most recently, Muro served as director of second unit photography on Disney's The Shaggy Dog remake and director Michael Mann's feature version of Miami Vice.



SHARON SEYMOUR (Production Designer) most recently designed the movie Friday Night Lights. Previous production designer credits include the features Reality Bites, Don Juan DeMarco, The Truth About Cats & Dogs, The Cable Guy, Molly, Duets, Novocaine, 40 Days and 40 Nights, The Rules of Attraction, and Bad Santa. For television, she designed Fox's The Ben Stiller Show.

Seymour began her film career as a props assistant on George Romero's Creepshow before graduating to art director on such films as Stacking, Johnny Be Good, In a Shallow Grave, Heart of Dixie, and Pacific Heights.



ANDREW MARCUS (Editor) has an impressive list of feature film editing credits including Howards End, Peter's Friends, Much Ado About Nothing, The Remains of the Day, Frankenstein (1994), Jefferson In Paris, Surviving Picasso, American Psycho, Hedwig and the Angry Inch, Divine Secrets of the Ya-Ya Sisterhood, Under the Tuscan Sun, A Home At the End of the World and Everything Is Illuminated.

Marcus also served as associate editor or co-editor on such films as Dirty Dancing, Maurice, Slaves of New York, Longtime Companion, and Mr. & Mrs. Bridge.

In addition, he worked as second unit director on Much Ado About Nothing, Frankenstein, American Psycho and Hedwig and the Angry Inch.



KEVIN HALLORAN (Co-Producer) served as line producer on the feature comedy Breaking All The Rules, and was co-producer on You Got Served and, more recently, The Untitled Onion Movie.

Previously, Halloran worked as production manager on such films as The Minus Man, Two Can Play That Game, Shallow Hal, and The House of Sand and Fog.

He began his film career as a location manager on dozens of movies including Powwow Highway, Almost An Angel, Red Rock West, A Dangerous Woman, City Slickers II: The Legend of Curly's Gold, Wagons East, The Baby-sitters Club, Ed, Waiting For Guffman, She's So Lovely, BASEketball, and Joy Ride.

Halloran was location manager on the telefilms Supercarrier, Our Sons, Woman With a Past, Barbarians at the Gate, Attack of the 50 Ft. Woman, Escape to Witch Mountain, Freaky Friday and Always Outnumbered, and on such series as Arresting Behavior, Bakersfield, P.D. and Arli$$.







AARON ZIGMAN (Composer) has composed the scores for such feature films as John Q, The Notebook, Raise Your Voice, The Virgin of Juarez, The Wendell Baker Story, Alpha Dog, and the upcoming 10th & Wolf, as well as for the Showtime movie Crown Heights.



MOLLY MAGINNIS (Costume Designer) has spent the last 20 years designing costumes for movies and television. Her many feature credits include Lucas, Broadcast News, Miss Firecracker, Look Who's Talking, Dad, Come See the Paradise, Look Who's Talking Too, Sister Act, Boiling Point, Son In Law, Look Who's Talking Now, The War, Eddie, As Good As It Gets, Mighty Joe Young, Deuce Bigelow: Male Gigolo, Town & Country, Life As a House, and In Good Company.

For television, Maginnis served as costume designer on the PBS miniseries Tales of the City, the Showtime film The Twilight of the Golds, and the series The Lyon's Den and Jack & Bobby.

Her costumes were recently seen in the feature remake of The Shaggy Dog and in Paul Weitz's satire American Dreamz.