THE POSSESSION Production Notes
SPOILER WARNING: This article contains plot details and images from an upcoming movie.
Based on a true story, THE POSSESSION is the terrifying story of how one family must unite in order to survive the wrath of an unspeakable evil.
Clyde and Stephanie Brenek see little cause for alarm when their youngest daughter Em becomes oddly obsessed with an antique wooden box she purchased at a yard sale. But as Em’s behavior becomes increasingly erratic, the couple fears the presence of a malevolent force in their midst, only to discover that the box was built to contain a Dibbuk, a dislocated spirit that inhabits and ultimately devours its human host.
From horror master Sam Raimi and legendary Danish director Ole Bornedal (Nightwatch, The Substitute) comes a contemporary supernatural thriller that is based on a terrifying true story of paranormal events — and the unleashing of an ancient evil into our 21st Century world. The film chronicles the experience of one family over 29 days, after they acquire a mysterious antique container, and unsuspectingly let escape an insatiable demonic force that has been lying in wait to take full possession of a human soul. Starring Jeffrey Dean Morgan (WATCHMEN) and Kyra Sedgwick (“The Closer”), THE POSSESSION is directed by Ole Bornedal (NIGHTWATCH), written by Juliet Snowden & Stiles White, and produced by horror master Sam Raimi along with Robert Tapert and J.R. Young.
THE POSSESSION is a Lionsgate and Ghost House Pictures presentation.
ABOUT THE FILM
The descent into fear begins for the Brenek family at a typical weekend yard sale. Newly divorced father Clyde (Jeffrey Dean Morgan) is still getting used to life apart from his ex-wife Stephanie (Kyra Sedgwick), but he sees little cause for alarm when their youngest daughter Em (Natasha Calis) purchases a mysteriously inscribed wooden box that catches her fancy. Yet as soon as she does, awfully strange things start happening. Em becomes increasingly obsessed with the box –- to the point that she carries the curious object everywhere. Her behavior grows darker and darker, even dangerous. Yet try as he might, Clyde cannot separate Em from the box, not even when Stephanie begins to believe it is causing their daughter to lose her mind. Plagued by one disturbing and inexplicable event after the next, the family is about to unearth the truth of what is really happening to them: they have opened a Dibbuk’s Box… and the dislocated spirit warned of in ancient Jewish folklore that had been trapped within now seeks to devour its human host.
Throughout history, one of the darkest and most relentlessly persistent of human fears has been that of possession – the blood-curdling idea that your body and mind could be overtaken by a hungry, inhuman force with a sinister will of its own. All manner of demons and phantoms have been rumored to prey on our souls, but unique among them is the Dibbuk. A Dibbuk (which literally means “cleaving to” or “an attachment”) is said to be a sinful spirit wandering in limbo, which survives by fusing itself to a living person and inhabiting their very flesh. Dibbuks choose their human hosts carefully. Explains Jewish Theological Seminary professor Edna Nahshon, the typical human host is “usually a vulnerable person, which often means a young woman, even a girl, or someone who has a certain weakness.”
And cautions expert Ilana Abramovitch, editor of “Jews Of Brooklyn” and longtime manager of The Museum of Jewish Heritage, “once it finds a resting spot in the body, it is not ready to go. It wants to stay there. Because you have to understand the dibbuk is trying to escape punishment for its sins. It’s looking for a resting place.” Written about in Jewish folklore consistently since the first recorded case in 1602, carpenters over the ages have built special arks or boxes said to trap the Dibbuks and keep them from tormenting human hosts.
Symptoms of Dibbuk possession are similar to that of demonic possession in other faith traditions. According to Abramovitch, “there are violent convulsions, odd body postures. Things come out of the mouth of the person that they would normally never speak. They could be lewd, transgressive things. And in fact the person will sometimes speak a language that they don’t know, that only the Dibbuk knows. This is a phenomenon called ‘xenoglausia’.” She goes on to explain that although exorcisms are possible and often carried out by a small subset of Rabbinical mystics, “Trying to get rid of the dibbuk is a very, very painful exercise. Having a dybbuk inside you is painful and can even lead to death.”
Dibbuks have been documented as recently as a 2010 case in Israel that showed a graphic exorcism in a You Tube video. Nahshon explains how much attention that case captured, “because it was so anti-modern, because we thought these things do not happen anymore. But they do.”
They also happened right here in America in recent years. In 2004, Los Angeles Times journalist Leslie Gornstein uncovered the story of a man who was auctioning a particularly disturbing item on Ebay: what he claimed was an authentic “Dibbuk Box,” one that had beset each of its owners, including himself, with so much unholy terror that he was desperate to be rid of it. His story recounted the box’s harrowing effects on its owners to date. Hair fell out. Nightmares stalked entire households. Sudden illnesses struck some owners down, while others saw freakish visions and heard unexplained voices. And every single owner reported a string of horrific bad luck that the seller likened to “all hell breaking loose.”
A Family Overtaken
When the long-trapped Dibbuk is released from its box to menace the very soul of young Em Brenek, the only thing that stands in its way is her father, Clyde, who at first is distracted by trying to start a new life as a single, divorced dad who has become too accustomed to putting work before family. Only when he watches his daughter’s seemingly start to disappear inside her own body, and her innocence replaced by an overwhelming malevolence, does he being to realize how much his family means to him. Taking the role is Jeffery Dean Morgan, known for such films as The Watchman and Texas Killing Fields, as well television roles in “Grey’s Anatomy” and “Supernatural.”
Says Robert Tapert: “Clyde is a man who when we first meet him is driven by ambition. He loves his family, but in the course of the film he has to draw on strength he didn’t know he had to regain his possessed daughter. I think you really believe Jeffrey’s journey as an imperfect guy trying to fight to get what is important in his life back. You relate to him and you root for him to succeed against a supernatural force that challenges all his beliefs.”
Morgan was drawn to the film’s original approach to a story that would scare any parent down to the bone. “It didn’t really interest me to do something that has been done before,” he notes. “What was interesting to me is that surrounding this supernatural horror is a story about a family trying to survive. That makes all the jumps and scares add up to something powerful.”
He was also attracted to the character of Clyde, who begins the film dismayed by his ex-wife’s new boyfriend only to uncover a horror that is unimaginably more threatening. “He’s definitely a flawed character, which is good because those are the kinds of characters I gravitate towards,” says Morgan. “He’s first and foremost trying to be a good dad, but he’s also a guy going through a lot stuff. He’s a guy who is a little lost when this all begins. He has screwed up his priorities and now he is being forced to find them again under extreme duress.”
