PRODUCTION NOTES

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Running Time: 100 minutes
Rating: PG-13

THE ARTIST PRODUCTION NOTES

Front Credits page 2

Synopsis page 3
About the Production page 5
Cast Biographies page 19
Crew Biographies page 27
End credits page 32

CREDITS
FILMMAKERS
Written and Directed by MICHEL HAZANAVICIUS
Produced by THOMAS LANGMANN
Executive Producers DANIEL DELUME
ANTOINE De CAZOTTE
RICHARD MIDDLETON
BOB WEINSTEIN
HARVEY WEINSTEIN
Director of Photography GUILLAUME SCHIFFMAN, AFC
Production Designer LAURENCE BENNETT
Film Editors MICHEL HAZANAVICIUS
ANNE-SOPHIE BION
Costume Designer MARK BRIDGES
Original Music LUDOVIC BOURCE
Casting HEIDI LEVITT, C.S.A
CAST
George Valentin JEAN DUJARDIN
Peppy Miller BERENICE BEJO
Clifton JAMES CROMWELL
Doris PENELOPE ANN MILLER
The Butler MALCOLM McDOWELL
Constance MISSI PYLE
Peppys Maid BETH GRANT
Peppys Butler ED LAUTER
Policeman JOEL MURRAY
Pawnbroker KEN DAVITAN
The Dog UGGIE
AND
Al Zimmer JOHN GOODMAN

SYNOPSIS

Winner of the prize for Best Actor at the 2011 Cannes Film Festival, Michel
Hazanaviciuss THE ARTIST is a heartfelt and entertaining valentine to classic American cinema.
Set during the twilight of Hollywoods silent era and shot on location in Los Angeles, THE ARTIST
tells the story of a charismatic movie star unhappily confronting the new world of talking
pictures. Mixing comedy, romance and melodrama, THE ARTIST is itself an example of the form
it celebrates: a black-and-white silent film that relies on images, actors and music to weave its
singular spell.
Hollywood, 1927. George Valentin (Jean Dujardin) is one of Hollywoods reigning silent
screen idols, instantly recognizable with his slim moustache and signature white tie and tails.
Starring in exotic tales of intrigue and derring-do, the actor has turned out hit after hit for
Kinograph, the studio run by cigar-chomping mogul Al Zimmer (John Goodman). His success
has brought him an elegant mansion and an equally elegant wife, Doris (Penelope Ann Miller).
Chauffeured to the studio each day by his devoted driver Clifton (James Cromwell), George is
greeted by his own smiling image, emblazoned on the posters prominently placed throughout
the Kinograph lot. As he happily mugs for rapturous fans and reporters at his latest film
premiere, George is a man indistinguishable from his persona -- and a star secure in his future.
For young dancer Peppy Miller (Brnice Bejo), the future will be what she makes of it.
Vivacious and good-humored, with an incandescent smile and a flappers ease of movement,
Peppy first crosses Georges path at his film premiere and then as an extra on his latest film at
Kinograph. As they film a brief dance sequence, the leading man and the newcomer fall into a
natural rhythm, the machinery of moviemaking fading into the background. But the day must
finally end, sending the matinee idol and the eager hopeful back to their respective places on
the Hollywood ladder.
And Hollywood itself will soon fall under sway of a captivating new starlet: talking
pictures. George wants no part of the new technology, scorning the talkie as a vulgar fad
destined for the dustbin. By 1929, Kinograph is preparing to cease all silent film production and

George faces a choice: embrace sound, like the rising young star Peppy Miller; or risk a slide
into obscurity.
The Weinstein Company presents THE ARTIST, written and directed by Michel
Hazanavicius and produced by Thomas Langmann. Starring Jean Dujardin, Brnice Bejo, John
Goodman, James Cromwell, Penelope Ann Miller, Malcolm McDowell, Missi Pyle, Beth Grant,
Ed Lauter, Joel Murray, and Ken Davitan. With Uggie as The Dog.

ABOUT THE PRODUCTION

BEGINNINGS
A celebration of Hollywood moviemaking at its most magical, THE ARTIST represents
the fulfillment of a long-held dream for writer/director Michel Hazanavicius. From the
beginning of my career, I fantasized about making a silent film, he says. I call it a fantasy
because whenever I mentioned it, Id only get an amused reaction - no one took this
seriously.
But Hazanavicius was entirely serious. The legendary filmmakers he most admired had
begun their careers in silent cinema: Alfred Hitchcock, Fritz Lang, John Ford, Ernst Lubitsch,
F.W. Murnau, and, in his early years as a screenwriter, Billy Wilder. Mainly, though, he was
drawn to the format for creative reasons. As a director, a silent film makes you face your
responsibilities, he remarks. Everything is in the image, in the organization of the signals
youre sending to the audience. And its an emotional cinema, its sensorial; the fact that
there is no text brings you back to a basic way of telling a story that only works on the
feelings you have created. I thought it would be a magnificent challenge and that if I could
manage it, it would be very rewarding.
In 2006, Hazanavicius scored a critical and commercial success with his second
theatrical feature, the buoyant spy spoof OSS 117 - CAIRO, NEST OF SPIES, starring Jean
Dujardin and Brnice Bejo. A sequel, OSS 117 - LOST IN RIO, followed in 2009, cementing
Hazanaviciuss reputation as a maker of artful and crowd-pleasing entertainment. Set in the
late 50s and early 60s, respectively, the films had given Hazanavicius a solid grounding in the
logistics of period storytelling and cinematic tribute. With those back-to-back hits under his
belt, the filmmaker decided to pursue his silent movie for his next project. His quest for a
producer eventually led him to Thomas Langmann, whose credits include the award-winning
MESRINE gangster films and whose father was the Oscar-winning filmmaker Claude Berri.
Langmann immediately understood what Hazanavicius wanted to do and why. Thomas is a
producer like no other, asserts Hazanavicius. Not only did he take what I said seriously, I
saw in his eyes that he believed in it. It was no longer a fantasy but a project. I could start
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working.
Says Langmann, Michel had such passion and understanding for the genre, and it was
clear he had the creativity and drive to make a silent movie that would be vibrant, beautiful and
relevant to the 21st Century. The whole idea was so daring, so enthralling, I didnt hesitate to
pledge my support to Michel.
As he began mulling story ideas, Hazanavicius remembered an anecdote hed heard from a
family friend, screenwriter and playwright named Jean-Claude Grumberg. One day, Grumberg
pitched a producer an idea about a silent movie actor ruined by the arrival of talkies. The
producer had replied: Thats wonderful, but the 20s -- thats too expensive. Couldnt it be set
in the 50s? Hazanavicius recalls. Thats how this idea of a film set in the Hollywood of the
late 20s and early 30s, in black and white, was formed. I dont make films to reproduce
reality. What I love is to create a show and for people to enjoy it and be aware thats what it is,
a show. In any case, you cant remake films exactly the way they were made 90 years ago.
Audiences have been exposed to so much; they are sharper, quicker and a lot smarter. Its
exciting to stimulate them.
He continues, My starting point was a silent movie actor who doesnt want to hear
anything about the talkies. I circled around this character, and then I got the idea of this young
starlet and crossed destinies. Everything fell into place, including the themes -- pride, fame,
vanity, love.
Having never written a silent film, Hazanavicius immersed himself in the genre to gain
an understanding of what did and didnt work. At the very beginning I watched movies from
all over: America, Germany, Russia, France, England. I observed that as soon as the story starts
to grow unclear too many new developments, too many characters -- you lose interest, he
says. Very soon I focused on the last four or five years of the silent era, especially in America. I
think those were the best movies, and also the ones that aged best. The way the stories are
told in American silents isnt so different than the way the stories are told today.
Along with watching films, the director read cinema histories as well as memoirs and
biographies of silent era directors, producers and stars. He looked at photographs and other
archival materials and listened to music of the period. He drew inspiration from the work and
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lives of such stars as Douglas Fairbanks, Joan Crawford, Gloria Swanson, John Gilbert and Greta
Garbo. Research is very important, he comments. Not so much to be strictly realistic thats
not what Im after -- but as a springboard for the imagination. The research fed the story, the
context, the characters. The more research you have done, the more you can play with it all.
Unfolding during a four year period, 1927-1931, THE ARTIST introduces its titular
character, the action-adventure hero George Valentin, at the peak of his popularity. Fans flock
to see George in films tailored to his dashing persona: exotic tales in which he triumphs over
evil with wit, panache and the aid of his devoted sidekick, a Jack Russell terrier with impeccable
timing. When sound arrives, George resists the upstart format (as did Chaplin, among others).
He stakes his career on his belief that the talkies will remain a novelty, and sets out to prove
that he can succeed on his own terms, as an artist of the silent cinema.
Though THE ARTIST is set over 80 years ago, Georges circumstances and the powerful
emotions attached are as current as ever. Says Hazanavicius, To me, its interesting to think
of Georges story in terms of a human being in a transition period. The world is always moving,
and you might be looking in another direction. One day, the world says to you, youre part of
the past. It can happen in your own office, in your factory, in your relationship. Its a feeling
any person can understand.
But before he begins his descent from Hollywood heights, George meets the energetic
young actress Peppy Miller. The famous actor and the effervescent unknown are irresistibly
drawn to one another, but are kept apart by chance and circumstance, unable to give voice to
their feelings. Its a classic scenario of star-crossed romance, intense yet chaste. Its an oldfashioned vision of love, very pure, and it also holds with the form of silent movies, comments
Hazanavicius. Some of the masterpieces of silent cinema are simple love stories. They
inspired me to take the film in a direction that was lighter, more optimistic and joyful.
By the time he finished writing, Hazanavicius felt confident that he had constructed a
story that could sustain a silent format.

Hazanavicius believed THE ARTIST -- steeped in

Hollywood cinema history, sensibility and technique -- had to be shot in Los Angeles.

And a

Franco-American production in Los Angeles would mirror yet another aspect of silent movie
history: many of the most renowned directors of the American silent cinema were native
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Europeans, including Charlie Chaplin, Erich von Stroheim, F.W. Murnau, Ernst Lubitsch, Josef von
Sternberg and Victor Sjstrm.
To Hazanaviciuss delight, Langmann agreed the film belonged in Los Angeles. If Thomas
had said to me, Okay, well make the film but well shoot it in the Ukraine! -- I would have gone
to the Ukraine to shoot it, the filmmaker remarks. Thomas did everything within his power
to allow us to shoot THE ARTIST where it should be shot, where the action took place.

THE PLAYERS
It was during the making of OSS 117 - NEST OF SPIES in 2005 that Hazanavicius first
mentioned his dream about making a silent movie to that films stars, Jean Dujardin and Brnice
Bejo. We thought it was wonderful madness; we never imagined such a project could ever
be achieved, Bejo acknowledges.
When Hazanavicius finally set to work on his silent movie story, he wrote the roles of
George Valentin and Peppy Miller with Dujardin and Bejo in mind, certain they would excel in the
format. Jean is as good in close-ups, with his facial expressions, as he is in long shots, with
his body language, he comments. Not all actors are good with both; Jean is. He also has a
timeless face that can easily be vintage.

Brnice has that quality, too.

