AFI Catalog of Feature Films
Movie Detail
Name Occurs Before Title Offscreen Credit Print Viewed By AFI
Collateral
Director: Michael Mann (Dir)
Release Date:   6 Aug 2004
Premiere Information:   Los Angeles Film Festival premiere: 17-26 Jun 2004
Production Date:   13 Oct--late Dec 2003
Duration (in mins):   120
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Cast:   Tom Cruise (Vincent)  
    Jamie Foxx (Max [Durocher])  
    Jada Pinkett Smith (Annie [Farrell])  
    Mark Ruffalo ([Ray] Fanning)  
    Peter Berg (Richard Weidner)  
    Bruce McGill ([Frank] Pedrosa)  
    Irma P. Hall (Ida)  
    Barry Shabaka Henley (Daniel [Baker])  
    Richard T. Jones (Traffic cop #1)  
    Klea Scott (Fed #1)  
    Bodhi Elfman (Young professional man)  
    Debi Mazar (Young professional woman)  
    Javier Bardem (Felix [Reyes Torina])  
    Emilio Rivera (Paco)  
    Jamie McBride (Traffic cop #2)  
    Ken Ver Cammen (FBI agent)  
    Charlie E. Schmidt, Jr. (FBI agent)  
    Michael A. Bentt (Fever bouncer)  
    Ian Hannin (Cell phone partier)  
    Robert Deamer (Sergeant)  
    David Mersault (Crime scene cop)  
    Anthony Ochoa (Crime scene cop)  
    Omar Orozco (El Rodeo doorman)  
    Edgar Sanchez (El Rodeo doorman)  
    Cosme Urquiola (El Rodeo doorman)  
    Thomas Rosales, Jr. (Ramone [Aiella])  
    Wade Andrew Williams (Fed #2)  
    Paul Adelstein (Fed #3)  
    Jessica Ferrarone (Female criminalist)  
    Troy Blendell (Morgue attendant)  
    Inmo (Peter Lim)  
    Howard Bachrach (Pissed off driver)  
    Chic Daniel (Plainclothes cop)  
    Corinne Chooey (Waitress)  
    Jonell Kennedy (Waitress)  
    Steven Kozlowski (White guy)  
    Roger Stoneburner (White guy)  
    Rodney Sandberg (White guy)  
    George Petrina (White guy)  
  Jazz musicians: Donald Dean    
    Elliott Newman    
    Trevor Ware    
    Bobby English    
    Auggie Cavanagh    
    Ronald Muldrow    
    Peter McKernan Jr. (Police helicopter pilot)  
    Ivor Shier (News helicopter pilot)  
    Daniel Luján (Rubio #1)  
    Eddie Diaz (Rubio #2)  
  El Rodeo band members: Joey Burns    
    John Convertino    
    Josh Cruze    
    Martin Flores    
    Rick Garcia    
    Lawrence Goldman    
    Maurilio Pineda    
    Daniel Sistos    
    Jacob Valenzuela    
    Luis Villegas    
    Yussi Wenger    
    Jason Statham (Airport man)  
    Angelo Tiffe (Sylvester Clarke)  
    Ismael Vidrio (Gas station attendant)  
    Ron Eckert (Hotel security desk guard)  
    Manuel Urrego (Direction asking businessman)  
    Jessie Bernard (Nurse)  
    Luis Moncada (Cold eyed killer)  
    Dyna Teal (Sylvester Clarke girl)  
    Sandi Schroeder (Sylvester Clarke girl)  
    Michael-John Wolfe (Hotel clerk)  
    Addie Yungmee (Fever dancer)  
    J. D. McElroy (Fever dancer)  
    Megan Hiratzka (Fever dancer)  
    Kate Gopaoco (Young girl)  
    Christy Yi (Young girl)  
    Lisa Marie Basada (Young girl)  
    Wilson Wong (Tactical sergeant)  
    Mark Stainbrook (Tactical)  
    Brandon Molale (Limo driver)  
    Marianne M. Arreaga (Police helicopter co-pilot)  
    Spike Silver (Police helicopter co-pilot)  
    Ben Mihm (News helicopter co-pilot)  
    Niles Roth (Helicopter pilot)  

Summary: Professional assassin Vincent arrives at Los Angeles International Airport, where an anonymous contact passes him a laptop computer with detailed information on the individual locations of five victims to be murdered that night. Simultaneously, cab driver Max Durocher meticulously tidies his taxi before beginning his daily shift. At dusk, Max picks up Annie Farrell, a prosecuting attorney returning to her office in preparation for an important upcoming trial. During the ride, Annie is impressed by Max’s sharp observations and shrewd assessment of her and confides a little about the tensions of her work. Max reveals his plans to start his own private limousine company to be called Island Limos. Upon arriving downtown, Annie offers Max her business card and as she enters the court building, Vincent exits it and hails Max’s cab. After settling into the car, the impeccably dressed Vincent gives Max his destination address, notes the car’s cleanliness and mentions his distaste for the cold anonymity of Los Angeles, where a man can die on the subway and no one notices. Arriving at the address, Vincent reveals that he is closing a critical real estate deal and needs several signatures all over town before catching an early morning flight, then offers to hire Max all night for six hundred dollars. Although it is against his company’s policy, Max reluctantly agrees. Unable to double-park on the main street, Max drives to a back alley to wait for Vincent and moments later is stunned when a body crashes onto the cab’s roof from a floor