AFI Catalog of Feature Films
Movie Detail
Name Occurs Before Title Offscreen Credit Print Viewed By AFI
The Fighter
Director: David O. Russell (Dir)
Release Date:   2010
Premiere Information:   Los Angeles and New York openings: 10 Dec 2010
Duration (in mins):   115
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Cast:   Mark Wahlberg (Micky Ward)  
    Christian Bale (Dicky Eklund)  
    Amy Adams (Charlene Fleming)  
    Melissa Leo (Alice Ward)  
    Jack McGee (George Ward)  
    Mickey O'Keefe (Mickey O'Keefe )  
    Melissa McMeekin ("Little Alice" Eklund)  
    Bianca Hunter (Cathy "Pork" Eklund)  
    Erica McDermott (Cindy "Tar" Eklund)  
    Jill Quigg (Donna Eklund Jaynes)  
    Dendrie Taylor (Gail "Red Dog" Eklund)  
    Kate O'Brien (Phyllis "Beaver" Eklund)  
    Jenna Lamia (Sherri Ward)  
    Frank Renzulli (Sal Lanano)  
    Paul Campbell (Gary "Boo Boo"Giuffrida)  
    Caitlin Dwyer (Kasie Ward)  
    Chanty Sok (Karen)  
    Ted Arcidi (Lou Gold)  
    Ross Bickell (Mike Toma)  
    Sean Malone (Wolfie)  
    Jose Antonio Rivera (Gilberto Brown AKA Jose)  
    Richard Farrell (HBO cameraman #1)  
    Matthew Muzio (HBO cameraman #2)  
    Steven Barkheimer (HBO producer)  
    Art Ramalho (Art Ramalho )  
    Sugar Ray Leonard (Sugar Ray Leonard )  
    Jackson Nicoll (Little Dicky)  
    Alison Folland (Laurie Carroll)  
    Sean Doherty (Jimmy [Laurie's husband])  
    Sue Costello (Becky)  
    Thomas Benton (Businessman)  
    Ray Greenhalge (Ray Ramalho)  
    Tino Kimly (Pran)  
    Epifanio Melendez (Carlos Garcia)  
    Jeremiah Kissel (Bald businessman)  
    Sean Eklund (Man in diner)  
    Roeun Chea (Chan)  
    Brian Nguyen (Brian)  
    Rikki Kleiman (Court clerk)  
    Michael Dell'Orto (WBU commissioner)  
    Paul Locke (Reporter #1 )  
    Kim Carrell (Reporter #2)  
    Colin Hammell (John Hyland)  
    Dale Place (Referee Mickey Vann)  
    Eddie Lee Anderson (Referee Joe Cortez)  
    Joseph Lupino (Referee Mitch Halpern)  
    Bonnie Aarons (Crackhead Bonnie)  
    Walter Driscoll (Court officer)  
    Matt Russell (Photo guy on street)  
    A. Joseph Denucci (Man on street #1)  
    Richard A. Eklund (Man on street #2)  
    George Michael Ward (Man on street #3)  
    Richard Eklund, Jr. (Man on street #4)  
    Jack Greenhalge (Man on street #5)  
    Kevin Paige (Man on street #6)  
    David A. Ramalho Sr. (Trainer)  
    Ziad Akl (Inmate)  
    Simon Hamlin (Movie patron)  
    Gerald Greenhalge (Uncle Jerry)  
    Matthew Russell (Running kid #1)  
    Tommy Eklund (Running kid #2)  
    Rita Mercier (Woman on street #1)  
    Deborah Bolanger (Woman on street #2)  
    Kerry Moore (Woman on street #3)  
    Philip D. Herbert (Micky's cutman)  
    Raul Vera (Sanchez trainer)  
    Jack Lally (Neary trainer)  
    Carlos L. Smith (Sugar Ray Leonard bodyguard)  
    Jerrell Lee (Fight spectator #1)  
    Hugh K. Long (Fight spectator #2)  
    Catherine Lynn Stone (Fan)  
    Eric Weinstein (Micky's friend)  
    Bo Cleary (Cop)  
    Anthony Molinari (Neary)  
    Peter Cunningham (Mike "Machine Gun" Mungin)  
    Miguel Espino (Alfonso Sanchez)  
    Anthony "Ace" Thomas (Castillo)  
    Brian Christensen (Drunk guy)  
    Jen Weissenberg (Drunk girl)  
  Fight announcers: Michael Buffer    
    Larry Merchant    
    Jim Lampley    
    Emmanuel Steward    
    Roy Jones Jr.    
    George Foreman    
    Don Dunphy    

Summary: In 1993, an HBO documentary film crew follows boxer Dicky “the Pride of Lowell” Eklund and his younger, half-brother, “Irish” Micky Ward, through the streets of working-class Lowell, Massachusetts as Micky paves the asphalt and, later, they are warmly greeted by fans. Celebrated for his 1978 defeat of Sugar Ray Leonard, Dicky believes the documentary will commemorate his comeback, although he is now a coach not a fighter. Training Micky for an upcoming match in Atlantic City, Dicky is distracted by his addiction to crack cocaine. Throwing shadow punches in a drug-induced haze at a crack house, Dicky keeps Micky waiting at the gym while their mother and manager, Alice Ward, proudly shows off scrapbooks of Dicky’s career to the HBO crew. She reprimands Officer Mickey O’Keefe for stepping into the ring to train Micky in Dicky’s absence and explains that Micky worships his brother and learned everything he knew from him. When Dicky finally arrives at the gym after sprinting across town, Micky tells the HBO cameraman that both Mickey and Dicky are in his corner. Later, at a bar, the HBO cameramen seek clarification about the paternity of the family from the men’s seven sisters while Micky amorously observes the bartender, Charlene Fleming. With the encouragement of his father, George, Micky approaches Charlene and repudiates her perception of him as a “stepping stone” who builds on the status of other fighters. He contends that his next fight with Saoul Mamby will prove his skill at the “hand body” technique that distinguishes brawling from the finer art of boxing and asks her out. Before leaving town, Micky visits his daughter, Kasie, at her home in an upscale neighborhood and promises that his success will enable him to get a bigger apartment so she can live with him more often. On the day of departure for Atlantic City, Dicky is again detained at the crack house and Alice, George, Mickey and Micky retrieve him in a limo on the way to the airport. Terrified that Alice will discover him there, Dicky jumps from the second story window and falls into a dumpster below. Upon arrival in Atlantic City, they learn that Mamby has the flu and Micky has instead been matched against an opponent who far exceeds his weight. Although it is not safe for Micky to fight, Alice and Dicky encourage him to go through with it rather than forfeit the pay, and Micky is devastatingly beaten. As Dicky attempts to reconnect with Sugar Ray Leonard in the hotel lobby by touting the HBO documentary about his comeback, Micky returns from the hospital and is offered a deal with Mike Toma to train in Las Vegas without Dicky. Back in Lowell, Micky expresses reluctance about separating from his family and is unsure about continuing to fight, but Alice insists that she will find him a better opportunity. Charlene angrily misinterprets Micky’s evasiveness and choice of art house film Belle Epoque instead of a movie in the Lowell mall as a snub, but when he explains his shame of being seen after losing the fight, she inquires if his family truly has his interests at heart and they kiss. Three weeks later, Alice