She exudes

freshness, positivity, goodness. I thought viewers would easily accept the idea that she would
stand out from the crowd and become a big star in Hollywood. George Valentin and Peppy
Miller are, in a way, Jean and Brnice fantasized by me!
Dujardin knew that the filmmaker had been researching the silent era and watching
numerous films, but he had little idea of what to expect when Hazanavicius gave him the
screenplay for THE ARTIST. He handed it to me, slightly feverish: Read this, but dont
laugh, do you think its possible? What do you think of it? Would you be ready to do it?
the actor remembers. I read it in one sitting. My first thought was that it was really
gutsy to have pursued his fantasy all the way. As was the case with each of Michels
scripts, I thought it was really well written, with everything perfectly in place. Up until
then, wed made comedies where we had a lot of fun with characters and situations. THE
ARTIST had comedy and action, yet it was full of emotion. I was touched by all it said
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about cinema, its history and actors. I loved the premise, the meeting between George
Valentin and Peppy Miller, the story of crossed destinies.
Dujardin was moved by the transformation George undergoes as he grapples with the
arrival of sound. At first George doesnt ask himself a lot of questions. Hes not arrogant, but
hes sure of himself, confident in the charm that he assumes so easily, the actor remarks.
George is very showy, always acting. Its as if he was only an image, a face on a poster. Then,
little by little, this confidence, this lightness starts to crack. He starts sliding towards the
bottom. Luckily, theres an angel watching over him. At the end he is not a photo but a man -only a man. I liked this path.
Bejo is Hazanaviciuss partner and so had the closest view of the storys development
and evolution. She reports that Peppy Miller began life as an incidental character, less central
to the story than the dog who is Georges best friend. Remembers Bejo, Michel told me,
There will be a girl who will appear here and there. It will only be a small part but Id really
like you to do it. I would joke, Even the dog has a bigger part than me! Later, Michel told
me, its strange when you write: you create characters, a story, but at a given point they
become stronger than the hand that writes them. The story of this silent movie star became
a love story between him and this young extra. From version to version, Peppy Miller
gradually became more and more important.
Bejo found much to admire in the fledgling actress. I liked Peppy right away; she
stimulated me. When you do improv youre taught never to say no and take everything
that is offered to you, accept it and play with it. Peppy applies this rule throughout her
life; she has fun with everything. Stars often have that quality. Theyre not where they
are by coincidence: they have enormous self-confidence, they grab whats available to
them, thats how they climb the ladder and become stars. But Peppys not in any way
calculating. Shes a good person, and doesnt forget where she came from. And she
doesnt forget George.
The casting process moved to Los Angeles, where Hazanavicius worked with casting
agent Heidi Levitt. John Goodman was approached to play Al Zimmer, the studio chief
who walks the line between coddling and corralling his contract stars. The actor liked the
9

script, and a meeting was arranged at his agents office. Remembers Hazanavicius, We
talked for a few minutes. Then John said, Okay. Ive never seen a movie like this and I
want to be part of it. I said, Okay and that was it!
Another key addition to the cast was James Cromwell, who plays Clifton, Georges
trusted and steadfast chauffer. A native of Los Angeles, Cromwell is a child of the movie
business; both parents, as well his grandmother and stepmother, worked in the industry.
My father arrived in Hollywood at the advent of the sound era and became a director in the
30s. My mother was DeMilles leading lady when he first moved into sound pictures, the actor
remarks. Prior to meeting with Hazanavicius, Cromwell reviewed a presentation book the
filmmaker had put together that included detailed storyboards. The book was wonderful.
Michel had put a lot of thought into how exactly he would make this movie, and had a
very clear vision. To me, the project was too good to pass up, and Im certainly glad I
didnt.
Cromwell describes the chauffeur as a steady, reassuring presence in Georges life.
Clifton is more than a chauffeur. Hes really Georges right-hand man and he cares for him a
lot, says Cromwell. At the same time, there is a formality to their relationship that is true to
the period and true to Cliftons nature. Clifton is old-school: gentlemanly, quiet, unobtrusive,
sympathetic, handy and dependable.
Hazanavicius also sought out actress Penelope Ann Miller, who portrayed silent movie
actress Edna Purviance in the biopic CHAPLIN with Robert Downey Jr. In CHAPLIN, Miller had
played silent scenes recreating portions of Chaplins work, and she was intrigued by the notion
of acting in a feature-length silent. The period setting also held great appeal to the actress, a
lifelong movie buff who is extremely knowledgeable about Hollywood cinema history. She
gravitated to the part of Doris, Georges increasingly disaffected wife. I saw a lot of emotion
to work with in Doris, says Miller. At the point where we come into the movie, theres clearly
some tension in the marriage. Doris is a proud woman, upright, and its very important to her
to keep up the appearance of a stable marriage. Theyve grown apart, but deep down, Doris
still loves George, and still wants him to adore her. I think shes suffering as a result of that.

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THE ARTIST was an unusual casting proposition in Los Angeles: a film without dialogue
and only a handful of supporting roles, some quite small. Nonetheless, the film attracted
an ensemble of accomplished, well-known actors whose faces will be very familiar to
American moviegoers. Among them: Missi Pyle, who plays Constance, an actress who is none
too pleased when George upstages her; Beth Grant, who plays Peppys maid; Ed Lauter, who
plays Peppys butler; Ken Davitan, who plays a pawnbroker; Joel Murray, who plays a
policeman; and Bitsie Tulloch, who plays Georges co-star in a jungle adventure.
Veteran star Malcolm McDowell heard about the production and requested a meeting
with Hazanavicius. I only had a very small part to offer him, almost an extra, and he was
delighted! marvels the filmmaker. I really had tremendous good fortune with the
entire cast.

BEHIND THE CAMERA

THE ARTIST is Hazanaviciuss third film with director of photography Guillaume
Schiffman, who shot both OSS comedies.
collaboration, Hazanavicius remarks.

With Guillaume, its more than just

Weve done films together, weve done ads

together, and we know each other very well. As soon as I had the idea of THE ARTIST, I
talked to him about it. I gave him tons of films to watch and he did a lot of professional
research about the techniques, cameras and lenses of the time. The idea was the same
for all us, on both sides of the camera: do some research; nourish ourselves; understand
the rules thoroughly in order to be able to forget them at the end.
Hazanavicius had storyboarded the entire screenplay for THE ARTIST, and during preproduction he and Schiffman spent countless hours looking at these blueprints and discussing
their options. In a black and white silent movie, lighting and color scale become critical
tools of the storytelling, Schiffman points out. Because theres no dialogue, light has to
tell you something, the shadows have to tell you something.

Michel told me how he

envisaged the story, how he was going to play with the blacks and whites, shadow and light,
and a lot of grays. What is fascinating about Michel is that he never loses sight of the story he
wants to tell. You cant produce only beautiful images and lose the audience in the process.
11

The goal isnt to make the audience go Wow! at each shot but to captivate them and, in this
case, to move them.
Schiffman describes the film as a rare creative opportunity. A black and white movie;
1.33 format; 20s and 30s style: its a dream come true for a cinematographer. What a
pleasure to revisit this moment of cinema history, particularly today, when we are moving
towards digital supremacy.
As pre-production got underway in Los Angeles, news of THE ARTIST spread quickly
in the film community. The black and white style and period setting offered interesting
and unusual work for all the industrys trades: set design, costume design, hair and
makeup, camera, electric, etc. Hazanavicius was delighted to find himself surrounded by
some of best and most experienced professionals in Los Angeles, all of them eager to
contribute.

Everyone got very excited, the filmmaker smiles.

I think people

appreciated the fact that this was a movie about their profession. People from the
camera department offered to make special lenses, old projectors were pulled out of
closets it was very special.
One of the earliest hires was production designer Laurence Bennett, who has
worked extensively with writer/director Paul Haggis on films including the Oscar -winning
CRASH. Hazanavicius notes that he had very specific elements he wanted to incorporate
into the films design, responsibilities that Bennett took on. THE ARTIST is about the fall of an
actor, so I was always looking for locations with stairs. I wanted the actors to go down, and
down, and down, sequence after sequence, says Hazanavicius. Its the same with mirrors; its
the idea of representation because George is an actor. There are always many George
Valentins in the frame. Larry brought his own sensibility to the production design, while
achieving all the very precise effects I asked him to create. He did a great job.
Hazanavicius found another enthusiastic colleague in costume designer Mark
Bridges, a lifelong fan of silent cinema who remembers seeing classics like WINGS as a
child. Over the course of his career, Bridges has outfitted films set in virtually every era of
the 20th Century, making key contributions to the likes of Paul Thomas Andersons early
20 th Century epic THERE WILL BE BLOOD and 70s-era drama BOOGIE NIGHTS, and David O.
12

Russells 80s boxing drama THE FIGHTER. For THE ARTIST, Bridges happily immersed
himself in research, studying silent films, old publicity stills and day-in-the-life candid
photos to get a feel for the impeccable tailoring of the era and the elegant clothing that a
movie star like George Valentin would have worn in his leisure time. For the character of
Peppy Miller, he found inspiration in early Joan Crawford films, which capture her
evolution from average chorus girl to dynamic jazz baby and finally to glamo rous star. The
silent backstage comedy SHOW PEOPLE provided clues about what studio workers wore,
as did a short film, 1925 MGM STUDIO TOUR, made on the MGM lot.
Bridges found both garments and ideas in Hollywoods professional costume shops,
including The Collection at Western Costume, Motion Picture Costume Company, United
American Costume Company, and Palace Costume Company. Here in Hollywood, were really
set up to do a movie like THE ARTIST. I could go to any of these costume shops I regularly use,
go through 100 dresses or 50 dresses, and something would read to me Peppy, he says.
Milliners freshened and re-blocked hats that had spent decades in boxes. Veteran
tailors made duplicate formal wear for Dujardin, and expert shoemakers copied vintage shoes.
Some original garments were in fine condition and were used in the film, including a nightgown
worn by Bejo and a tennis dress Bridges found in a shop. But many vintage items were too
fragile or dilapidated to be worn, and were instead copied and made in new fabrics. Sometimes
old was incorporated into the new; when Bridges found a panel of Art Deco-styled vintage
brocade, he used it to trim the dress Bejo wears during the scene when Peppy is being
interviewed.
Hazanavicius was impressed by Bridges talent and work ethic. Mark Bridges knows
everything, and I think he works maybe thirty hours a day! the director enthuses. Hes very
perceptive and he knows that small details can be very powerful. For example, theres an
ellipse from 29 to 31, when Georges decline accelerates. I asked Mark to adjust Jeans
costume, and to make it a little bit larger so we have the feeling that his character has shrunken
a little bit. And Mark did that, very subtly, with a lot of taste. His work throughout brought so
much to the film.
Music is an indispensable part of silent film storytelling, serving variously as
13

emphasis and counterpoint to the actions and emotions onscreen.

For this critical

element, Hazanavicius turned to his longtime collaborator Ludovic Bource, who has
scored all the directors films since his feature debut, 1998s MES AMIES. Like the other
collaborators working on the film, Bource did his homework, listening to scores by
legendary Hollywood composers such as Max Steiner, Franz Waxman and Bernard
Hermann; music written by Chaplin for his films; and the 19 th Century composers whose
work was the foundation of Steiner, et al. With that knowledge absorbed, Bource was
then free to write the score that would help tell the story of THE ARTIST. He began
working on the score before production began, coming up with melodies and themes
based on the screenplay and storyboards. Once production began, Hazanavicius sent him
rushes on a regular basis. I immersed myself in the rushes as they came in, and in the
performances of Brnice and Jean, Bource remembers. Watching these magnificent
images as they arrived was very inspiring. The hardest thing, particularly with Jeans
character George, was to respect the combination of comedy and emotion. As a result,
rather than pastiche or spoof, we worked - a bit like Chaplin - along the lines of a light
sophistication. And for the tap dance sequence, I wrote music that was essentially big
band/jazz, which was a pleasure.
Work continued on the films music during the editing process, when Bource
worked with Hazanavicius to refine the music and match it to the final scenes. Bource
recorded the score in Brussels with the Flanders Philharmonic Orchestra. Says Bource, I
recorded with 80 musicians: 50 string players, 4 French horns, 4 trombones, 5
percussionists who ran around all over the place, a harpist, 10 technicians, 5
orchestrators, 3 mixers it was sublime. I was lucky enough to get marvelous people.
They told me it had been a long time since they had felt this way while recording the
music for a film. It was very moving and gratifying.