Morgan too was changed by the experience. He started out the film not really believing in ghosts and demons, but admits the Dibbuk Box unnerved him to the point of doubts. “I’ll tell you this: I won’t sit around mocking the box,” he declares. “If so many people believe in its power, there might be something to it.”
Playing Clyde’s newly estranged wife Stephanie is Kyra Sedgwick, well known from her long-lived, Primetime Emmy and Golden Globe winning run in the lead role of “The Closer.” She, too, found the couple’s situation intriguing – facing a primeval force just as they thought they were separating forever – and found Stephanie’s initial reaction of blaming Clyde’s inattentive fathering for Em’s bizarre behavior very authentic.
“Stephanie and Clyde think they’ve just put the final nail in the coffin of their marriage,” Sedgwick explains, “and then their daughter becomes this angry, violent child which she never was before. I think Stephanie tries to see that there are rational explanations for that… until she finally realizes that her child is not alone. There is something else inside her.”
Like Morgan, Sedgwick was drawn to the humanity within the film’s many moments of sudden shock and abject fear. “I think that all really good horror movies have their basis in strong characters and relationships,” she says, “and I like that with this story, first you are moved and then you are very, very scared.”
Tapert was impressed with Sedgwick’s ability to bring emotional honesty to a role filled with ratcheting anxiety. “Kyra brings a likeability to Stephanie and an understanding that her need to control things in the family comes from a place of love,” he says. “She’s a brilliant actress.”
Although Sedgwick says she greatly enjoyed working with her co-stars and Ole Bornedal, she too acknowledges that an eerie feeling hung over the production. “I’m not going to lie,” she says. “There were some strange and creepy things that went on. But the most haunting thing for me were the incredible performances of these two little girls who play our daughters.”
From the beginning, the filmmakers knew The Possession’s potency would rest on finding a child actress who could take 11 year-old Em into the most starkly bone-chilling territory – and the audience along with her through the raw experience of losing one’s mind to a demon. To find someone who could pull all that off, Bornedal set out on an intense audition process.
“I interviewed a lot of children and told them to pretend they were already possessed by an evil spirit,” he explains. “It was during one of these interviews that Natasha Calis started crying. She started improvising very real emotions that would be attached to a girl going through an actual possession. It was one of the most heartbreaking casting sessions I’ve ever participated in. All of us had tears in our eyes. We’d never seen a possessed character like this before. That’s what Natasha brings to this movie. She is not just an evil little girl – there is a deep sadness in knowing that she is possessed and cannot control what is happening.”
Calis, who took her first role at age 7, was fearless as she dove into the role. She relished the chance to do what few children ever get to do – take a character to the very edge. “It was exciting to me to play a possessed character because I really got to experiment,” she says. “I got to play around with the whole idea of possession, I got to experience what it feels like and what you would do and what you would look like, and it was really thrilling.”
The young actress also took heart from Em’s bravery, noting that she never completely gives in to the Dibbuk, struggling to keep it contained within in her no matter how ferocious it becomes. “She is constantly struggling with it, but as it is slowly devouring her, she’s not quite sure what to do,” Calis explains.
Those struggles had Calis throwing violent rages, battling flocks of moths, gorging herself on raw meat and ultimately, undergoing a desperate exorcism at the hands of a young Hasidic master, but her enthusiasm and imagination never wavered. Says Jeffrey Dean Morgan of her performance: “Natasha blew me away more than once. The whole key to this movie was having a really believable girl in the role of Em and being possessed is no easy task for any actor, but Natasha has extraordinary talent.”
Adds Kyra Sedgwick: “Natasha really turned herself completely over to the process of being possessed and at the same time, allowed us to see into the depths of Em’s soul as she battles the demon. Her pure love for the work was so exciting to see.”
Completing the Brenek family is Madison Davenport, known for her role on Showtime’s series “Shameless,” in the role of Em’s protective big sister Hannah. Her resemblance to and rapport with Natasha Calis were both uncanny. “They really do feel like sisters, on and off the set. They even palled around like sisters,” observes producer J.R. Young. “That was so important because it carries over into the storytelling.”
Fifteen year-old Davenport says she found what happens to Em in The Possession to be “all of your worst nightmares combined.” She continues: “For Hannah, she’s losing her sister to something nobody can explain. Her own little sister becomes the force tearing the family apart and bringing chaos into all of their minds.”
As for audiences, she expects they will be pulled into the fright and panic of Em’s experience. “I think it’s one of those films that after you see it, you’ll go home and watch behind you on the stairs because you’re going to feel something creepy is still with you,” Davenport warns. “That will be very exciting to see.”
A Dibbuk Exorcist
Throughout the long history of legends surrounding demonic possessions, there have always been those in every religion and culture who undertake to cast out whatever evil might infest the human soul.
Urgently needing help and with nowhere to turn, Clyde Brenek engages the services of Tzadok, the street-smart but spiritual son of a Hasidic rabbi who knows the merciless ways that a Dibbuk can devour a human – and despite his community’s paralyzing fears, dares to help. To cast this unusual role, the filmmakers took an unusual route and recruited a non-actor: the Hasidic rap and reggae star who is known around the world by his Hebrew name Matisyahu.
Ole Bornedal says he saw something organic and real in Matisyahu that made him think he could embody Tzadok despite having zero screen experience. “Sometimes casting has to do with intuition,” he explains. “When I met Matis, it was clear that he was a very authentically religious young man. He didn’t having the timing or the training yet of an actor, but he had so much charisma. There is a strong presence that he brings. He’s a little bit off but Tzadok should be a little bit off, because he’s essentially from another world outside the family’s experience.”
Immediately, Sam Raimi became a big supporter of casting Matisyahu, despite the potential risks. “He’s not just an unusual choice for shock value, I think he’s really right for the film and I fought for that choice,” says the producer. “Ole wanted to update the traditional view of the wise, old rabbi; and Matisyahu goes against all those expectations, and yet you believe in his faith. His performance was so true and original, he made the idea of an exorcist new to me.”
Matisyahu couldn’t put the script down. “It was a page turner and I felt this was a part I wanted to do justice to,” he says. “Tzadok is a Rabbi’s son but he is also a little on the fringe in his community; he’s more worldly, and I could relate to him on that level. It’s a role that gives me the ability to do what I do – which is to sort of connect my heritage with popular culture.”
The research the writers did on the Dibbuk and the little-known rites of Jewish exorcism impressed him. “The script was pretty on the money,” he comments. “The Torah does speak of different types of demons and ghosts that can attach themselves to people.”
