Nicholls
FOX SEARCHLIGHT PICTURES
Presents
In Association with RT FEATURES
A NOAH BAUMBACH Picture
GRETA GERWIG
LOLA KIRKE
MATTHEW SHEAR
JASMINE CEPHAS-JONES
HEATHER LIND
MICHAEL CHERNUS
CINDY CHEUNG
KATHRYN ERBE
DEAN WAREHAM
DIRECTED BY ................................................................. NOAH BAUMBACH
WRITTEN BY ................................................................... NOAH BAUMBACH &
............................................................................................ GRETA GERWIG
PRODUCED BY ................................................................ NOAH BAUMBACH
............................................................................................ SCOTT RUDIN
............................................................................................ LILA YACOUB
............................................................................................ RODRIGO TEIXEIRA
............................................................................................ GRETA GERWIG
EXECUTIVE PRODUCERS ............................................. LOURENÇO SANT’ ANNA
............................................................................................ SOPHIE MAS
CO-PRODUCER................................................................ OSCAR BOYSON
DIRECTOR OF PHOTOGRAPHY ................................... SAM LEVY
PRODUCTION DESIGNER ............................................. SAM LISENCO
COSTUME DESIGNER .................................................... SARAH MAE BURTON
EDITED BY ....................................................................... JENNIFER LAME
MUSIC SUPERVISOR ...................................................... GEORGE DRAKOULIAS
ORIGINAL MUSIC BY .................................................... DEAN WAREHAM & BRITTA PHILLIPS
CASTING BY .................................................................... DOUGLAS AIBEL
www.foxsearchlight.com/press
Rated PG-13 Running time 84 minutes
Publicity Contacts:
Los Angeles
Kelly Byke
Tel: 310.369.5918
kelly.byke@fox.com
New York
Sarah Peters
Tel: 212.556.8658
sarah.peters@fox.com
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Regional
Isabelle Sugimoto
Tel: 310.369.2078
isabelle.sugimoto@fox.com
In MISTRESS AMERICA, Tracy (Lola Kirke) is a lonely college freshman in New
York, having neither the exciting university experience nor the glamorous metropolitan lifestyle
she envisioned. But when she is taken in by her soon-to-be stepsister, Brooke (Greta Gerwig) – a
resident of Times Square and adventurous gal about town – she is rescued from her
disappointment and seduced by Brooke's alluringly mad schemes.
MISTRESS AMERICA is directed by Noah Baumbach from a script written by
Baumbach and Greta Gerwig . The film stars Greta Gerwig, Lola Kirke, Matthew Shear, Jasmine
Cephas-Jones, Heather Lind, Michael Chernus, Cindy Cheung Kathryn Erbe and Dean Wareham.
Producers are Noah Baumbach, Scott Rudin, Lila Yacoub Rodrigo Teixeiraand Greta
Gerwig, . Director of photography is Sam Levy. Editor is Jennifer Lame. Production designer is
Sam Lisenco. Costume designer is Sarah Mae Burton. Original music is by Dean Wareham and
Britta Phillips. Executive producers are Sophie and Lourenço Sant’Anna.
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A college freshman in New York gets a crash course in city life when she befriends her
glamorous stepsister-to-be in MISTRESS AMERICA, a contemporary screwball comedy from
filmmakers Noah Baumbach and Greta Gerwig.
For Tracy (Lola Kirke), her first semester at college in Manhattan is a major
disappointment. Her classes are dull, her roommate is hostile and her crush, Tony (Matthew
Shear), has an obsessively jealous girlfriend, Nicolette (Jasmine Cephas-Jones). Rejected by the
literary society she had set her heart on joining, the aspiring writer reaches out to Brooke (Greta
Gerwig), the going on 30-year-old daughter of her mother’s fiancé – and everything in her life
changes overnight.
Brooke introduces Tracy to a side of New York she has long dreamed of. Enthralled by
Brooke’s picturesque but illegal apartment, about-to-open combination bistro/hair salon/art
gallery/community center, and endless stream of breezy non-sequiturs, Tracy is quickly swept
into a series of adventures masterminded by her soon-to-be sister.
But when a major backer drops out of the restaurant, Brooke’s supposedly charmed life
begins to unravel. With Tracy, Tony and Nicolette in tow, Brooke hits the road to confront the
person she believes owes her the most: her former BFF Mamie Claire (Heather Lind), who stole
both Brooke’s best idea and her wealthy boyfriend, Dylan (Michael Chernus), not to mention her
two cats. At the couple’s Connecticut mansion, a farcical and poignant encounter reveals the
improbable truth in this comedy of modern manners.
If the role of Brooke, a sometimes mad, always entertaining, girl-about-town seems
tailor-made for Greta Gerwig, that’s because it was. In their second screenwriting collaboration,
Gerwig and acclaimed independent filmmaker Noah Baumbach have created another
unpredictable, unforgettable and absolutely believable portrait of a contemporary woman.
The filmmakers also launched a major talent hunt to find an actress who could carry the
heart of the film as Tracy, played by Lola Kirke. “It’s easy to underestimate the character of
Tracy because she’s our way into the story, our narrator,” notes Baumbach. “In a sense, she’s an
unreliable narrator. The story is about her finding her voice and growing into herself.”
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Baumbach and Gerwig’s first collaboration, FRANCES HA, earned accolades for its
stylish black-and-white portrayal of a young dancer in search of a home. The experience was so
rewarding, says Baumbach, that they have been writing together ever since, constantly bouncing
ideas of each other and seeing where it takes them. “I like working with Greta because I’m
always amused and inspired by her. I look forward to reading what she’s written.”
The character of Brooke began as a minor player in a different story, a woman Gerwig
says was “a small-time hustler with a lot of irons in the fire.”
“As we wrote,” continues Baumbach, “Greta would speak in Brooke’s voice and it made
us both laugh. We decided she deserved her own movie and started writing what became Mistress
America. We began with Brooke and reverse-engineered the story from there. I have no idea what
the inspiration was for Brooke, but once Greta started talking like her, I knew I’d like to see a
movie with her playing this part.”
They decided to introduce Brooke to the audience through the eyes of Tracy, an 18-yearold college freshman whose mother is about to marry Brooke’s father. A straitlaced child of
suburbia freshly arrived in New York, Tracy expects that every day in the city will be momentous
and exciting.
