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About Schmidt
Director: Alexander Payne (Dir)
Release Date:   20 Dec 2002
Premiere Information:   World premiere at the Cannes Film Festival: 22 May 2002; Omaha, NE opening: 11 Dec 2002; New York and Los Angeles openings: 13 Dec 2002
Production Date:   12 Mar--late May 2001
Duration (in mins):   124-125
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Cast:   Jack Nicholson (Warren [R.] Schmidt)  
    Kathy Bates (Roberta Hertzel)  
    Hope Davis (Jeannie Schmidt)  
    Dermot Mulroney (Randall Hertzel)  
    June Squibb (Helen Schmidt)  
    Howard Hesseman (Larry Hertzel)  
    Harry Groener (John Rusk)  
    Connie Ray (Vicki Rusk)  
    Len Cariou (Ray Nichols)  
    Mark Venhuizen (Duncan Hertzel)  
    Cheryl Hamada (Saundra)  
    Phil Reeves (Minister in Denver)  
    Matt Winston (Gary Nordin, Warren's replacement)  
    James Micheal Connor (Randall's best man)  
    Jill Anderson (Bridesmaid reading St. Paul)  
    Vaughan Wenzel (Man mourning Helen)  
    Judith Kathryn Hart (Woman mourning Helen)  
    Marilyn Tipp (Neighbor lady)  
    Reverend Robert Kem (Priest in Omaha)  
    Melissa Hanna (Dairy Queen employee)  
    Tung Ha (Frat kid)  
    James J. Crawley (Other frat kid)  
    Mary Beth Nelson (Bartender)  
    Stephen Heller (Tire store employee)  
    Lester KillsCrow (Native American cashier)  
    Thomas Michael Belford (Funeral director)  
    McKenna Gibson (Six-year-old Jeannie)  
    Stephanie Curtis (Twelve-year-old Jeannie)  
    Beth Heimann (Wedding singer #1)  
    Linda Wilmot (Wedding singer #2)  
    Abdallah Mtulu (Ndugu Ombo)  