He was also intrigued by the fact that Tzadok decides to battle this relentless demon knowing he is up against near impossible odds. “Tzadok is this family’s last hope, but at the same time, he really has no clue what he is doing,” he explains. “All he knows is that he has to somehow channel this Dibbuk out of this little girl.”
Robert Tapert was taken aback by the freshness of Matisyahu’s performance. “He’s so sympathetic and likeable as a guy who chooses to the right thing even though he knows things could turn out very badly,” he observes.
Tzadok’s attempted exorcism leads to one of the most menacing scenes in the film. “That scene was crazy, crazy, crazy,” recalls Jeffrey Dean Morgan. “It was me, Kyra, Matisyahu, Natasha and Madison and at a certain point, it was like we were all just taken over by whatever was happening. It was weird, intense, very emotional – and I walked away from it a little bit freaked out. Something weird happened, but weird is good for this film.”
ABOUT THE PRODUCTION
Into the Asylum
The film’s climactic exorcism scene was shot at a particularly haunting location: the abandoned Riverview Mental Institution, whose dilapidated buildings — once rife with paranoia, fear and grim treatments — still stand in Coquitiam, British Columbia. Built in 1913 and closed 70 years later, the buildings left behind are renowned for their instantly chilling atmosphere.
“Riverview has its own history of odd occurrences,” notes location manager Terry Mackay. “There’s a feeling inside that is otherworldly, and because it’s been vacant for so long, you have the sense of spirits or some kind of presence always there. I think it heightened all of our senses to film in there.”
Cast and crew were on edge on this set, with some even refusing to enter rooms that seemed to be especially cold or oddly forbidding. But for screenwriters Julia Snowden and Stiles White nothing could have been more thrilling than to see such an organically scary place become home to their high-tension scene. “There was a double eeriness to shooting in a location that people already say is haunted,” muses White. “There were multiple layers of horror and weirdness. Along with the screaming and flashing lights of the scene, I have to admit, after watching the day of shooting, I had trouble getting to sleep that night.”
Other locations also seemed to fall under the film’s spell – one even burned to the ground (under circumstances that had nothing to do with the production) before shooting began. Production designer Rachel O’Toole added further touches of fright and foreboding to rooms that might seem ordinary but are filled with subtle, symbolic touches and the ability to shift into the nightmarish at any moment.
Also adding to the contrasting atmosphere between family life and the hellish pursuit of a voracious demon is the work of cinematographer Dan Laustsen, who plays with light and shade throughout the film, breaking the usual rules. “Scary doesn’t always take place in pitch black,” Laustsen notes. “Some of the scariest things in our movie take place in bright light.”
The real-life owners of the Dibbuk Box recounted many horrors – among them gruesome insect manifestations involving scorpions and cockroaches. When Ole Bornedal came aboard The Possession he made the decision to focus on an insect less commonly seen on film: the hypnotic and spooky moth. “Moths are weirder and more ancient than most insects and they seem to have something supernatural about them,” the director explains. “The eerie flutter of their wings, the way they unexpectedly brush against your skin, it’s chilling.” And accordingly, Bornedal made a decision that would shock everyone on set – the decision use live moths for the pivotal scene. He explains, “Having actors act against the feeling of having real moths crawling on your face and your body, you can’t fake that.”
Adds producer J.R. Young: “When we saw Ole’s vision of these huge moths, it was something we’d never seen in a horror movie before. It was very fresh.”
The film’s big moth scene called for a staggering 2000 insects to invade Em’s new bedroom in her father’s house. In order for the moths to be ready for the sequence, they had to be shipped to the set as larvae and hatched on location. Overseeing the process was another unusual addition to the crew: Moth Wrangler Brad MacDonald.
Says Robert Tapert: “We could have created the moths entirely with CGI, but Ole very much wanted the real thing. I commend him for his staunch decision to bring in the moth wrangler. The moths made the scene that much more chilling for us all.”
Every department had to work around the peculiar nature of moth behavior. Production Designer Rachel O’Toole designed bedroom walls that the moths would stick to naturally. Director of Photography Dan Laustsen learned to light the set so the moths wouldn’t be completely distracted by their attraction to bright objects. Later, visual effects supervisor Adam Stern enhanced the creepiness factor of the moths.
Most of all, the actors had to deal with the heebie-jeebies of having these insects crawling all over them. “I’m not a big insect guy,” confesses Jeffrey Dean Morgan. “And these were really huge monster moths. On the first day shooting with them, one got on my bare foot, and let’s just say it wasn’t pretty.”
Adds Natasha Calis: “I was up for a challenge but these things were huge and they’re like black and orange and when I saw them it was kind of like how when you go bungee jumping and at first you’re excited, but then you look over the edge and it’s like uh-oh. Some of them even have little spikes coming out of their legs and are sharp on your skin.”
Still, Young was impressed with how well Natasha kept her composure within the invading storm of moths. “She was a real trooper,” he says.
As for moth wrangler Brad MacDonald, at the end of the day, his only comment was, “I prefer working with snakes.”
To keep the curse of the real-life Dibbuk Box at bay, Ole Bornedal decided to recreate a box that would hopefully protect cast and crew. Like the actual container that was auctioned on Ebay, the film’s box needed to be ordinary enough not to arouse immediate suspicion, but mysterious enough that it could, in Bornedal’s words, “symbolize the evil we all hope to keep trapped forever.”
Explains J.R. Young: “It was less important for us to recreate the actual box as to create a box you believe might contain something that was locked away to never be let out in the world. Rachel O’Toole came up with some great concepts, and we also went back to the original story for the contents, including the bird skeleton, the locks of hair and the strange wooden carvings.”
For the demon itself, the production turned to makeup special effects designer Bill Terezakis. “How do you give face to a demon? What is the face of evil?” asks Young. “Bill and Ole came up with a design that would embody this. Their vision was to ask not how much can we show, but how little can we show to completely shock you?”
Without giving anything away, Terezakis notes: “Ole wanted something that would feel very ancient and I think we delivered on that.”
Adds visual effects supervisor Adam Stern: “We really wanted to create something that was not only scary but also grounded in reality as much as possible.”
For Robert Tapert, that hope of creating something that lingers in the imagination, that continues to make your heart pound long after the final images, was the driving force behind the entire creative process on The Possession.
He concludes: “We want audiences to leave the theater with the feeling that, since the horror you just witnessed is based in fact, it could come calling for you. The idea of the Dibbuk Box is something we think will scare audiences not just in the theater, but after they leave.”
