GONE IN 60 SECONDS

Randall "Memphis" Raines (NICOLAS CAGE) long ago abandoned his life of crime, but after an ominous visit from an old friend, he finds he has no choice but to return to what he does best – stealing cars – in order to save his brother’s life. It all comes down to one night, 50 cars and a contract.

A true automobile aficionado, Memphis has a burning passion for cars. Fuel injected, high performance, V-8, V-12, turbo charged, loaded or stripped to the bare essentials, he knows and loves every nut and bolt, every gleaming piece of chrome. Memphis is a car thief of legendary proportion. No fancy lock or alarm can stop him; your car will be there and gone in 60 seconds.

For years, Memphis eluded the law while boosting every make and model imaginable, with the exception of one elusive car, his beloved Eleanor, a 1967 Shelby Mustang GT 500. When the heat became too intense, he left everything and everyone he loved to find a different life. But when his kid brother (GIOVANNI RIBISI) tries to follow in his footsteps only to become dangerously embroiled in a high stakes caper, Memphis is sucked back into his old life, tearing up the streets for one last death defying heist.

Producer Jerry Bruckheimer brings a new dramatic edge to the 1974 cult classic "Gone In 60 Seconds," to create a character driven, fast-paced action thriller about two brothers’ struggle for redemption and love. The cast of Bruckheimer’s "Gone In 60 Seconds" boasts three Academy Award^®-winners: Nicolas Cage, Angelina Jolie and Robert Duvall. The film also stars Giovanni Ribisi, Delroy Lindo, Will Patton, Christopher Eccleston and Chi McBride.

Touchstone Pictures and Jerry Bruckheimer Films present "Gone in 60 Seconds." Directed by Dominic Sena, from a screenplay written by Scott Rosenberg, the producers are Jerry Bruckheimer and Mike Stenson. Jonathan Hensleigh, Chad Oman, Barry Waldman, Denice Halicki, Robert Stone & Webster Stone are executive producers. The film is distributed by Buena Vista Pictures Distribution.

Audiences will no doubt recognize the title "Gone in 60 Seconds" from its ’70s predecessor, but producer Jerry Bruckheimer is quick to point out the film is not simply a remake, but a complete rebuild of the popular original. "When we decided to go ahead with this project, it was important to everyone that the spirit of the original film stay intact," he says. "But we’ve enlarged the scope of the story, and more clearly defined the characters. We also added some characters and reworked the plot while maintaining elements which fans who remember and love in the original will enjoy seeing again."

Writer Scott Rosenberg first learned about the original film four years ago from The Walt Disney Studio’s then-chief of production, Michael Linton. "Michael described it in one sentence," says Rosenberg. "’They have to steal 50 cars in one night.’ I thought that was the coolest idea in the world. Jerry [Bruckheimer] and I started discussing it when we were doing ‘Con Air’ and agreed that because the hero is no longer a criminal, we had to develop a strong reason for him to be drawn back into the life he’s fought so hard to leave."

"This movie is not just for people who love cars," Bruckheimer notes. "It’s an exciting drama about a man who wants desperately to do the right and honorable thing in life but gets drawn back into a former existence, one of crime and fear. It’s a movie about making choices set against a backdrop of incredible cars."

Actor Nicolas Cage agrees. "The original was the inspiration for this film," he says. "I was surprised how many people had seen it. In the original film there was a 40-minute chase and the film focused on the chase, but this film focuses more on the relationships – there’s more motivation – I have to steal 50 cars within a couple of days to save my brother’s life."

Bruckheimer never wavered in his desire to see Nicolas Cage portray Memphis Raines. "We chased Nic from the beginning," he says. "Scott had Nic in mind when he wrote the piece. Nic was the first actor we went to and we just chased him until he finally said yes."

A noted car collector, Cage was drawn to the film not only because of the auto appeal, but also because of the dynamic new script. "There is a great group of characters," he explains. "The humanity appealed to me. Jerry understands that big things take time and he was behind us one hundred percent."