above. Bolting from the car, Max surveys the body in horror, and when Vincent returns, realizes by his detached demeanor that he is the killer. When Max demands to know why Vincent killed the man, Vincent coolly points out that he only shot him, the bullets and the fall killed him, then orders the shocked Max to help him place the body in the trunk. Astonished, Max refuses until Vincent pulls a gun on him. After Max and Vincent place the dead man in the trunk and return to the cab, Vincent asks Max why he should care about the death of a stranger and assures him the victim was a criminal. As they proceed to the next address that is listed in Vincent’s laptop, the cab is stopped by the police, who inquire about the cracked windshield and dented roof. Terrified that Vincent will kill the officers, Max claims to have hit a deer, but as the police order the men from the car, their dispatcher issues an immediate summons to a crime in progress. At the next location, Vincent apologetically ties Max’s hands to the steering wheel, and as Vincent is about to leave, Max’s dispatcher radios to ask about the police report on the damaged cab. When Max fumbles for an explanation, Vincent abruptly grabs the radio and tells the dispatcher he is a lawyer, bullying him into silence. After Vincent enters the building in search of his next victim, Max struggles to untie his hands and in frustration honks the horn and flashes the car lights, which draws a passing gang. Several men approach the car and a grateful Max pleads for them to untie him, only to have one man pull a gun and demand his wallet. Spotting Vincent’s briefcase, which contains the laptop, in the back seat, the man takes it and he and his partner walk away only to be confronted by Vincent. The men scoff at Vincent’s demand to return his briefcase and, as Max watches in dismay, Vincent shoots both men and retrieves his bag. Returning to untie Max, Vincent reproaches him for causing unnecessary deaths by drawing attention to himself. To Max’s bewilderment, Vincent declares that as they are ahead of schedule they should visit a jazz club. Meanwhile, undercover narcotics detective Ray Fanning discovers that informant Ramon Aiella, Vincent’s first victim, has disappeared and summons his chief, Richard Weidner, to Aiella’s apartment. Dismissing Fanning’s suggestion that Aiella has been murdered, Weidner reconsiders when a bullet casing is found in the apartment. Across town at a jazz club, Vincent listens with appreciation to a jam session, then invites the horn soloist and club owner, Daniel Baker, to join him and Max for a drink. Vincent listens enthusiastically as Baker rhapsodizes about jazz, but when Vincent makes a reference to drugs, Baker falls silent. Realizing Vincent's mission, Baker sends apologies to the drug lord for whom he once worked, acknowledging that he turned state’s evidence against him in order to avoid returning to prison. Vincent then shoots Baker point blank in the head. Dazed, Max stumbles from the club, insisting he cannot continue. Vincent throttles Max against the cab, but is interrupted by the dispatcher’s angry call asking Max to contact his mother. Startled, Vincent presses Max for an explanation and the driver reveals he visits his hospitalized mother every night. Insisting Max cannot break routine and draw attention to himself, Vincent forces him to drive to the hospital to see his mother Ida. Vincent accompanies Max, but when the hit man charmingly engages Ida, the disgusted Max abruptly snatches Vincent’s briefcase and races from the hospital. Vincent follows but is unable to prevent Max from flinging the briefcase onto freeway traffic. Meanwhile, Fanning visits the hospital mortuary to examine three new bodies. The medical examiner points out that although two of the men were brought in separately, they were all murdered and have identical bullet wounds. Upon examining the body of Vincent’s second victim, Fanning recognizes crooked lawyer Sylvester Clarke, and immediately contacts Weidner, as both Aiella and Clarke were informants in their investigation of drug lord Felix Reyes Torina. Just outside the hospital, Vincent forces Max back to the cab and orders him to drive to another nightclub, El Rodeo, where the assassin directs Max to impersonate Vincent and meet with Felix in order to recover the information about his final two victims that was on the laptop. Although terrified, Max complies, unaware that the club is staked out by the FBI, who are also investigating Felix. Posing as Vincent, Max gains an audience with Felix, who is dumbfounded when “Vincent” reveals he has lost the detailed hit information. During their conversation, Fanning and Weidner join the federal agents, led by Frank Pedrosa, to warn him about Aiella and Clarke’s deaths