books a new match. Ordering her daughters to find Micky, who, they disparagingly report, has been preoccupied with the purported party girl and college elitist, Charlene, Alice resolutely collects Dicky from the dumpster behind the crack house. With the entire family gathered in the living room, Dicky and Alice pressure Micky to accept the fight. Charlene breaks the family’s code of silence about Dicky’s crack addiction. When she points out that Dicky is often missing and that the offer to train in Las Vegas provides a much better prospect for Micky’s success, she is accused of disrespect by Alice but defended by Micky. Dicky’s promise to come up with money for Micky to continue training in Lowell leads him to orchestrate several scams with his Cambodian girlfriend, Karen, including propositioning her family for fraudulent investments in a pyramid scheme and using her as a decoy prostitute while he impersonates a police officer to rob clients. Caught in the act, Dicky runs from the scene, starts a fight and resists arrest. Micky’s attempts to protect his brother result in the pummeling of his hand with a police baton. The brothers are taken to jail, where Micky is released on his own recognizance and Dicky is charged with multiple offenses and imprisoned. Charlene, enraged by the incident and the setbacks created by Micky’s family, refuses to see Micky, while Dicky is treated as a hero by his fellow inmates who call his name through the wall as he suffers withdrawals. When the HBO documentary airs, a special screening is set up in prison, but Dicky is soon angered to discover that the film is not about his comeback, but rather a character study of crack addiction. Furthermore, Lowell residents in the film contend that Leonard slipped during Dicky’s illustrious victory and that he has not lived up to his name and made them proud. When the audience of convicts laughs at his son’s misery, Dicky unplugs the television and starts a fight. Meanwhile, family members watching from home are grief-stricken and Charlene goes to Micky’s apartment to comfort him. After spending the night with Charlene, Micky decides to resume his training with Mickey. When his hand heals and he gets back in shape, Micky accepts an offer, arranged by George, for management by local businessman Sal Lanano under the condition that he will no longer work with Dicky and Alice. Alice and her daughters form an angry mob to take their wrath out on Charlene. A fight breaks out between the ladies on Charlene’s porch as Micky confirms his decision to work exclusively with Sal and Mickey. With his career propelled by a victorious series of fights against Hernandez, Manetti and Collins, Micky visits Dicky in jail to tell him that Mickey is now his trainer, but Dicky warns that he is being used as a “stepping stone” by Toma in his next fight on HBO against Alfonso Sanchez. Despite Micky’s accusations that he is jealous, Dicky inquires about his fight plan and coaches him to use a body shot. During the Sanchez fight, Micky takes a beating without retaliation to the dismay of Mickey and Charlene, but then shocks everyone with a knock out body shot and wins. Listening to the results through a phone call to Alice from prison, Dicky and the inmates cheer Micky’s victory. As Micky and his team celebrate, Toma appears, telling him he is no longer a “stepping stone” and offering him a shot for the world title. When Dicky is released, Alice drives him directly to the gym, but Micky reveals that his deal with Lanano obliges him to train without him. After Micky argues his desire to work with everyone, Mickey and Charlene walk out. Once again sparring with his brother, Micky gives Dicky a forceful body shot, knocking him to the ground. As Alice scolds him and jumps into the ring to fuss over Dicky, Micky accuses her of favoring Dicky and not supporting him in his chance at success. Upset, Dicky walks away with the cake presented to him by his sisters and brings it to the crack house. Despite a warm welcome, he leaves his old friends behind. Dicky proceeds to create a hard-fought truce with Charlene and resumes training Micky with the entire team behind them. In London, at the World Welterweight Championship fight, Shea Neary is clearly the crowd favorite despite his insolence. Although Micky fights back, it appears that Neary has gained control. In his corner, Dicky tells Micky that this is his time and makes him repeat the words “head, body.” In the eighth round, Micky is thrust against the ropes and gets pounded, but then turns the fight around and knocks Neary down with a total knock out, winning the title. Alice and Charlene jump into the ring and kiss him as the crowd cheers, and the past tensions between the members of Micky’s corner dissipate. At his brother’s side, Dicky holds up his brother’s arm in victory.
 

Production Company: Relativity Media  
  Mandeville Films  
  The Weinstein Company  
  Closest to the Hole  
Production Text: A Relativity Media/Mandeville Films and/Closest to the Hole production
A David O. Russell film
Brand Name:

Distribution Company: Paramount Pictures (A Viacom Company)
Director: David O. Russell (Dir)
  Mark Kamine (Unit prod mgr)
  Michele Ziegler (1st asst dir)
  Cara Giallanza (1st asst dir, Addl photog Los Angeles unit)
  Xanthus Valan (2d asst dir)
  John "Tag" Tagamolila (2d asst dir, Addl photog Los Angeles unit)
  Timothy Blockburger (2d 2d asst dir)
  Julie Cummings (2d 2d asst dir, Addl photog Los Angeles unit)
Producer: David Hoberman (Prod)
  Todd Lieberman (Prod)
  Ryan Kavanaugh (Prod)
  Mark Wahlberg (Prod)
  Dorothy Aufiero (Prod)
  Paul Tamasy (Prod)
  Tucker Tooley (Exec prod)
  Darren Aronofsky (Exec prod)
  Harvey Weinstein (Exec prod)
  Bob Weinstein (Exec prod)
  Leslie Varrelman (Exec prod)
  Keith Dorrington (Exec prod)
  Eric Johnson (Exec prod)
  Jeff Waxman (Co-prod)
  Kenneth Halsband (Co-prod)
  Louis DiBella (Assoc prod)
Writer: Scott Silver (Scr)
  Paul Tamasy (Scr)
  Eric Johnson (Scr)
  Keith Dorrington (Story)
  Paul Tamasy (Story)
  Eric Johnson (Story)
Photography: Hoyte Van Hoytema (Dir of photog)
  Rodney Taylor (Dir of photog, Addl photog Los Angeles unit)
  Geoffrey Haley (A-cam op/Steadicam op)
  Dana Gonzales (B-cam op)
  Andrew Rowlands (Cam op/Steadicam, Addl photog Los Angeles unit)
  David L. Emmerichs (Cam op/Steadicam, Addl photog Los Angeles unit)
  Gregory Irwin (A-cam 1st asst)
  Rob Bullard (B-cam 1st asst)
  Dominic Aluisi (Cam 1st asst, Addl photog Los Angeles unit)
  Tommy Tieche (Cam 1st asst, Addl photog Los Angeles unit)