ABOUT THE CAST
JEFFREY DEAN MORGAN’S (Clyde) charisma, undeniable charm, and versatility have landed him a variety of prestigious films working alongside a number of award-winning actors and filmmakers. Having worked nonstop in back-to-back features the past few years, Morgan has captured the attention of Hollywood and has emerged as one of the industry’s most sought-after leading men.
Morgan starred in Warner Bros.’ “Watchmen,” director Zack Snyder’s (“300”) adaptation of the iconic graphic novel. He played the pivotal role of ‘Edward Blake’/’The Comedian;’ a Vietnam vet who is a member of a group of heroes called the Minutemen. It is the storyline of ‘The Comedian’ that sparks an investigation which leads to a bigger conspiracy, linking the Minutemen’s past to catastrophic consequences for the future. USA Weekend’s Lorrie Lynch proclaimed, “Jeffrey Dean Morgan has the best chance to become an A-list star, with what looks like a movie-stealing performance as the cigar-chomping antihero, ‘The Comedian.’”
This summer, he will begin filming the starring role in “Magic City;” the highly anticipated new drama series from Starz. The show, set in Miami during the late 1950s (early 1960s), chronicles the collision of mobsters, politicians and entertainers in the first preeminent Miami hotel. Morgan plays a suave Jewish American man who builds the hotel and along the way makes some strange bedfellows and many powerful enemies. The series will make its debut in 2012 with 10 episodes.
In addition, Morgan will be seen later this year in MGM/UA’s upcoming reboot of the 1984 action movie, “Red Dawn.” The plot focuses on a group of teenagers who form an insurgency, called the Wolverines; when Chinese and Russian soldiers invade their town. Morgan fills the role of ‘Lieutenant Andrew Tanner,’ leader of the U.S. Special Forces who finds the Wolverines.
The in-demand actor was also recently in upstate New York, filming the independent feature “Peace, Love, & Misunderstanding,” alongside Catherine Keener and Jane Fonda; for director Bruce Beresford (“Driving Miss Daisy”). The story revolves around conservative lawyer,‘Diane’ (Keener), who brings her son and daughter to visit their estranged, hippie grandmother, ‘Grace’ (Fonda) in Woodstock, New York after her husband asks her for a divorce. Morgan stars as ‘Jude,’ a musician and carpenter who falls in love with ‘Diane.’ The ensemble cast also includes Chace Crawford, Rosanna Arquette, and Kyle MacLachlan.
Prior to “Peace, Love, & Misunderstanding,” Morgan was on location in New Orleans for the independent murder mystery, “Dark Fields.” In the film (which is based on a true story), Morgan portrays a detective transplanted from New York who teams with a local investigator, played by Sam Worthington. Together, they work on a series of unsolved murders in industrial wastelands surrounding Gulf Coast refineries; where as many as 70 bodies turned up over the past two decades, and wage a war against the unknown assailants. Michael Mann produced, while his daughter, Ami Canaan Mann, directed.
Morgan has also completed production on Arclight Films,’ “The Courier,” for which he both starred in and executively produced. The film, written by Derek Haas and Michael Brandt (the team who wrote “Wanted,” “3:10 to Yuma”), is about a daredevil courier (Morgan), well known for taking on impossible missions and never missing a drop. His newest job is to deliver a briefcase to a notorious underworld figure that can’t be found; all while being pursued by corrupt cops, double-crossing feds, and rival crime bosses. The film was directed by Hany-Aby, who helmed the Oscar®-nominated foreign film, “Paradise Now.”
Earlier this year, Morgan starred in the suspense thriller, “The Resident,” opposite two-time Academy Award® winner, Hilary Swank, for Hammer Films. It is the story of a young doctor (Swank) who moves into a Brooklyn loft and becomes suspicious that she is not alone. Morgan plays the role of ‘Max’ her charming new landlord who she discovers has developed a dangerous obsession with her. Morgan previously co-starred with Swank in Warner Bros.,’ “P.S. I Love You.”
Last spring, he starred in the feature, “The Losers;” an adaptation of DC-Vertigo’s acclaimed comic book series about a band of black ops commandos who are set up to be killed by their own government. The team barely survives and sets out to get even. Morgan played the role of ‘Clay,’ the leader of the group. The film was produced by Joel Silver and directed by Sylvain White.
Morgan previously had the opportunity to work with Academy Award®-winning director, Ang Lee, on Focus Features,’ “Taking Woodstock.” He also starred in the Weinstein Company’s period drama, “Shanghai,” with John Cusack. Additional feature credits include, “The Accidental Husband,” opposite Uma Thurman; a cameo role alongside Rachel Weisz in Warner Bros.’ comedy, “Fred Claus;” and the independent office comedy, “Kabluey,” in which he played a charismatic yet smarmy co-worker to Lisa Kudrow’s character.
Morgan endeared himself to audiences with his recurring role on ABC’s hit series, “Grey’s Anatomy.” His dramatic arc as heart patient, ‘Denny Duquette,’ who wins the heart of intern ‘Izzie Stevens’ (Katherine Heigl) in a star-crossed romance, made him a universal fan favorite. He also had recurring roles on The CW and Warner Bros.’ television drama series, “Supernatural,” and on Showtime and Lionsgate Television’s award-winning comedy series, “Weeds.”
In his spare time, Morgan enjoys barbecuing on the grill, reading, watching movies and listening to his favorite band, The Eagles. The Seattle native also loves to root for his NFL home team, the Seattle Seahawks. He currently resides in Los Angeles with his dogs Bisou and Bandit Morgan (a puppy he rescued in Puerto Rico, while filming “The Losers”).
With powerful performances on the stage, screen, and television, KYRA SEDGWICK (Stephanie) is an established actress that has endeared herself to audiences, and received critical acclaim for her various roles.
This summer, Sedgwick will star in the final six episodes leading up to the series finale of TNT’s first original show “The Closer.” Her role as Deputy Police Chief, ‘Brenda Leigh Johnson,’ has earned her both a Golden Globe® and Emmy Award® as well as seven Golden Globe® nominations, four Emmy® nominations, and seven SAG® nominations.
Next, Sedgwick will be seen in Ole Bornedal’s “The Possession,” opposite Jeffrey Dean Morgan, coming out in August of 2012. The film follows a divorced couple (Sedgwick and Dean Morgan) whose daughter becomes obsessed with an antique wooden box she bought at a yard sale, unaware that inside the collectible lives a malicious ancient spirit that has put a curse upon the girl.