and the just reported murder of Baker. Stunned, Pedrosa reveals that all three men were federal witnesses in their case against Felix. Using the security monitors surrounding the club, the agents see and hear Max identify himself as “Vincent,” and Fanning spots the damaged cab sitting in the alley. Checking the license number, Fanning learns from the cab company that Max is law-abiding and has driven for a dozen years without incident, but Weidner insists "Vincent" is the hitman. Inside El Rodeo, Max abruptly overcomes his nervousness and demands the information needed to complete his job and Felix grudgingly complies, giving him a computer memory key. Back at the cab, Vincent plugs the computer memory key into the cab’s mobile data terminal and orders Max to drive to a Koreatown club, Fever. Meanwhile, Pedrosa has his men follow the cab while Fanning reminds Weidner of a suspicious case years earlier where a cab driver inexplicably committed several murders before killing himself. Fanning suggests that Max is a “front” for the real murderer, but Weidner, content to let the federal agents take over, departs. At Fever, Vincent forces Max to accompany him into the crowded, pulsating club in search of his next victim, Peter Lim, unaware that the federal agents are close behind, and believe that Max is the assassin. As the men push through the crowd and the agents also move in, Lim’s private guards panic and begin shooting. In the ensuing melee, Pedrosa is wounded, several of the agents are killed and Vincent unexpectedly saves Max from being shot by a guard. As the club crowd flees in panic and the agents continue focusing on Max, Vincent reaches Lim and kills him. Meanwhile, Fanning, who has followed the agents to the club, grabs Max to rescue him. As they get outside, however, they find Vincent already back at the cab, where he shoots Fanning and orders Max to resume driving. Outraged by the depth of Vincent's callousness, Max furiously races through the streets and, when Vincent berates Max for being a weak failure, purposely crashes the cab. Both men survive, but as police sirens wail nearby, Vincent flees. A policeman arrives and offers to help Max until he spots Aiella’s body in the trunk. As the policeman is about to handcuff Max, the cabbie spots the picture and information of Vincent’s last victim on the monitor and is stunned to recognize Annie. Galvanized, Max overpowers the policeman and, taking a pistol, races toward the court building several blocks away. On the way, Max steals a cellphone from a pedestrian and, reading the number on Annie’s business card, phones her. Although confused and startled when Max babbles about the killings and Vincent, when he mentions Felix, Annie realizes she is in danger. Meanwhile, Vincent arrives at the court building, kills the security guards and makes his way to Annie’s top floor office, not realizing she is in the library two floors below. Frustrated when the cellphone battery abruptly dies, Max hastens to the building and confronts Vincent just as the killer finds Annie in the library. Max wounds Vincent, then flees with Annie down to the subway. Vincent revives and follows the couple onto a mostly empty subway train, chasing them into the last car, where the men have a violent shootout in which Max survives, but Vincent is fatally wounded. As he slumps down on a seat before dying, Vincent asks Max if anyone would notice a dead man on the subway. As dawn breaks, Max and Annie get off at the next stop together. 

Production Company: DreamWorks SKG  
  Edge City Films  
Production Text: A Parkes/MacDonald Production; A Darabont/Fried/Russell Production; A Michael Mann Film
Distribution Company: DreamWorks SKG  
Director: Michael Mann (Dir)
  Bryan H. Carroll (2d unit dir)
  Gusmano Cesaretti (2d unit dir)
  Michael Waxman (1st asst dir)
  Carla Bowen (2d asst dir)
  Wayne Witherspoon (2d 2d asst dir)
  Ty Arnold (Addl 2d 2d asst dir)
Producer: Michael Mann (Prod)
  Julie Richardson (Prod)
  Frank Darabont (Exec prod)
  Rob Fried (Exec prod)
  Chuck Russell (Exec prod)
  Peter Giuliano (Exec prod)
  Michael Waxman (Co-prod)
  Julie Herrin (Assoc prod)
  Bryan H. Carroll (Assoc prod)
  Gusmano Cesaretti (Assoc prod)
  Michael Doven (Assoc prod for Mr. Cruise)
  Mark Haimes (DreamWorkds exec)
Writer: Stuart Beattie (Wrt)
  Frank Darabont (Scr)
  Michael Mann (Scr)
Photography: Dion Beebe (Dir of photog)
  Paul Cameron (Dir of photog)
  Gary Jay (A cam op)
  Chris Haarhoff (B cam/Steadicam op)
  John Grillo (A 1st asst cam/Steadicam)
  Glenn Brown (B 1st asst cam)
  E. J. Misisco Jr. (A 2d asst cam)
  Chris Cuevas (B 2d asst cam)
  Niles Roth (Cam loader)
  Frank Connor (Still photog)
  Keith Collea (Video asst op)
  Felix A. Rivera (Chief lighting tech)