  Milan "Miki" Janicin (A-cam 2d asst)
  Josh Friz (B-cam 2d asst)
  Todd Durboraw (Cam 2d asst, Addl photog Los Angeles unit)
  Julie Helton (Cam 2d asst, Addl photog Los Angeles unit)
  Terry Wolcott (Cam 2d asst, Addl photog Los Angeles unit)
  Zack Shultz (Cam loader)
  Morgan Jenkins (Cam loader, Addl photog Los Angeles unit)
  Gavin Wynn (Cam loader, Addl photog Los Angeles unit)
  Robin Bursey (Cam loader, Addl photog Los Angeles unit)
  Andrew Kim (Cam intern)
  Mike Moyer (Gaffer)
  Dwight Campbell (Gaffer, Addl photog Los Angeles unit)
  Chris Prampin (Gaffer, Addl photog Los Angeles unit)
  Brian Pitts (Best boy elec)
  Sebastien "Cbass" Amiri (Best boy elec, Addl photog Los Angeles unit)
  Dave Ghegan (Best boy elec, Addl photog Los Angeles unit)
  Fred Young (Set elec)
  David Christopher (Set elec)
  Guy Holt (Set elec)
  Nathan McGarigal (Set elec)
  Aaron Tyburski (Set elec)
  Brian C. Doyle (Set elec)
  William T. Jones (Set elec)
  Jennifer Nickerson (Set elec)
  Robbie Knowles (Set elec)
  Chuck Eldridge (Set elec)
  Frank La Frazia (Set elec)
  Christopher Nickerson (Set elec)
  Adam Peabody (Set elec)
  Robert Beinhocker (Set elec)
  Scott Willis (Set elec)
  Mark Price (Set elec)
  Jeff Hamel (Set elec)
  Arnold F. Brown (Set elec)
  Christine A. Willard (Set elec)
  Matthew Ardine (Elec, Addl photog Los Angeles unit)
  Francisco Bulgarelli (Elec, Addl photog Los Angeles unit)
  Raymond Collins (Elec, Addl photog Los Angeles unit)
  Brian D'Haem (Elec, Addl photog Los Angeles unit)
  Nathan Fetzer (Elec, Addl photog Los Angeles unit)
  Doug Kieffer (Elec, Addl photog Los Angeles unit)
  David Ghegan (Elec, Addl photog Los Angeles unit)
  John Allen Locke (Elec, Addl photog Los Angeles unit)
  Tom Killberg (Genny op)
  Jody Bringenheimer (Elec driver/Genny op, Addl photog Los Angeles unit)
  Mike Dynice (Base camp genny op)
  Joshua Dreyfus (Rigging gaffer)
  Charles Bergerian (Rigging gaffer)
  Geoff Dann (Best boy rigging elec)
  Dru Dunnaway (Rigging elec)
  John S. DeSimone (Rigging elec)
  Dwain Hammett (Rigging elec)
  Wiliam Karedes (Rigging elec)
  Adam D. Bouchard (Rigging elec)
  Blair Dreyfus (Rigging elec)
  David Hallas (Rigging elec)
  Lenny Manzo (Rigging elec)
  Richard Del Vecchio (Rigging elec)
  David Beckwith (Rigging elec)
  Bob Hirsch (Rigging elec)
  Woody Bell (Key grip)
  Kelly Flood (Key grip, Addl photog Los Angeles unit)
  David Romano (Best boy grip)
  Rick Griffith (Best boy grip, Addl photog Los Angeles unit)
  Gus A. Vasquez (Best boy grip, Addl photog Los Angeles unit)
  Bruce Hamme (A dolly grip)
  Brian Corbett (B dolly grip)
  Sean Hadley (Set grip)
  Derek Contrado (Set grip)
  Daniel Harrison (Set grip)
  Max Ramirez (Set grip)
  Georgia Pantazopoulos (Set grip)
  Michael DeCristofaro (Set grip)
  Xavier Munoz (Set grip)
  Tim Ryan (Set grip)
  Richard Beausoleil (Set grip)
  Ian Adams (Set grip)
  Matthew Marola (Set grip)
  Ed Searles (Set grip)
  Mark Brochu (Set grip)
  Eric Boyle (Set grip)
  Bill LeClair (Set grip)
  James A. Turner (Set grip)
  Ian Adams (Set grip)
  Ashton Harrewyn (Set grip)
  B. Tracy Ouellette (Set grip)
  John Brunold (Grip, Addl photog Los Angeles unit)
  Joel Prescott (Grip, Addl photog Los Angeles unit)
  Sanders "Sandy" Stanton (Grip, Addl photog Los Angeles unit)
  Peter Welsh (Elec, Addl photog Los Angeles unit)
  David H. Winner (Grip, Addl photog Los Angeles unit)
  Aaron Hammel (Grip, Addl photog Los Angeles unit)
  Jason W. Ellis (Grip, Addl photog Los Angeles unit)
  George Eric Griffith (Grip, Addl photog Los Angeles unit)
  David Puopolo (Key rigging grip)
  Gordon Manson (Best boy rigging grip)
  Mark Ingmanson (Rigging grip)
  Mike Aravjo (Rigging grip)
  Steven Blaney (Rigging grip)
  Dylan Paiva (Rigging grip)
  Tim Catz (Rigging grip)
  Noah Carlson (Rigging grip)
  John Kaplan (Rigging grip)
  Nathan Steele (Rigging grip)
  Johnathan Dodge (Rigging grip)
  Andrew D. Wortman (Rigging grip)
  Alex Applefeld (Video assist)
  Jacob Baas (Video assist op, Addl photog Los Angeles unit)
  John Levy (Addl video assist)
  Steven Bonarrigo (Addl video assist)
  Bret Upham (Addl video assist)
  Jojo Whilden (Still photog)
  David Kane (Dimmer board op, Addl photog Los Angeles unit)
  Abel Cine Tech (Cam equip by)
  Fujifilm (Filmed on)
Art Direction: Judy Becker (Prod des)
  Laura Ballinger Gardner (Art dir)
  Jeremy Rosenstein (Asst art dir)
  Kevin Raper (Graphic des)
  Israel Javier Ameijeiras (Illustrator)
  Melissa B. Miller (Art dept coord)
  Garret Christensen (Art dept prod asst)
  Alix Belleville (Art dept prod asst)
  Julia Pasternak (Art dept prod asst)
  Craig Shannon (Art dept prod asst)
Film Editor: Pamela Martin (Ed)
  Terel Gibson (Addl ed)
  Terel Gibson (1st asst ed)
  Crispin Struthers (2d asst ed)
  Michael Pasqualone (Asst ed)
  Lizzy Calhoun (Asst ed)
  Staci Pontius (Asst ed)
  Jean-Pierre Caner (Editorial PA)
Set Decoration: Gene Serdena (Set dec)
  Gene Serdena (Set dec, Addl photog Los Angeles unit)
  Grant Samson (Leadman)
  Grant Samson (Leadman, Addl photog Los Angeles unit)
  Zack Gorman (Local leadman)
  Chad Davis (On-set dresser)
  John Ryder (Set dresser)
  Stephen Brady (Set dresser)
  John M. Pungitore (Set dresser)
  Rebecca Greene (Set dresser)
  Will Costello (Set dresser)
  Mark Bailey (Set dresser)
  Colin Walsh (Set dresser)
  Roger van Deusen (Set dresser)
  Matt Harrington (Set dresser)
  Stefan Couture (Set dresser)
  Chris Centola (Set dresser)
  Robert Dew (Set dresser)
  Brenden Morrison (Set dresser)
  Jacob Kane (Set dresser)
  Abel Barbour (Set dresser)
  Mike Timman (Set dresser, Addl photog Los Angeles unit)
  Michael Garcia (Set dresser, Addl photog Los Angeles unit)
  Robert Pollard (Set dresser, Addl photog Los Angeles unit)
  Chad Davis (Set dresser, Addl photog Los Angeles unit)
  Amy Strong (Shopper/buyer)
  David H. Allen (Prop master)
  Mychael Bates (Prop master, Addl photog Los Angeles unit)
  Ryan Webb (Asst prop master)
  Rocky Nichols (Asst prop master, Addl photog Los Angeles unit)
  Edgar Bringas (Propmaker gangboss, Addl photog Los Angeles unit)
  Gaston Wurth (Props, Addl photog Los Angeles unit)
  Dave Major (Asst props)
  T. Barrett Curtin (Asst props)
  Beth Anderson (Asst props)
  Melissa Cooperman (Asst props)
  Jaima Fogg (Asst props)
  Ryan Sztuka (Props intern)
  Kurt L. Smith (Const coord)
  David Bringas (Const coord, Addl photog Los Angeles unit)
  David Colantuoni (Const foreman)
  Jesus G. Villasenor (Labor foreman, Addl photog Los Angeles unit)