“It turns out to be kind of depressing and lonely for her,” says Gerwig. “Then her mother
suggests she call Brooke and she is pulled into a madcap adventure. I’m a fan of the kind of ’80s
movies in which some amazing girl drags “the square” into a crazy underground. They go on a
big adventure and all this happenstance tumbles in. We wanted that feeling. I love the energy of
those movies and I felt like I hadn’t seen one for a long time.”
Movies like SOMETHING WILD, AFTER HOURS and DESPERATELY SEEKING
SUSAN, in which the protagonist is taken on a wild ride by an alluring stranger, were an
influence, says Baumbach. “These were movies I saw when I was a teenager and they had a big
effect on me,” says Baumbach.
Brooke appears to be the young woman every girl moves to the city to become—or at
least become best friends with. “She seems to have a lot going on,” says Gerwig. “She’s a fitness
instructor and she’s opening a restaurant and she’s an interior designer and she has an idea for a
female superhero named Mistress America. She’s into everything and she knows everybody—but
nobody is really her friend.”
Meeting Brooke makes Tracy feel like her life has finally begun. “It’s a bit like Nick
Carraway meeting Gatsby,” Gerwig explains. “Tracy becomes the film’s narrator. She is an
aspiring writer, so when she meets this larger-than-life character, she starts to secretly chronicle
all her goings-on in a short story she calls Mistress America.”
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With her “It Girl” shelf-life growing ever shorter, Brooke is painfully aware that she has
not yet achieved the success she expected. “But she is dazzling when you first meet her,” says
Gerwig. “Her life seems fascinating from the outside. At Tracy’s age, it’s easy to idealize
someone a little. As you get closer, you realize they are more complicated. People often construct
very specific mythologies about what they think happened in their lives, but sometimes the more
questions you ask, the more you realize that it can’t possibly be true. That’s what Tracy starts to
suspect about Brooke.”
The film is produced by Baumbach, Gerwig, Scott Rudin, Rodrigo Teixeira and Lila
Yacoub, who has worked with Baumbach on three previous films. “Whenever I first read one of
Noah’s scripts, I’m always surprised,” says Yacoub. “The last few have all been very different
from each other. His work has become more lighthearted over the years. That seems to be his
evolution as an artist. This movie in particular is quite different for him. It’s probably the most
upbeat film he’s made.”
Baumbach has taken an increased interest in telling female stories in recent years,
according to Yacoub, especially since the success of FRANCES HA. “Noah really loves women,”
she says. “There’s usually a strong woman in his stories, which is one of the things that attracts
me to his work. I’m thrilled that he’s writing characters like Tracy and Brooke. I completely
respect him as a filmmaker and as a writer. I’m so proud to be part of this little family that we’ve
created. He brings a unique perspective to filmmaking.”
MISTRESS AMERICA focuses squarely on the evolution of the friendship between two
women, says Gerwig. “It is unusual to see a story about women that has nothing to do with their
relationships with the men in their lives. That was a parameter we very deliberately set for
ourselves.”
Baumbach and Gerwig have developed a way of working that is both independent and
collaborative. “In the beginning we talk through the story a lot and both take notes,” explains the
director. “Once we agree on an idea, we often work on individual scenes separately and pass them
back and forth.”
A lot of the actual writing happens that way, according to Gerwig. “We’ll hash out an
idea and get a structure. Then one of us writes the scene and brings it in. We’ll read it out loud,
listening for the right sound. Once we’ve got all the scenes, we start tinkering with the lines until
we get to set. What’s really great is that most of the time we are totally on the same page.”
Once production begins, however, their roles become more clearly delineated. “We get
the script into shape before we start shooting,” says Baumbach. “Then we work mainly as
director and actor. But if we need to tweak things, of course, we’re both there to do it.”
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In addition to being a comic escapade, MISTRESS AMERICA is a multi-layered
exploration of subjects near to Baumbach’s heart. “There are a lot of things going on,” says
Yacoub. “In some ways it is about identity. Tracy is trying to figure out who she is. Brooke is
realizing that she is not quite who thinks she is. It’s also about this fish-bowl life that we live
through social media. It’s all on Instagram or Twitter or Facebook. And it’s about creativity,
originality and the value of artistic license. Tracy is borrowing certain things from Brooke’s life
for her writing, which leads to the question of how one creates things.”
Gerwig and Baumbach put particular emphasis on language. “Generally speaking, I have
a great love of minimalism and precise, unadorned writing,” says Gerwig. “But for this, I wanted
there to be almost too many words and I wanted them to come quickly and fall over each other.
The movie is 86 minutes long, but it was a big script filled with words and ideas and people
talking a mile a minute. It is as if Brooke’s flair for banter inspires and elevates the other
characters. It was exciting to watch the actors find their characters.”
Yacoub agrees: “The dialogue is so snappy and memorable and quotable. It calls to mind
the classic screwball comedies. We don’t often express ourselves that way today and its fun to see
it onscreen.”
Underneath the high spirits and humor, however, there is an undercurrent of melancholy
that the filmmakers say is quite deliberate. “The movie is genuinely funny,” Yacoub says. “But it
also made me think back to my college days and that feeling of being a freshman alone in a city.
That really rang true for me, as did the idea of making friends who become like family to you.”
But there is also a sense that this is a temporary family that may not even last all the way
through Tracy’s college years, let alone past them. “Tracy hasn’t finished her first semester yet
and, as Brooke says, this probably won’t even be her big college story,” Gerwig notes. “It’s more
of a detour. The ache that creates is my favorite feeling in movies, the feeling that this is maybe
not the thing. They’ll move on, they won’t know each other, but what a time they had.”
THE IN CROWD
Although it was a given that Gerwig would play Brooke, the role is a departure from her
previous work, says Yacoub. “Brooke is in your face. She believes so strongly in herself and she
has a singular focus I wish I had. Her confidence level is amazing. Is it a delusion? Probably. But
sometimes you have to be a little deluded to succeed.”
After seeing many young actresses, they decided to cast relative unknown Lola Kirke to
play Tracy. “She had to both be funny and have pathos,” Gerwig says. “We were so lucky to find
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Lola. She’s at the beginning of what I’m sure is going to be an amazing career.”
Kirke had not yet filmed her breakout role in the blockbuster GONE GIRL when she
auditioned. “We first saw her on tape,” says Gerwig. “I loved the way she looked. And it was the
first time some of the lines had been funny in the way that we thought they were funny, so we had
her audition in person.”
But the filmmakers were surprised by what they saw when Kirke walked in. “Lola is not
like Tracy at all. She’s totally confident and seems like she has never actually been intimidated by
anybody in her whole life. But it became clear that she’s a great actress who really got the
essence of Tracy.”