QUIET ON THE SET? FILMING THE ARTIST

THE ARTIST began filming in Los Angeles at the start of October 2010, and shot for 35
days.
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The stylistic approach of THE ARTIST necessitated the use of some special equipment
and techniques, in part to accommodate the 1.33 format. For Schiffman, the effort was well
worth it. Its not by chance that cinema was invented with this format. It allows beautiful
close-ups; it allows you to compose the picture differently, to have diagonals, to create
perspectives. It was heaven! It is a bit more complicated to light because you have to place
the projectors a lot higher. I understood why the studios of the time were 8 meters high . So I
had to learn how to light with very tall sets, and more powerful sources. And I used a lot of
old projectors from the 50s and 60s.
Paradoxically, perhaps, modern black and white film stock turned out to be too precise
and sharp-looking for THE ARTIST. As a result, Schiffman used 500 ASA color film that could
impart a grainer look, and used unusual filters to achieve the diffused whites and
underplayed blacks.
The cast of THE ARTIST found themselves in an unusual situation when the cameras
began to roll. As Cromwell describes it, As an actor, you have to trust that something you
can't see -- namely your own face -- is expressing all that you feel and need to communicate to
tell the story. He notes that there were technical differences as well, because they were
shooting at 22 frames per second versus the more common 24 frames per second. You have
to adjust to the slightly faster film speed by sustaining the moment a fraction longer to allow
the audience to read the intention and adjust their perception.
For the actors, shooting this film was a very particular exercise, Hazanavicius
acknowledges. For most actors, the voice is a great asset. Suddenly, they had to make do without
it. Text is an essential aid to convey feelings, but here, everything had to be conveyed visually, with
no help from words, breath, pauses, tone, all the variations actors normally use. I think that what
they had to do was very difficult, even more so than usual.
As George Valentin, Dujardin travelled an emotional landscape that went from light
to dark and back again. It was exciting to start with this character who is always showing
off, in front of the camera, with his fans, with his wife, but then slides gradually into darker
waters. At first I was nervous about those more serious scenes, for which I had no lines to
hold on to. But I discovered that silent film was almost an advantage. You just have to think
15

of the feeling for it to show. No lines come to pollute it. It doesnt take much - a gaze, an
eyelash flutter - for the emotion to be vivid.
He trusted Hazanavicius to give him the guidance he needed, without imposing too
much. Michel puts you, with great sensitivity and without any wickedness, on the track of
these darker feelings, painful emotions. He lets you go and find them yourself, though he has
no hesitation in asking you to go even further. I appreciate very much that he lets get on with
your work as an actor.
Making a silent did bring a major, very welcome advantage during filming: silence
was not required on the set. The actors could speak their lines to one another, and
Hazanavicius could, and did, speak to them as they were filming. Says Bejo, Without
cutting, Michel could give us indications to make us go from one emotion to another. It was
interesting and rewarding, because it made you search for something else in the heat of the
moment.
Hazanavicius also played music on set, ranging from classic Hollywood scores and early
themes composed by Bource to individual songs he knew would resonate with the players.
It made our lives easier because it allowed us to overplay with the voice and not be
embarrassed; it carried us wonderfully, says Bejo. Certain pieces of music will carry you
away immediately if you listen to them just before an emotional scene. Michel always knew
which music to play. For the scene where I get off the bus and arrive at the studio for an
audition he played Day for Night. Its so cheerful that I was immediately transported: it gave
me wings!
Dujardin and Bejo may have had few lines to learn, but there was one thing they had
to study: dance, specifically tap dance. Both spent months taking dance and tap lessons, and
then spent a few weeks working on choreography together. When the day came to film the
tap dance number that brings THE ARTIST to its jubilant conclusion, they were ready.
Remembers Dujardin, We knew that Michel would cut as little as possible, which made it
more exciting. We had to remember our steps and at the same time maintain expression,
grace and feeling. Of course there were two of us playing that scene: not only did we need

16

some know-how, we also had to have a rapport. Luckily, thats easy with Brnice. We were
the first to say at the end of each take: Lets do it again!
Of all his co-stars, Dujardin had the most scenes with Uggie, a Jack Russell terrier with
several films to his credit. Uggie can steal a scene, no problem. Frankly, it was very simple to
work with him, Dujardin confides. I just had to listen to the trainers, who did their job very
well. The only problem was keeping bits of sausage in my pocket all day long so he would obey.
Some days I felt like I was just a great big sausage!
Locations were an invaluable element to creating mood on-set and onscreen.
Throughout the shoot, cast and crew were stepping into Hollywood history . The theater
sequences were shot at two historic downtown movie palaces: the Orpheum Theater,
where the premiere sequence was shot; and the Los Angeles Theater, a destination at
different times for George and Peppy. Exterior scenes were shot on the backlots of
Warner Bros. and Paramount. The landmark Bradbury Building in downtown Los Angeles
provided the most magnificent staircases in the city perfect for a key scene when
George and Peppy unexpectedly encounter one another.
Georges impressive mansion was located in Fremont Place, a gated section of
Hancock Park, the affluent neighborhood that was developed in the 1920s and favored by
the citys business and civic elite. A second, smaller home in Fremont Place served as the
post-stardom residence of Peppy Miller; in a stroke of serendipity, the filmmakers learned
that pioneering silent star Mary Pickford had lived in the house in the years prior to her
marriage to Douglas Fairbanks.
Though THE ARTIST shot on a tight schedule with many long days, the atmosphere on
the set was merry and convivial. Fittingly for a movie in which language plays a small role, it
didnt much matter whether a person spoke French or English as their first language.
Remembers Bejo, Everybody had a sense that they were doing something special and they
were proud to be part of it. We felt like a crew, not French/American, just a crew talking about
movies, Hollywood, a profession that we love. It was very special.
Long before the phrase interactive entertainment was formed, silent movies thrived on
the fact the viewers created their own narratives as the images unspooled.
17

Comments

Hazanavicius, Theres no spoken language, so you are very close to the story, very close to the
characters. As a viewer, you participate in the storytelling. Its hypnotic. And in a black and
white movie -- and its more obvious with the silent format the actors are so beautiful. They
speak but you dont hear them; its like they are gods on Olympus. Watching a silent, I get the
same feeling I had when I was a child looking at the movies in theaters. I wanted to share that
experience with an audience today.

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ABOUT THE CAST

JEAN DUJARDIN (George Valentin)
One of Frances biggest stars, actor/writer/director Jean Dujardin began his performing career
in Paris comedy clubs. In the late 1990s, he co-founded the popular sketch comedy troupe
Nous C Nous, which broke through to the French public through multiple wins on television
talent competition series Graines des stars and went on to appear on Frances most
successful talk shows. Dujardins solo career began to take off when he became the star of the
hit sitcom Un gars une fille, which aired from 1999 to 2003; he also wrote several episodes of
the series. After acting in the short ensemble comedy A LABRI DES REGARDS INDISCRETS 2002,
Dujardin made his feature debut in the 2002 comedy IF I WERE A RICH MAN. Increasingly
prominent film roles in films such as MARIAGES (2003) followed and in 2004, Dujardin starred
in and wrote the hit comedy BRICE DE NICE, (2004), which was based on his original sketch.
In 2004, Dujardin acted in his first screen drama, Nicolas Boukhriefs LE CONVOYEUR by Nicolas
Boukhrief. He began his successful collaboration with writer/director Michel Hazanavicius with
his star turn as secret agent OSS 117 in the filmmakers hit spy pastiche OSS 117 - CAIRO, NEST
OF SPIES. Dujardins performance as the suave spy garnered him a Csar Award nomination for
Best Actor. He and Hazanavicius reteamed for the sequel, the equally beloved OSS 117 LOST
IN RIO, released in 2009.
The actors other credits include Jan Kounens comedy 99 FRANCS, Franck Mancusos crime
drama COUNTER-INVESTIGATION; Francis Husters A MAN AND HIS DOG with Jean Paul
Belmondo; James Huths comic western LUCKY LUKE, for which he co-wrote the screenplay;
Bertrand Bliers THE CLINK OF ICE; Guillaume Canets LITTLE WHITE LIES with Marion Cotillard;
and Nicole Garcias A VIEW OF LOVE.
BERENICE BEJO (Peppy Miller)
Born in Argentina, Brnice Bejo arrived in France when she was 3. She made her feature film
debut in the 1996 film festival favorite LES SOEURS HAMELT (THE HAMLET SISTERS). Following
a breakout role in Grard Jugnots hit 2000 comedy MOST PROMISING YOUNG ACTRESS
(MEILLEUR ESPOIR FEMININE), Bejo made her American feature film debut in Brian Helgelands
A KNIGHTS TALE, starring Heath Ledger. She subsequently starred in Laurent Bouhniks 24
HOURS IN THE LIFE OF A WOMAN (24 HEURES DE LA VIE DUNE FEMME), adapted from the
famed novella Letter from an Unknown Woman. She has starred in two films with director Seve
Suissa, THE GREAT ROLE (LE GRAND ROLE) and CAVALCADE in 2005.
In 2006, she co-starred opposite Jean Dujardin in Michel Hazanaviciuss hit comedy OSS 117 CAIRO, NEST OF SPIES. Her subsequent credits include Barthlmy Grossmans 13m, Manuel
Poiriers THE HOUSE (LA MAISON) and Stphane Kazandjians romantic comedy MODERN LOVE.
In 2009, Bejo provided voice-over for the documentary HENRI-GEORGE CLUZOTS INFERNO,
reading passages from the director screenplay for his unfinished psychological drama LENFER.
19

JOHN GOODMAN (Al Zimmer)