  Eugenia Hope Magann (Const PA)
  Patrick Colantuoni (Carpenter)
  Steve Molle (Carpenter)
  Jack Thompson (Carpenter)
  Paul D. Bausemer (Carpenter)
  Eric Bridges (Carpenter)
  Dan Courchaine (Key scenic)
  Lee Ross (Lead scenic, Addl photog Los Angeles unit)
  Mary Hopkins (Scenic foreman)
  Ralph Contrado (Cam scenic)
  Romina Diaz-Brarda (Scenic artist)
  Lori Hruska (Scenic artist)
  David Costello (Scenic artist)
  David Rickson (Scenic artist)
  Kim Nelson (Scenic artist)
  Craig Pasco (Scenic artist)
  Steven Lafferty (Key set prod asst)
  Greg Bator (Key set prod asst, Addl photog Los Angeles unit)
  Hank Bedford (Set prod asst)
  Sean Huck (Set prod asst)
  James Berkery (Set prod asst)
  Eric Haynes (Set prod asst)
  Douglas Jones (Set prod asst)
  Lynsey Mihos (Set prod asst)
  Harry Fallon (Set prod asst)
  Christian Hoots (Set prod asst)
  Melissa Rosal (Set prod asst)
  Angela Cotrone (Set prod asst)
  Andrew Fortin (Set prod asst)
  Joey Pugh (Set prod asst)
  Tim LaDue (Set prod asst)
  Jillian Donaher (Set prod asst)
  Karena Garabedian (Set prod asst)
  Samuel Pino (Set prod asst)
  Jack Kamine (Set prod asst)
  M. Dean Egan (Set prod asst)
  John Gaudette (Set prod asst)
  JP Ouellette (Set prod asst)
  Eric Olin Anderson (Set prod asst)
  Mary K. Bedford (Set prod asst)
  David Goldstein (Set prod asst)
  Claude Richardson (Set prod asst)
  Catherine Bellinghieri (Set prod asst)
  Anna Gossman (Set prod asst)
  Michael McClenegham (Stand-by painter, Addl photog Los Angeles unit)
  Robert Grbavac (Stand-by painter, Addl photog Los Angeles unit)
Costumes: Mark Bridges (Cost des)
  Lisa Tomczeszyn (Cost des, Addl photog Los Angeles unit)
  Andrew J. Poleszak (Asst cost des)
  Margaret Palmer (Asst cost des)
  Debbie Holbrook (Ward supv)
  Tiffany Busche (Cost supv, Addl photog Los Angeles unit)
  Nancy Collini (Cost supv, Addl photog Los Angeles unit)
  Lorraine Crossman (Key cost)
  Lorraine Crossman (Key cost, Addl photog Los Angeles unit)
  Wayne Allen (On-set cost)
  Liz Clifford (On-set cost)
  Timothy Baum (On-set cost)
  Grace Pyke (On-set cost)
  Grace Pyke (Set cost, Addl photog Los Angeles unit)
  Lara Quinlan (Ward shopper)
  Gina Rhodes (Tailor)
  Michael Autieri (Ward prod asst)
  Paul Black (Ward prod asst)
Music: Michael Brook (Mus)
  Happy Walters (Mus supv)
  Season Kent (Mus supv)
  Philip Tallman (Mus ed)
  Ian Broucek (Mus coord)
  Julie Rogers (String arr and violin)
  Quinn (Percussion)
  Craig Conard (Mus prod)
  Gina Zimmitti (Mus contractor)
Sound: Anton Gold (Prod sd mixer)
  Moe Chamberlain (Sd mixer, Addl photog Los Angeles unit)
  Jim Stuebe (Sd mixer, Addl photog Los Angeles unit)
  Eric Thomas (Boom op)
  Brian Courchine (Boom op)
  Rob Scott (Boom op, Addl photog Los Angeles unit)
  David Manahan (Sd utility)
  Tim Jones (Sd utility, Addl photog Los Angeles unit)
  Dimension Sound (Sd editing)
  Odin Benitez (Supv sd ed/Des, Dimension Sound)
  Patrick O'Sullivan (Dial/ADR supv, Dimension Sound)
  Eliza Pollack Zebert (Dial/ADR ed, Dimension Sound)
  Christopher T. Welch (Dial/ADR ed, Dimension Sound)
  Victoria Sampson (Dial/ADR ed, Dimension Sound)
  Jeff Sawyer (Sd eff ed, Dimension Sound)
  Jason Brennan (Sd eff ed, Dimension Sound)
  David Marcus (1st asst sd ed, Dimension Sound)
  Beau Hilkene (2d asst sd ed, Dimension Sound)
  Pernell Salinas (2d asst sd ed, Dimension Sound)
  JRS Productions (Foley by)
  John Sievert (Foley artist)
  Stefan Fraticelli (Foley artist)
  Ron Melleghers (Foley rec)
  Randy Wilson (Foley rec)
  Ryan Lukasik (Foley asst)
  Trent Richmond (Foley ed)
  424, Inc. (Sd re-rec at)
  John Ross (Re-rec mixer, 424 Inc.)
  Myron Nettinga (Re-rec mixer, 424 Inc.)
  Kaspar Hugentobler (Sd rec, 424 Inc.)
  Joe Cappelletti The Final Word (Group ADR casting)
  Patty Connolly The Loop Squad (Group ADR casting)
  Mark Sussman (Group ADR casting)
  Pop Sound (ADR rec stages)
  Lotus Post (ADR rec stages)
Special Effects: Steve Ricci (Spec eff coord)
  Don Frazee (Spec eff coord, Addl photog Los Angeles unit)
  Brian Ricci (Spec eff foreman)
  Comen VFX (Vis eff and titles)
  Tim Carras (Vis eff supv, Comen VFX)
  Josh Comen (Vis eff prod, Comen VFX)
  Brandon Criswell (Compositing lead, Comen VFX)
  David Philogene (Compositor, Comen VFX)
  Elizabeth Marriner (Compositor, Comen VFX)
  Michael J. Parker (Compositor, Comen VFX)
  Peter Allendale (Compositor, Comen VFX)
  Kenneth Armstrong (Graphic artist, Comen VFX)
  Gary Laurie (Matchmove artist, Comen VFX)
  Ellery Ortiz (Matchmove artist, Comen VFX)
  Hugo Dominguez (Rotoscope artist, Comen VFX)
  Daniel Durand (Operations, Comen VFX)
  Bonnie G. Stern (Controller, Comen VFX)
Make Up: Donald Mowat (Dept head make-up)
  Tricia Heine (Key make-up artist)
  Allan Apone (Key make-up artist, Addl photog Los Angeles unit)
  Adam Brandy (Make-up artist, Addl photog Los Angeles unit)
  Joe Rossi (Addl make-up artist)
  Ben Bornstein (Addl make-up artist)
  Johnny Villanueva (Dept head hair)
  Cheryl Daniels (Key hair stylist)
  Elizabeth Cecchini (Hair stylist)
  Kristen Barry (Hair stylist)
  Brenda McNally (Hair stylist)
  Emma C. Rotondi (Hair stylist)
  Marsha Lewis (Hair stylist, Addl photog Los Angeles unit)
  Lori Sanders (Hair stylist, Addl photog Los Angeles unit)
Production Misc: Sheila Jaffe (Casting)
  Ruth Salen (Principal casting assoc)
  Fernando Buitrago (Principal casting asst)
  Angela Peri (Loc casting)
  Hilary Missan (Loc casting assoc)
  Aaron Kahl (Extras casting)
  Ashley Skomueski (Extras casting)
  Rich King (Extras casting, Addl photog Los Angeles unit)
  Shaunessy Quinn (Extras casting asst, Addl photog Los Angeles unit)
  Kenneth Halsband (Exec in charge of prod)
  Salvatore Lonano (Consultant)
  Bob Halloran (Tech consultant)
  Haley Sweet (Prod supv, Addl photog Los Angeles unit)
  Jennifer Madeloff (Prod coord)
  Vickie M. Hsieh (Prod coord, Addl photog Los Angeles unit)
  Taylor Black (Asst prod coord)
  Oscar J. Flores (Asst prod coord, Addl photog Los Angeles unit)
  Julie Fay Ashborn (Asst prod coord, Addl photog Los Angeles unit)
  Vanessa I. Mendoza (Prod secy, Addl photog Los Angeles unit)
  Molly Randall (Office prod asst)
  Sarah Fahey (Office prod asst)
  Joseph Micucci (Office prod asst)
  Ben Everard (Office prod asst, Addl photog Los Angeles unit)
  C. J. Laursen (Office prod asst, Addl photog Los Angeles unit)
  Alex Pursglove (Office prod asst, Addl photog Los Angeles unit)
  Matthew Grossfeld (Film runner)
  Dana Reaves Bolla (Prod accountant)
  Joe Barnett (Prod accountant, Addl photog Los Angeles unit)