  A. Iggy Scarpitti (Asst chief lighting tech)
  William Cueto (Elec)
  Gary W. Lowrance (Elec)
  Jamal Farley (Elec)
  Scott M. Robinson (Key grip)
  Michel Barrère (Best boy grip)
  Troy Wade (Dolly grip)
  George F. Caccamise (Grip)
  Dan Duggan (Grip)
  Gregory Mazzola (Grip)
  Coleman L. Hart (Grip)
  Steven A. Hughes (Rigging gaffer)
  James M. McClure (Rigging best boy)
  Donald Reynolds, Jr. (Rigging key grip)
  Al M. Castillo (Rigging best boy grip)
  Robert A. Wood Jr. (Rigging elec)
  Patrick A. Toole (Rigging elec)
  Jack Davison (Rigging grip)
  Sean Shinneman (Rigging grip)
  Chapman/Leonard Studio Equipment, Inc. (Cam dollies by)
  Grass Valley Viper from Thomson (Digital cam systems by)
  Tom Garelick (High definition dailies op)
  Scott Kendall (High definition dailies op)
  David B. Nowell (Aerial dir of photog)
Art Direction: David Wasco (Prod des)
  Daniel T. Dorrance (Art dir)
  Aran Reo Mann (Asst art dir)
  Gerald Sullivan (Asst art dir)
  Christopher Tandon (Asst art dir)
  Gretchen Engel (Art dept coord)
  Clint Schultz (Graphic artist)
  Jane Ward (Graphic artist)
  Naaman Marshall (Model maker)
  Curt Beech (Art dept prod asst)
  David Evans (Art dept prod asst)
Film Editor: Jim Miller (Film ed)
  Paul Rubell (Film ed)
  Mike Koz (1st asst ed)
  Alex Hepburn (1st asst ed)
  Nina Lucia (1st asst ed)
  Kristina Trirogoff (1st asst ed)
  Kevin Hickman (Asst ed)
  Meghan L. Noble (Asst ed)
  Adam Kimmerlin (Asst ed)
  Erin Hopkins (Asst ed)
  Mo Henry (Negative cutter)
  Laser Pacific (Digital motion pictures services)
  Michael Weitzman (On-line ed)
  Rob Doolittle (Digital on-line ed)
Set Decoration: Alexandra Reynolds Wasco (Set dec)
  Charles Stewart (Prop master)
  Teri Anne Kopp (Asst prop master)
  James Robinson II (Asst prop master)
  Michelle Souza (Props)
  Mike Gibbons (Armorer)
  Larry Zanoff (Armorer)
  Steve Karnes (Armorer)
  Patrick M. Sullivan Jr. (Set des)
  Clint Wallace (Set des)
  Jason Bedig (Leadperson)
  Scott M. Anderson (On-set dresser)
  Mark Rodriguez (On-set dresser)
  Dale E. Anderson (Swing gang)
  Brooke Sartorius (Swing gang)
  Larry Haney (Swing gang)
  Patrick Garbutt (Swing gang)
  Kent Lucas (Swing gang)
  Mark Tuttle (Swing gang)
  Jordan Steinberg (Swing gang)
  Missy Parker (Buyer)
  Liz Chiz (Buyer)
  Robert A. Blackburn (Const coord)
  Bill Phen (Gen foreman)
  Ernest A. Dottlinger (Const foreman)
  Joseph Gray (Const foreman)
  Frank T. Stever (Const foreman)
  Eric Senate (Const foreman)
  Edward R. Alvarado (Labor foreman)
  Steve Borgese (Greens foreman)
  James P. Bittl (Standby greensman)
  Christopher Woodworth (Scenic supv)
  Gordon Huggins (Paint foreman)
  Vinson Jae (Standby painter)
  Alexander Scutti (Plaster foreman)
  Dave Bleiler (Welding foreman)
  Michael Seefus (Tool foreman)
  Stephen Howard (Standby carpenter)
Costumes: Jeffrey Kurland (Cost des)
  Terry Anderson (Asst cost des)
  Corey C. Bronson (Cost supv)
  Carin Richardson (Key cost)
  Kendall Errair (Cost for Mr. Cruise)
  Shoshana Rubin (Set cost)
  Dennis McCarthy (Set cost)
  Jessie Mann (Cost)
  Betsy Glick (Cost)
  Toby Michael Bronson (Cost)
  Joanne Kissack (Cost)
  Beau Desmond (Cost)
  Chanthou Sam Kozberg (Cost)
  Catherine Wall (Cost)
  Jack Taggart (Ager/dyer)
Music: James Newton Howard (Mus)
  Antonio Pinto (Addl mus)
  Tom Rothrock (Addl mus)
  Todd Homme (Exec mus supv)
  Kathy Nelson (Exec mus supv)
  Vicki Hiatt (Mus supv)
  Jim Weidman (Mus ed)
  Todd Kasow (Mus ed)
  Philip Tallman (Mus ed)
  James Flamberg (Mus ed)
  Del Spiva (Asst mus ed)
  David Olson (Asst mus ed)
  Mike Boustead (Asst mus ed)
  Shawn Murphy (Score rec and mixed by)
  Michael Farrow (Addl score rec)
  James T. Hill (Electronic score rec and mixed by)
  Brad Dechter (Orch)
  Jeff Atmajian (Orch)
  Pete Anthony (Orch)
  Ed Cortés (Orch)
  Bruce Fowler (Orch/Cond)
  Pete Anthony (Cond)
  Sandy DeCrescent (Mus contractor)
  Jo Ann Kane Music Service (Mus preparation)
  Newman Scoring Stage, Twentieth Century Fox (Score rec at)
  Bill Talbott (Stage eng)
  Tim Lauber (Score rec)
  Mike Ging (Score rec)
  Thomas Graham (Score rec)
  Charlie Clouser (Addl programming by)
  Gui Amabis (Score coord)
  Annica Ackerman (Score coord)
  Siba Eastman (Rabeca violin played by)
  Craig Eastman (Rabeca violin played by)
Sound: Lee Orloff (Prod sd mixer)
  Knox White (Boom op)
  Mike Anderson (Cableman)
  Elliot L. Koretz (Sd des and supv)
  Michael Minkler (Re-rec mixer)
  Myron Nettinga (Re-rec mixer)
  Becky Sullivan (Supv ADR ed)
  John C. Stuver (Supv dial ed)
  Nancy Kyong Nugent (Dial ed)
  Thom Brennan (Supv Foley ed)
  Michael Payne (Sd ed)
  Steven F. Nelson (Sd ed)
  Kim Secrist (Sd ed)
  Mike Chock (Sd ed)
  Bruce Barris (1st asst sd ed)
  Bill Cawley (Asst sd ed)
  Marc Deschaine (Asst sd ed)