Summary: At the age of sixty-six, Warren R. Schmidt retires from his job as assistant vice-president at the Woodmen of the World insurance company in Omaha, Nebraska. A man whose identity derives from his position at work and status as wage earner for his wife Helen and grown daughter Jeannie, Warren faces a life of leisure with bewilderment. At his retirement party, he responds to the laudatory toasts from his coworkers by fleeing into a nearby bar to drink alone. Later, he receives a congratulatory phone call from Jeannie, who is engaged to Randall Hertzel, a waterbed salesman whom Warren considers undeserving of his daughter. The next morning, Helen fixes him breakfast in their Winnebago, which they plan to drive across the country, but Warren remains indifferent to everything until he finds himself responding to a television advertisement for Childreach, an organization that sponsors needy children in Third World countries for a donation of twenty-two dollars per month. After a few more days of puttering, he puts on a suit and returns to his office, where his replacement cheerfully indicates that Warren’s presence is completely unnecessary. Dejected, Warren returns home, where he finds a packet from Childreach with a photo of his “foster” child, Ndugu Ombo, a six-year-old Tanzanian boy, and a request that he send Ndugu a letter. As Warren begins writing a description of his life, his true feelings pour out about the “snotty kid” who has replaced him at work, his failure to achieve his dreams, his beloved daughter’s upcoming marriage to an idiot and his wife’s irritating, controlling habits. After running an errand, however, Warren returns to find Helen dead of a blood clot, and in his grief realizes how much he loved her. He remains busy over the next few days planning the funeral and consoling Jeannie, who arrives in Omaha with Randall. Randall’s clumsy, cloying attempts at kindness frustrate Warren, especially after the young man offers to "invest" Warren’s money in a pyramid scheme. When Jeannie is ready to leave, Warren, who is unaccustomed to being alone, tries desperately to induce her to stay and postpone her wedding, at one point even lying that Helen did not approve of Randall. Jeannie, shocked but unconvinced, responds by questioning Warren’s substandard casket choice. After she leaves, Warren wanders around his increasingly disarrayed house, expressing in a letter to Ndugu his grief and fear that he will soon die. While wistfully exploring Helen’s closet, Warren unearths a box containing love letters to her from his best friend, Ray Nichols. In a fury, he discards all of Helen’s clothes and confronts Ray with the letters, despite his friend’s plea that the affair ended thirty years ago. Newly invigorated, Warren enacts his sense of freedom by urinating while standing, an act Helen had forbidden. He then packs up the Winnebago and leaves for Denver, hoping to spend more time with Jeannie. When he calls her with his plan, however, Jeannie firmly insists that he stay away until a few days before the wedding. Chagrined, Warren heads to his hometown of Holdrege, Nebraska, only to find that his childhood house has been replaced by a tire store. He goes on to his alma mater, Kansas University, along the way writing to Ndugu, urging the boy to follow in his footsteps and pledge a fraternity. At a campground in Kansas, John and Vicki Rusk, Canadians staying in the adjoining campsite, invite Warren for dinner. He enjoys their hospitality, but when John leaves to buy beer, Warren mistakes Vicki’s empathy for a flirtation and attempts to kiss her. Vicki responds in horror, prompting Warren to flee the campground and drive all night. On the road, he attempts to leave a conciliatory phone message for Ray, but the answering machine malfunctions. Despondent, Warren spends the night atop the Winnebago, where he asks Helen for forgiveness and sees a shooting star that he assumes is a sign. He awakens with a clear sense of purpose: to put a stop to Jeannie’s wedding. With this in mind, Warren heads to the Denver home of Randall’s mother Roberta. Roberta’s earthy gregariousness disturbs Warren, especially after she voices her pride in Randall’s “sensitiveness,” which she feels derives from her having breastfed him for five years. They have dinner with Jeannie, Randall and his relatives, including his verbose father Larry, Roberta's ex-husband, during which Warren despairs further at Jeannie’s choice for a new family. He finally corners his daughter on the porch after dinner and reveals that he does not approve of her marriage. Jeannie, who loves her father but considers him distant and difficult, orders him either to support her or leave. That night, he throws his back out while sleeping on Randall’s waterbed, infuriating Jeannie further. Roberta nurses Warren with soup, not realizing that he is pained further by her candid discussion of Jeannie’s sex life with Randall. Before the wedding rehearsal that night, Roberta gives Warren a prescription pain reliever that keeps him pleasantly doped until after dinner. He then enjoys her hot tub, but after she joins him, naked, and places her hand on his leg, Warren retreats to the Winnebago. He endures the wedding the next day without comment, and when it is his turn to give a speech, falters briefly, but finally, turning to his grateful daughter, delivers a moving speech invoking Helen and her blessing upon the marriage. As he drives back to Omaha, Warren composes a letter to Ndugu stating that he has failed, not only in his quest to save Jeannie but in his life as a whole. He questions if he has made any difference to anyone. At home, a despondent Warren leafs through his mail, where he finds a letter from Ndugu’s caretaker, Sister Nadine Gautier. Sister Nadine writes that Ndugu, an orphan who can neither read nor write, has enclosed a drawing for his “foster father." The picture, which depicts a man holding the hand of a small boy under a shining sun, causes Warren to weep with the sudden understanding that he has made a mark on at least one life. 