  David Muscatine (1st asst accountant)
  Helen Stergiou (2d asst accountant)
  Ananda "Nahndo" Lemon (2d asst accountant)
  Jeremy Roberts (Payroll accountant)
  Anne Marie Feldman (Payroll acccountant, Addl photog Los Angeles unit)
  Duy Nguyen (Accounting clerk)
  Aaron Smith (Accounting asst, Addl photog Los Angeles unit)
  David M. Rodriguez (Post prod accountant)
  John Rash (Post prod accountant)
  Colin Walsh (Loc mgr)
  Jeremy Alter (Loc mgr, Addl photog Los Angeles unit)
  Jim Maceo (Loc mgr, Addl photog Los Angeles unit)
  Kent Matsuoka (Key asst loc mgr, Addl photog Los Angeles unit)
  Michael Glaser (Key asst loc mgr, Addl photog Los Angeles unit)
  Jillian Roache (Asst loc mgr)
  Andrew J. Boles (Asst loc mgr)
  Matt High (Loc asst)
  Michael Murray (Loc asst)
  Mike Buonanno (Loc prod asst)
  Ben Gamer (Loc prod asst)
  Josh Cormier (Loc prod asst)
  Karen Golden (Scr supv)
  Kosta Tsouprakos (Picture car coord)
  Marc Payton (HBO Sports crew)
  William Steinberg (HBO Sports crew)
  Sean Cooney (HBO Sports crew)
  Tim Prichard (HBO Sports crew)
  Jon Crystal (HBO Sports crew)
  Todd Palladino (HBO Sports crew)
  Marc Nathan (HBO Sports crew)
  Jim Carlin (HBO Sports crew)
  Holly Peterman (HBO Sports crew)
  Richard Cypher (HBO Sports crew)
  Matthew Krueger (HBO Sports crew)
  Bob Ross (HBO Sports crew)
  Colin DeFord (HBO Sports crew)
  James Scurti (HBO Sports crew)
  Douglas Wood (HBO Sports crew)
  David Zeffren (HBO Sports crew)
  Frank J. Madrose (HBO Sports crew)
  Michael O'Rourke (HBO Sports crew)
  Jason Levin (HBO Sports crew)
  Kevin Pasdon (Set medic)
  Matthew Coppinger (Set medic)
  Paul B. Johnson (Set medic)
  Gregory Levine (Set medic, Addl photog Los Angeles unit)
  Jeremy Davis (Set medic, Addl photog Los Angeles unit)
  Ann & Mario Catering (Caterer)
  Ann Zoric (Chef)
  Mario Zoric (Chef)
  Giuseppe Napoli (Asst chef)
  Marijana Napoli (Asst chef)
  Martin Reyes (Asst chef)
  Kenneth Caudill (Catering asst)
  Vincenzo "Vinny" Rotondo (Craft service)
  Matt Chase (Craft service, Addl photog Los Angeles unit)
  Peter Chase (Craft service, Addl photog Los Angeles unit)
  Chandler Sheperd (Craft service, Addl photog Los Angeles unit)
  John Burke (Craft service asst)
  Joseph F. Deingenis (Craft service asst)
  Naomi Rotondo (Addl craft service)
  James Donahue (Transportation coord)
  Michael Connor (Transportation coord, Addl photog Los Angeles unit)
  Kirk Huston (Transportation coord, Addl photog Los Angeles unit)
  Richard "Abbott" Jeffrey (Transportation capt)
  Angel De Santi (Transportation co-capt, Addl photog Los Angeles unit)
  John Brewin (Driver)
  Doug Hanlon (Driver)
  Joe Travers (Driver)
  Nick Duron (Driver)
  Bob Ferrara (Driver)
  Ronnie Rose (Driver)
  Dave Duggan (Driver)
  Thomas Duron (Driver)
  Billy O'Brien (Driver)
  Phil Crowley (Driver)
  Frank Martins (Driver)
  William F. Grubbs (Driver)
  Doug Burks (Driver)
  Brian Hatch (Driver)
  Al Viera (Driver)
  Robert Fitzpatrick (Driver)
  Wayne Fox (Driver)
  Joe Spinello (Driver)
  Tim Dunbar (Driver)
  Robert K. Lally (Driver)
  Dan Redman (Driver)
  Michael Curran (Driver)
  Matt McManus (Driver)
  Vincent J. Mogauro (Driver)
  Jon Campagna (Driver)
  Chris Johnson (Driver)
  Christopher Casoli (Driver)
  John L. Nearen Jr. (Driver)
  Jacob Hackett (Driver)
  John Tamboli (Driver)
  John Chambers (Driver)
  David Olson (Driver)
  Joseph Rogers (Driver)
  Michael Deschene (Driver)
  Joseph P. Conti (Driver)
  Matthew MacManus (Driver)
  Andy Carver (Driver)
  Jamie Magauro (Driver)
  Robert Dudley (Driver)
  Mike Wilson (Driver, Addl photog Los Angeles unit)
  Dawn Ballou (Driver, Addl photog Los Angeles unit)
  Dennis Goble (Driver, Addl photog Los Angeles unit)
  Jose Solis (Driver, Addl photog Los Angeles unit)
  Sako Sagamonyan (Driver, Addl photog Los Angeles unit)
  Michael Belt (Driver, Addl photog Los Angeles unit)
  Salvador Mejia (Driver, Addl photog Los Angeles unit)
  Christine Tuuler (Driver, Addl photog Los Angeles unit)
  Mike Reigle (Driver, Addl photog Los Angeles unit)
  Howard Chapman (Driver, Addl photog Los Angeles unit)
  Victor Moore (Driver, Addl photog Los Angeles unit)
  J. J. Williams (Driver, Addl photog Los Angeles unit)
  Charles Aguilar (Driver, Addl photog Los Angeles unit)
  Juan Carlos Garcia (Driver, Addl photog Los Angeles unit)
  Jeff L. Moore (Driver, Addl photog Los Angeles unit)
  H. David Wilson (Driver, Addl photog Los Angeles unit)
  Adam Geary (Driver, Addl photog Los Angeles unit)
  William Peck (Driver, Addl photog Los Angeles unit)
  Wendi Laski (Unit pub)
  Mikkel Zall (EPK)
  Graham Broughton (Asst to David O. Russell)
  Michael Morin (Asst to David O. Russell)
  Hank Bedford (Asst to David O. Russell)
  Daniel Herther (Exec asst to Ryan Kavanaugh)
  Marlaine Reiner (Asst to Ryan Kavanaugh)
  Kim Ferandelli (Asst to David Hoberman)
  Mia Maniscalco (Asst to Todd Lieberman)
  Stephanie Norton (Local asst to David Hoberman & Todd Lieberman)
  Eric Weinstein (Asst to Mark Wahlberg)
  Henry Penzi (Road crew to Mark Wahlberg)
  Bo Cleary (Trainer)
  Brian Nguyen (Trainer)
  Alex Capaldi (Asst to Kenneth Halsband)
  Dara Waxman (Asst to Amy Adams)
  Mel Thompson (Security for Christian Bale)
  Francie Brown (Dialect coach for Christian Bale)
  J. J. Pollack (Prod intern)
  Jason Bader (Prod intern)
  Jason Blackman (Prod intern)
  Cindy A. Taylor (Prod asst, Addl photog Los Angeles unit)
  Townson Wells (Prod asst, Addl photog Los Angeles unit)
  Rob Hoffman (Prod asst, Addl photog Los Angeles unit)
  Chris Naylor (Prod asst, Addl photog Los Angeles unit)
  Jack Stern (Studio teacher, Addl photog Los Angeles unit)
  Christopher Kulikowski (Post prod supv)
  Pascal Vaguelsy (Post prod coord)
  Danny Elhaj (Post prod asst)
  Ashley Farber (Data management)
  Don Henry (Data management)
  Ron Perez (Data management)
  George Zidd (Data management)
  Floyd Burks (Scanning/Rec)
  Scott Drost (Scanning/Rec)
  John Herndon (Scanning/Rec)
  Jonathan Mecenas (Scanning/Rec)
  Todd Mitchell (Scanning/Rec)
  Doug Richardson (Scanning/rec )
  Trey Freeman (Restoration)
  John D. Kearns (Restoration)
  Brad Sutton (Restoration)
  Wilson Tang (Restoration)
  Lori Raskin (Restoration)
  Michael Moncreiff (Account exec)
  Emily Harney (Photographs courtesy of)
  HBO Archives (Stock footage and stock audio by)
  Getty Images (Stock footage and stock audio by)
  Footage Bank (Stock footage and stock audio by)
  ESPN Enterprises, Inc. (Footage courtesy of)
  Robbie Brenner (Exec vice president of prod, For Relativity Media)