An acclaimed veteran of stage, film and television, John Goodman has garnered many
accolades during his career, including a Golden Globe Award for Best Actor and seven Emmy
nominations for his role in Roseanne. He also earned Emmy nominations for his starring roles
in TNTs KINGFISH: A STORY OF HUEY P. LONG and CBSs production of Tennessee Williams A
STREETCAR NAMED DESIRE; and a Golden Globe nomination for his performance in the Coen
Brothers BARTON FINK. In 2007, Goodman won his second Emmy, for Outstanding Guest Actor,
on Studio 60 on the Sunset Strip. His performance in the recent HBO biopic YOU DONT
KNOW JACK earned him an Emmy nomination for Outstanding Supporting Actor in a Miniseries
or a Movie and a SAG nomination for Outstanding Performance by a Male Actor in a Television
Movie or Miniseries.
Goodman is starring in the fourth season of DirecTVs Damages, playing the CEO of a
mysterious military contractor who is put on trial in a wrongful-death suit. In addition,
Goodman has joined NBCs Community as the new vice dean of Greendale's well-known air conditioning program. His recent TV credits include the HBO drama Treme.
Goodmans upcoming film projects the drama EXTREMELY LOUD AND INCREDIBLY CLOSE and
the political thriller ARGO. Previous film credits include IN THE ELECTRIC MIST; CONFESSIONS
OF A SHOPAHOLIC; SPEED RACER; BEE MOVIE; POPE JOAN; ALABAMA MOON; GIGANTIC;
MARILYN HOTCHKISS BALLROOM DANCING AND CHARM SCHOOL; BEYOND THE SEA; MASKED
AND ANONYMOUS; STORYTELLING; O BROTHER, WHERE ART THOU?; COYOTE UGLY; WHAT
PLANET ARE YOU FROM?; ONE NIGHT AT MCCOOL'S; BRINGING OUT THE DEAD; FALLEN; THE
BORROWERS; BLUES BROTHERS 2000; THE RUNNER; THE FLINTSTONES; MOTHER NIGHT;
ARACHNOPHOBIA; ALWAYS; PIE IN THE SKY; BORN YESTERDAY; MATINEE; THE BABE; KING
RALPH; PUNCHLINE; EVERYBODY'S ALL-AMERICAN; SEA OF LOVE; STELLA; EDDIE MACON'S RUN;
C.H.U.D.; REVENGE OF THE NERDS; MARIA'S LOVERS; SWEET DREAMS; TRUE STORIES; THE BIG
EASY; BURGLAR THE WRONG GUYS; RAISING ARIZONA; and THE BIG LEBOWSKI.
He has lent his voice to numerous animated films, including MONSTERS, INC., THE EMPERORS
NEW GROOVE and THE JUNGLE BOOK II. He also voiced a main character in NBCs animated
series Father of the Pride and provided the voice of Ed Big Daddy Roth in the documentary
TALES OF THE RAT FINK.
Goodman starred on Broadway in Waiting for Godot, for which he received rave reviews as
Pozzo. Goodmans other stage credits include many dinner theatre and children's theatre
productions, as well as several off-Broadway plays. His regional theatre credits include Henry
IV, Parts I and II, Antony and Cleopatra, As You Like It and A Christmas Carol. He
performed in a road production of The Robber Bridegroom and starred in two Broadway
shows, Loose Ends in 1979 and Big River in 1985. In 2001, he starred in the NY Shakespeare
Festival Central Park staging of The Seagull directed by Mike Nichols. The following year
Goodman appeared on Broadway in the Public Theatres Resistible Rise of Arturo Ui.
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Goodman went to Southwest Missouri State intending to play football, but an injury forced him
to switch his major to drama. He never returned to football and graduated with a degree in
Theatre. He and Goodman and his family have homes in Los Angeles and New Orleans.
JAMES CROMWELL (Clifton)
James Cromwell received a Best Supporting Actor Oscar nomination for his memorable
performance as Farmer Hoggett in the international smash BABE. He went on to play the role
in the hit sequel BABE: PIG IN THE CITY. Cromwells other memorable motion picture work
includes THE LONGEST YARD; I, ROBOT; SPACE COWBOYS, THE GREEN MILE; THE GENERALS
DAUGHTER; SNOW FALLING ON CEDARS; THE BACHELOR; THE SUM OF ALL FEARS, STAR TREK:
FIRST CONTACT; THE PEOPLE VS. LARRY FLYNT; SPIRIT: STALLION OF THE CIMARRON; THE
QUEEN; BECOMING JANE; THE EDUCATION OF LITTLE TREE; SECRETARIAT; SPIDERMAN THREE;
and L.A. CONFIDENTIAL, in which he gave a memorable performance as Police Captain Dudley
Smith. He will next be seen in the charming family drama COWGIRLS & ANGELS.
Cromwell was notably seen on the Fox hit series 24 as Phillip Bauer, father of Kiefer
Sutherlands Jack Bauer. Cromwell earned multiple Emmy nominations for his work on the HBO
original series Six Feet Under, the HBO movie RKO 281, and the NBC drama ER. His body
of work encompasses dozens of series, miniseries and movies-of-the-week, including a starring
role in TNTs A SLIGHT CASE OF MURDER, a cameo appearance in HBOs ANGELS IN AMERICA,
The West Wing, Picket Fences, Home Improvement, L.A. Law and Star Trek: The Next
Generation.
Cromwell has also performed in many revered plays, including Hamlet, The Iceman
Cometh, Devils Disciple, Alls Well That Ends Well, Beckett and Othello, in many of
the countrys most distinguished theatres, including the South Coast Repertory, the Goodman
Theatre, the Mark Taper Forum, the American Shakespeare Festival, Center Stage, the Long
Wharf Theatre and the Old Globe. He recently played A. E. Houseman in the American
premiere of Tom Stoppards The Invention of Love at A.C.T. in San Francisco. Cromwell has
directed at resident theatres across the country and was the founder and Artistic Director of his
own company, Stage West, in Springfield, Massachusetts. He also co-directed a short film,
which was shown at the London Film Festival.
Born in Los Angeles, Cromwell grew up in New York and Waterford, Connecticut, and studied at
Carnegie Mellon University (then Carnegie Tech). His father, John Cromwell, an acclaimed actor
and director, was one of the first presidents of the Screen Directors Guild. His mother, Kay
Johnson, was a stage and film actress.
PENELOPE ANN MILLER (Doris)
Penelope Ann Miller has shared the screen with some of the most notable and renowned
leading men and directors in Hollywood. This distinguished list includes Al Pacino and Sean
Penn in director Brian de Palmas CARLITOS WAY, for which she received a Golden Globe
nomination; Marlon Brando and Matthew Broderick in Andrew Bergmans THE FRESHMAN;
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Robert De Niro and Robin Williams in Penny Marshalls AWAKENINGS; Robert Downey Jr. in Sir
Richard Attenboroughs CHAPLIN; Danny DeVito and Gregory Peck in Norman Jewisons OTHER
PEOPLE'S MONEY; Matthew Broderick & Christopher Walken in Mike Nichols BILOXI BLUES;
and Arnold Schwarzenegger in Ivan Reitmans KINDERGARTEN COP.
Miller was honored with a Career Achievement Award at the 2011 Ft. Lauderdale International
Film Festival. She recently completed filming on the independent period piece SAVING
LINCOLN which tells the story of Lincolns presidency and assassination through the eyes of the
US Marshall, Ward Hill Lamon, who was tasked with protecting him. Miller plays Mary Todd
Lincoln. She has also completed Avi Arads science fiction family adventure ROBOSAPIEN, and
the independent 1950s drama SAVING GRACE B. JONES.
Her recent credits include THINK OF ME, opposite Lauren Ambrose, which screened at the 2011
Toronto Film Festival; Rob Reiners latest film, FLIPPED; and the box office hit THE
MESSENGERS, opposite Kristen Stewart. Miller also was seen playing Ray Romanos recently
separated wife in the critically acclaimed drama Men of a Certain Age on TNT.
Miller was named Star of Tomorrow by the Motion Picture Bookers Club and Most Promising
Actress by the Chicago Film Critics Association. She received a special jury award for Best
Performance at the Hollywood Film Festival for her role in the independent feature RHAPSODY
IN BLOOM, and a Tony Award nomination for her performance in the Tony-winning Broadway
revival of Our Town. Her television credits include the made-for-television films ROCKY
MARCIANO, opposite Jon Favreau and George C. Scott; THE LAST DON, opposite Joe Mantegna;
THE MARY KAY LETOURNEAU STORY, for which she won critical acclaim; and RUDY: THE RUDY
GIULIANI STORY, opposite James Woods.
Miller left her native Los Angeles when she was 18 and moved to New York, where she studied
acting at HB Studios under Herbert Berghoff. Two years later, Miller got her big break on
Broadway when she originated the role of Daisy Hanningan in Neil Simon's Tony Award-winning
play Biloxi Blues. Later, she would reprise her role in Universals film version, directed by
Mike Nichols.
Miller currently lives in Los Angeles with her husband and two daughters.
MALCOLM McDOWELL (The Butler)
Malcolm McDowell is arguably among the most dynamic and inventive of world-class actors,
yet also one capable of immense charm, humor and poignancy. McDowell has created a gallery
of iconographic characters since catapulting to the screen as Mick Travis, the rebellious
upperclassman in Lindsay Anderson's prize-winning sensation IF..... McDowells place in movie
history was subsequently secured when Stanley Kubrick finally found the actor he was
searching for to play the gleefully amoral Alex in A CLOCKWORK ORANGE; when McDowell
himself conceived the idea for Mick Travis' further adventures in Anderson's Candide-like
masterpiece, O LUCKY MAN!; and when he wooed Mary Steenburgen and defeated Jack the
Ripper as the romantically inquisitive H.G. Wells in TIME AFTER TIME. Those legendary roles
22

are among the ones that have endured with legions of filmgoers while new adherents have
been won over by his tyrannical Soran (who destroys Capt. Kirk) in "Star Trek: Generations"; his
Machiavellian Mr. Roarke in "Fantasy Island" and his comically pompous professor Steve
Pynchon in the critically hailed CBS television series, "Pearl," starring opposite Rhea Perlman.
For his motion picture work, the American Cinematheque honored him with a retrospective in
June 2001, highlighted by showings of his electrifying performances in two major works: Paul
McGuigan's GANGSTER NO. 1, in which McDowell and Paul Bettany portray the consumed,
driven title character, and which affords McDowell the chance to create a character both on
screen and through nuanced voice-over; and Russian director Karen Chakhnazarov's acclaimed
and rarely seen ASSASSIN OF THE TSAR. McDowell has created distinctive characters in such
films as Richard Lester's ROYAL FLASH; Paul Schrader's CAT PEOPLE; Rachel Talalay's TANK GIRL;
Joseph Losey's FIGURES IN A LANDSCAPE; Bryan Forbes' THE RAGING MOON; and Blake
Edwards' SUNSET. His film credits are further highlighted by his compellingly sinister CALIGULA;
the brilliant literary editor Maxwell Perkins in Martin Ritt's CROSS CREEK; his cameo in Robert
Altman's THE PLAYER; and his final incarnation of Mick Travis in BRITANNIA HOSPITAL, the third
film in Anderson's trilogy marking the disintegration of British culture. McDowell's film work
also includes BOBBY JONES: STROKE OF GENIUS; IN GOOD COMPANY; I SPY; Robert Altman's
THE COMPANY; Robert Downey Sr.'s HUGO POOL with Sean Penn, Robert Downey Jr. and Cathy
Moriarty; JUST VISITING; MR. MAGOO; Hugh Hudson's MY LIFE SO FAR; BLUE THUNDER; Neil
Marshalls DOOMSDAY; Rob Zombies HALLOWEEN I & II; and Disneys animated box office hit,
BOLT. Upcoming films for 2012 include Amy Heckerlings VAMPS with Sigourney Weaver and
Alicia Silverstone and SILENT HILL 2.
On television, McDowell has had recurring roles on the hit HBO series, Entourage, NBCs
Heroes, and CBSs hit show The Mentalist. In summer of 2011, McDowell starred in TNTs
newest series, Franklin & Bash, an immediate hit that has been picked up for a second
season.
MISSI PYLE (Constance)
Born in Texas and raised in Tennessee, Missi Pyle attended the North Carolina School of the
Arts and moved to New York after her graduation to pursue a career in theater. She worked in
Off-Broadway theater, where she performed opposite John Malkovich in Steppenwolf Theater
Company's "The Libertine." She soon made her film debut opposite Helen Hunt in AS GOOD AS
IT GETS and moved on to land major roles in television and feature films.
Pyle's film credits include CHARLIE AND THE CHOCOLATE FACTORY, DODGEBALL: A TRUE
UNDERDOG STORY, BIG FISH, BRINGING DOWN THE HOUSE, FEAST OF LOVE, and
ANCHORMAN: THE LEGEND OF RON BURGUNDY. She gained attention for her hilarious
portrayal of the alien "Laliari" in the hit comedy GALAXY QUEST, with Tim Allen, Sigourney
Weaver, and Tony Shalhoub." Pyle's resume also includes a number of notable television
appearances, including "Heroes," "The Sarah Silverman Show," "My Name is Earl," "Two and a
Half Men," and "Friends." Impressed by Pyles work on Boston Legal, writer/producer David
E. Kelley crafted a role in his later series, The Wedding Bells, with her in mind.
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Pyles has a full slate of upcoming films due for release in the next several months: SPRING
BREAKDOWN, with Amy Poehler, Amber Tamblyn, and Rachel Dratch; FORK IN THE ROAD, with
Jamie King; PATRIOTVILLE, with Rob Corrdry and Justin Long; VISIONEERS, with Judy Greer and
Zach Galifianakis; MISS NOBODY, opposite Leslie Bibb; and PRETTY UGLY PEOPLE.
Pyle performs with the all-female comedy sketch group "Bitches Funny" and regularly performs
stand-up at such venues as The Comedy Store, The Improv and Area 51. She currently resides
in Los Angeles and has two dogs, J.J. and Ellie.
BETH GRANT (Peppys Maid)
Beth Grant has starred in over seventy feature films including two Best Picture Academy Award
winners, NO COUNTRY FOR OLD MEN, and RAIN MAN. She received the Screen Actors Guild
Ensemble Award for LITTLE MISS SUNSHINE and NO COUNTRY FOR OLD MEN.
Grant received the Los Angeles Drama Critics Circle Award, the L.A. Stage Alliance Ovation
Award, and The Backstage West Garland Award for Lead Actress in Del Shores The Trials and
Tribulations of a Trailer Trash Housewife, now a feature film due out in 2012. She recently
won her third L.A. Stage Alliance Ovation Award for Lead Actress in a play for 2010s Grace and
Glorie by John Zeigler at The Colony Theatre.
Other theatre credits include world premieres of On a Southern Journey by Maya Angelou;
Holy Ghosts by Romulus Linney; The Day Emily Married by Horton Foote; and Cornelia by
Mark V. Olsen at The Old Globe in San Diego. Grant also enjoyed two stints at The Ahmanson in
Picnic and Summer And Smoke, directed by Marshall Mason.
Other popular films credits are DONNIE DARKO, SORDID LIVES, FACTORY GIRL, ROCK STAR, THE
ROOKIE, SPEED, TO WONG FOO, A TIME TO KILL, EXTRACT, and RANGO.
Favorite television roles include Pushing Daisies, The Office, Jericho, Six Feet Under,
My Name is Earl, Malcolm in the Middle, King of the Hill, Coach, Wonderfalls,
Friends, The X Files, Angel, Medium, Criminal Minds, CSI, Delta, Coach and
Yes, Dear.
Grant has written a play with Judy Nagy, The New York Way, with music by Rupert Holmes,
about her coming of age in New York City in the 1970s, set for production in New York next
year. It stars her daughter, Mary Chieffo, who is a freshman at The Juilliard School, Drama
Division. Grant has been happily married to fellow actor Michael Chieffo for twenty-five years.