"Memphis is a character who was living on the edge for quite a while," Bruckheimer says of the main character. "He had a passion for cars even before he could drive. Jumping into a brand new Corvette made him feel good. Driving out to Palm Springs on a joyride was a blast, but he couldn’t afford to buy the car. Eventually these joyrides turned into a business and that business turned bad. He could have gotten killed. He could have spent his life in prison, but he decided to leave. Stealing was a circumstance and not really who he was."

Bruckheimer, Rosenberg and producer Mike Stenson attempted several different scenarios before settling on the idea of using a kid brother as the catalyst for Memphis’ change. Even in their initial story meeting, they agreed that the threat to Memphis’ brother had to effectuate the rest of the story. On the way home from that meeting Rosenberg began conjuring his cast of unique characters.

"The script was still evolving as we were attempting to cast all the parts," says director Dominic Sena. "We talked many of the actors through it so that they would know where we were going with the story. It was as if we were saying, ‘Just sign here and trust us,’" he laughs.

Giovanni Ribisi portrays Memphis’ younger brother Kip. "Giovanni was our first choice to play Kip," says Sena. "He’s taken on so many challenging roles in his relatively brief career; he’s just amazing for someone so young. He had this street punk thing about him; he’s a real presence."

The chemistry between the two brothers is intrinsic to the story, so the chemistry between the actors playing those roles was equally important. "Nic and Giovanni initially seem to be very different," says Sena. "But they struck a chord and share a shrewd sense of humor. They found a way to twist the dialogue and were in synch. To me they even look like brothers and share a physical resemblance."

Memphis first discovers Kip is in trouble when a ghost from his past appears; it’s his old partner, Atley Jackson. Played by Will Patton, Atley is an all too vivid reminder of Memphis’ wilder days. "He’s like a shark coming in for the kill," describes Rosenberg. "Or the devil come up from hell. That’s how Memphis sees it. Atley’s this grim reminder of the past that’s come to tell him he has to go back to hell. Will plays the role perfectly; he’s definitely got a dark edge."

Patton was cast two days before his initial scenes were shot. "I called him and offered him the role," says Sena. "He freaked out because it was Saturday and we were shooting on Monday. He said, ‘Wait a minute, when do I get to become the character? When do I do my homework?’ and I said, ‘On set, in front of the camera!’" he laughs. "We were so impressed; his performance is just incredible. He’s the consummate professional. I would hire him for anything in a nanosecond."

Memphis must assemble his team of experts who had six years earlier hung up their slimjims soon after he left town. Memphis first approaches his mentor, Otto Halliwell, who is happily and quietly running a small auto repair and finishing shop. "Otto is the Yoda of the group," says Mike Stenson. "He is the old salt of the chop shop. He understands the Zen of boosting cars and wonders where the next generation went wrong. He’s a source of knowledge and organization for the group."

"It’s a father/son kind of thing," says Robert Duvall of Otto’s relationship with Memphis. "I reared him, trained him, schooled him in the finer points of cars and then he gave it all up. Now he comes back and puts me on the spot by asking for an intense favor."

Memphis’ best friend Donny Astricky is played by Chi McBride. "Donny does not hesitate when Memphis asks him for help," explains McBride. "When Memphis finds him, he’s a driver’s ed instructor and the victim of a hapless student. Donny’s definitely gone straight, but he’s miserable in his job. And even after he’s met Kip’s gang, who don’t seem to take anything seriously, he’s still on board. We’re from the old school, we’re cautious and don’t have room for slip-ups, because the next thing you know, you’re doing a 15-year stretch at Club Fed. But Donny grows to respect Kip’s crew when he sees how well versed they are in modern technology and gadgetry. He’s reluctant, but he has to admit, they make the job easier."

The Sphinx is Memphis’ muscle. Played by British world class footballer Vinnie Jones, the Sphinx exudes an aura of mystery. Writer Rosenberg’s original script included a colorful description of Sphinx as a kid in juvenile detention; a wisecracking youth who always had an answer for everything, he finds himself in a violent altercation with other inmates. Sphinx endures the worst and the experience changes him for life. Yet another legend has it that during a big boost, he was in a chase that went horribly wrong. Either way, his character hasn’t spoken a word in years. "He doesn’t have time for idle chatter or conversation of any kind," says Jones. "He’s in his own world. He’s a bit of a psychic. Whenever Memphis is in trouble, he seems to appear. But you get the impression that something’s not right with this bloke."