  Jason Barhydt (Senior vice president of prod, For Relativity Media)
  Alice Neuhauser (Senior vice president of operations, For Relativity Media)
  Eva Quiroz (Vice president of operations, For Relativity Media)
  Kenny Lynch (Financial controller, For Relativity Media)
  Dawn Darfus (Prod finance exec, For Relativity Media)
  Paul Davidge (Finance exec, For Relativity Media)
  Steve Hutensky (Sr exec vice president of bus affairs, For Relativity Media)
  Linda Benjamin (Exec vice president of bus and legal affairs, For Relativity Media)
  Thomas Loftus (Senior vice president of bus and legal affairs, For Relativity Media)
  Leisha Mack (Bus and legal affairs, For Relativity Media)
  Brian Nurre (Bus and legal affairs, For Relativity Media)
  Nate Greenwald (Bus and legal affairs, For Relativity Media)
  David Bloomfield (Prod legal counsel, For Relativity Media)
  Greg Maxwell (Security and integrity consultant, For Relativity Media)
  Rachel Schwartz (Coord physical prod, For Relativity Media)
  Union Bank Entertainment Finance (Prod financing provided by)
  Bryan LaCour (Prod financing provided by)
  Brian Stearns (Prod financing provided by)
  Arthur J. Gallagher & Co. (Prod insurance provided by)
  Insurance Brokers of California (Prod insurance provided by)
  International Film Guarantors, LLC (Completion guaranty provided by)
  Cast and Crew, Inc. (Payroll services by)
  Entertainment Media Specialists, Inc. (Extras payroll by)
  Ashley Kravitz Cleared By Ashley, Inc. (Clearances by)
  Ray Felipe (Researcher)
  Stone Management (Product placement)
  Adam Stone (Product placement)
  Cat Stone (Product placement)
  High Output (Prod equip by)
  Cinema Mechanics (Prod equip by)
  Monster Remotes (Remote heads)
  NES Rentals (Condors provided by)
  Kika Moore New Act Travel (Travel provided by)
  Cranton Moore Moore Transport Services (Ground transportation provided by)
Stand In: Ray Siegle (Stunt coord)
  Ben Bray (Stunt coord)
  Adam Hart (Dicky stunt double)
  Kathryn Kulawski (Charlene stunt double)
  Bobby Burns (Utility stunts)
  Rick Fuller (Utility stunts)
  Paul Marini (Utility stunts)
  John Vincent Mason (Utility stunts)
  Paul Short (Utility stunts)
Color Personnel: Technicolor, New York (Lab processing & video dailies)
  Chris Gennarelli (Dailies colorist)
  Kristyn DiPane (Dailies project mgr)
  Joey Violante (Dailies lab adv)
  Technicolor Creative Services, Hollywood (Digital intermediate)
  Tony Dustin (Digital intermediate colorist)
  Bruce Lomet (Digital intermediate prod)
  Bob Schneider (Digital intermediate ed)
  Jada Budrick (Digital intermediate tech)
  Dan Williams (Digital intermediate tech)
  Frank Figueroa (Digital intermediate tech)
  Lee Wimer (Lab col timer)
  Josh Moore (Lab contact)
  Orbit Digital California, LLC (Ed services)
  nanotechniq (Ed services)
MPAA Rating: R
Country: United States
Language: English

Music:
Songs: "How You Like Me Now?," written by Kelvin Swaby, Dan Taylor, Spencer Page, Chris Ellul and Arlester Christian, performed by The Heavy, courtesy of Counter Records; "Sweet Dreams," written and performed by Keith St. John, courtesy of Marc Ferrari/Mastersource; "Can't Hide Your Love Forever," written by James William Henterly and Dennis Klinefelt, performed by Mariner, courtesy of Rip Tide Music Inc.; "Solid Gold," written by Keith Mansfield, courtesy of APM Music; "Down and Dirty," written by Scott Nickoley and Jamie Dunlap, performed by Michael Mulholland, courtesy of Marc Ferrari/Mastersource; "Saints," written by Kim Deal, performed by The Breeders, courtesy of Elektra Entertainment Group, by arrangement with Warner Music Group Film & TV Licensing; "So Into You," written by Buddy Buie, Dean Daughtry and Robert Nix, performed by Atlanta Rhythm Section, courtesy of Universal Records, under license from Universal Music Enterprises; "Sara Smile," written and performed by Daryl Hall and John Oates, courtesy of The RCA Records Label, by arrangement with Sony Music Licensing; "Here I Go Again," written by David Cloverdale and Bernard Marsden, performed by Whitesnake, courtesy of Geffen Records, under license from Universal Music Enterprises; "Dance Hall Days," written by Darren Costin, Nick Feldman and Jack Hues, performed by Wang Chung, courtesy of Spirit Music Group; "Send Me Your Love," written and performed by Jaymee Carpenter, courtesy of Drive Music; "La Maleta en el Camino," written and performed by Antoine Duhamel, courtesy of Milan Entertainment Inc.; "I Started a Joke," written by Barry Gibb, Robin Gibb and Maurice Gibb; "Jasmine Girl," written and performed by Sinn Sisamouth and Pan Ron, courtesy of Minky Records Inc.; "Good Times Bad Times," written by Jimmy Page, John Paul Jones and John Bonham, performed by Led Zeppelin, courtesy of Atlantic Recording Corp., by arrangement with Warner Music Group Film & TV Licensing; "Stakeout," written by Matt Koskenmaki and David John Vanacore, courtesy of APM Music; "Voices Carry," written by Michael Hausman, Robert Holmes, Aimee Mann and Joseph Pesce, performed by 'Til Tuesday, courtesy of Epic Records, by arrangement with Sony Music Licensing; "HBO Feature Presentation Theme," written and performed by Ferdinand Jay Smith, courtesy of Home Box Office, Inc.; "Strip My Mind," written by Anthony Kiedis, Flea, John Frusciante and Chad Smith, performed by Red Hot Chili Peppers, courtesy of Warner Bros. Records Inc., by arrangement with Warner Music Group Film & TV Licensing; "Rock 'N' Roll Stew," written by Jim Gordon and Rick Grech, performed by Traffic, courtesy of Island Records Ltd., under license from Universal Music Enterprises; "Back in the Saddle," written by Steven Tyler and Joe Perry, performed by Aerosmith, courtesy of Columbia Records, by arrangement with Sony Music Licensing; "The Warrior's Code (Live)," written by Alexander Barr, Timothy Brennan, Kenneth Casey, Matthew Kelly, James Lynch, Marc Orrell and Joshua Wallace, performed by Dropkick Murphys, courtesy of Born and Bred Records; "Siesta," written by Daniel Indart, performed by Mariachi La Estrella, courtesy of Hot Latin Tracks, under license from Latin Music Specialists; "Can't You Hear Me Knocking," written by Mick Jagger and Keith Richards, performed by The Rolling Stones, courtesy of Promotone B.V.; "Paint the Town Red," written by James Fintan McConnell, performed by The Mahones, courtesy of The Mahones/Whiskey Devil Records; "Glory & Consequence," written and performed by Ben Harper, courtesy of Virgin Records America, under license from EMI Film & Television Music.