Production Company: New Line Productions, Inc. (AOL Time Warner)
Production Text: A Michael Besman/Harry Gittes Production
Distribution Company: New Line Cinema (AOL Time Warner)
Director: Alexander Payne (Dir)
  George Parra (1st asst dir)
  Shari Nicotero (2d asst dir)
  Rocco Marra (Addl 2d asst dir)
  David "Muddy" Waters (2d 2d asst dir)
Producer: Harry Gittes (Prod)
  Michael Besman (Prod)
  Bill Badalato (Exec prod)
  Rachel Horovitz (Exec prod)
Writer: Alexander Payne (Scr)
  Jim Taylor (Scr)
Photography: James Glennon (Dir of photog)
  Bob Edesa ("A" cam op/Addl photog)
  John Small ("A" cam 1st asst)
  Steve Wolpa ("A" cam 2d asst)
  Radan Popovic ("B" cam op/Addl photog)
  Mike Mastre ("B" cam 1st asst)
  Melissa Freeman (Cam loader)
  Scott McCarthy (Addl cam loader)
  Claudette Barius (Still photog)
  Jim Foyt (Projectionist)
  Kaile Shilling (Addl photog supv)
  Dwight Campbell (Chief lighting tech)
  Simone Perusse (Best boy elec)
  Dennis Buffum (Elec)
  Paul Eichler (Elec)
  Tom Axtell (Elec)
  Geoff Eng (Elec)
  Aaron Lemere (Elec)
  Michael Tolochko (Rigging gaffer)
  Kevin Ketelhut (Rigging elec)
  Jay Swanson (Rigging elec)
  Travis Williams (Rigging elec)
  Quintin Bogard (Rigging elec)
  R. Michael Stringer (Key grip)
  Stephen Martinez (Best boy grip)
  Milo Durben (Dolly grip)
  Dave Behn (Grip)
  Monty Bass (Grip)
  Lora Davis (Grip)
  Dennis Shotsman (Grip)
  Mike Wykoff (Grip)
  TM Motion Picture Equipment (Grip & elec equipment furnished by)
Art Direction: Jane Ann Stewart (Prod des)
  Tim Kirkpatrick (Art dir)
  Pat Tagliaferro (Art dir)
  Nate Carlson (Graphic des)
  Lynn Giordano (Asst to Jane Stewart)
Film Editor: Kevin Tent (Ed)
  Tom Dailey (1st Avid asst ed)
  Danya Joseph (1st film asst ed)
  Mark Scovil (Asst ed)
  David Berman (Apprentice ed)
  Carla Swanson (Warren mont)
  Magic Film & Video (Negative cutter)
Set Decoration: Teresa Visinare (Set dec)
  Patrick Lees (Leadman)
  Paula Clowers (Set dresser)
  Jack Clowers (Set dresser)
  Andrew Wayne Carson (Set dresser)
  Brian Vogelgesang (Set dresser)
  Steven Wolfe (On set dresser)
  Jeff O'Brien (Prop master)
  Tanya Magidow (Asst prop master)
  Chanda McConnell (Addl prop)
  Ron Gielow (Co-const coord)
  Ron Rhodes (Co-const coord)
  Merve Johnson (Co-const coord)
  Steve Miller (Const gang boss)
  Dave Brown (Shop steward)
  Robert Ellison Knight (Lead painter)
  Michael Tagel (Paint gang boss)
  Melanie Jones (Painter foreman)
  Michael Daly (Carpenter)
  Rick Kaufman (Carpenter)
  Kevin Cowan (Carpenter)
  Craig Lee (Set painter)
  Sora Kimberlain (Set painter)
  Rob Baker (Utility const)
  Packy Tagliaferro (Const P.A.)
Costumes: Wendy Chuck (Cost des)
  Nava Sadan (Ward for Mr. Nicholson)
  Jeannine Bourdaghs (Cost supv)
  Susan Strubel (Set cost)
  Linda Flake (Set cost)
  Christel Highland (Set cost)
Music: Rolfe Kent (Mus)
  Paul Broucek (Mus exec)
  Bob Bowen (Mus exec)
  Lori Silfen (Mus bus affairs)
  Annie Searles (Mus clearances)
  Richard Ford (Mus ed)
  Larry Groupé (Score cond)
  SEATTLEMUSIC (Performed by)
  Robert Fernandez (Score mixed by)
  David Sabee (Mus contractor)
  St. Thomas Chapel, Bastyr University, Seattle (Score rec at)
  Le Mobile Remote Recording Services (Score rec by)
  Signet Sound Todd Studios (Score mixed at)
  Tony Blondal (Orch)
  Kerry Wikstrom (Addl orch)
  Atumusica (Mus preparation)
  Stephan Coleman (Tech consultant)
  Amy Russell The Clear Choice (Clearances)
Sound: Art Rochester (Sd mixer)
  Earl Sampson (Boom op)
  Rickey Hawkes (Utility sd tech)
  Michael Baird (Video assist)
  Frank Gaeta (Sd des & supv)
  Patrick Cyccone Jr. (Re-rec mixer)
  Adam Jenkins (Re-rec mixer)
  Kimaree Long (ADR supv)
  Mark Hunshik Choi (Sd eff ed)