Whether out of anxiety or simple fear, Memphis last approaches the love of his life, Sara Wayland, also known as Sway. She wants nothing to do with him. "He’s an old lover walking back in after six years," says Academy Award^®-winner Angelina Jolie who portrays the Ferrari-loving mechanic. "He’s been gone and she thinks she’s finally gotten over him and cleaned up her life, and then he walks back in. And even when she discovers why he’s there, she’s still hesitant to become involved with him again. But she cares about Kip; he’s like a little brother to her too, so against her better judgement, she gets back into it.

"I like Sway because she’s not a woman who hates men," Jolie says. "She loves them, she’s one of them. She’s equal to them at their game, but she’s also totally female, very sexy, and she’s not going to deny that."

"Angelina turns in a stellar performance every time," says Bruckheimer of the multi-award-winning actress. "The number of accolades she has received at such a young age is amazing. She’s a relative newcomer yet she has a real point of view. Her character, Sway, is tough and pretty brash at times, but she is also somewhat vulnerable when she wants to be. She works a number of jobs and is an ambitious woman on the rise. I love characters like that."

Now Memphis must confront his brother. He quickly learns Kip has established his own crew of experts, including their childhood neighbor, Tommy Tummel now known as Tumbler. "Kip’s friends are younger with an entirely different set of skills from Memphis’ group," says Bruckheimer. "They have a great wheel man, an electronics expert, a guy who can hack into insurance files and change VIN numbers – they know all the new tricks, but they lack experience and style. Memphis also teaches them about being cautious and knowing when to walk away from a bad deal when the stakes are too high."

"We’re in it for the money," says Scott Caan of Tumbler and the rest of Kip’s gang. As Kip’s getaway man and the best driver in the group, Tumbler is always ready to put the pedal to the metal. He’s a hot head who cannot distinguish danger from excitement. Like Kip, his decisions put the entire group in jeopardy. "Tumbler butts heads with Memphis," Caan says. "And even though we’ve screwed it up before, he doesn’t think Kip needs these old guys. For Tumbler, it’s not an art; it’s not about finesse. You get a key code and the computer starts the car, there’s not as much skill involved."

William L. Scott plays the youngest of the car thieves. "Toby is a computer whiz, which is pretty ironic because I don’t know anything about computers," laughs Scott. "Memphis doesn’t want him along for the boost because he’s so young, but without his technology, they couldn’t get the Cadillacs, Mercedes or BMWs. They have to bypass all their computerized security systems, and that’s my character’s expertise."

James Duval (no relation to Robert) is Freb. He is in awe of Memphis and his gang and enamored by the history of these guys. According to Chi McBride whose character is paired with Freb, "He is the most in need of St. Jude. He’s a lost cause. Memphis, Donny and Otto are legends the proportion of Mickey Mantle or Michael Jordan."

"Freb is the guy with a heart of gold," says Duval. "He’s completely loyal in his way and will never let you down. He makes mistakes now and again, and doesn’t always do the smartest things, but his heart is in the right place."

First time actor TJ Cross is Mirror Man. A comedian from the East Coast, Cross looked for the comedic elements in the story when he first read the script. "I was wondering, where are the jokes? And then I realized there are no jokes. So Dominic and Jerry just let me go with it. At first I thought it would be a lot of sweaty guys stealing cars, but the whole cast is naturally funny, and the situation that we find ourselves in makes for funny moments. Younger people who have energy and are more spontaneous thrown together with older people who have wisdom and experience; it’s every day life. When you put someone stone faced, 6’2" like the Sphinx who never talks with someone like my character who’s 5’6" and never shuts up, it makes for a great relationship."

"We wanted to bring some humor to the movie," says director Sena. "A tape came in and the guy just cracked us up. It was TJ. We didn’t know he didn’t have any acting experience, so we brought him out and in five minutes he picked up on it. He’s very funny."