Composer: Alexander Barr
  John Bonham
  Timothy Brennan
  Buddy Buie
  Jaymee Carpenter
  Kenneth Casey
  Arlester Christian
  David Cloverdale
  Darren Costin
  Dean Daughtry
  Kim Deal
  Antoine Duhamel
  Jamie Dunlap
  Chris Ellul
  Nick Feldman
  Flea
  John Frusciante
  Barry Gibb
  Maurice Gibb
  Robin Gibb
  Jim Gordon
  Rick Grech
  Daryl Hall
  Ben Harper
  Michael Hausman
  James William Henterly
  Robert Holmes
  Jack Hues
  Daniel Indart
  Mick Jagger
  John Paul Jones
  Matthew Kelly
  Anthony Kiedis
  Dennis Klinefelt
  Matt Koskenmaki
  James Lynch
  Aimee Mann
  Keith Mansfield
  Bernard Marsden
  James Fintan McConnell
  Scott Nickoley
  Robert Nix
  John Oates
  Marc Orrell
  Jimmy Page
  Spencer Page
  Joe Perry
  Joseph Pesce
  Keith Richards
  Pan Ron
  Sinn Sisamouth
  Chad Smith
  Ferdinand Jay Smith
  Keith St. John
  Kelvin Swaby
  Dan Taylor
  Steven Tyler
  David John Vanacore
  Joshua Wallace
Source Text:

Copyright Claimant Copyright Date Copyright Number
Fighter, LLC 10/12/2010 dd/mm/yyyy PA1711060

PCA NO: 46231
Physical Properties: Sd: Dolby Digital; dts
  col: Technicolor
  Lenses/Prints: Film prints released on Fujifilm; Release prints by Technicolor

 
Genre: Drama
Sub-Genre: Boxing
 
Subjects (Major): Boxing
  Drug addiction--Rehabilitation
  Family relationships
  Half brothers
  Lowell (MA)
 
Subjects (Minor): Arrests
  Atlantic City (NJ)
  Bars
  Boxing managers
  Boxing trainers
  Cocaine
  Fatherhood
  HBO (Television network)
  Las Vegas (NV)
  London (England)
  Loyalty
  Motherhood
  Motion pictures, Documentary
  Imprisonment
  Romance
  Sports fans
  Stepfathers

Note: The Fighter is framed by documentary-style interview footage with “Dicky Eklund” and “Micky Ward,” as played by actors Christian Bale and Mark Wahlberg. Although both clips are shot at identical angles and locations, the first scene is prefaced by a card that reads: “Lowell, Massachusetts – 1993,” and the final scene takes place after Ward’s victory over Shea Neary for the World Boxing Union (WBU) Light Welterweight Championship title. The actual date of the fight, 11 Mar 2000, is not mentioned in the film, but the passage of time is evidenced by costume change and the absence of drug-induced mannerisms in Eklund’s behavior during the last interview. The final scene is followed by three written epilogues stating: “Micky Ward went on to three epic fights with Arturo Gatti, bringing his first seven-figure payday. He retired in 2003,” “Micky married Charlene in 2005. They live in Lowell with his daughter Kasie,” and “Dicky maintains his status as a local legend. He trains boxers at his brother’s gym.” The end credits scroll displays modern footage of the real Eklund and Ward.
       The opening interview scene is interspersed with clips from authentic home movies of the brothers sparring as boys and their mother, Alice Ward, watching over. This footage is used again when Micky recuperates from his defeat in Atlantic City. Clips of real footage from Eklund’s illustrious fight are shown during the interview scene with a caption reading “Dick Eklund vs. Sugar Ray Leonard, Boston, Massachusetts, July 18, 1978” as Eklund explains in voice-over that the victory earned him the moniker “the Pride of Lowell” and notes the differences in fighting styles between himself and his brother. Actual footage of the Eklund-Leonard fight is used on several other occasions in the film, when Eklund tosses training punches at a crack house while Ward waits for him at the gym, and as he goes through withdrawals in prison. Additional clips from Eklund-Ward family home movies are superimposed and shown side-by-side with fight images in the background of this scene. A card reading: “Based on a true story” is shown in between the interview scene and the beginning of the narrative.
       Footage produced by Home Box Office (HBO), both real and recreated, is used throughout The Fighter , including the Eklund-Leonard fight. According to production notes from AMPAS library files, the three main fights featured in the film originally aired on HBO, and the footage was used by the production team and actors to choreograph boxing scenes so that they could be duplicated realistically. The boxing matches, shot over several days at the beginning of the production to capture Wahlberg at the peak of his physical training, were also recorded by an HBO film crew that used a multi-camera technique unique to their televised sports productions. The footage from both film and television crews was edited in montage sequences for the final cut. A 19 Nov 2010 WSJ article explains that Wahlberg’s connections at HBO, as the inspiration and executive producer for their hit show “Entourage,” allowed the production team access to the exact video cameras that were used for shooting boxing matches in the 1990s. An HBO clip of Alice Ward before the Eklund-Leonard fight, telling viewers that her son will win, is replicated exactly, with Melissa Leo in the role of “Alice.”
       A recreation of the HBO documentary, High on Crack Street: Lost Lives in Lowell (1995), is interwoven throughout the story. At the beginning of the film, the HBO production team is shown filming Eklund, Ward and their family members, and the documentary is later televised and viewed by the Eklund-Ward family. Richard Farrell, who produced, directed, filmed, wrote and edited the original documentary, is credited in the cast of The Fighter as “HBO cameraman #1.” Although the film version of the documentary, entitled Crack in America , focuses on Eklund, the actual film also follows the lives of “Boo Boo” and “Brenda,” cohorts from the crack house Eklund frequents. The character “Gary ‘Boo Boo’ Giuffrida” is portrayed in the film by actor Paul Campbell. Footage in the dramatized adaptation of the documentary is inspired by, but not an exact reproduction, of the real documentary. In the film version of the documentary, Lowell residents are interviewed and express ambiguity about Eklund’s defeat of Sugar Ray Leonard. They suggest that Leonard may have slipped instead of being knocked out and express anger that Eklund has not lived up to his promise. This animosity is not evidenced in the real HBO documentary. Crack in America shows Eklund’s son in the courtroom when he is sentenced, but actual documentary footage of the hearing in High on Crack Street: Lost Lives in Lowell displays Eklund arriving late because, he explains, he had to tell his son he was going away before leaving.
       Both versions of the documentary emphasize the historical significance of Lowell as the origin of the Industrial Revolution and note the impact of its collapsing economy on its residents. Writer-executive producer Eric Johnson, who researched Lowell’s culture and history, explains in the film’s production notes that when mills closed and unemployment became prevalent, boxing was seen as a way out of poverty, as evidenced in the vast number of gyms per capita.