  Paul Aulicino (Asst sd ed)
  John Roesch (Foley artist)
  Alyson Moore (Foley artist)
  Mary Jo Lang (Foley mixer)
  Scott Morgan (Foley rec)
  Charleen Richards-Steeves (ADR mixer)
  Doc Kane (ADR mixer)
  David Lucarelli (ADR rec)
  Derek Casari (ADR Foley/Eng)
  Gary Blufer (Sd transfer)
  Dawn Kratofil (Sd librarian)
  Soundstorm, Inc. (Sd eff ed)
  Todd-AO Studios West (Re-rec at)
  Eddie Bydalek (Re-rec)
  Craig Mann (Re-rec)
  Tom Lalley (Re-rec eng)
Special Effects: John Sullivan (Visual eff supv)
  David B. Moulder (Visual eff coord)
  Robert Stadd (Addl visual eff supv)
  Big Red Pixel (Visual eff by)
  Robert Rossello (Visual eff supv, Big Red Pixel)
  David Sosalla (Visual eff supv, Pacific Title and Art Studio)
  David Canning (Digital imaging tech)
  Edward S. Viola (Digital imaging tech)
  Dominic Bartoloe (Digital imaging tech)
  Thomas L. Fisher (Spec eff coord)
  Ronald D. Goldstein (Spec eff foreman)
  Bruce Minkus (Spec eff foreman)
  John J. Downey (Spec eff)
  Matt Downey (Spec eff)
  Paula Fisher (Spec eff office coord)
  Liz Radley (Video and computer graphics supv)
  John Monsour (Video eng)
  David Watkinson (Computer anim)
  Ken Blackwell (Visual eff ed)
  Pacific Title (Titles)
  Company 3 (Digital intermediate provided by)
  Erik Rogers (Supv digital intermediate prod)
  Thatcher Peterson (Digital intermediate prod)
  Missy Papageorge (Digital intermediate prod)
  Jonah Loop (Exec prod, Big Red Pixel)
  Tarn Fox (Compositor, Big Red Pixel)
  Joseph Bailey (Compositor, Big Red Pixel)
  Derek Ledbette (Compositing artist, Howard Anderson Company)
  Steve Fagerquist (Compositing artist, Howard Anderson Company)
  Christopher Grandell (Compositing artist, Howard Anderson Company)
  Dave Feinner (Compositing artist, Howard Anderson Company)
  John Kirby (3D, Big Red Pixel)
  Jeremy Bloch (3D, Big Red Pixel)
  Peter C. Koczera (Senior digital artist, Howard Anderson Company)
  Shannon Noble (Lead digital artist, Howard Anderson Company)
  Joe Gareri (Exec prod, Pacific Title and Art Studio)
  Cesar Romero (Inferno compositor, Pacific Title and Art Studio)
  Joe Francis (3D tracking, Pacific Title and Art Studio)
  Sari Gennis (3D tracking, Pacific Title and Art Studio)
  James D. Tittle (Digital coord, Pacific Title and Art Studio)
  Pixel Magic ([Visual eff])
Make Up: Keith Hall (Dept head makeup artist)
  Lois Burwell (Makeup artist for Mr. Cruise)
  Kenneth R. Myers (Makeup artist for Mr. Cruise)
  Lalette Littlejohn (Makeup artist for Mr. Foxx)
  Matthew W. Mungle (Prosthetics)
  Wesley Wofford (Prosthetics makeup)
  Roddy Stayton (Dept head hair stylist)
  Judith A. Cory (Hair stylist for Mr. Cruise)
  Deidra Dixon (Hair stylist for Mr. Foxx)
  Araxi Lindsey (Hair stylist for Ms. Pinkett Smith)
Production Misc: Francine Maisler (Casting)
  Lindsey Hayes Kroeger (Casting assoc)
  Pamela Thomas (Casting assoc)
  Kathleen Driscoll-Mohler (Casting assoc)
  Christopher Gray (Extras casting)
  Ron Lunceford (Extras casting asst)
  Barbara Harris (Voice casting)
  Leslee Feldman (Casting exec)
  Julie Herrin (Unit prod mgr)
  Marie Cantin (Unit prod mgr)
  Sydney Gilner (Scr supv)
  Karen Jarnecke (Prod coord)
  Angie Lee Cobbs (Asst prod coord)
  Carrie Brody (Asst prod coord)
  Jennifer Sanger (Exec prod coord)
  Jan Dennehy (Prod accountant)
  Shawn K. Gillespie (1st asst accountant)
  Kurt Greufe (1st asst accountant)
  Christopher Ciketic (2d asst accountant)
  Sheri St. Lawrence (2d asst accountant)
  Chad Bronson (3rd asst accountant)
  David C. Romano (Payroll)
  Gennady Kaykov (Accounting clerk)
  Deborah A. Cornett (Post 1st asst accountant)
  Jim Turner (Prod controller)
  Maria DeVane (Post prod accountant)
  Katrina Leigh (Accounting, Big Red Pixel)
  Janice Polley (Loc mgr)
  Julie Hannum (Loc mgr)
  Matthew B. Chamberlin (Key asst loc mgr)
  Guy Morrison (Asst loc mgr)
  Steven Lee (Asst loc mgr)
  Martin L. Hudson (Asst loc mgr)
  Karen P. Palting (DGA trainee)
  Michael Bondelli (Precision driving coord)
  Gary Smith (Precision driving coord)
  David Fulton (Unit pub)
  Aaron Skalka (Transportation coord)
  Howard Bachrach (Transportation capt)
  Keith Fisher (Transportation co-capt)
  Jay Thompson (Transportation dispatcher)
  Cyril O'Neil (Picture car coord)
  Chris Ferrence (Picture car office)
  William L. Arjona (Driver)
  Iris C. Barbarino (Driver)
  Art Bauer (Driver)
  Rich Bennetti (Driver)
  Richard M. Brasic (Driver)
  Tom Briggs (Driver)
  Michael W. Broomer (Driver)
  Mark Brown (Driver)
  Dave Calaway (Driver)
  John Characky (Driver)
  Gary L. Cheek (Driver)
  Robert Chookhachian (Driver)
  Phyllis Davis (Driver)
  Anthony A. Devito (Driver)
  Skip Fairlee (Driver)
  Kenny Farnell (Driver)
  John W. Forester (Driver)
  Glenn M. Friedman (Driver)
  J. Armin Garza II (Driver)