The deciding factor was chemistry. “Once we put Lola on camera with Greta, it was
obvious that they had it,” says Yacoub. “Tracy has a strength to her that she doesn’t realize,
which Lola was able to really convey well. She captured the loneliness and isolation of those first
weeks of college when you are afraid you might never connect with anybody.”
Kirke didn’t see a full script until about a week before shooting began. “I was given a
couple of pages at the audition and had to loosely memorize it before doing the scene,” the actress
recalls. “I actually really enjoyed that. It took the pressure to be perfect off a bit, so I could be
more spontaneous and in the moment.”
The process was unlike anything she had experienced before or since, she says. “No
actor, no matter which part they were auditioning for, got any kind of script in advance. You
might have 12 auditions and screen tests. When we started working, there were many, many takes
and we explored each scene in many different ways. That level of perfectionism and commitment
is really exciting to me.”
When Kirke did finally receive a complete script, she was, she says, ecstatic, adding:
“You really don’t often see dialogue of the caliber that they wrote.”
Tracy, she says, learns to feel special because someone she respects believes in her. “She
is very taken with Brooke and I could definitely relate to that feeling. I am willing to be led by
powerful and strong women who are brave enough to do the things I don’t think I can do by
myself. In fact, in some ways the relationship between Brooke and Tracy mimicked the
relationship between Greta and me. She is an impressive and talented woman and it was really
something to be taken under her wing.”
The rest of the ensemble was just as carefully chosen, drawn predominantly from the
ranks of New York City’s versatile and hardworking stage actors. “One of the great pleasures of
making this movie was that we got to cast great actors that audiences might not necessarily
know,” says Gerwig.
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Tracey’s first (and for a while only) friend in New York is Tony, another aspiring writer
she meets in a seminar. They start a friendship and a bit of a rivalry, sharing and critiquing each
other’s work.
“Matthew Shear plays Tony, who looks like he might be a romantic interest,” says
Gerwig. “Matthew has worked with the improv comedy group Upright Citizens Brigade in New
York, but this is his first big role in a film. He came in and just started reading the lines. He was
terrific.”
“Matthew Shear reminds me of actors from movies in the 1970s,” Baumbach says. “He
has incredible sincerity as an actor that can be used for both dramatic and hilariously comic
effect. He’s great at losing it.”
Shear recalls being asked to audition for an “untitled Noah Baumbach project.” Like
Kirke, he never saw a script and was given a few pages of dialogue at his appointment. “And then
three months later I got an unexpected callback. Again, I went in without any preparation. Noah
and Greta and Lola were all there. I read with Lola and it was a whole lot of fun.”
The actor had auditioned for Baumbach when the director was casting THE SQUID AND
THE WHALE, but lost out on the role to Jesse Eisenberg. “I was very impressed by the film, so
to get another audition with Noah was really exciting for me,” he says. “He is very thorough
director and incredible to work with. He is sharp, funny and imaginative. And his process is
rigorous, which is intimidating at first, but it became a wonderful opportunity to explore and
collaborate. He gives gentle suggestions and then we do the scene over and over and over again.
Ultimately, it becomes liberating.”
When he was finally presented with a full script, Shear was wowed by the thought and
effort that had gone into crafting it. “The writing was precise and witty, without being highbrow
or off-putting,” he says. “Noah and Greta didn’t want us to stray from the script. I really began to
appreciate how well they crafted each sentence.”
The relationship between Tracy and Tony takes a few unexpected detours, veering from
confiding to flirtatious to competitive because they both aspire to be writers. “Lola was such fun
to work with,” says Shear. “She’s very loose and funny and goofy. She seems to make friends
easily and we connected from the beginning.”
It turned out the two actors share a love of the same music—and even studied under the
same acting coaches. “I absolutely love working with Matthew,” says Kirke. “When we weren’t
on camera, we were busy creating very elaborate harmonies.”
Tony’s jealous girlfriend, Nicolette, played by Jasmine Cephas-Jones, wants to keep him
as far away from Tracy as possible. “Jasmine has a terrifically dry sense of humor,” Baumbach
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says. “Her and Matthew’s growing rage toward each other makes me laugh. At the wrap party I
discovered she also has a beautiful singing voice. This wasn’t news to anyone else—or for
anyone who has seen the musical, ‘Hamilton’—but it made us wish we’d given her a song.”
According to Cephas-Jones, the filming process was very much like the audition process.
“It was always in the moment. They gave us ideas and we just rolled with them. I didn’t really
know how they would work together when I signed on, so it was a cool surprise. Even on set,
they were throwing ideas back and forth, and everyone was cracking jokes.”
Watching Gerwig juggle acting, writing and producing inspiring, Cephas-Jones says.
“You could almost see the ideas running through her head. She’s completely ahead of the game
and ready to do as many takes as it needs to get what she wants. Noah has the same commitment.
He gives you the options to play with and then leaves it up to you to execute.”
When Brooke’s campaign to save the restaurant culminates in a trip to the Greenwich,
Connecticut, the home of a wealthy couple she believes owes her, Tony’s car is commandeered
and Nicolette’s jealous suspicions compel her to go along for the ride. “Tracy obviously has a
crush on Tony,” says Cephas-Jones. “Nicolette is afraid that Tony’s going to cheat on her. She is
an outsider and she wants to fit in. The only way she can do that is through her boyfriend, so she
kind of brags and nags until she gets what she wants.”
The upper-crust couple in question, Brooke’s old friends Mamie Claire and Dylan, are
played by Michael Chernus and Heather Lind. “And they are just hysterical,” says Yacoub. “They
are great actors with wonderful, unique faces. They help set a new tone for what follows.”
Gerwig remembered meeting Chernus while she was studying playwriting in college.
“The teacher invited some actors from New York to do a reading of a play I’d written,” she says.
“Michael Chernus was one of them, so I’ve always had a real affection for him.”
Baumbach had been wanting to cast Chernus in one of his films for a while. “Dylan was a
perfect part for him,” says Baumbach. “I was thinking about Jack Warden in SHAMPOO. No
matter how badly he behaves, you still kind of love him. I needed someone like that to play
Dylan.”
As Mamie Claire, Lind is an uptight suburban striver who provides a great foil for
Gerwig’s Brooke. “When you first meet Mamie Claire, you think you know exactly who she is,
but as things unfold, you realize you don’t know her at all,” says Baumbach. “Heather understood
that and played it brilliantly.”