24

ED LAUTER (Peppys Butler)

An arresting onscreen presence for over four decades, Ed Lauter has starred in a wide range of
film and television productions, portraying portrayed an eclectic array of characters, including
(but not limited to), authority/military figures, edgy villains, and good-hearted heavies. He has
worked with directors including Alfred Hitchcock, Robert Benton and Oliver Stone; and acting
luminaries such as Lee Marvin, Burt Lancaster, George C. Scott, Paul Newman, Charles Bronson,
Anthony Hopkins, Ann Margret, Jeff Bridges and Angela Lansbury. He made his feature film
debut the 1972 western THE MAGNIFICENT SEVEN RIDE, and gave a memorable performance
as the stern Capt. Wilhelm Knauer in 1974's THE LONGEST YARD (Lauter also made a cameo in
the 2005 remake). His extensive list of film credits includes THE LAST AMERICAN HERO;
FAMILY PLOT; MAGIC; CUJO; FAT MAN AND LITTLE BOY; BORN ON THE FOURTH OF JULY;
LEAVING LAS VEGAS; THIRTEEN DAYS; SEABISCUIT and SERAPHIM FALLS. His many television
credits includes the series Streets of San Francisco, Miami Vice, The X-Files,Law and
Order, Walker, Texas Ranger, Homicide: Life on the Street, ER, and, most recently,
Greys Anatomy and Psych.
JOEL MURRAY (Policeman)
Joel Murray is the youngest of a family of nine from Wilmette Illinois, where he got his start
doing local childrens theatre and high school musicals. He did plays at Northern Illinois
University and Loyola University of Chicago and also performed with the Remains and the
Organic Theatre Companies in Chicago. He was part of the group that started the I.O. (Improv
Olympic) in Chicago and went on the work on stage for The Second City Theatre for five years.
Murrays upcoming films include LAY THE FAVORITE and GOD BLESS AMERICA. Other films
credits include ONE CRAZY SUMMER; SCROOGED; LONG GONE; SHAKES THE CLOWN; THE
CABLE GUY; and HATCHET 1 and 2. He has been a series regular on the sitcoms Grand,
Pacific Station, Love and War, Dharma and Greg and Still Standing. He made dramatic
turns with the role of Freddy Rumsen on AMCs Mad Men and an appearance last year on
Showtimes Shameless.
Murray has voiced numerous cartoons and commercials, enjoying an eleven-year stint as the
voice of Chester the Cheetah for Cheetos. He has a voice role in the upcoming Pixar release
MONSTERS UNIVERSITY.
Murray writes and has directed various short films, including THE ONE ABOUT THE NUN AND
THE PRIEST, and has directed episodes of the sit-coms The Big Bang Theory, Dharma and
Greg and Still Standing. He wrote, directed and produced the short-lived golf comedy, The
Sweet Spot, for Comedy Central that starred himself and his brothers Brian, Bill and John.
In his free time, Murray coaches football, baseball and basketball.
KEN DAVITAN (Pawnbroker)
Character actor Ken Davitan is perhaps best known for wrestling his way into the Hollywood
spotlight as Azamat Bagatov in the critically-acclaimed 2006 blockbuster, BORAT: CULTURAL
LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN.
25

Davitans acting career spans 20 years and a host of studio and independent productions. His
credits include the box office hit GET SMART, for which he stepped into the shoes of the TV
shows villain Shtarker, alongside Steve Carell, Alan Arkin and Anne Hathaway; MEET THE
SPARTANS; S.W.A.T.; HOLES; and SOUL MEN with the late Bernie Mac. Among his gueststarring roles on television are Chuck, The Cape, The Closer, Boston Legal, ER, Six
Feet Under, Gilmore Girls and The Ghost Whisperer.
Davitans latest projects include the indie feature THE PRANKSTER; the romantic comedy YOU
MAY NOT KISS THE BRIDE, with Kathy Bates, Katharine McPhee and Dave Annable; and MELVIN
SMARTY.
Davitan lives in his native city, Los Angeles, with his wife of 30 years and their two sons.
UGGIE (The Dog)
Uggie is a nine year old Jack Russell Terrier born sometime in 2002. He was born in Florida and
was re-homed because he was way too wild and high-energy for his first owners to be just a
simple companion dog. Professional animal trainer Omar von Muller adopted Uggie and soon
after, he started his studio career.
Uggie picked up countless print ads and television commercials for dog food, cars, beer and
much more. He traveled with the Incredible Dogs Show to Puerto Rico, Venezuela, Mexico
and Miami performing live tricks and riding his skateboard (always a crowd pleaser), which is
one of his favorite things to do. He has also traveled to South Africa, where he shot a
commercial for Savanna Light, also riding the skateboard.
Uggie made his film debut when he was 1 years old in MR. FIX IT, starring David Boreanaz.
This was followed by WHATS UP SCARLETT; WASSUP ROCKERS; Disneys LIFE IS RUFF; and most
recently a featured role in the film WATER FOR ELEPHANTS (where he plays the role of
"Queenie") starring Reese Witherspoon and Robert Pattinson.
Uggie is a hard working dog, but he is also a much-loved pet. On his off days he lives indoors,
and sleeps in the master bedroom with the family, and enjoys the company of several other
dog and cat brothers and sisters.

26

ABOUT THE FILMMAKERS

MICHEL HAZAVANICIUS (Writer/Director/Editor)
THE ARTIST is the first American film by acclaimed French writer/director Michel Hazanavicius.
Hazanavicius first broke through as a feature filmmaker with his 2006 comedy OSS 117 - CAIRO,
NEST OF SPIES, a spy spoof starring Jean Dujardin. Hazanavicius and Dujardin reteamed three
years later for the hit sequel OSS 117 - LOST IN RIO.
Hazanavicius made his feature directorial debut in 1999 with MES AMIES (MY FRIENDS), which
he also wrote. He began his career as a director in television. He co-wrote and co-directed the
cult television movie LA CLASSE AMRICAINE, which dubbed an absurdist mystery narrative
over clips from American movies. Hazanavicius made the movie into feature films in 1994,
when he made his acting debut in FEAR CITY: A FAMILY-STYLE COMEDY (LA CIT DE LA PEUR).
Two years later, he transitioned into feature writing as well, with credits including the comedies
DELPHINE 1, YVAN 0; THE CLONE (LE CLONE) and LUCKY LUKE AND THE DALTONS.
THOMAS LANGMANN (Producer)
The son of the award-winning French filmmaker Claude Berri, Thomas Langmann was raised in
the movie business. His choice of career owes much to his father, who wrote and directed such
acclaimed films as the four-BAFTA Award-winning classic JEAN DE FLORETTE and also produced
many films by fellow directors, including Roman Polanskis Oscar-nominated TESS.
Langmann began his career as an actor, with theater credits including The Tempest staged by
Peter Brook, and a play starring famed French humorist Daniel Prvost. He has acted in over a
dozen films, working with directors such as Chantal Akerman, Olivier Assayas and Jacques
Doillon. He has been nominated three times for the Csar Award, Frances equivalent of the
Oscars: for Most Promising Actor in LES ANNES SANDWICHES (1988) and again in PARIS
SEVEILLE (1991); and for Best Supporting Actor in LE NOMBRIL DU MONDE (1994).
Langmann began working behind the camera in 1990, as assistant director on Berris URANUS.
He subsequently interned on Francis Ford Coppolas THE GODFATHER: PART III and worked as a
gofer on Steven Soderberghs KAFKA.
At age 24, Langmann established the production company La Petite Reine. The company got
off to a successful start with ASTERIX AND OBELIX TAKE ON CAESAR and ASTERIX AND OBELIX
MEET CLEOPATRA, both adapted from the beloved Asterix comic book series. Langmann
became a producer himself with DEAD WEIGHT, a hit that brought an audience of more than 3
million into French theaters. In 2004, he co-produced the WWII war drama DAYS OF GLORY,
which won the Best Actor Award at the 2006 Cannes Film Festival and received a 2007 Oscar
nomination for Best Foreign Language Film.
In 2008, Langmann produced, co-wrote and co-directed the European box office hit ASTERIX AT
THE OLYMPIC GAMES, the most expensive film ever produced in French history. Also released
27