  Brick Graham (Driver)
  Steve Hellerstein (Driver)
  Tom Hoke (Driver)
  Sharon G. Hollis (Driver)
  William Jakubecy (Driver)
  Dennis Dean Johnson (Driver)
  Cary L. Kelley (Driver)
  Joe Knott (Driver)
  Joe Kolias (Driver)
  John Lybrand (Driver)
  David Machado (Driver)
  Dean Macklem (Driver)
  Justin Mann (Driver)
  Dennis Marchant (Driver)
  Tom McGaughy (Driver)
  C. Ray McMillan (Driver)
  Ronald Metcalf (Driver)
  Jimmy Moreno (Driver)
  Esteban Munoz (Driver)
  Jan Ostermann (Driver)
  James Hooks Reynolds (Driver)
  Randy Shannon (Driver)
  Bruce Edward Smith (Driver)
  William Mark Spencer (Driver)
  Brett Stach (Driver)
  Fred Trogden (Driver)
  Paul E. Tumber (Driver)
  Terry R. Van Bebber (Driver)
  Christopher M. Waldoch (Driver)
  William Wardlow (Driver)
  Douglas Weaver (Driver)
  William West (Driver)
  Emmett Willis (Driver)
  Chris Winn (Craft service)
  Michael Kehoe (Craft service)
  For Stars Catering, Inc. (Caterer)
  Gayle Phelps (Coyote trainer)
  Michael Gould (Tech adv)
  Chic Daniel (Tech adv)
  Coco Yuon (Community liaison)
  Monica Goldstein (Exec asst to Mr. Mann)
  Chris Hampel (Asst to Mr. Mann)
  Marshall Tyler (Asst to Mr. Mann)
  Susan Hollander (Scenario coord)
  Michael L. Eisenberg (Asst to Mr. Giuliano)
  Sue Frey (Exec asst to Mr. Cruise)
  Jennifer Hammon (Prod asst to Mr. Cruise)
  Josh Harris (Asst to Mr. Cruise)
  Johnny Mack (Asst to Mr. Foxx)
  Fawn Boardley (Asst to Ms. Pinkett Smith)
  Coree Van Bebber (Asst to Mr. Beebe)
  Meaghan F. McLaughlin (Prod asst)
  Jason Z. Kemp (Prod asst)
  Rodney Foster (Prod asst)
  Rob Gomes (Prod asst)
  Michael Archuleta (Prod asst)
  Christopher Griffie (Prod asst)
  Chris W. Freeman (Prod asst)
  Sean P. Galvin (Prod asst)
  Justin Liberman (Prod asst)
  Ellen J. Morris (Prod asst)
  David Silverton (Prod asst)
  Shaku Bell (Prod asst)
  Andrew Waruszewski (Prod asst)
  Nicole Crandlemire (Prod asst)
  Cesar Velasquez (Prod asst)
  John Wyatt (Research)
  David Hollander (Research)
  Roy Irwin (Set medic)
  Siss Ltd. (Security for Tom Cruise provided by)
  Michael Grillo (Head of feature prod)
  Steven R. Molen (Prod exec)
  Martin Cohen (Post prod exec)
  Claire O'Brien (Post prod supv)
  Robyn-Alain Feldman (Post prod supv)
  Chris McCaleb (Post prod coord)
  Brian Scott Olds (Post prod asst)
  Sam Restivo (Post prod asst)
  Tom Vice (Account service representative)
  Andre Trejo (Account service representative)
  Chuck A. Tamburro (Aerial coord/pilot)
  John Tamburro (Aerial coord/pilot)
Stand In: Joel Kramer (Stunt coord)
  Casey O'Neill (Mr. Cruise's stunt double)
  Jalil Lynch (Mr. Foxx's stunt double)
  Tsuyoshi Abe (Stunts)
  Simone Boisseree (Stunts)
  Darryl Chan (Stunts)
  Olivia Doc Chang (Stunts)
  Andy Cheng Kai Chung (Stunts)
  Sophia Crawford (Stunts)
  Max Daniels (Stunts)
  Angela Meryl-Dickerson (Stunts)
  Kofi W. Elam (Stunts)
  Michael Endoso (Stunts)
  Al Gotto (Stunts)
  Brian Imada (Stunts)
  Claudette James (Stunts)
  Steven Kim (Stunts)
  John Koyama (Stunts)
  Michele Koyama (Stunts)
  Diana Lupo (Stunts)
  Will Leong (Stunts)
  James Lew (Stunts)
  Scott McCoy (Stunts)
  Caryn Lynn Mower (Stunts)
  Robert Patrick Nagle (Stunts)
  Johnny Nguyen (Stunts)
  Michiko Nishiwaki (Stunts)
  Lin Odeing (Stunts)
  Jane Oshita (Stunts)
  Jen Sung Outerbridge (Stunts)
  Peter Park (Stunts)
  Rod Phillips (Stunts)
  Cindy Rhee (Stunts)
  Simon Rhee (Stunts)
  Robair Sims (Stunts)
  Irene Tanaka (Stunts)
  Jill Terashita (Stunts)
  Xuyen Valdivia (Stunts)
  Jon J. Valera (Stunts)
  Darlene Williams (Stunts)
  Boni Yanagisawa (Stunts)
  Bryant Powell (Stand-in for Mr. Cruise)
  Charles Roberts (Stand-in for Mr. Foxx)
  Millicent Ally (Stand-in for Ms. Pinkett Smith)
Color Personnel: Kurt Smith (Lab col timer)
  Joe Hathaway (Telecine col)
  Stefan Sonnenfeld (Exec prod/Col)
  Shane Harris (Asst col)
MPAA Rating: R
Country: United States
Language: English

Music: "Air," written by J. S. Bach, arranged by Tim Hahn, Kilian Forster & Tobias Forster, performed by Klazz Brothers & Cuba Percussion, courtesy of Sony Classical and Sony Music Entertainment (Germany) GmbH & Co., KG by arrangement with Sony Music Licensing; "Spanish Key," written & performed by Miles Davis, courtesy of Columbia Records, by arrangement with Sony Music Licensing; "Steel Cello Lament" from Heat , written & performed by Elliot Goldenthal, courtesy of Regency Enterprises; "Exile" from The Insider , written and performed by Pieter Bourke & Lisa Gerrard, courtesy of Hollywood Records; "Moxica & the Horse" from 1492: Conquest of Paradise , written and performed by Vangelis, courtesy of Warner Music U.K. LTD., by arrangement with Warner Strategic Marketing; "A Roda" from Abril Despedacado , written and performed by Antonio Pinto, courtesy of Trama.