The cast is rounded out by Dean Wareham (who also provided the film’s score with
musical partner Britta Phillips) as Harold and Mamie Claire’s disgruntled neighbor; Kathryn
Erbe, well known from her long stint on the “Law and Order” franchise, as Tracy’s mom; and
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Cindy Cheung as a pregnant book-club member left stranded by her husband at the Connecticut
mansion.
“I know there are amazing actors everywhere, but I feel like New York actors are solid as
a rock,” says Gerwig. “You can put them in any situation and they’re going to make the text
sound terrific. It’s so exciting to be able to be in a position to hire all these talented people.”
HOW TO CREATE CONTROLLED CHAOS
MISTRESS AMERICA was shot in New York City and Connecticut in Baumbach’s
preferred style—with a tight, small crew. “It felt like a filmmaking band of brothers,” Gerwig
says. “All hands were on deck all the time. On most films, everything is all set up by the time
they bring the actors on set. Working this way means we build everything together. We didn’t
have trailers, so there was nowhere to go away to.”
Baumbach returned to frequent musical collaborators Dean Wareham and Britta Phillips
to create a score that evokes the 1980s in New York. “The music is very specific,” says Yacoub.
“Noah wanted an ’80s vibe to the movie. Dean Wareham and Britta Phillips knocked it out of the
park. It’s reminiscent of the period, but with their distinctive spin. I think it’s just a great
soundtrack.”
The husband-and-wife team, who first joined forces as members of cult-favorite indie
band Luna, have provided music for THE SQUID AND THE WHALE, FRANCES HA and
GREENBERG, as well as appearing in several of Baumbach’s films. “We thought this was an
opportunity to do something that evoked bands like New Order and OMD,” says Baumbach.
“Dean and Britta have very much their own sound, so I knew that by asking them to do
something in this vein they would naturally come up with something only they could do. The
result is one of my favorite scores. It has terrific energy, romanticism, beauty and a sense of
humor. It’s a great score for New York City.”
The film’s mile-a-minute climax starts with a poorly thought out road trip and builds to a
new take on classic farce, with characters busting in and out of rooms in a glass-walled
Connecticut mansion, as Brooke makes a last-ditch effort to bail out her failed restaurant deal.
The scene’s frenetic pace and action throughout the house matched Brooke’s personality and
manic energy perfectly.
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“There’s always a road trip in this kind of movie,” Gerwig says. “You’ve got to get in the
car at some point. We thought moving the action to Greenwich, Connecticut, would be kind of
hilarious.”
The controlled chaos that erupts was very carefully scripted and filmed, she adds. “We
had a screenplay that was strictly adhered to. It looks out of control, but nothing was shot in a
messy, hand-held way. It was really precise and rigorous, like the rest of the shoot, but allowed
everyone to participate in defining the scene.”
As the backdrop for the climactic sequence, the filmmakers found an enormous glass
house with 360-degree views and sliding doors galore. “Usually there are a lot of slamming doors
in farce, but we thought it would be fun if all the doors were sliders,” Gerwig says.” “It makes
them impossible to slam.”
Shooting these scenes was a terrific experience for the cast, says Cephas-Jones. “We
were going in and out of rooms constantly, the blocking was precise and the logistics were
challenging, but also really fun.”
The ensemble nature of MISTRESS AMERICA couldn’t be clearer than it is in that
scene, according to Kirke. “There was some complicated choreography and it was really fun to be
able to do that. Someone exits and then someone enters and someone moves a table.”
With nine actors in the scene, the logistics had to be meticulous. The actors needed to
speak very quickly and talk over each other, keeping the dialogue crisp while also following
precise blocking. “It’s not just the four New Yorkers,” Gerwig points out. “There are also Mamie
Claire and Dylan, one of their neighbors, the housekeeper and a woman from Mamie Claire’s
book group, all wandering around this huge house. It looks effortless but it took a lot of planning
to get right. We tried to shoot economically with as many people in each shot as possible. There’s
one long ‘walk and talk’ with Brooke following Mamie Claire and it was like an obstacle course.
We had to hit multiple marks and pass other people at just the right moment.”
Gerwig hopes audiences are amused and entertained by the story of Tracy and Brooke,
but she also thinks they will be surprised and moved. “I want them to feel like they saw
something they’ve never really seen before. There’s something very exciting about that.”
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CAST
GRETA GERWIG (Brooke) has rapidly emerged as one of Hollywood’s most engaging
actresses.
She is next set to star in MAGGIE’S PLAN, a romantic comedy of manners, which
was written and directed by Rebecca Miller.
Gerwig’s previous collaboration with Baumbach, FRANCES HA, earned her a Golden
Globe and Broadcast Film Critics Association Award nomination in the category of Outstanding
Lead Actress in a Motion Picture, Musical or Comedy. The film, which also earned an
Independent Spirit Award nomination for Best Feature, premiered at the 2012 Telluride Film
Festival, Toronto Film Festival, and New York Film Festival and was released by IFC in May
2013.
She recently co-starred in Barry Levinson’s THE HUMBLING opposite Al Pacino and
Dianne Wiest and in Woody Allen’s TO ROME WITH LOVE with Alec Baldwin, Jesse
Eisenberg and Ellen Page. Other film credits include Whit Stillman’s comedy DAMSELS IN
DISTRESS and Fox Searchlight’s LOLA VERSUS in which she played the title character of
“Lola.”
Gerwig first received critical acclaim for her breakout role as “Florence” in
GREENBERG which marked her first collaboration with writer/director, Noah Baumbach. In the
film, she starred opposite Ben Stiller and her performance earned her several nominations
including a Gotham Award nomination for Breakthrough Performance and an Independent Spirit
Award nomination for Best Female Lead. Gerwig then went on to star alongside Russell Brand
and Helen Mirren in the comedy ARTHUR, followed by a supporting role in the romantic
comedy NO STRINGS ATTACHED with Natalie Portman and Ashton Kutcher.
A darling of the independent film scene, Gerwig’s prior credits include Ti West’s “arthouse horror film” HOUSE OF THE DEVIL; the Duplass brothers’ genre-bender BAGHEAD.
She has twice collaborated with director and actor Joe Swanberg, first on HANNAH TAKES
THE STAIRS as a writer and actress, and then for NIGHTS AND WEEKENDS, which she also
co-wrote and co-directed.
Gerwig graduated magna cum laude from Barnard College, and currently resides in New
York City.