  Javier Bennassar (Sd eff ed)
  Lisle Engle (Sd eff ed)
  David Grant (Dial ed)
  Michelle Pazer (Dial ed)
  John Cannon (Sd asst)
  David Stanke (Sd asst)
  James Moriana (Foley artist)
  Jeff Wilhoit (Foley artist)
  Nerses Gezalyan (Foley mixer)
  Greg Zimmerman (Foley rec)
  Ann Hadsell (ADR mixer)
  Claudia Carle (ADR rec)
  Unsun Song (Rec)
  Mark Ormandy (Addl audio)
  Scott Austin (Dailies sd transfers)
  Soundelux (Sd editorial)
  Todd Studios (Re-rec services)
Special Effects: Erik Henry (Visual eff supv)
  Robert Stromberg (Matte paintings)
  Custom Film Effects (Titles and opticals)
Make Up: Joy Zapata (Hair stylist for Mr. Nicholson)
  Carrie Angland (Makeup artist for Mr. Nicholson)
  Jeanne Van Phue (Key makeup artist)
  Danielle Cunningham (Makeup artist)
  Emjay Olson (Key hair stylist)
  Angie Paul (Hairstylist)
Production Misc: Lisa Beach (Casting)
  Sarah Katzman (Casting)
  John Jackson (Midwest casting)
  Sandy Holt (ADR voice casting)
  Chad Bishoff (Extras casting asst)
  William Badalato (Unit prod mgr)
  Carla Fry (Exec in charge of prod)
  Jody Levin (Exec in charge of post prod)
  Dana Belcastro (Prod exec)
  Billy Badalato (Prod supv)
  Rick Reynolds (Post prod supv)
  Karen Eisenstadt (Prod accountant)
  Sherri Goldman (1st asst accountant)
  Steve Reynolds (2d asst accountant)
  Jeff Gladu (Payroll accountant)
  Anne Badalato (Accounting clerk)
  Brian Grummert (Addl accounting clerk)
  Debi Tagliaferro (Const auditor)
  Paul Prokop (Prod controller)
  Andrew Matthews (Financial adv)
  Marc Jacobs (Prod resources)
  Kaylene Carlson (Prod coord)
  Wayne Lamkay (Asst prod coord)
  Emily Glatter (Supv prod coord)
  Roland Manarin (Prod secy)
  Laura Chang (Prod office asst)
  Aaron Smith (Prod office asst)
  Amy Romeo (Prod office asst)
  Nick Fitzgerald (Set prod asst)
  Josh Geller (Set prod asst)
  April Fitzsimmons (Set prod asst)
  Sam Arent (Set prod asst)
  Erika Anderson (Set prod asst)
  Rebecca Robertson (Scr supv)
  Chet Badalato (Driver for Mr. Nicholson)
  Lindsey Elliott (Driver)
  Gary Labs (Driver)
  Joe Brumbaugh (Driver)
  Floyd Erwin (Driver)
  Gracie Klein (Driver)
  Donald Jones (Driver)
  Angie Carraher (Driver)
  Mike "Sluggo" Grooms (Driver)
  Robert Rocco (Driver)
  Lawrence "Sparky" Root (Driver)
  Tony Swartz (Driver)
  Gary "Jonboy" Roberts (Driver)
  Dave Nickel (Driver)
  Stacy Eyrich (Loc asst to Mr. Nicholson)
  Dawn Perlin (Exec asst to Mr. Nicholson)
  Oswaldo Rosa (Chef for Mr. Nicholson)
  Tommy Barratta (Chef for Mr. Nicholson)
  Kaile Shilling (Asst to Alexander Payne)
  Tracy Boyd (Asst to Alexander Payne)
  Edward C. Wang (Asst to Harry Gittes)
  Rick Williams (Asst to Michael Besman)
  John Latenser V (Loc mgr)
  Mike Latenser (Asst loc mgr)
  Kendra Liedle (Loc P.A.)
  Suzanne Rosencrans (Bus affairs exec)
  Carolyn Blackwood (Prod attorney)
  David Sporn (Bus affairs admin)
  Deborah Wuliger (Unit pub)
  Midwest Medics (Set medic)
  Tony's Catering (Catering)
  Will Gatlin (Craft service)
  Teresa Cowan (Craft service asst)
  Steve Brill (Transportation coord)
  Gary Edelman (Transportation capt)
  Larry "Weasel" Cain (Transportation capt)
  Bernard "Ski" Szymanski (Picture vehicle coord)
  Laurie Cartwright (Risk management)
  Jennifer Mount (Risk management)
  Jeff Egan (Prod safety)
  AON Albert G. Ruben (Insurance provided by)
  Lee Tucker (Preview tech supv)
  Cast & Crew (Payroll)
Stand In: John Hackett (Stand-in/Double for Mr. Nicholson)
  Gene Hamilton (Stand-in and photo double)
  Sagan Lewis (Stand-in and photo double)
  Dawn Pieke (Stand-in and photo double)
  Joshuwa Hannum (Stand-in and photo double)
Color Personnel: Mato (Col timer)
MPAA Rating: R
Country: United States
Language: English