Sedgwick will soon begin production on the thriller, “Kill Your Darlings,” opposite Daniel Radcliffe, Elizabeth Olsen, Michael C. Hall, and Ben Foster. Written and directed by John Krokidas, the film tells the story of a murder that brought together Beat Revolution architects Allen Ginsberg, Jack Kerouac and William Burroughs at Columbia University in 1944. The film is currently in pre-production and set for a 2013 release.
Sedgwick last starred in Asger Leth’s, “Man on a Ledge,” with Elizabeth Banks, Sam Worthington, and Jamie Bell; as well as Mark Neveldine and Brian Taylor’s “Gamer,” opposite Gerard Butler. The film is set in a future-world where humans can control other humans in mass-scale, mulit-player online gaming environments. Sedgwick also starred in “The Game Plan” alongside Dwayne “The Rock” Johnson. The story revolves around a rugged superstar quarterback, ‘Joe Kingman’ (Dwayne Johnson), whose Boston-based team is chasing a championship. Sedgwick played ‘Stella Peck,’ Kingman’s sports agent. She also starred in ThinkFilms’s “Loverboy,” which was directed by Kevin Bacon, Sedgwick helped develop and co-produced the film which co-starred Matt Dillon, Campbell Scott, and Marisa Tomei. The film premiered at the 2005 Sundance Film Festival.
In 2004, Sedgwick starred in Nicole Kassell’s “The Woodsman,” produced by Lee Daniels, opposite Kevin Bacon and Mos Def. The film had its world premiere at the 2004 Sundance Film Festival (in competition), receiving rave reviews and was also showcased in Cannes as part of the 2004 Director’s Fortnight line-up, where it won the Jury prize at the Deauville Film Festival.
Sedgwick received a 2005 Independent Spirit Award nomination for Best Actress, for her work in Lisa Cholodenko’s, “Cavedweller” on Showtime. Sedgwick, who developed and produced the film, plays ‘Delia,’ a rock singer who returns to her Georgia hometown hoping to regain custody of the two daughters she left with her abusive ex-husband (Aidan Quinn). “Cavedweller” aired on Showtime last fall.
Sedgwick also appeared in Joseph Sargent’s Emmy® nominated “Something the Lord Made” for HBO where she co-starred alongside Alan Rickman, Mos Def and Mary Stuart Masterson. She plays the role of Mary Blalock, the wife of Alfred Blalock, who performed the first open-heart surgery procedure.
In 2002, Sedgwick co-starred with Parker Posey in Rebecca Miller’s independent film, “Personal Velocity,” winning the Dramatic Grand Jury Prize at the 2002 Sundance Film Festival. Other credits include the Emmy® nominated TNT movie, “Door to Door”, opposite William H. Macy, Helen Mirren, and Kathy Baker, Fisher Stevens’ film, “Just A Kiss,” Showtime’s “Behind the Red Door,” opposite Keifer Sutherland and Stockard Channing; and “Secondhand Lions,” co-starring Michael Caine, Robert Duvall, and Haley Joel Osment. Other films include John Turteltaub’s, “Phenomenon” opposite John Travolta, “What’s Cooking,” which opened the 2000 Sundance Film Festival, “Born on the Fourth of July,” “Mr. and Mrs. Bridge,” “Singles,” “Lemon Sky,” “Heart and Souls,” and Showtime’s “Losing Chase,” which she executive produced and starred opposite Helen Mirren.
Sedgwick’s theater credits include The Culture Project’s New York production of “The Exonerated,” a triumphant run of Nicholas Hytner’s, “Twelfth Night” at Lincoln Center, “Ah Wilderness!”for which she won the Theater Award, and David Mamet’s “Oleanna,” which garnered her a Los Angeles Drama Critics Circle Award and a Drama League Award.
MADISON DAVENPORT (Hannah) was born November 22, 1996 in San Antonia, Texas. From a very young age, Madison had always been interested in acting and participated in several musicals. When Madison was five her amazing singing skills and love for the theater prompted the family’s move from San Antonio, Texas to Hollywood where it did not take long for industry professionals to recognize this amazing young talent.
Shortly after arriving, Madison landed the title role in an indie short film called “Harmoney Parker.” In the past years, Madison’s dramatic skills were showcased on hit TV shows like, FOX’s “Bones,” CBS’ “Numb3rs,” “CSI: NY,” “Close to Home” and “ER” to name a few. However, her list of accomplishments does not end there, which was evident when she guest starred on ABC’s comedy, “Hot Properties” and twice shot nationally aired commercials for Kodak. In addition, Madison has quite an impressive voiceover resume. She has lent her voice to Sprint, Zooos, Brita, “Elizabethtown,” “Little Miss Sunshine,” “Conversations with Other Women,” and the DreamWorks animated feature film, “Over the Hedge.”
Madison’s voice is not only very suitable for voiceover work, she also has a very impressive singing voice. Madison first used her lovely singing voice in the video game “Timeshift.” Soon after, she booked the lead part of ‘Sophiana’ in the family Christmas movie “Christmas Is Here Again,” which also stars the voices of Ed Asner, Andy Griffith, Kathy Bates, Brad Garrett, Jay Leno, and Shirley Jones.
For Madison, it was just a matter of time before she would book the one part that would put her on the map. Her first major booking was in 2008 when she booked a lead role in “Kit Kittredge: An American Girl Mystery” for Picturehouse/HBO’s venture with New Line Cinema. In the film, Madison plays Kit’s best friend ‘Ruthie Smithens.’ The film stars Abigail Breslin (“Little Miss Sunshine”) in the title role, as well as Joan Cusack, Chris O’Donnell, Julia Ormond and Wallace Shawn. The film is produced by Elaine Goldsmith Thomas and Julia Roberts, and is directed by Patricia Rozema. To promote the movie, Madison was allowed to travel throughout the whole country; attending events in Chicago, New York and Los Angeles. She also did several nationally aired interviews in which she talked about the movie and, if requested, gave a little concert to showcase her singing voice.
In 2010, young Madison has had several projects in line up. Madison could be seen in the Lifetime Move, “Amish Grace” as Kimberley Williams-Paisley’s daughter, ‘Mary Beth.’ The movie tells the story of a school shooting in an Amish community and it is based on a true story. When it aired on Lifetime Movie Channel, it became the highest rated and most watched original movie ever in households. Madison can soon be seen on TV again; this time in the Hallmark movie, “Dad’s Home,” in which she portrays the character of ‘Lindsay.’ The movie also stars David James Elliott and Sharon Case.