LOLA KIRKE (Tracy) recently completed production on the Doug Liman directed
film, MENA alongside Tom Cruise, Domhnall Gleeson, Jesse Plemons and Caleb Landry Jones
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which Universal Pictures will release on January 6, 2017.
Currently, Kirke is in production on the second season of the original Amazon television
series “Mozart in the Jungle,” as the lead female star Hailey. The first season of “Mozart in the
Jungle,” debuted exclusively on Amazon on December 23, 2014.
Last year, Kirke appeared in the film FREE THE NIPPLE, which was acquired by
Sundance Selects for distribution. The film was released on December 12, 2014. Additionally,
Kirke appeared in the anticipated film adaptation of GONE GIRL as Greta. The David Fincher
film was released in the theaters on October 2, 2014 and brought in over $365 million worldwide.
This year, Kirke will also be seen in the film FALLEN, alongside Jeremy Irvine, Addison
Timlin and Joely Richardson. This film is scheduled to be released in 2015. Additionally, Kirke
produced and stars in the Untitled Aaron Fisher-Cohen Project.
Kirke’s other film credits include: ANOTHER HAPPY DAY, and REACHING FOR
THE MOON. Her television credits include: “Law & Order: Special Victims Unit" and "The
Leftovers.” Additionally, Kirke starred, directed and wrote the short film project titled MY
RIFLE, MY BABY, AND ME.
MATTHEW SHEAR’s (Tony) film and TV credits include: TAKING WOODSTOCK
by director Ang Lee, BEWARE THE GONZO, DELINQUENT, WHILE WE'RE YOUNG by
director Noah Baumbach. "NYC-22" (CBS), "Half Straddle". Matthew played the lead in the
short film A STATISTICAL ANALYSIS OF YOUR FAILING RELATIONSHIP which won
Special Jury Mention at Tribeca this year. He will be starring opposite Zosia Mamet in the
upcoming film THE BOY DOWNSTAIRS. He studied classics at St John's College in Annapolis,
MD and trained with The Barrow Group Theater Company.
JASMINE CEPHAS-JONES (Nicolette) went to Berklee College of Music for vocal
performance and The Neighborhood Playhouse for Theater. She is a member of the LAByrinth
Theater Company. Theater: The Loneliness of the Long Distance Runner (Atlantic Theater) Film:
MISTRESS AMERICA, TITUS (Dakus Films UK). Television: “Blue Bloods” (CBS),
“Unforgettable (CBS), “The Blacklist” (NBC). Jasmine currently stars on Broadway in the smash
hit, Hamilton.
HEATHER LIND’s (Mamie-Claire) Broadway credits include: Of Good Stock at
Manhattan Theatre Club (Dir:Lynne Meadow), The Merchant of Venice opposite Al Pacino
(Theatre World Award for Outstanding Broadway Debut). The Public Theater’s Shakespeare in
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The Park: A Winter’s Tale, The Merchant of Venice. Williamstown Theatre Festival:Pygmalion
(Eliza Doolittle) opposite Robert Sean Leonard, The Lovers, Big Money. Film credits include: A
SINGLE SHOT opposite Sam Rockwell, STEALING CARS opposite William H. Macy
Upcoming films include: DEMOLITION by director Jean Marc Valle and starring opposite Jake
Gyllenhaal. Lind’s television credits include: “Turn: Washington’s Spies,” “Boardwalk Empire”
(SAG Award for Outstanding Performance by an Ensemble in a Drama Series) Lind’s education
includes Fordham College at Lincoln Center, NYU Graduate Acting Program.
MICHAEL CHERNUS (Dylan) will next be seen in Jim Strouse's PEOPLE PLACES
AND THINGS and which premiered at Sundance in January, 2105.
Michael just wrapped a lead role in the Untitled Joshua Marston Film opposite Rachel
Weisz, as well as THE FAMILY FANG opposite Nicole Kidman and Jason Bateman, who also
directed. Michael previously appeared in the Oscar Nominated Best Picture CAPTAIN
PHILLIPS for director Paul Greengrass as Chief Mate Shane Murphy to Tom Hanks's titular role;
as well as Tony Gilroy's THE BOURNE LEGACY, Oren Moverman's THE MESSENGER, a
comedic standout role in MEN IN BLACK 3, and Cameron Crowe's ALOHA.
An acclaimed stage actor, some of his credits include a starring run opposite America
Ferrara in Lips Together, Teeth Apart at Second Stage Theatre off-Broadway, Lisa Kron's In The
Wake for which he won an OBIE® award and originating the starring role of KJ in Annie Baker's
acclaimed play The Aliens directed by Sam Gold-which was named Best Play of 2010 by Charles
Isherwood of The NY Times.
He can currently be seen as a series regular on the WGN series “Manhattan” and continues to
recur as ‘Cal Chapman’ in season 3 of Netflix's hit series “Orange Is the New Black.”
CINDY CHEUNG’s (Karen) film credits include the upcoming WOLVES, OBVIOUS
CHILD, CHILDREN OF INVENTION, LADY IN THE WATER, ROBOT STORIES. TV
credits are: “The Affair,” “Homeland,” “Nurse Jackie,” “Blue Bloods” (recurring), “Bored To
Death,” “White Collar,” “Fringe,” “Sex and the City,” all 3 “Law & Order’s. Theater credits
includes: Iowa (Playwrights Horizons), The Great Immensity
(Public), Middletown (Vineyard), Sides: The Fear Is Real…(Ma-Yi) and her self-penned solo
show SPEAK UP CONNIE, directed by BD Wong. She holds an MFA from A.C.T. and is an
associate artist of The Actors Center Workshop Company, Ensemble Studio Theater and The
Civilians. Recipient of the 2015 Charles Bowden Award.
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KATHRYN ERBE (Tracy’s Mom) is best known for playing Detective Alexandra Eames
in “Law & Order: Criminal Intent.”
Born in Newton, Massachusetts, Erbe is a veteran of both film and television and has been
a working actress since she graduated from New York University in 1989.
Erbe’s television credits include playing the infamous death row inmate Shirley Bellinger
on the acclaimed HBO series “Oz.” She also appeared on NBC’s “Homicide: Life on the Street,”
the miniseries “George Wallace,” Showtime’s original production of “Naked City: Justice with a
Bullet,” NBC’s “Another World” and the television movie “Breathing Lessons.”