that year was the critically acclaimed MESRINE saga, MESRINE: KILLER INSTINCT and MESRINE:
PUBLIC ENEMY #1. Nominated for 10 Csar Awards, MESRINE: KILLER INSTINCT won three,
including Best Director (Jean-Franois Richet) and Best Actor (Vincent Cassel).
In addition to THE ARTIST, Langmann has produced in 2011 Christophe Barratiers THE NEW
WAR OF THE BUTTONS and Patrice Lecontes THE SUICIDE SHOP.
DANIEL DELUME (Executive Producer)
Since 1991, Daniel Delume has worked as a producer and executive producer on numerous
European and American films. His credits include THE NEW WAR OF THE BUTTONS, MESRINE :
KILLER INSTINCT; MESRINE : PUBLIC ENEMY NO. 1; SOMETIMES IN APRIL; LE CACTUS; MA VIE
EN ROSE; and INNOCENT LIES. His work has taken him to 25 countries, including the United
States, Ukraine, Morocco, Rwanda, Canada, India, Spain, French Polynesia, England, Belgium
and Luxembourg.
A native of Grenoble in the French Alps, DeLume studied film at the famed French movie school
Le Conservatoire Libre du Cinema Franais. He began working in the film industry in the 1980s
with positions as in casting, assistant directing and location managing.
ANTOINE De CAZOTTE (Executive Producer)
Antoine De Cazotte is currently executive producing the horror remake MANIAC, starring Elijah
Wood and Nora Arnezeder; Thomas Langmann and Alexandre Aja are the producers. De
Cazotte has worked in production on a variety of film and television projects since the late
1980s. His feature film credits include the recent documentary OCEANS, DANCING NORTH,
KABLOONAK, LOLA ZIPPER, PACIFIC PALISADES and LE BONHEUR SE PORT LARGE. Television
credits include the made-for-TV movies VILLA VANILLE and LES CARNASSIERS, and the Un flic
nomm Lecoeur and Salut les homards.
A member of the Producers Guild of America since 2011, De Cazotte is the French
representative at the PGA and is actively engaged in bringing European projects to the U.S. In
2010, he orchestrated a Memorandum of Agreement linking the PGA and its French
counterpart, the APC (Association des producteurs de cinema). Most recently, he organized a
Producers Panel at the 2011 Deauville American Film Festival, which brought together
producers of THE HELP, BE KIND REWIND, WHERE DO WE GO NOW and BRINGING UP BOBBY to
discuss opportunities and strategies for making movies abroad.
RICHARD MIDDLETON (Executive Producer)
Richard Middleton began working in the film business in 1993 as an assistant coordinator on
the independent film, SLEEP WITH ME, starring Craig Sheffer, Eric Stoltz and Meg Tilly. Not
content with starting above the bottom, Middleton reversed course and worked as a
production assistant (and driver) on such notable films as PULP FICTION and THE CROSSING
GUARD. The goal of working as many production positions as possible was slowly being
realized.
28

Middleton segued into development in 1995, working with Trimark Pictures, as well as serving
as director of development for producer Joel Castleberg, whose producing credits include
BODIES, REST AND MOTION, KICKING AND SCREAMING and MR. JEALOUSY. In January of 1996,
Middleton was hired as a creative executive at Arnold Kopelson Productions (THE FUGITIVE,
SEVEN, PLATOON), where he developed such projects as DEVILS ADVOCATE and U.S.
MARSHALS.
Middleton left Arnold Kopelson Productions in August of 1996, and packaged his first feature
project in May of 1997, entitled THE CURVE. The film, written and directed by Dan Rosen, and
starring Dana Delaney, Matthew Lillard and Keri Russell, premiered at the 1998 Sundance Film
Festival.
Since 2001, Middleton has focused his efforts on producing and production
managing, completing twenty-four feature films, with a number of those films selected for the
prestigious Sundance and Cannes Film Festivals, including MAY, THE LAST WORD and I LOVE
YOU PHILLIP MORRIS, in addition to THE ARTIST.
He is a graduate of the University of Wisconsin at Madison.
GUILLAUME SCHIFFMAN, AFC (Director of Photography)
THE ARTIST is Guillaume Schiffmans 25th film as a director of photography, and his third
collaboration with writer/director Michel Hazanavicius, following the hit comedies OSS 117
CAIRO : NEST OF SPIES and OSS 117 - LOST IN RIO. He has shot films for a variety of acclaimed
directors, among them Catherine Breillat, Albert Dupontel and Xavier Durringer.
The son of famed screenwriter Isabelle Schiffman, Schiffman began his career as an assistant
operator for cinematographer Dominique Chapuis. His first credit as director of photography
was in 1992 on Bruno Herbulots JUSTE AVANT LORAGE. The following year he began a
collaboration with director Claude Miller that included the 1994s THE SMILE (LE SOURIRE) and
1998s THE CLASS TRIP (LA CLASSE DE NEIGE) in 1998.
LAURENCE BENNETT (Production Designer)
Laurence Bennett has just wrapped THE COMPANY YOU KEEP, a political thriller directed by
Robert Redford. Redford also stars, along with Shia LaBeouf, Julie Christie, Susan Sarandon,
Stanley Tucci, and Anna Kendrick.
Bennett has designed several films for director Paul Haggis, including THE NEXT THREE DAYS
starring Russell Crowe; IN THE VALLEY OF ELAH starring Tommy Lee Jones and Charlize Theron;
and CRASH, which won the Academy Award for Best Picture, as well as a nomination for
Bennett for Excellence in Production Design from the Art Directors Guild. Other films include
FREEDOM WRITERS, starring Hilary Swank; and TRAITOR, starring Don Cheadle.
Bennett has designed numerous television pilots and series, including "Grey's Anatomy," "Once
and Again," "EZ Streets" and "Thief." He was educated at Occidental College, Los Angeles and
Waseda University, Tokyo, and lived in Ireland for ten years before returning to Los Angeles to
work in film. In Dublin he had a design practice, worked in fringe theatre, exhibited his
29

paintings,

and

taught

at

the

National

College

of

Art

and

Design.

He and his wife Nina live in Clackamas County, Oregon in a 1904 farmhouse they renovated.
They share the former homestead property with their dog, cats, chickens, and rabbits.
ANNE-SOPHIE BION (Editor)
Anne-Sophie Bion edited the upcoming adventure THE NEW WAR OF THE BUTTONS and the
feature documentary WOMEN ARE HEROES. She has worked as an assistant and first assistant
editor on numerous films, including SARAHS KEY; MICMACS; 8; MESRINE: PUBLIC ENEMY #1;
MESRINE: KILLER INSTINCT; I WANT TO SEE; REGARDE-MOI; and FEMALE AGENTS.
MARK BRIDGES (Costume Designer)
Born and raised in Niagara Falls, New York, Mark Bridges received a Bachelor of Arts degree in
Theater Arts from Stony Brook University. He then worked at the legendary Barbara Matera
Costumes in New York City as a shopper for a wide range of Broadway, dance and film projects.
Following his time at Matera's, Bridges studied for three years at New York University's Tisch
School of the Arts, and received a Master of Fine Arts degree in costume design. After New
York University, Bridges began working in film whenever possible and was Assistant Costume
designer on the film IN THE SPIRIT (1990) with Marlo Thomas and Elaine May and design
assistant to Colleen Atwood on Jonathan Demmes MARRIED TO THE MOB (1988).
In 1988, Bridges worked as design assistant for designer Richard Hornung on Joel and Ethan
Coens MILLER'S CROSSING (1990). In 1989, Bridges relocated to Los Angeles to be assistant
costume designer to Hornung on THE GRIFTERS (1990), BARTON FINK (1991), DOC
HOLLYWOOD (1991), HERO (1992), DAVE (1993), THE HUDSUCKER PROXY (1994), NATURAL
BORN KILLERS (1994), and NIXON (1995).
In 1995, Bridges began his costume design collaboration with Paul Thomas Anderson,
designing HARD EIGHT (aka SYDNEY, 1996). Their next work together was on the critically
acclaimed BOOGIE NIGHTS (1997), followed by MAGNOLIA (1999), PUNCH DRUNK LOVE (2002)
and THERE WILL BE BLOOD (2008), starring Daniel Day Lewis.
Most recently Bridges designed costumes for Andersons upcoming THE MASTER, starring Amy
Adams, Philip Seymour Hoffman and Joaquin Phoenix. Bridges' other film designs include
David O. Russells THE FIGHTER (2010), starring Mark Wahlberg, Christian Bale and Amy Adams;
Noah Baumbachs GREENBERG (2010), starring Ben Stiller; YES MAN (2008), starring Jim
Carrey; FUR: AN IMAGINARY PORTRAIT OF DIANE ARBUS (2006) starring Nicole Kidman and
Robert Downey Jr.; BE COOL (2005) with John Travolta; David O. Russells I HEART
HUCKABEES (2004) with Dustin Hoffman and Isabel Huppert; THE ITALIAN JOB (2003), starring
Mark Wahlberg and Charlize Theron; 8 MILE (2002) starring Eminem; BLOW (2001) starring
Johnny Depp; DEEP BLUE SEA (1999); BLAST FROM THE PAST (1999); and CAN'T HARDLY
WAIT (1998).

30

Bridges' costume designs were part of the 1998 Biennale di Firenze Fashion/Cinema exhibit and
The Academy of Motion Picture Arts and Sciences exhibit Fifty Designers, Fifty Costumes:
Concept to Character shown in Los Angeles and Tokyo in 2002. Most recently Bridges was one
of the film artists included in On Otto, an installation at the Fondazione Prada in Milan, summer
2007.
Bridges' design work has appeared in publications as diverse as Australian Harper's
Bazaar, Vogue, The New York Post, The Hollywood Reporter, Dressing in the Dark by Marion
Maneker, and Dressed: 100 Years of Cinema Costume by Deborah Nadoolman Landis.
LUDOVIC BOURCE (Original Music)
Ludovic Bource began his music career with the band 7 in 1996. From 1997 to 2001, he was
CEO of a music production company, Planet get Down, and worked with famous French artists
such as Disiz la Peste, Passi and Stomy Bugsy.
Bource first began working as a film composer on Michel Hazanaviciuss feature directorial
debut, MES AMIES, in 1999. Bources collaboration with Hazanavicius continued with OSS 117 CAIRO, NEST OF SPIES (2006) and OSS 117 - LOST IN RIO (2009). He scored the acclaimed 2010
documentary HERE TO STAY (NOUS RESTERONS SUR TERRE), and contributed music to the 2003
comedy THE DOPE (LA BEUZE) and Mathieu Amalrics acclaimed 2010 film, ON TOUR
(TOURNE).
Bource continues to work with recording artists, and has collaborated on albums by Alain
Bashung, Little and Pierrick Pedron. He has also worked on sound design for radio host Bruno
Guillon.
HEIDI LEVITT, C.S.A. (Casting)
A graduate of Barnard College and the AFI Producers Program, Heidi Levitt has cast such films
as, JFK, NIXON, NATURAL BORN KILLERS, NURSE BETTY, THE ROCK, THE JOY LUCK CLUB, SMOKE,
and more recently, Rodrigo Garcias MOTHER AND CHILD and Mark Ruffalos directorial debut,
SYMPATHY FOR DELICIOUS.
Last year she cast and executive produced THE HIGH COST OF LIVING, starring Zach Braff. The
film premiered at the Toronto International Film Festival and the films director, Deborah Chow,
won best first Canadian Feature Film. It was released in The United States by Tribeca Films.
Levitt also cast and served as executive producer on I MELT WITH YOU directed by Mark
Pellington and starring Thomas Jane, Jeremy Piven, Rob Lowe and Christian McKay. The film
premiered at Sundance and will be released by Magnolia Pictures in November.
Alternating between standard studio and indie fare, Levitt has repeatedly worked with
groundbreaking and acclaimed directors like Oliver Stone, Wayne Wang, Wim Wenders, Neil
LaBute, Victor Nunez, Sally Potter and, most recently, Foreign Film Oscar nominee Rachid
Bouchareb. Currently, she is very proud to be casting CHAVEZ, a feature film about the
Mexican-American hero, Cesar Chavez, to be directed by Diego Luna.
31

Levitt has also served as an executive and co-producer and casting director on several films,
including two films with Wayne Wang, THE CHINESE BOX and CENTER OF THE WORLD. In 2001
she wrote the story for and produced DELIVERING MILO starring Albert Finney and Anton
Yelchin. Most recently, Levitt formed a partnership with award-winning documentary
filmmaker Alex Gibney, whose film, TAXI TO THE DARK SIDE won the Academy Award for Best
Documentary in 2008. The two are producing a film series called EXILES ON MAIN STREET,
which will focus on stories dealing with issues of culture clash and immigrant assimilation in
America. Acclaimed writers who have contributed to the series include Sherman Alexie, Robert
Olen Butler, ZZ Packer and K Kvashay Boyle.
In 2010 Levitt created the iPhone app, Actor Genie, which is a unique application for the proactive actor. It tells whats casting in film and television in LA and New York. The App also offers
advice and contacts for agents, managers and casting directors plus suggestions for the best
headshot photographers, acting teachers and much more. Featured twice by Apple on iTunes as
a top App, Levitt is getting ready to release a new version for the Android Phone this
November.