Songs: "Debestar" and "Destino de Abril," written by Rick Garcia, Rene Reyes & Cisco de Luna, performed by The Green Car Motel, courtesy of Fastkat Records; "Love Me So Bad," written by Tom Shimura, Joy Verlade-Malig & The Kingcannon Family, performed by Lyrics Born, courtesy of Quannum Projects; "En Mi Pueblo" and "Ven Aca Bonita," written by Josh Cruze, performed by Bandidos de Amor, courtesy of BDA Records; "The Seed 2.0," written by Cody Chestnutt & Tarik Collins Trotter, performed by The Roots, courtesy of Geffen Records, under license from Universal Music Enterprises; "Hands of Time," written by Andrew Cocup, Thomas Findlay & Richard Havens, performed by Groove Armada, featuring Richie Havens, courtesy of Jive Records, UK, under license from BMG Film & TV Music; "Driften," written & performed by Thomas Schobel; "Iguazu," written by Gustavo Santaolalla, performed by Antonio Pinto; "Güero Canelo," written by Joey Burns, performed by Calexico, courtesy of Quarterstick Records; "R.I.P.," written by Jose Becerra, Armando Feria, Ernesto Molina, Joaquin Pacheco, Steven Pasillas, Ray Rivera & Luis Vasquez, performed by Inner City Soul, courtesy of East L.A. Sabor; "Korean Style," written by Paul Oakenfold & Andrew Gray, performed by Oakenfold, courtesy of Maverick Records Company/Warner Music, U.K. LTD., by arrangement with Warner Strategic Marketing; "Shadow on the Sun," written by Timothy Commerford, Christopher Cornell, Thomas Morello & Brad Wilk, performed by Audioslave, additional guitar by Tom Morello, courtesy of Epic Records/Interscope Records, by arrangement with Sony Music Licensing.
Composer: J. S. Bach
  Jose Becerra
  Pieter Bourke
  Joey Burns
  Cody Chestnutt
  Andrew Cocup
  Timothy Commerford
  Christopher Cornell
  Josh Cruze
  Miles Davis
  Cisco de Luna
  Armando Feria
  Thomas Findlay
  Rick Garcia
  Lisa Gerrard
  Elliot Goldenthal
  Andrew Gray
  Richard Havens
  Ernesto Molina
  Thomas Morello
  Paul Oakenfold
  Joaquin Pacheco
  Steven Pasillas
  Antonio Pinto
  Rene Reyes
  Ray Rivera
  Gustavo Santaolalla
  Thomas Schobel
  Tom Shimura
  The Kingcannon Family
  Tarik Collins Trotter
  Vangelis
  Luis Vasquez
  Joy Verlarde-Malig
  Brad Wilk
Source Text:

Copyright Claimant Copyright Date Copyright Number
DreamWorks Films, LLC & Paramount Pictures Corporation 25/8/2004 dd/mm/yyyy PA0001232752

PCA NO: 40965
Physical Properties: Sd: Dolby Digital; dts; SDDS Sony Dynamic Digital Sound in selected theatres
  col:
  Lenses/Prints: Filmed with Panavision cameras and lenses; prints by Technicolor; Kodak Motion Picture Film

 
Genre: Drama
Sub-Genre: Crime
 
Subjects (Major): Assassins
  Hired killers
  Los Angeles (CA)
  Murder
  Taxicab drivers
 
Subjects (Minor): Airports
  Automobile accidents
  Bodyguards
  Computers
  Coyotes
  Drug dealers
  Hospitals
  Impersonation and imposture
  Informers
  Investigations
  Jazz music
  Laptop computers
  Police detectives
  Public prosecutors
  Morgues
  Mothers and sons
  Nightclubs
  Robbery
  Subways
  Surveillance devices
  Telephones, Mobile
  United States. Federal Bureau of Investigation

Note: According to a Mar 2000 HR news item, Collateral was originally developed as a possible feature for HBO cable television. DreamWorks then purchased Australian writer Stuart Beattie’s script to produce as a feature film. According to the same item, the title refers to “hitman slang” for a murder for which a professional assassin has not yet been contracted. A DV item, noting DreamWorks' purchase of Beattie’s script, indicated its setting as New York City and described the title as “in underworld terms, a person who, if he sees a murder, must execute one himself.” Although a Jul 2000 HR news item reported that executive producer Frank Darabont was “polishing” the script and HR production charts list Beattie, Darabont and director Michael Mann as writers, only Beattie is credited onscreen.