Erbe also gained notice in the 1999 box office hit STIR OF ECHOES opposite Kevin
Bacon and DREAM WITH THE FISHES with David Arquette. Her additional film credits include
ENTROPY, KISS OF DEATH, D2: THE MIGHTY DUCKS, RICH IN LOVE, WHAT ABOUT
BOB?, and SPEAKING OF SEX with Lara Flynn Boyle and Bill Murray.
Before appearing in feature films, Erbe began her career on the stage. She is a member of
the Steppenwolf Theater Company and has starred in many of their productions, including
Tennessee Williams’ A Streetcar Named Desire as Stella, Curse of the Starving Class and My Thing
of Love. She earned a Tony® Award nomination in 1991 for her portrayal of Mary in Speed of
Darkness. Erbe is also an active member of the Atlantic Theatre Company.
Most recently, Erbe filmed on THREE BACKYARDS, starring opposite Embeth Davidtz
and Edie Falco, MOTHER’S HOUSE, WORST FRIEND’S, and THE LOVE GUIDE with Parker
Posey.
Erbe currently resides in New York with her two children.
DEAN WAREHAM (Harold) has a long history with Noah Baumbach, contributing
music and appearing as an actor in MISTER JEALOUSY, FRANCES HA, WHILE WE’RE
YOUNG. Other acting credits include Alison Bagnall’s PIGGIE and “Law & Order.”
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FILMMAKERS
NOAH BAUMBACH (Directed by/Screenplay by/Produced by) was born in
Brooklyn, New York. His films include Kicking and Screaming, The Squid and the Whale,
Margot at the Wedding, Greenberg, Frances Ha and While We’re Young.
SCOTT RUDIN (Produced by) Films include: EX MACHINA; TOP FIVE; WHILE
WE’RE YOUNG; INHERENT VICE; THE GRAND BUDAPEST HOTEL; CAPTAIN
PHILLIPS; INSIDE LLEWYN DAVIS; FRANCES HA; MOONRISE KINGDOM; THE GIRL
WITH THE DRAGON TATTOO; MONEYBALL; MARGARET; THE SOCIAL NETWORK;
TRUE GRIT; GREENBERG; IT’S COMPLICATED; FANTASTIC MR. FOX; JULIE &
JULIA; DOUBT; NO COUNTRY FOR OLD MEN; THERE WILL BE BLOOD; THE QUEEN;
NOTES ON A SCANDAL; CLOSER; TEAM AMERICA: WORLD POLICE; SCHOOL OF
ROCK; THE HOURS; THE ROYAL TENENBAUMS; ZOOLANDER; SLEEPY HOLLOW;
WONDER BOYS; SOUTH PARK: BIGGER, LONGER & UNCUT; THE TRUMAN SHOW;
IN & OUT; RANSOM; THE FIRST WIVES CLUB; CLUELESS; NOBODY’S FOOL; THE
FIRM; SEARCHING FOR BOBBY FISCHER; SISTER ACT; THE ADDAMS FAMILY.
Theatre includes: Hamlet; Seven Guitars; A Funny Thing Happened on the Way to the
Forum; The Chairs; The Blue Room; Closer; Amy’s View; Copenhagen; The Designated
Mourner; The Goat, or Who Is Sylvia?; Caroline, or Change; The Normal Heart; Who’s Afraid of
Virginia Woolf?; Doubt; Faith Healer; The History Boys; Shining City; Stuff Happens; The
Vertical Hour; The Year of Magical Thinking; Gypsy; God of Carnage; Fences; Jerusalem; The
Motherf**ker With the Hat; The Book of Mormon; One Man, Two Guvnors; Death of a Salesman;
The Testament of Mary; Betrayal; A Raisin in the Sun; This Is Our Youth; The Curious Incident of
the Dog in the Night-Time; A Delicate Balance; Fish in the Dark; The Audience; The Iceman
Cometh; Skylight.
LILA YACOUB (Produced by) served as executive producer on both Chris Rock’s
TOP FIVE and ROSEWATER, Jon Stewart’s directorial debut. She recently served as producer
on Noah Baumbach’s FRANCES HA and WHILE WE’RE YOUNG, and Marina Zenovich’s
Emmy Award-winning documentary feature ROMAN POLANSKI: ODD MAN OUT.
Previously she served as co-producer on Wes Anderson’s MOONRISE KINGDOM and
as executive producer on Oren Moverman’s Rampart, Noah Baumbach’s GREENBERG, and
Kieran and
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Michele Mulroney’s PAPER MAN. She also produced Scott Gill’s documentary “The Mars
Underground” on the Discovery Science Channel.
RODRIGO TEIXEIRA (Produced by) founded RT Features in the year 2005 and whose
mission is geared towards producing high quality cultural content. Teixeira has-produced the
feature length films: DRAINED by Heitor Dalia (Sundance, 2006) and NATIMORTO by Paulo
Machline (2009). In 2010 the documentary B1 by Felipe Braga and Eduardo H. Moura was released
and in 2011 the mini-series “Amor em quatro atos”, based on songs by Chico Buarque, was aired
by Rede Globo. In 2012, Rodrigo produced HELENO (Toronto International Film Festival), by
José Henrique Fonseca with Rodrigo Santoro. In 2014 Rodrigo produced WHEN I WAS ALIVE
(Rome International Film Festival) directed by Marco Dutra and TIM MAIA, directed by Mauro
Lima. He also was a producer on FRANCES HA (Telluride, Toronto, NY, Berlin) by Noah
Baumbach and Greta Gerwig. Gerwig was nominated for a Golden Globe in the category Best
Performance by an Actress in a Motion Picture - Comedy or Musical. Teixeira has also produced
NIGHT MOVES (Venice, Deauville, London International Film Festivals) by Kelly Reichardt with
Dakota Fanning and Jesse Eisenberg, LOVE IS STRANGE (Sundance, Berlin International Film
Festivals) directed by Ira Sachs, with Alfred Molina, John Lithgow, and Marisa Tomei, Robert
Egger’s THE WITCH which was presented at Sundance 2015 and garnered the Best Directing
award. Teixeira’s latest production, LOVE directed by Gaspar Noé was presented at Cannes in
2015.
LOURENÇO SANT’ ANNA (Executive Producer) is an executive producer, having
served as such for the past four years at RT Features, an international production company based
in São Paulo, Brazil.
Lourenço has also executive produced NIGHT MOVES, directed by Kelly Reichardt
starring Dakota Fanning, Jesse Eisenberg and Peter Sarsgaard.
Lourenço was an executive producer on Gaspar Noé's LOVE that premiered in Cannes
2015 out of competition.