32

END CREDITS
A film by
MICHEL HAZANAVICIUS
Produced by
THOMAS LANGMANN

GEORGE VALENTIN
PEPPY MILLER
AL ZIMMER
CLIFTON
DORIS
CONSTANCE
PEPPYS MAID
PEPPYS BUTLER
POLICEMAN FIRE
NORMA
PAWNBROKER
THE BUTLER
AUCTIONEER
POLICEMAN TUXEDO
ADMIRING WOMAN
SET ASSISTANT
PEPPYS BOYFRIENDS

JEAN DUJARDIN
BERENICE BEJO
JOHN GOODMAN
JAMES CROMWELL
PENELOPE ANN MILLER
MISSI PYLE
BETH GRANT
ED LAUTER
JOEL MURRAY
BITSIE TULLOCH
KEN DAVITIAN
MALCOLM MCDOWELL
BASIL HOFFMAN
BILL FAGERBAKKE
NINA SIEMAZKO
STEPHEN MENDILLO
DASH POMERANTZ
BEAU NELSON
ALEX HOLLIDAY
WILEY PICKETT
BEN KURLAND
KATIE NISA
KATIE WALLICK
HAL LANDON, JR.
CLETO AUGUSTO
SARAH KARGES
SARAH SCOTT
MAIZE OLINGER
EZRA BUZZINGTON
FRED BISHOP
STUART PANKIN
ANDY MILDER
BOB GLOUBERMAN
DAVID CLUCK
KRISTIAN FALKENSTEIN

GUARDS
AUDITION CASTING ASSISTANT
AUDITION DANCERS
NAPOLEON
SET TECHNICIAN
LAUGHING DANCERS
SHOUTING DANCER
JOURNALISTS
DIRECTOR #1 (RESTAURANT)
DIRECTOR #2
DIRECTOR #3 (FINALE)
ASSISTANT DIRECTOR (FINALE)
ACTOR IN THE BRUNETTE
33

PEPPYS ASSISTANT
WOMAN WITH POLICEMAN
ASSISTANT WITH NEWSPAPER
TENNIS PLAYER
DOCTOR
NURSE AT PEPPYS HOUSE
BEGGAR
ZIMMERS ASSISTANTS

MATT SKOLLER
ANNIE ODONNELL
PATRICK MAPEL
MATTHEW ALBRECHT
HARVEY ALPERIN
LILY KNIGHT
CLEMENT BLAKE
TASSO FELDMAN
CHRIS ASHE
ADRIA TENNOR
CLETUS YOUNG
MARK DONALDSON
BRIAN WILLIAMS
ANDREW ROSS WYNN
JEN LILLEY
BRIAN CHENOWETH
TIM DEZARN

BARTENDER
THUG #1
THUG #2
BIG DANCER (RESTAURANT)
ONLOOKERS
SOLDIER

AND
THE DOG
UGGIE
Stunt coordinators

TANNER GILL
GARY DAVIS

Stunt performers

EDDIE BRAUN
DONNA EVANS MERLO
DANIELLE DELLA FLORA
SCOTT WILDER
STERLING WINANS
RICK CRESSE
DENNIS FITZGERALD
LAURA ALBERT
MICHAEL CARADONNA
GARY MORGAN

Stunt pilot
Aerial coordinator

GARY JACKSON
MIKE PATLIN

Associate producer

EMMANUEL MONTAMAT

Executive producers

DANIEL DELUME
ANTOINE DE CAZOTTE
RICHARD MIDDLETON
34

BOB WEINSTEIN
HARVEY WEINSTEIN
Original music

LUDOVIC BOURCE

Director of photography

GUILLAUME SCHIFFMAN, AFC

Production designer

LAURENCE BENNETT

Costume designer

MARK BRIDGES

Casting by

HEIDI LEVITT, ASC

First assistant director (FR)

JAMES CANAL

First assistant director (US)

DAVID CLUCK

Second assistant director (US)

DAVE PAIGE

Script supervisor

ISABEL RIBIS

Editors

ANNE-SOPHIE BION
MICHEL HAZANAVICIUS

Visual effects

DAVID DANESI
PHILIPPE AUBRY
LAURENT BRETT

Post production supervisor

FRANK METTRE

Unit production manager

ANTOINE DE CAZOTTE

Production manager (FR)

SEGOLENE FLEURY

Production supervisor

CHRISTINA LEE STORM

Production supervisor (FR)

MARIE-CHRISTINE LAFOSSE

First assistants camera

JENNIFER ANN HENRY

OPHELIE MEHL

2nd assistant camera

Camera operator (B Cam)

VESSELKA KAZACHKA
JOHN SOSENKO
35

Camera loader
Camera dept PA
Camera interns

NICHOLAS FISCHER
NATHAN LEWIS
DAVID BEAUCHAMP SMOKAY
NATHAN UPSHAW

Video assist operator

HAL J. LEWIS

Still photographer

PETER IOVINO

Art director
Assistant art director
Set designer
Graphics designer
Art department coordinator
Art department assistant

GREGORY HOOPER
JOSHUA LUSBY
ADAM MULL
MARTIN CHARLES
CAROL A. KIEFER
JOE MASON

Set decorator
Lead person
Buyers

ROBERT GOULD
CHERYL GOULD STRANG
ERIN BOYD
ASHLEY RICE
JOE MONACO
KAITLYNN WOOD
JON-PAUL BOQUETTE
PAUL FORD
PENELOPE FRANCO
CHRISTOPHER KENTON
ZACHARY URIAH KRAMER
ARIN LADISH
ABRAHAM VORSTER
BRADD WESLEY FILLMANN

On-set dresser
Set dec intern
Gang boss
Set dressers

Assistant costume designer

Costume supervisor
Key costumer
Set costumers

PAMELA J. SHAW
BARBARA INGLEHART
LINDA REDMON
RIKI LIN SABUSAWA
KEITH WEGNER
PAUL BLACK
GIA JIMENZ
ESMILDA VALLEJOS
ESTHER HAMBOYAN
NIGEL BOYD
MARGARET JEGALIAN

Costumers
Draper
Pattern maker and fitter
Extras lead costumer
Alteration fitter
Hair designer / Head hairstylist

CYDNEY CORNELL
36

Key hairstylists

CATHERINE CHILDERS
LYNN TULLY
BARRY ROSENBERG
HITOMI GOLBA
MELISSA JAQUA
ADRUITHA LEE
PAULLETTA LEWIS
ANNE MORGAN
MICHELE PAYNE
KIMBERLY SPITERI
MELISSA YONKEY
KAREN ZANKI
JOY ZAPATA

Barber
Hairstylists

Make-up designer

JULIE HEWETT

Key make-up artist

ZOE HAY
CLARISSE DOMINE

Make-up artists

MAHA
LYDIA MILARS
KELCEY FRY
ANGIE WELLS
JENNI BROWN GREENBERG

Location manager
Key assistant location manager
Assistant location manager
Locations PA
Layout board

CALEB DUFFY
CLAY VALENTI
LAUREN WILDEBOER
SHANE McGONNIGAL
ISMAIL CHINTAMEN

Gaffer
Best boy electric/Rigging gaffer
Lamp operators

JAMES PLANNETTE
JOSEPH CAPSHAW
LANCE DICKINSON
RENEE GEORGE
JEFF PARKHURST
A. IGGY SCARPITTI
IAN STRANG
GEORGE SUGAR

Key grip
Best boy grip
Dolly grip
Company grips

MANNY DURAN
RICHARD BIGG RICH LOPEZ
SEAN ANTHONY EDWARDS
JASON ANDREW
37

ANTHONY DURAN
WILLIAM HASWELL
MIKE MEGA HORAN
Key rigging grip
Best Boy rigging grip
rigging grip

GEORGE HARRY HOPE

JEFFREY KINCHELOE
JOE R. CROWDER
WENDY PORTUGAL

Property master
First assistant prop master
Second assistant prop master
Second assistant prop master
Armorer

MICHELLE SPEARS
KIM RICHEY
CHRISTOPHER CAFFERTY
STEPHEN McCUMBY
IAN KAY

Construction coordinator
Construction foreman
Construction accountant
General foreman
Construction p.a.

DANIEL E. TURK
DANIEL L. TURK
JENNIFER TURK
BRYAN E. TURK
DEVON SORENSON

Labor foreman
Lead scenic/painter
Standby/On-set painter

NEIL ROEMER
DONN CROSS
CARMINE GOGLIA

Paint foremen

KEVIN HOLCOMB
JESSE VOGEL

Propmaker foremen

MATT SAZZMAN
JUSTIN SPEARS

Greens foreman
Greensman

GOOD TONY CASTAGNOLA

TODD WOLCOTT

Production accountant
First assistant accountant

MIKE HOOVER
SHERRI WHITE

Production coordinator

LAURA ALDRIDGE

2nd 2nd assistant director

Addl 2nd 2nd assistant director

KARLA STRUM
RICKY ROBINSON

Key set production assistant

Set production assistants

EVAN L. ROBICHAUD
JESSE BETLYON
38

DANIELLE J. CLARK
SAMANTHA COHEN
MITCHELL DEQUILETTES
JAMES HAGEDORN
GRIFFIN POCOCK
JUSTIN WRAGG
Sound mixer
Boom operator

MICHAEL KRIKORIAN
VALERIA GHIRAN

Jean Dujardin stand-in

Brnice Bejo stand-in
James Cromwell stand-in
John Goodman stand-in

KRISTIAN FALKENSTEIN
INDRA KELLY
FRED FEIN
PETE BROWN

Office production assistant

MARYANN CLARK

Office assistants

NANCY BEVINS
GUILLAUME CHIAVASSA
ALICIA GAYNOR
LAURIE STEWART
JOHN TRIBKEN

Associate casting director

Associate casting director

MICHAEL SANFORD
LAUREN FERNANDES

Extras casting director

DEBE WAISMAN

Choreographer/Tap-dance coach
Assistant choreographer/Dance coach

FABIEN RUIZ
ELODIE HEC

Head animal trainer

Head animal trainer
Animal colorist
Monkey trainers

OMAR VON MULLER

SARAH CLIFFORD
ROSE ORDILE
MICHAEL MORRIS, JR.
RICK NYBERG

Special effects coordinator

Special effects tech

DAVID WAINE
CHRIS CLINE

Transportation coordinator
Transportation captains

BILL KANE
KIP FAZZONE
KEVIN OVERTURF
39

Grip/Electric truck driver

Stakebed drivers

DAN WRIGHT
LARRY RIGGEN
TERRY SMITH
REM WYATT
CHRISTIAN WALLACE
MATT VOYTISH
RON POPE
MINGO BUSTAMANTE
ANTHONY J. PASCARELLA
JONATHAN CURTIN
JERRY L. KNIGHT
EDDIE HATCH
LYLE CHRISTENSEN
DAVID S. FILSON JR.
GLEN RUIS
CHRIS PEDERSEN
RAYMOND JACKSON
DREW TAISACAN
DANIEL SWEETS TORRES
ESTEBAN MUNOZ JR.
ANDREW M. SARVIS
MARK HALYAK