Music: "Quetrième Gnossiennes" by Erik Satie, performed by Aldo Ciccolini, courtesy of EMI Records under license from EMI-Capitol Music Special Markets.
Songs: "You Sexy Thing," written by Errol Brown, performed by Hot Chocolate, courtesy of EMI Records Ltd. under license from EMI-Capitol Music Special Markets; "Sentimental Lady," written by Robert L. Welch, performed by Bob Welch, courtesy of Capitol Records under license from EMI-Capitol Music Special Markets; "Afrikaan Beat," written and performed by Bert Kaempfert, courtesy of Polydor GMBH, Hamburg, under license from Universal Music Enterprises; "You Wear It Well," written by M. Martin Quittenton and Rod Stewart, performed by Rod Stewart, courtesy of The Island Def Jam Music Group, under license from Universal Music Enterprises; "Longer," written by Dan Fogelberg; "Wedding Song (There Is Love)," written by Noel Paul Stookey; "Takin' Care of Business," written by Randy Bachman, performed by Bachman-Turner Overdrive, courtesy of The Island Def Jam Music Group, under license from Universal Music Enterprises.
Composer: Randy Bachman
  Errol Brown
  Dan Fogelberg
  Bert Kaempfert
  M. Martin Quittenton
  Erik Satie
  Rod Stewart
  Noel Paul Stookey
  Robert L. Welch
Source Text: Based on the novel About Schmidt by Louis Begley (New York, 1996).
Authors: Louis Begley