SOPHIE MAS (Executive Producer) is a Paris-based producer. She worked on films
such as REPRISE by Joachim Trier before starting her company Mas Films in 2008.
She joined RT Features, an international production company founded by Rodrigo
Teixeira and based in São Paulo in 2012.
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OSCAR BOYSON (Co-producer) is a New York based filmmaker. As producer, his
credits include FRANCES HA, HEAVEN KNOWS WHAT, and MISTRESS AMERICA. He
was born and raised in Maine.
Rising star SAM LEVY (Director of Photography) has shot some of the most
innovative films to premiere in recent years.
He just wrapped MAGGIE’S PLAN for director Rebecca Miller, starring Julianne
Moore, Ethan Hawke, Maya Rudolph and Bill Hader.
Levy’s upcoming film, MISTRESS AMERICA, marks his third collaboration with
director Noah Baumbach. The duo’s other films include: WHILE WE’RE YOUNG, which
premiered at the 2014 Toronto International Film Festival and stars Ben Stiller, Naomi Watts,
Amanda Seyfried and Adam Driver; and FRANCES HA in stylish black-and-white, co-written
and starring Gerwig, which premiered at the 2012 Telluride Film Festival and opened in theaters
the following year.
Galt Niederhoffer’s THE ROMANTICS, which premiered at 2010’s Sundance Film
Festival, marked Levy’s third trip to Utah. In 2008, he launched the first series of GREEN
PORNO, which also screened at the Toronto and Berlin International Film Festivals. Between
parts 1 and 2 of the GREEN PORNO series, Levy lensed WENDY AND LUCY. The film earned
rave reviews for its cinematography after opening at the Cannes Film Festival. In 2007 Levy
provided cinematography fellow service to the Sundance Institute Director’s Lab.
He also photographed the AICP Award-winning documentary OASIS: DIG OUT YOUR
SOUL IN THE STREETS, a film for the powerhouse band Oasis. He shot the concert
documentary SONIC YOUTH: DO YOU BELIEVE IN RAPTURE for director Braden King and
two episodes of the Emmy Award-winning series “This American Life” with director Chris
Wilcha.
Levy’s additional feature credits include THE BLUE HOUR for director Eric Nazarian
and HEAD TRAUMA for Lance Weiler. He has also shot commercials for clients including
American Express, ESPN, Nike, Adidas, Sony, Ray Ban, MTV as well as music videos for The
White Stripes, Beck, Cat Power, Will Oldham and Garbage.
SAM LISENCO’s (Production Designer) recent credits as production designer include;
SHADES OF BLUE (dir. Barry Levinson), DEAN (dir. Demetri Martin), THE HUMBLING (dir.
Barry Levinson), HITS (dir. David Cross; Official Selection, Sundance Film Festival (2014), and
Independent Spirit Award Best Feature nominated FRANCES HA (dir. Noah Baumbach),
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GIMME THE LOOT (dir. Adam Leon; Grand Jury Prize Winner- Best Narrative Feature, SXSW
Film Festival, Someone to Watch Award (2012), Independent Spirit Awards (2012),
Official
Selection, Un Certain Regard, Cannes Film Festival (2012).
Lisenco was both designer and producer for filmmakers Joshua and Benny Safdie on
their work since 2003 including feature GO GET SOME ROSEMARY (Breakthrough Award,
Gotham Awards (2009), Cassavettes Award, Independent Spirit Awards (2010), Official
Selection, Cannes Film Festival (2009), Official Selection, Sundance Film Festival (2010),
International Critics Prize (2010). Additionally, Lisenco designed many of Lena Dunham’s early
short films, as well as her first narrative feature, CREATIVE NONFICTION (Official Selection,
SXSW Film Festival (2009).
New York born and raised, Sam Lisenco received his BS in Film at Boston University in
2005.
SARAH MAE BURTON (Costume Designer) is a New York based costume designer
for film and television.
Her collaborations with Killer Films include the upcoming THE BLUNDERER, a 1960s
murder mystery adapted from Patricia Highsmith's best-selling novel, starring Patrick Wilson and
Jessica Biel; and GOAT, directed by Andrew Neel and starring Nick Jonas.
Other recent credits include Lou Howe’s GABRIEL, starring Rory Culkin; Stephen
Belber’s MATCH, starring Patrick Stewart; and Michel Gondry’s THE WE AND THE I.
She is currently co-designing “Limitless” for CBS, alongside Emmy-nominated Dan
Lawson.
JENNIFER LAME (Edited by) film credits include PAPER TOWNS, WHILE WE
WERE YOUNG, PALIMPSEST, FIRST WINTER, FRANCIS HA, PRICE CHECK, NOT
FADE AWAY, ALICE JACOBS IS DEAD. Lame’s television credits include “Smash,” “30
Rock,” “Rubicon,” “The Philanthropist,” “Brotherhood” and “The Simple Life.”
DEAN WAREHAM & BRITTA PHILLIPS (Original Music by) scored Noah
Baumbach’s THE SQUID & THE WHALE (2005) and now return for MISTRESS AMERICA.
Dean and Britta are film composers with an indie-rock background; both were members of the
New York band Luna, and Wareham founded the band Galaxie 500. They have also scored films
for the Andy Warhol Museum (13 MOST BEAUTIFUL: SONGS FOR ANDY WARHOL’S
19
SCREEN TESTS), Morgan J. Freeman (JUST LIKE THE SON), and have written songs for films
by Olivier Assayas (CLEAN, IRMA VEP).