Honey wagon driver

Van driver
Fuel truck driver
Tractor divers
P.V./Generator operator
Insert car drivers
Bus Driver
Art department stakebed driver
Art department 5-ton drivers
Construction stakebed drivers
Mechanic
Water truck drivers/Fire safety

Picture car consultant

RICHARD MITCHELL

Camera operator making of

ANDREW GEORGOPOULOS

Set medic
Construction medic

ALEX GARCIA
ANTHONY RICO

LAPD gaffer

DON BREWTON

Key craft service

Assistant craft service

SAM SULYAN
ANUSH SULYAN

Catering by
Caterer
Chef
Assistant chef
Assistant chef

ALEX IN THE KITCHEN

ALEX UCEDA
ERICK HERRARTE
JAVIER CRUZ
STEVE JESUS TURRUBIATES

First assistant editor

Sound editor
Re-recording mixer

CAMILLE DELPRAT
NADINE MUSE
GERARD LAMPS
40

Foley artists

PASCAL CHAUVIN
FRANCK TASSEL
DIDIER LESAGE
FREDERIQUE LIEBAUT
OLIVIER VILLETTE
OLIVIER ROCHE
MAELA PRENEL-CABIC
YANNICK BOULOT
MARC MNEMOSYNE
KEN YASUMOTO

ADR/Foley recordist
ADR supervisor
ADR boom operator
Sound mix technicians

Temp Mix

PRODUCTION LA PETITE REINE

Development
FREDERIQUE LO-RE
Legal
JACQUELINE DELVERT
CAMILLE RINGLE
Marketing coordination
JULIEN ARNOUX
Production coordinator
THIBAUT REMY
Financial Adviser
VIRGINIE PAILLET
Production Accountants
SALEAH AYADI
ELODIE MAZOYER
Assistant to Mr. Langmann
OMBELINE MARCHON
STUDIO 37
CEO
FREDERIQUE DUMAS
Director of productions
PIERRE RASAMOELA
Head of legal affairs
CHLOE BOUILLOL
Head of marketing coordination
FANNY FROMENTAL
EXECUTIVE PRODUCTION LOS ANGELES
BARBES BROTHERS, LLC.
uFILM
Co-Producers
JEREMY BURDEK
NADIA KHAMLICHI
ADRIAN POLITOWSKI
GILLES WATERKEYN
Executive production
MARTIN METZ
IWONA SELLERS
BASTIEN SIRODOT

ORIGINAL MUSIC
Arranged by
LUDOVIC BOURCE
41

JEAN GOBINET
MICHEL ANGE MERINO
VINCENT ARTAUD
DIDIER GORET
Orchestrations by

JAY-ALAN MILLER (Chief orchestrator)

VLADIMIR NIKOLOV
PIERRICK POIRIER
FREDERIC DUNIS
LBERT GUINOVART

Music supervisor & Executive producer

JERME LATEUR

Music production coordinator

Composer assistant

MEHDI SAYAH
FRANCK HEDIN

Symphonic parts performed by

THE BRUSSELS PHILARMONIC THE ORCHESTRA OF FLANDERS
Conducted by
Supervision of the Brussels Philarmonic
Production supervisor

ERNST VAN TIEL

ALAIN DE LEY
BART VAN DER ROOST

Recorded at FLAGEY Studio 4 by

Score Mixers

ETIENNE COLIN
ETIENNE COLIN
LUDOVIC BOURCE
LUDOVIC TARTAVEL
Studio de LA GRANDE ARMEE

Assistant mixers
Mixed at

ADDITIONAL MUSIC
Supervision & Coordination
ILONA MAROUANI
"ESTANCIA OP.8"
(Alberto Ginastera)
Conducted by Ernst Van Tiel
Performed by Brussels Philharmonic The Orchestra of Flanders
Boosey & Hawkes c/o Editions Durand/Universal
(p) 2011 La Petite Reine
Courtesy of Universal Music Vision
"JUBILEE STOMP"
(Edward Ellington)
42

 Gotham Music Service, Inc. c/o Salabert / Universal

Performed by Duke Ellington
(p) Originally released 1928 Sony Music Entertainment
Courtesy of Universal Music Vision & Sony Music Entertainment France
IMAGINATION
(Linvingston)
1927 EMI Catalogue Partnership, EMI Robbins Catalog Inc
Performed by Red Nichols & His Five Pennies
(p) 1928 The Verve Music Group c/o Universal
Courtesy of Universal Music Vision & EMI Catalogue Partnership France
PENNIES FROM HEAVEN
Texte by Johnny Burke, Music by Arthur Johnston
Chappell & Co. 1936
Courtesy of Warner Chappell Music France
LOVE SCENE
(Bernard Herrmann)
Conducted by Elmer Bernstein, Performed by The Royal Philarmonic Orchestra
Sony/ATV Harmony (cat. Famous)
(p) & (c) 1992 MILAN Entertainment, Inc
Courtesy of Sony/ATV Music Publishing France & Milan Entertainment, Inc.
DIRTY TAP DANCING
(Ludovic Bource)
(p) 2011 Strictly Confidential
Courtesy of Strictly Confidential Belgium
BRUXELLES JAZZ ORCHESTRA
Artistic direction
FRANK VAGANEE
Saxophones

FRANK VAGANEE
DIETER LIMBOURG
KURT VAN HERCK
BART DEFOORT
BO VAN DER WERF

Trombones

MARC GODFROID
LODE MERTENS
FREDERIK HEIRMAN
LAURENT HENDRICK

Trumpets

SERGE PLUME
43

NICO SCHEPERS
PIERRE DREVET
JEROEN VAN MALDEREN
Piano
Guitar
String Bass
Drums

NATHALIE LORIERS
HENDRIK BRAECKMAN
JOS MACHTEL
TONI VITACOLONNA

Supervision of the Brussels Jazz Orchestra

Recorded at

KOEN MAES & JEROME LATEUR

BIJLOKE STUDIO

DUBOICOLOR
Digital Intermediate Colorist
RICHARD DEUSY
Laboratory Manager
STEPHANE MARTINIE
Post Production Manager
ERIC MARTIN
Technical Director
GREGORY GOSSE
Digital Coordinator
LORIANE LUCAS
Technical Coordinator
CHRISTOPHE BELENA
LTC
Color Timer
CHRISTIAN DUTAC
Productions Manager
VARUJAN GUMUSEL
Coordinator
DANIELLE MALEVILLE
SCANLAB
Dailies Colorist
RAFAL ALVAREZ
Productions Manager
GREGORY SAPOJNIKOFF
CINE STEREO
Optical Report
DOMINIQUE TOUSSAINT
DIGITAL DISTRICT
Post Production Coordinator
ALEXIS VIEIL
AMANDINE MOULINET
3D

KARL BLANCHARD
JIMMY CAVE
ADRIEN CLEMENT
ARTHUR LEMATRE
ARNAUD LEVIEZ
KEVIN MONTHUREUX
GREGORY PARAIGE
44

Compositing

FABRICE FERNANDEZ
GILLES GIORDAN
AURELIE LAJOUX
JEAN-CHRISTOPHE LEVET
ROMAIN MOUSSEL
LYNDA TRANCHIER
JERME AULIAC
CAROLINE JOURNO
EMMANUEL PICHEREAU
ROBIN RISSER
ANTOINE VIERNY

Compositing Assistants

Planning

LAURENCE PULLINGER

Technical Support

PHILIPPE LAMOUREUX
CEDRIC POURRET

Archives COLLECTION LOBSTER FILMS

Researcher: ELEONORE WINKLER
THE MARK OF ZORRO
FRED NIBLO (1920)
MAKING OF NEWSPAPER
Unknown director
MOCK UP OF 1930 VARIETY COVER
Copyright (c) 2010 Reed Business Information,
a division of Reed Elsevier Inc.

Camera Equipment provided by

PANAVISION / ALGA

Grip and Lighting Equipment

TM MOTION PICTURE
EQUIPMENT RENTALS, INC.

Camera Cranes and Dollies provided by

CHAPMAN / LEONARD
STUDIO EQUIPMENT, INC.

Lighting and Technical Fabrics Provided by

THE RAG PLACE RENTALS, INC.

Recorded on

KODAK FILMSTOCK
45

Clearances by

ENTERTAINMENT CLEARANCES, INC.

LAURA SEVIER, CASSANDRA BARBOUR

Payroll Services

MEDIA SERVICES

Travel Agency

ACTUELS VOYAGES

Shipping

PACKAIR AIRFREIGHT INC.

TAF MOVIE SERVICE

Insurance

GALLAGHER ENTERTAINMENT

Banking services provided by

COMERICA BANK,
CENTURY CITY BRANCH LA

Filmed at

RED STUDIOS HOLLYWOOD,

HOLLYWOOD, CALIFORNIA

Avid Rental by

DUMDUM FILMS

Mixing Studio

S.I.S

THE PRODUCTION WOULD LIKE TO THANK

PAUL RASSAM
GILBERT MAROUANI
CANAL+
RODOLPHE BELMER, MANUEL ALDUY, FRANCK WEBER
FRANCE 3 CINEMA
DANIEL GOUDINEAU, ALICE GIRARD
WARNER BROS.
RICHARD FOX, IRIS KNOBLOCH
JEAN-ROBERT GIBARD, OLIVIER CHIAVASSA,
BERTRAND DORMOY, ELIZABETH NEBOUT-MEVEL, GERY BOUCHEZ,
MAUD LECLAIR, GEORGES HAYUM, FLORENCE WATRIN, NICOLAS BRAULT

46

MOLE-RICHARDSON COMPANY, CENTRE DE DANSE CONNEXION (Paris), SABOTAGE STUDIO,

SMOKING ET BRILLANTINE (Paris), DEBBIE REYNOLDS STUDIO (Los Angeles)

MICHEL HAZANAVICIUS WOULD LIKE TO THANK

SERGE HAZANAVICIUS, NICOLAS SAADA, RIAD SATTOUF, FLORENT EMILIO SIRI,
REMI BEZANON, JEAN CLAUDE GRUMBERG, L'ARP, SIMONE, FANTINE, LUCIEN, GLORIA,
DIEGO MARADONA, SERGE BROMBERG, FRANCK MARGUIN, DOMINIQUE MEZERETTE,
DAVID DANESI, PHILIPPE FALAP AUBRY, ARNAUD BORGES

UNE COPRODUCTION
LA PETITE REINE
STUDIO 37
LA CLASSE AMERICAINE
JD PROD
FRANCE 3 CINEMA
JOUROR PRODUCTIONS
uFILM

With the support of the Federal Government Tax Shelter of Belgium

and Tax Shelter Investors

INTERNATIONAL SALES: WILD BUNCH

American Humane Association monitored the animal action.
No animals were harmed.
(AHAD 02559)

THE CHARACTERS AND EVENTS DEPICTED IN THIS PHOTOPLAY ARE FICTITIOUS. ANY SIMILARITY
TO ACTUAL PERSONS, LIVING OR DEAD, IS PURELY COINCIDENTAL.
THIS MOTION PICTURE IS PROTECTED UNDER THE LAWS OF THE FRANCE AND OTHER
COUNTRIES. UNAUTHORIZED DUPLICATION, DISTRIBUTION OR EXHIBITION MAY RESULT IN
CIVIL LIABILITY AND CRIMINAL PROSECUTION.

47

All rights reserved Visa dexploitation n 127108

La Petite Reine / Studio 37 / La Classe Amricaine / JD Prod
France 3 Cinma / Jouror Productions / uFilm

48