A young Canadian actress, NATASHA CALIS (Em) has already made an impressive debut in both the feature and television worlds. Calis’ previous film credits include “Donovan’s Echo,” opposite Danny Glover and Bruce Greenwood; which premiered at the 2011 Vancouver and Calgary International Film Festivals. Natasha also appeared opposite Kat Dennings and Andie MacDowell in the independent film, “Daydream Nation.”
Calis’ most recent Television work includes the NBC adaptation of “The Firm,” co-starring with Josh Lucas, Molly Parker, and Juliette Lewis, which picks back up 10 years later after the film. Calis made her debut to television in the ABC Family TV movie, “Christmas Caper.” Her other television credits include the ABC mini-series, “Impact,” starring David James Elliot and Natasha Hendstridge and the SyFy mini-series, “Alice.” Calis currently resides in Vancouver.
GRANT SHOW (Brett) will soon star in “Devious Maids,” the eagerly anticipated new series by Marc Cherry (creator of “Desperate Housewives”), scheduled for a 2013 launch on Lifetime.
He recently completed arcs on both “CSI” and the cable hit “Burn Notice.” In addition, Show had a major recurring role on the final season of the acclaimed HBO series, “Big Love.” Perhaps best known for his role as ‘Jake Hanson’ on the Fox series “Melrose Place,” Grant also starred in the first season of the the CBS comedy, “Accidentally on Purpose;” and in the critically acclaimed CBS drama, “Swingtown.” He also had regular roles in “Point Pleasant” and the daytime drama, “Ryan’s Hope;” as well as recurring roles on “Private Practice,” “Six Feet Under,” “Dirt,” “Strong Medicine,” and “Beautiful People.” Grant also starred in Lifetime’s, “The Natalee Holloway Story,” which was the highest rated movie ever on the Lifetime Movie Network; and reprised his role as ‘Jug Twitty’ in the sequel, “Justice for Natalee.”
He has also starred in numerous TV movies, including the highly-rated, “Sex and the Single Mom.” Show can also be seen in feature films such as, “The Girl Next Door” and “All Ages Night.” Among Show’s theater credits are productions of “On the Waterfront,” “The Glass Menagerie,” and the Off-Broadway hit, “Wit;” alongside Judith Light. Grant began acting in high school and was a Theater Arts major at UCLA. He went on to study at the London Academy of Music and Dramatic Arts. Born in Detroit, Show currently lives in Los Angeles.
Since first emerging on the international stage in 2005, MATISYAHU (Tzadok) has established a reputation for following his muse. From the stripped-down roots reggae of the gold-certified, “Live at Stubb’s,” to the trippy ministrations of “Youth,” to the polished pop eclecticism of “Light.” Then, in 2010, he returned to the venerable Austin venue that introduced him for “Live at Stubb’s II,” demonstrating that all those travels had somehow only strengthened his connection to his musical bedrock. It was a whirlwind, half-decade journey; one that earned Matisyahu a place in pop culture at large.
Now based with his family in Los Angeles, Matisyahu blasts off yet again with “Spark Seeker,” a bold new studio album that finds the one-of-a-kind vocalist and songwriter exploring uncharted territory with help from an expansive cast of collaborators. “My musical tastes are all over the board,” he said, in reference to a record that mixes ancient traditional sounds with futuristic electro beats; rapping with singing, songs of the spirit with songs of the body. “And besides, my music has never been about the outer garment. It’s about searching out inspiration wherever it lies. This album is about seeking that spark within,” said Matisyahu.
Outer garments, of course, have long defined Matisyahu in the eyes of many. “I was the Hasidic reggae superstar,” he said with a knowing laugh. So when Matisyahu took to Twitter late last year to post a picture of himself with his new look, he did it with a certain amount of relief. “It just felt good to sort of restart everything,” he said; adding that the transformation actualized one of the central themes of “Spark Seeker:” the impermanence of the physical form. Matisyahu explained, “The spark seeker digs for truth and meaning and is willing to let go of everything to find it. He’s honest and authentic with himself and lives life from the inside out. He creates music from the depths and doesn’t worry about what category it or he fits into.”
“We live in a world where people tend to think in extremes and categorize with ultimate statements,” Matisyahu said; “While it’s true that at one point it would’ve been pretty accurate to describe me as Hasidic reggae, for most of my career my music has been a blend, a mixture.”
For “Spark Seeker (not just a collection of random tracks, but a complete piece of work made with one producer), Matisyahu spent a year recording with Koool Kojak, Nicki Minaj, Travis Barker, and Ke$ha at the latter’s home studio in L.A. Then the pair went to Israel with an open slate. Matisyahu explained, “We booked a studio there and invited various friends and musicians, including Zohar Fresco, Daniel Zamir, Ravid Kahalani, and rapper Shyne to come and simply play music. We began to blend all of this live instrumentation to create a unique record, made by multi-faceted human beings who have many sides and many sources of inspiration.”
The result reflects that wide array of voices and experiences. In the hard-hitting, “Warrior,” Matisyahu describes feelings of frustration and desperation; while lead single, “Sunshine” rides what might be the most uplifting groove in his catalog. Elsewhere, “Searchin’” pairs a gritty digital-dancehall beat with chanted lyrics, and “I Believe in Love” exemplifies the album’s deep melodic streak. Throughout “Spark Seeker,” you can hear Matisyahu embodying the album’s title and embracing its humble promise. The album has a depth to it as well as a lightness, which alludes to the most essential theme of the record, that everything in life (especially music) exists in mixtures and blends. “Things are not as black and white as we would like to think. Not everything can be oversimplified,” said Matisyahu.
“This is definitely pushing the boundaries of what I’ve done before,” he acknowledged, “It’s a new kind of record for me.”
ABOUT THE FILMMAKERS
OLE BORNEDAL (Director) born in 1959, in Noerresundby, Denmark. He knew from when he was fourteen that he wanted to become a filmmaker. However, not being able to get into The Danish Film-school, he had to make up his own career, and after a few years of University-studies in Film, he started working for The National Danish Radio and Television doing Radio-drama and radio-features. Within a few years, he won what is known as the Oscar ® in Radio, The Prix Italia. He was acknowledged as one of the most outstanding Radio-Feature directors in the world. Later, he worked within television making both Comedy and Drama. Again, he won The Prix Italia for best Television Drama in 1996. He was the youngest executive ever, when he was appointed head of Television Drama at the age of 33, but only had the job for one and a half years; as he was invited to The United States to do a remake of his International film-debut: the thriller, “Nightwatch.” The Danish version of the film had become a wide International success, and he was invited to the Cannes Film Festival. He worked for Bob and Harvey Weinstein for two years. He acted as director, script-developer, and producer, for Miramax/Dimension in New York and Los Angeles. He also produced Guillermo del Toro’s first American movie, “Mimic.” In 1997, however, he moved back to Denmark and started doing theater, writing, and directing for the stag; as well as he wrote and developed feature-films and television.