Copyright Claimant Copyright Date Copyright Number
New Line Productions, Inc. 19/3/2003 dd/mm/yyyy PA0001127412

PCA NO: 38731
Physical Properties: Sd: SDDS Sony Dynamic Digital Sound; Dolby Digital; dts Digital Sound in selected theatres
  col: FotoKem
  Lenses/Prints: Released on Fuji; Prints by DeLuxe
  gauge: 35mm

 
Genre: Comedy-drama
 
Subjects (Major): Charity
  Fathers and daughters
  Grief
  Letters
  Retirement
  Weddings
  Widowers
 
Subjects (Minor): Actuaries
  Africans
  Colleges
  Convalescence
  Denver (CO)
  Drawings and sketches
  Family relationships
  Funerals
  Infidelity
  Love letters
  Mobile homes
  Omaha (NE)
  Orphans
  Recreational vehicles
  Seduction
  Speeches
  Voyages and travel
  Wounds and injuries

Note: In the closing credits, the producers thank Childreach/Plan, Julie Ginsberg and Kathy Sheppard of the Omaha Film Commission Office, Laurie Richards of the Nebraska Film Commission Office, the Omaha Police and Fire Departments, Double Tree Guests Suites in central Omaha and Winnebago Industries. The closing credits also note that The Private Navy of Sergeant O'Farrell film clip was used courtesy of Pearson Tevlevision, "Guiding Light" footage appeared courtesy of Proctor & Gamble Productions, Inc., and "The Rush Limbaugh Show" outtakes were courtesy of Premiere Radio Networks. Intermittent narration by Jack Nicholson, as "Warren Schmidt," is heard throughout the film as Warren writes letters to "Ndugu."
       In Dec 1998, according to a DV news item, Columbia optioned Louis Begley’s novel About Schmidt with Alexander Payne attached as director. In Jul 2000, however, DV reported that Columbia had passed on the script, deeming it, according to a Sep 2002 Premiere article, “too depressing.” The DV article noted that Fox Searchlight and Universal had expressed interest in the script, but it was eventually acquired by New Line, and produced on an estimated budget of $30 million.
       As noted in the studio press materials, Payne had started writing a script entitled The Coward in film school, later completing it for Universal, which declined to buy the final screenplay. Years later, when Payne began collaborating with co-screenwriter Jim Taylor on the adaptation of About Schmidt , they planned to borrow certain elements from The Coward and “found themselves using more and more material from the earlier script, including Schmidt’s lengthy correspondence with Ndugu.” Many reviews noted that the final film bears only a slight resemblance to the novel, which focuses on a man named Albert Schmidt who retires from a Manhattan law practice, opposes his daughter’s upcoming marriage to a Jewish man and carries on an affair with a young waitress. Payne stated in a 22 May 2002 LAT interview that the only elements of the book remaining in the picture were “the character’s last name and the idea that he has an only daughter who’s about to marry a boob, a guy who has something of an overbearing mother.” In Dec 2000, Begley published a sequel to his novel entitled Schmidt Delivered .
       Although a 16 Apr 2001 article in US Weekly states that Nicholson rewrote the dialogue in one scene to echo that of a famous scene from his 1970 film Five Easy Pieces (see AFI Catalog of Feature Films 1961--70 ), in which a waitress informs Nicholson's character that there are “no substitutions” for his order, that scene was not included in the final film. An 18 Dec 2000 DV article states that Nicholson took a pay cut to star in the film, allegedly in exchange for “a big share of any profits.” As quoted in the Entertainment Weekly review, Nicholson asserted that he “rooted the character of Warren Schmidt… in the man’s comb-over.” Reviewers agreed that Schmidt marks one of the strongest performances in Nicholson’s long career, due in part to the actor’s success in putting aside his trademark mannerisms.
       For About Schmidt , Payne assembled many of the same crew members with whom he had worked in his two previous films, Citizen Ruth and Election , including Taylor, production designer Jane Ann Stewart, cinematographer James Glennon, editor Kevin Tent, composer Rolfe Kent and casting directors Lisa Beach and John Jackson. As with his previous films, Payne shot this film primarily in Omaha, Nebraska, his hometown. He stated in studio press materials that he cast many locals in small parts, including the Dairy Queen worker, who works at the real-life Dairy Queen shown in the film. Many reviewers applauded About Schmidt ’s attempt to portray realistic people and places, a characteristic focus for Payne. In the press notes, Payne stated that “American life is atypical in Los Angeles and New York. There’s a huge continent in between.”
       The film includes a commercial for Childreach (www.childreach.org), the organization featured in the film, a real-life non-profit that links sponsors with children in need throughout the world. Organization spokesperson Angela Lansbury narrates the commercial. According to the studio press materials, after the production was completed, the producers donated money to 6-year-old Tanzanian boy Abdallah Mtulu, the child (identified in a 21 Dec 2002 NYT article) who represents Schmidt’s “adopted” African child Ndugu. According to the NYT piece, Abdallah receives no direct benefits from sponsors, though his community does. A 23 Jan 2003 article in USA Today stated that, as a result of the film, donations to the organization "soared" from three new sponsorships a day to eighty. Nicholson, Gittes and Payne also donated $5,600 to Childreach.
       About Schmidt was selected as one of AFI’s top ten films of 2002, as well as earning Golden Globe awards for Nicholson for Best Actor--Drama and for Payne and Taylor for Best Screenplay. The film was also nominated for Golden Globes for Best Picture--Drama and Best Supporting Actress (Bates). The picture received Academy Award nominations for Best Actor (Nicholson) and Best Supporting Actress (Bates). Other nominations and awards for About Schmidt include: The LA Film Critics for Best Film, Actor and Screenplay; BFCA Critics’ Choice Awards for Best Film, Best Writers, Best Actor and Best Supporting Actress (Bates); National Board of Review’s Best Supporting Actress (Bates); and SAG nominations for Best Male Lead Actor in a Movie (Nicholson) and Best Supporting Actress (Bates). 

Bibliographic Sources:   Date   Page
American Cinematographer   Jan 2003   pp. 74-83.
Daily Variety   4 Dec 1998.   
Daily Variety   5 Jul 2000   p. 1, 16.
Daily Variety   18 Dec 2000.   
Daily Variety   20 Dec 2000.   
Daily Variety   6 Apr 2002   p. 10.
Daily Variety   24 May 2002   p. 12.
Daily Variety   3 Jul 2002.   
Entertainment Weekly   13 Dec 2002   p. 58.
Entertainment Weekly   3 Jan 2003   pp. 18-25
Hollywood Reporter   16 Dec 2002.   
Hollywood Reporter   18 Dec 2002.   
Los Angeles Times   22 May 2002   p. F1, F7.
Los Angeles Times   13 Dec 2002   Calendar, p. 1.
New York Times   13 Dec 2002.   
New York Times   21 Dec 2002.   
Premiere   Sep 2002.   
US Weekly   16 Apr 2002.   

Display Movie Summary
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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