       The Fighter was shot on location in Lowell, including Art Ramalho’s West End Gym, where, according to a 10 Jun 2010 Boston Globe article retrieved online, Ward trained for his comeback, and at Tsongas Center (formerly Paul E. Tsongas Arena), where the main fights were shot and attended by locals, according to production notes. Both sources also note that Ramalho trained Ward and Eklund early in their careers, and he is credited with a cameo appearance in the film. Lowell police officer and Ward’s trainer at the West End Gym, Mickey O’Keefe, was cast as himself. The location for the Ward-Eklund family home was established three blocks away from where it actually stands, according to production notes, and it was decorated to exactly replicate the original. As reported in production notes, the film was shot in 33 days, using predominantly handheld and Steadicam cameras to accentuate intimacy and realism with the story and its location.
       Various reviews and news sources emphasize Mark Wahlberg’s personal crusade to make The Fighter . According to a 10 Dec 2010 NYT review, Wahlberg, who grew up in the Boston area, was a fan of the local hero, Ward, and began training for the role over three years prior to the film’s production at a boxing ring he built at his home. In a 19 Nov 2010 WSJ article, Wahlberg dates the start of his training as 13 Oct 2005, noting disbelief at how long it took for the film to be made. A 5 Dec 2010 LAT article adds that Wahlberg moved Ward and Eklund into his home with him to learn their trademark moves, including Ward’s infamous body shot.
       WSJ explains that Wahlberg spent years trying to obtain the rights to Ward and Eklund’s story himself, but they had already been sold. A DV news item on 1 Aug 2003, however, reports the life rights of Ward and Eklund were officially acquired by Scout Prods. and Edgartown Ventures, with Paul Tamasy and Eric Johnson contracted as writers. Production did not move forward for several more years, until Paramount won a bid against four major studios with a seven-figure deal for the rights to The Fighter , as reported in an 11 May 2005 DV new item, with David Hoberman and Todd Lieberman from Mandeville Films producing. HR also noted that writers Tamasy and Johnson would act as producer and executive producer, respectively, along with producer Dorothy Aufeiro of Scout Prods. and executive producers Keith Dorrington and Leslie Varrelman of Edgartown Ventures.
       While Darren Aronofsky was attached to direct the project as early as 27 Mar 2007, as reported by DV and HR , Walhberg often consulted with director David O. Russell, whom he worked with previously on Three Kings (1999, see entry) and I Heart Huckabees (2004, see entry), according to the 5 Dec 2010 LAT article. When Aronofsky dropped out of the project to make The Wrestler (2008, see entry), Wahlberg convinced Russell to step in and direct after a six year hiatus. Although he does not receive credit as a writer, Russell worked extensively on rewrites with Scott Silver, according to production notes.
       The production also lost momentum when several key stars pulled out during pre-production. Matt Damon, who was initially cast in the role of Eklund, left due to commitments with conflicting schedules, but he was soon replaced by Brad Pitt, according to a 21 Sep 2007 DV news item. A 10 Aug 2010 NYT article notes that Pitts’ involvement was short-lived and Paramount decided against financing the production when he and Aronofsky departed from the project. In his effort to resurrect The Fighter , as reported in a 1 Nov 2010 Var article, Walhberg approached Relativity Media, who agreed to produce the film with a budget reduced from Paramount’s $60 million to $25 million. A 21 Apr 2009 DV news item reported that Relativity Media had stepped in as full financers of the film, and that they were negotiating deals with Russell and Bale. Amy Adams and Melissa Leo were secured not long after. Relativity Media’s CEO, and producer of The Fighter , Ryan Kavanaugh, explains in the 10 Aug 2010 NYT article that the stars all worked at a reduced rate. Wahlberg eventually contributed financial support to the film and is credited as a producer. His company, Closest to the Hole, is listed in the credits after Relativity Media and Mandeville Films, and he was nominated for several awards for production. Although Kavanaugh received onscreen credit for his role as producer, the Producer’s Guild of America and the Academy of Motion Picture Arts and Sciences limit the number of producers to be considered for awards to three individuals, and Kavanaugh was denied inclusion despite a formal appeal to both organizations, according to LAT and HR news items.
       Dealings with Paramount continued to be tenuous throughout production and post-production. The 10 Aug 2010 NYT article reports that Paramount asked Relativity Media to cover all marketing costs and did not include the film in the line up of their pay-per-view channel, Epix. The Fighter was screened for other major studios, including Sony Pictures and Lionsgate, and producers were close to closing a deal with Universal when Paramount finally agreed to release and market the film. According to a 7 Oct 2010 article in HR , Paramount grew so confident of The Fighter’s success that it held back its release date to promote it as a contender for awards.
       The Fighter was nominated for, and won, numerous awards from critics and film societies, including Golden Globe nominations for Best Motion Picture – Drama (Paramount Picture and Relativity Media), Best Performance by an Actor in a Motion Picuture – Drama (Wahlberg), Best Performance by an Actress in a Supporting Role in a Motion Picture (Adams), Best Director – Motion Picture (Russell) and Golden Globe awards for Best Performance by an Actress in a Supporting Role in a Motion Picture (Leo) and Best Performance by an Actor in a Motion Picture (Bale). The Screen Actors Guild nominated the film in the categories of Outstanding Performance by a Female Actor in a Supporting Role (Adams) and Outstanding Performance by a Cast in a Motion Picture (Wahlberg, Bale, Adams, Leo and Jack McGee) and presented awards for Outstanding Performance by an Male Actor in a Supporting Role (Bale) and Outstanding Performance by a Female Actor in a Supporting Role (Leo). The Directors Guild of America nominated Russell for Outstanding Directorial Achievement in a Feature Film, the Producers Guild of America nominated Hoberman, Lieberman and Wahlberg for the Darryl F. Zanuck Producer of the Year Award, the Writers Guild of America nominated Silver, Tamasy, Johnson and Dorrington in the category of Original Screenplay, and the Art Directors Guild of America nominated Judy Becker and her team for Excellence in Production Design for a Contemporary Feature. The National Board of Review selected Bale as the recipient of its award for Best Supporting Actor. The Fighter received the following Academy Award nominations: Directing (Russell), Actress in a Supporting Role (Adams), Film Editing (Pamela Martin) and Best Picture (Hoberman, Lieberman and Wahlberg), and won the following two Academy Awards: Actor in a Supporting Role (Bale) and Actress in a Supporting Role (Leo). The Fighter was selected as one of AFI’s top ten Movies of the Year for 2010.
       Set production assistant M. Dean Egan’s name was misspelled as “M. Deam Egan” and production financer Bryan LaCour’s name was misspelled as “Bryan LaCout” in the end credits. The roles of boxers Hernandez, Manetti and Collins are not credited. According to the fight record on Ward’s official website, Ward never fought men with these names. Although the film portrays Ward’s victory against Alfonso Sanchez as the grounds for his invitation to fight Shea Neary for the World Boxing Union Welterweight title, his fight record dates the Sanchez fight in 1997 and the Neary fight in 2000, with six fights over the three years between them.
 

Bibliographic Sources:   Date   Page
The Boston Globe   10 Jun 2010.   
Daily Variety   1 Aug 2003.   
Daily Variety   11 May 2005.   
Daily Variety   27 Mar 2007   p. 1, 13.
Daily Variety   21 Sep 2007   p. 1, 20.
Daily Variety   21 Apr 2009   p. 1, 24.
Daily Variety   11 Nov 2010   p. 1, 10.
Hollywood Reporter   27 Mar 2007   p. 2, 58.
Hollywood Reporter   7 Oct 2010   p. 1, 12.
Hollywood Reporter   15 Jan 2011.   
Los Angeles Times   5 Dec 2010   p. 1, 5.
Los Angeles Times   10 Dec 2010   p. 1.
Los Angeles Times   13 Jan 2011.   
New York Times   10 Aug 2010   p. 1, 5.
New York Times   10 Dec 2010   p. 1.
Variety   1 Nov 2010   p. 6, 14.
WSJ   19 Nov 2010.   

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.
 
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