Amongst them “I am Dina” in 2001 (most seen movie in Scandinavia that year) starring Gerard Depardieu; which won at the Montreal Film Festival. In 2001, he started his own theater, The Aveny. During the next four years, it became the most popular best-selling theater in Denmark. He left the stage in 2004, and made three movies back to back, while starting up his International film career again. “Just Another Love Story,” “The Substitute,” and “Deliver us from Evil,” were made in three years, and were all highly acclaimed. They participated in festivals all over the world; from Toronto, to Sitges, to Montreal, and ending up at Sundance. Bornedal is being acknowledge as being one of the most influential creators of “The New Danish Cinema.” His style honors the classic American genre-film, and it contains intense storytelling, as well as the European tradition for psychology and character. According to Bornedal, his films are “in his own style.” The acting and the intensity of the characters are just as important as the psychology involved and the character of the camera. He lives with actress Helle Fagralid in Copenhagen and they have four children: Johan, Claudia, Fanny, and Little Peter.
JULIET SNOWDEN & STILES WHITE (Writers) did a page one rewrite of “Knowing,” which Jason Blumenthal, Todd Black and Steve Tisch produced and Alex Proyas directed. The film stars Nicolas Cage and Rose Byrne. Snowden & White also wrote “The Waiting,” which was originally set up at Dimension with Wes Craven producing. Additionally, the team adapted “The Birds” for Universal. Snowden & White also adapted the remake of “Poltergeist” for MGM. Vadim Perelman is attached to direct.
Known for his imaginative filmmaking style and offbeat sense of humor, SAM RAIMI (Producer) first achieved fame as the writer and director of the cult classic “The Evil Dead,” which was an immediate sensation following its debut at the 1982 Cannes International Film Market. The success of “The Evil Dead” spawned the equally impressive, “Evil Dead II: Dead by Dawn.” Raimi completed and reinvented the trilogy with “Army of Darkness,” a sword-and-sorcery fantasy. “The Evil Dead” films have become an institution among horror enthusiasts, who have created a Broadway musical and comic books inspired by ‘Ash,’ the series’ iconic hero. “A Simple Plan,” Raimi’s critically acclaimed suspense thriller, received an Academy Award® nomination for Best Supporting Actor; for star, Billy Bob Thornton. The director’s additional credits include the supernatural thriller, “The Gift,” starring Cate Blanchett, Hilary Swank, and Keanu Reeves; “Darkman,” starring Liam Neeson and Frances McDormand; and “The Quick and the Dead,” with Leonardo DiCaprio, Sharon Stone, Russell Crowe, and Gene Hackman. Raimi also directed the “Spider-Man” trilogy. The internationally beloved franchise broke box-office records and garnered five Academy Award® nominations. The three “Spider-Man” films starred Toby Maguire, Kirsten Dunst, and James Franco.
Along with longtime producing partner Rob Tapert, Raimi formed Ghost House Pictures in 2002. Ghost House is dedicated to the financing, development, and distribution of high-concept genre films. Ghost House’s impressive roster of releases include, “The Grudge,” “30 Days of Night,” “The Messengers,” “Boogeyman,” and “Drag Me To Hell.” Tapert and Raimi were executive producers on the landmark syndicated series, “Xena: Warrior Princess,” which starred Lucy Lawless in the title role, and ran for six seasons. Raimi and Tapert also executively produced the enormously popular “Hercules: Legendary Journeys” and are currently executively producing “Spartacus: Gods of the Arena,” for the Starz network. Raimi also served as executive producer for John Woo’s, “Hard Target,” and co-wrote (with Joel and Ethan Coen), “The Hudsucker Proxy;” starring Tim Robbins, Paul Newman, and Jennifer Jason Leigh. Raimi’s interest in filmmaking began as a youngster in Michigan, where he directed his own “Super-8” films. Later, he left Michigan State University to form Renaissance Pictures with Tapert, and longtime friend and actor, Bruce Campbell.
ROBERT TAPERT (Producer) is the longstanding producing partner of acclaimed director Sam Raimi. Tapert and Raimi have been working together since they met at Michigan State University, where they formed the Society for Creative Film Making. After producing the horror cult classic, “Evil Dead,” Tapert continued to collaborate with Raimi on “Evil Dead II: Dead by Dawn,” “Darkman,” and “Army of Darkness.”
Tapert went on to serve as executive producer on the action features, “Hard Target” and “Timecop;” starring Jean-Claude Van Damme. He also executively produced the long running worldwide sensation TV series, “Hercules: The Legendary Journeys and Xena: Warrior Princess.” Following success in television, he returned to features to executively produce Raimi’s suspense thriller, “The Gift;” starring Cate Blanchett and Keanu Reeves, and the action western, “The Quick and the Dead,” starring Leonardo DiCaprio, Sharon Stone, and Gene Hackman.
In 2002, Tapert and Raimi formed Ghost House Pictures with Mandate Pictures. Ghost House was conceived to produce feature films that would deliver great scares and offer horror fans a thrill ride experience. Tapert has since produced a string of #1 box office hits that started with “The Grudge,” which grossed $187 million world wide, and continued with “Boogeyman,” “The Messengers,” and “30 Days of Night.” In 2009, Tapert produced Raimi’s first directorial effort under Ghost House: the critically acclaimed, “Drag Me To Hell.”
Tapert recently executively produced the TV series, “The Legend of the Seeker,” for Disney-ABC Domestic television and ABC Studios. He is currently producing the second season of Starz Media’s breakout hit series, “Spartacus.”
J. R. YOUNG (Producer) has been involved in all of Ghost House Pictures’ releases since their debut of “The Grudge.” He is currently in production on their forthcoming remake of the horror classic, “The Evil Dead.” He served as co-producer on the box office success, “The Messengers” starring Kristen Stewart, for Columbia Pictures. This spawned the sequel, “Messengers: The Scarecrow,” which he executively produced. He also served as co-producer on “Boogeyman II” and continued the franchise as Executive Producer of “Boogeyman III.”