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Unit Production Manager
Lila Yacoub
First Assistant Director
Oscar Boyson
Second Assistant Director
Tyson Bidner
Second Assistant Director
Joe Moore
Made In Association With
TSG Entertainment
Cast
Tracy
Ruth
Laura
Professor #1
Counselor
Professor #2
Student
Hallway Girls
Tracy's Mom
Nicolette
Tony
Mobius Guy
Tiny Girl
Work Study Woman
Brooke
The Band
Lola Kirke
Shana Dowdeswell
Shelby Rebecca Wong
Alfred MacAdam
Amy Warren
Sharon Washington
Morgan Lynch
Andrea Chen
Shoba Narayanan
Kathryn Erbe
Jasmine Cephas-Jones
Matthew Shear
Colin Stokes
Juliet Brett
Gretchen Young
Greta Gerwig
David Longstreth
Amber Coffman
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Party Hostess
Fake Brooke
Cycling Class Student
Peggy
Anna
Kareem
Psychic
Harold
Mamie-Claire
Pregnant Book Club Members
Karen
Housekeeper
Brooke's Dad
Dylan
Advisor
Co-Producer
Associate Producer
Production Supervisor
1st Assistant Camera
Gaffer
Digital Imagining Technician
Script Supervisor
Sound Mixer
Additional Sound Mixer
Art Director
Set Decorator
Wardrobe Supervisor
Costume Assistants
Steve Marion
Michael Daniel Johnson
Nathaniel Baldwin
Rebecca Naomi Jones
Mickey Sumner
Mary Beth Minthorn
Clare Foley
Rebecca Henderson
Kareem Williams
Frank Iacuzzo
Dean Wareham
Heather Lind
Jessie Austrian
Taryn Simon
Casey Leigh Atre
Adrea Teasdale
Cindy Cheung
Marina Ayala
Seth Barrish
Michael Chernus
Amanda Gates-Ellison
Eli Bush
Brendan Mchugh
Mary Beth Minthorn
David Feeney-Mosier
Brett Jutkiewicz
Loic De Lame
Sasha Vitelli
Micah Bloomberg
Gillian Arthur
Ashley Fenton
Katie Hickman
Ashley Posey
Kelly L. Brown
Evren Catlin
Hannah de la Cava
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Bryan Gilmore
Kieran Murray
Holly Pierson
Hair Department Head
Make-Up Consultant
Location Manager
Assistant Location Manager
Production Coordinator
Assistants to Noah Baumbach
Production Assistants
Accounting Services
Production Accountants
Casting Associate
Casting Associate, Los Angeles
Assistant Editors
Supervising Sound Editor
Sound Editors
Foley Artist
Foley Engineer
Sound Intern
Esther Ahn
James Vincent
Wyatt Angelo
Jordan Alexander
Amanda Messenger
Marion Bradford
Nikki Robbins
Leah Boatright
Andre D'Ambrosio
Stephanie Donnelly
Mark Luckenbill
David Newman
Jake Saner
Altman, Greenfield & Selvaggi, LLP
Brendan Mchugh
Frank Selvaggi
Anthony Bonsignore
Paula Zinca
Joshua Schmell
Henry Russell Bergstein
Deborah Maxwell Dion
Matthew Hart
Erin Sullivan
Lauren Minnerath
Paul Hsu
Philip Stockton
Branka Mrkic-Tana
Al Zaleski
Bill Orrico
Marko Costanzo
George Lara
Ja-Ann Wang
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Post Production Sound Facility
Facility Manager
Digital Intermediate
Assistant Colorist
Second Assistant Colorist
Supervising Producer
Post Producer
Assistant Post Producer
DI Editor
Technical Assistant
Visual Effects
Visual Effects Supervisor
Digital Compositors
Title Design
c5, inc., NYC
Sherrell Hodges
Boxmotion
Marcy Robinson
Marika Litz
Nadia Sadigianis
Mamie-Claire Cornelius
Laura Osorio
Matthew Moss
Scott Frace
Boxmotion
Andrew Lim
Alex Miller
Christopher Riemann
Victor Torres
Andrew Lim
“Souvenir”
Written by Martin Cooper and Paul Humphreys
Performed by Orchestral Manoeuvers In The Dark
Courtesy of Virgin Records Ltd.
Under License from Universal Music Enterprises
“No More Lonely Nights”
Written and Performed by Paul McCartney
Courtesy of MPL Communications, Inc.
“Happy & Free” (Jim James Remix)
Written and Performed by Dean Wareham
Courtesy of Double Feature Records
“You Could Have Been A Lady”
Written by Errol Brown and Tony Wilson
Performed by Hot Chocolate
Courtesy of Parlophone Records Ltd
“The Dancer Disappears”
Written and Performed by Dean Wareham
Courtesy of Double Feature Records
“Rosanna”
Written by David Paich
Performed by Toto
Courtesy of Columbia Records
By Arrangement with Sony Music Licensing
“Nocturne No.2 In E-flat major, Op.9”
Written by Frédéric Chopin
Provided by APM Music
“Dream Baby Dream”
Written by Martin Rev and Alan Vega
“All That She Wants”
Written by Corey Gibson, Mali Berggren, Ulf
Ekberg
Justin Franks, Brittany Scriven, Joker,
Jonas Berggren, Jenny Berggren
Performed by Ace of Base
Courtesy of Playground Music Scandanavia
Performed by Suicide
Courtesy of Revega Music
©1978 Revega Publishing Co
24
"Sarah Bernhardt" by Andy Warhol used courtesy of The Andy Warhol Foundation for the Visual Arts, Inc. /
Artists Rights Society (ARS), New York © 2014
"Are You Having A Good Time?" by Randy Stevens used courtesy of the artist and Newbury Fine Arts
©1992
cats provided by
Insurance Provided by
Production Legal Services
Music Legal Services
Rights & Clearances
Music Clearances
Payroll Services
Cameras Provided by
Betsy and Andrew Fippinger
Taylor & Taylor Associates, Inc.
Donaldson + Callif, LLP
Lisa Callif
The BA Department
Gabriella Ludlow
Entertainment Clearances, Inc.
Laura Sevier
Cassandra Barbour
Sara Matarazzo
Jackie Westfall
Abbey Hickman
ABS Payroll & Production Accounting Services
ARRI CSC
Special Thanks
Apple Computers
Barnard College
Dori Berinstein & Mitchell Canold
Dreamworks Animation, SKG
Drybar
John Fergason
Amanda Gates-Elston
New York City Mayor's Office of Film Theatre & Broadcasting
Retrosuperfuture
Soul Cycle
Veselka
Filmed with the Support of the New York State Governor's Office
for Motion Picture & Television Development
Technicolor
(Circle Logo w/ Dot
Center)
PostWorks New York
25
(Black Logo)
MPAA #49466
IATSE
(Badge
Logo)
This is a work of fiction. The characters, incidents, and locations portrayed and the names
herein are fictitious, and any similarity to or identification with the location, name, character or
history of any person, product or entity is entirely coincidental and unintentional.
This motion picture photoplay is protected pursuant to the provisions of the laws of the United
States of America and other countries. Any unauthorized duplication and/or distribution of this
photoplay may result in civil liability and criminal prosecution.
Twentieth Century Fox Film Corporation did not receive any payment or other consideration, or
enter into any agreement, for the depiction of tobacco products in this film.
© 2015 Twentieth Century Fox Film Corporation, Mobius Literary, LLC,
and TSG Entertainment Finance LLC.
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