       In Aug 2000, DV indicated that Mimi Leder was in negotiations to direct Collateral . The item clarified the title further by describing it to mean “a witness [to murder] who is then forced to commit murder himself, so as to discourage any report of the crimes.” In Oct 2000, DV reported that Leder was unable to reach an agreement with DreamWorks for the production budget on the film and withdrew from negotiations. Although Forward Pass, Inc. and Darkwood Productions were listed in some pre-production news items as participating in the project, they are not listed in the onscreen credits. Forward Pass is Mann’s production company.
       In Jan 2002, a HR news item announced that former cinematographer Janusz Kaminski was set to direct the film. The date at which Kaminski left the project and Mann took over as director has not been confirmed. A later DV article mentioned that Australian actor Russell Crowe was initially interested in the script. The same article revealed that Beattie got the idea for the story’s plot after he had gotten friendly with a cab driver in his native Australia and reflected on the driver’s trust in him when he could just as easily have been a “homicidal maniac.”
       A Jun 2003 HR item indicated that Tom Cruise had been set by that time in the role of the assassin and that Adam Sandler was to meet with Mann to discuss a co-starring role. A Sep 2003 pre-production chart in HR included Dennis Farina in the cast. According to an Aug 2003 HR article, Val Kilmer was in negotiations for a co-starring role with Cruise and Jamie Foxx. In Oct 2003, HR reported that Mark Ruffalo would replace Kilmer in the role of the detective. It is not clear when the script’s original setting of New York was shifted to Los Angeles.
       Reviews of the film indicated that it was almost completely shot by cinematographers Paul Cameron and Dion Beebe using high definition digital video cameras, called the Thomson Green Valley Viper Filmstream and the Sony Cine Alta. The cameras enabled Cameron and Beebe to have as much light, clarity and color as possible for the all-night setting of the film. An Aug 2004 LAT article retraced the film’s numerous stops throughout predominantly East Los Angeles and downtown, and noted that the exteriors of the Renaissance Hotel at Hollywood and Highland doubled as the high-rise condominium belonging to “Sylvester Clarke”; the nightclub Cheerio’s served as the front for “Baker’s” jazz club, with the interior shot at Grand Star Jazz Club in Chinatown; and the real El Rodeo club was used for the meeting between “Max” and “Felix.” The club Fever was based on an actual Koreatown locale, Café Bliss, which was recreated entirely on a sound stage. Another LAT news item noted that a reporter checked on the story told by “Vincent” to Max at the film’s beginning, about a man dying on the Los Angeles MTA subway and no one noticing for several hours. The story could not be verified, but the reporter noted that there was such an account of a dead New York City subway rider who went unnoticed for a number of hours.
       Collateral was selected as one of AFI’s Top Ten films of 2004 and received two Academy Award nominations, one for Jamie Foxx for Best Supporting Actor and one for Jim Miller and Paul Rubell for Best Film Editing. In addition, the film won the National Board of Review’s Best Director award for Michael Mann and the Los Angeles Film Critics Association Award for Best Cinematography. Foxx received many critical accolades, including Golden Globe and Screen Actors Guild nominations for Best Performance by an Actor in a Supporting Role. In 2004 Foxx also starred in the Universal release Ray , for which he received the National Board of Review Best Actor award, as well as SAG and Golden Globe nominations for Best Actor. Foxx, who also received a Golden Globe nomination for Best Performance by an Actor in a Mini-Series or a Motion Picture Made for Television category for Redemption , was the first actor ever to receive three Golden Globe nominations in the same year.
       Many reviews commented that the role of hard-edged sociopath “Vincent” was a departure for leading man Tom Cruise, and noted that the actor’s characteristic dark hair was lightened to salt and pepper in order to age and toughen his boyish features.  

Bibliographic Sources:   Date   Page
Daily Variety   29 Mar 2000.   
Daily Variety   11 Aug 2000.   
Daily Variety   26 Oct 2000.   
Daily Variety   19 Sep 2003   p. 4.
Daily Variety   2 Aug 2004   p. 4, 7.
Hollywood Reporter   29 Mar 2000   p. 4, 33.
Hollywood Reporter   26 Jul 2000.   
Hollywood Reporter   15 Jan 2002   p. 4, 142.
Hollywood Reporter   5 Jun 2003.   
Hollywood Reporter   19 Aug 2003   p. 4, 131.
Hollywood Reporter   30 Sep 2003.   
Hollywood Reporter   13 Oct 2003   p. 3, 53.
Hollywood Reporter   30 Dec 2003.   
Hollywood Reporter   2 Aug 2004   p. 9, 12.
Los Angeles Times   5 Aug 2004   Calendar, p. 12.
Los Angeles Times   6 Aug 2004   Calendar, p. 1, 18.
New York Times   6 Aug 2004   Weekend, p. 1, 7.
Time   9 Aug 2004.   

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