As the Executive Vice-President of Production at Ghost House, Young oversees the company’s development slate while active in production. He was the Executive Producer of the third installment of “The Grudge,” released in 2009. Following this, Young co-produced “30 Days of Night: Dark Days,” based on the acclaimed graphic novel for Sony Pictures Home Entertainment. He has played a key role in expanding the company’s content creation on-line, spawning the story for the Fearnet series, “Devil’s Trade.” Prior to joining Ghost House, he served as the director’s assistant on “Spider-Man II.” A graduate of Syracuse University, Young started his film career at International Creative Management, and later Zide/ Perry Entertainment.
One of the most recognizable names in Danish cinematography, DAN LAUSTSEN, D.F.F. (Director of Photography) has a list of more than 40 productions to his credit. He has won a string of awards for his feature films, television movies, documentaries, and commercials. In the past 15 years, he has divided his time between his native Denmark and international productions all over the world.
In a career that spans more than 30 years, some of his best known credits include films like, “The Brotherhood of the Wolf,” “The League of Extraordinary Gentlemen,” “Silent Hill,” “Mimic,” and “Solomon Kane.” Laustsen’s other credits include “Wind Chill,” “Nomad: The Warrior,” “Darkness Falls,” “Running Free,” and “I Am Dina,” (which garnered a Robert Award and Denmark’s Film Academy Award for Best Cinematography). In addition to this, he has received the Robert Award for four other productions with Danish filmmakers.
Laustsen also served as Director of Photography on “Gummi-Tarzan” (“Rubber Tarzan”), earning him the Special Award at the Bodil Awards (presented by Denmark’s National Association of Film Critics), “Maraklet i Valby” (“Miracle in Valby”) and “Isfugle” (“Kingfishers”), both of which also earned Robert Awards for Best Cinematography. He won his latest Bodil Award in 2008 for his work on “Just Another Love Story.” In 2007, he received the Special Erik Balling award in recognition of his life time achievements as a cinematographer.
Dan studied still photography and was a fashion photographer when he decided to attend the Danish Film School, shooting his first feature at 25. The dailies of his first American feature, Miramax’s, “Nightwatch” (an English-language remake of the Danish film also photographed by Laustsen), caught the eye of director Guillermo del Toro; who subsequently hired him to shoot “Mimic.”
Dan, and Director Ole Bornedal, have worked together on several projects over a span of almost 15 years. Their close collaboration and complementary film making styles resulted in this eerie film, “THE POSSESSION.”
RACHEL O’TOOLE’S (Production Designer) adventures as a fort builder were instantaneously sparked into a passion to work in the film, “Grade Three;” after watching Harrison Ford ride his horse alongside a speeding train at the end of “Raiders of the Lost Ark.” She wanted to be there helping to capture that created moment in time. Never losing her focus (or her fort-building skills), O’Toole has been part of Vancouver’s film and television industry for over 15 years; starting out briefly as an overworked assistant director. Quickly, she frog-leaped to on-set dressing, moved her way to buyer, then to set decorator, before finally getting a shot at production design on the NBC series, “Just Deal;” seven years ago.
Soon thereafter, she worked on her first feature film, “Try Seventeen,” starring Elijah Wood, Mandy Moore, and Elizabeth Perkins. O’Toole’s favorite feature film experience is the City TV/ Much Music movie, “Going the Distance;” which allowed her to travel Canada coast-to-coast working with rock stars, carnies, and surfers.
Her television credits include work on Haddock Entertainment’s, “Da Vinci’s Inquest,” and “Da Vinci’s City Hall and Intelligence.” She continues to build bigger and better forts under the canopy of a studio stage (still wishing for a pony).
CARLA HETLAND (Costume Designer) began her career in costume design in the world of theater; before making the switch to film and television. Her extensive list of feature films include the Disney/Spyglass Entertainment production, “Out Cold,” “The 13th Warrior;” starring Antonio Banderas, “Seven Years in Tibet;” starring Brad Pitt, “Wings of Courage;” starring Val Kilmer and Craig Sheffer, Clint Eastwood’s, “Unforgiven;” and “Excess Baggage;” starring Alicia Silverstone, Christopher Walken, Harry Connick Jr., and Benicio del Toro.
Recent projects include “50/50,” with Seth Rogen, “The Butterfly Effect,” staring Ashton Kutcher, and, “A Dungeon Siege Tale;” with Jason Statham. One of Hetland’s favorite projects was working on the indie film, “One Last Dance;” the dream of Patrick Swayze and his wife, Lisa Niem. The film, shot in 2005, was Lisa’s debut as a writer/director. Hetland’s television credits include the CBS MOW, “Falling in Love… Again,” Warner Bros.,’ “Dead Last,” and “Miracle on the 17th Green.”
ANTON SANKO (Music) is a music composer and producer born in New York City. Sanko previously scored the critically acclaimed film “Rabbit Hole” starring Nicole Kidman and Aaron Eckhart from director John Cameron Mitchell, which was released in December 2010. The film, which was written by David Lindsay-Abaire and based on his acclaimed play, premiered at the Toronto International Film Festival in September 2010.
Anton also scored the epic seven-part global programming television event “Great Migrations” for National Geographic which aired on the National Geographic Channel in November 2010. He was the recipient of the Outstanding Individual Achievement In A Craft: Music & Sound award at the 32nd Annual News & Documentary Emmy® Awards for his work as composer in “Great Migrations” along with sound designer Kate Kopkins and Sound Mixer Dave Hurley. “Great Migrations” tells the powerful stories of many of the planet’s species and their movements, while revealing new scientific insights with breathtaking high-definition clarity and emotional impact. Sanko was also composer of HBO/Playtone acclaimed series “Big Love” starring Bill Paxton.
Sanko’s prominent production credits include producing and writing with Suzanne Vega on Solitude Standing (seven Grammy® nominations) and Days of Open Hand (one Grammy® award, and producing and writing on Jim Carroll’s last album Pools of Mercury. He has also produced Lucy Kaplansky, Anna Domino and Skeleton Key.
Sanko has scored over 25 films. Amongst them are “Saving Face,” “Party Girl” and “Scotland, Pa.” He works regularly with director Tom Docile, having scored “Delirious” and providing music for “When You’re Strange.” He currently resides in Los Angeles.
THE POSSESSION is a Lionsgate and Ghost House Pictures presentation. This film has been rated PG-13 for mature thematic material involving violence and disturbing sequences.
© 2012 Lionsgate