Kip and Memphis’ common enemy is the nefarious Raymond Calitri. "Calitri is a true villain," says Bruckheimer. "We decided to create this character who came to the States from England. We imagined him as a petty thief and extortionist who expanded his repertoire to became a vicious criminal. He has effectively eliminated all the competition in town and controls whatever he touches. Unfortunately, Kip has entered into a deal with him, and Calitri doesn’t really care what it takes to get the job done or that Memphis must risk everyone he loves to boost these cars, he just wants the goods and he’s willing to kill Kip in the bargain."

"In a perverse way, Calitri is not too concerned about watching them fail," says British actor Christopher Eccleston. "Calitri is a businessman who is quite detached. He’s not particularly interested in what he’s selling, it’s simply the way he makes his money."

But to make matters worse, while trying to complete the job for Calitri, Memphis must deal with his old rival, Johnny B, who is convinced Memphis is back in town to reestablish his territory. Master P makes a cameo appearance as the gangster who has taken over Memphis’ turf.

In addition, while planning their caper and watching their backs from Calitri and his henchmen, they must also keep a close eye out for the law. Detective Roland Castlebeck has been following Memphis’ illustrious career for years, often getting close enough to obtain damaging evidence, but never so near as to be able to arrest him. Castlebeck is one of the reasons Memphis left town all those years ago.

"Castlebeck’s beef with Memphis is personal, based on what I felt had been their history together," Delroy Lindo says of his character. "It’s personal. They’re similar in many ways. After speaking with some police officers who do this work day in and day out, I found there’s sometimes a mutual appreciation for cars among the officers and the thieves. Between Castlebeck and Memphis, there’s a genuine respect because they’re both the best at what they do. If it weren’t for the fact that they’re on opposite sides of the law, they’d probably be good friends."

As Detective Roland Castlebeck, Lindo stars as the best of the Los Angeles’ auto theft task force. Bruckheimer has been after the actor to star in one of his pictures for years, but schedule conflicts kept Lindo from accepting various roles. And even though the actor was starring in another film during production of "Gone in 60 Seconds," the filmmakers decided to juggle the shooting schedule to accommodate him.

"Delroy is so distinctive," declares Bruckheimer. "His performances are amazing. He’s just one of the best. Everything he does is seemingly effortless, but if you watch him prepare off camera, he is aware of every fine detail. He did as much research as possible and was always taking advantage of the experts we had available on set. He was insistent on wearing the gun, the cuffs, all the accouterment, even if it was uncomfortable or wasn’t needed in the shot, he’s just that exacting. That makes for a distinct presence on screen."

Even though Castlebeck admires Memphis’ expertise, he is first and foremost a cop. He illustrates his case by teaching a novice to the auto theft task force, Detective Drycoff, the ropes. Timothy Olyphant plays Castlebeck’s partner.

An actor with a terrific sense of comic timing, Olyphant was a contrast to the more serious Lindo. "My first reaction when I read the script was that there was very little in the way of dialogue for me," says the young actor. "So I started circling some of Delroy’s lines that I thought would be good. I tried reasoning with the writer, but it didn’t do any good," he jokes.

Bruckheimer is known for his large ensemble casts and goes out of his way to include actors with even the smallest parts to become part of the production family. He encourages everyone to contribute and takes time to listen to every suggestion. "It’s part of the process," he says. "That’s why I got into this business. It’s of no use if you don’t foster an air of collaboration. We’ve always welcomed input from any quarter, good ideas aren’t part of some ethereal hierarchy." But Bruckheimer is also quick to point out that Dominic Sena determined the tone for the set. "Dominic has an enormous amount of energy," he says. "And he’s always smiling. If the director keeps it light and he’s a good guy, then everything will work out fine, even on difficult days. It starts with the director and Dominic was someone everyone wanted to work for because they truly like him."

Bruckheimer has been after Sena to direct a film since 1992. "There’s an energy to Dominic’s work that’s amazing," the producer notes. "It’s not just the beautiful lighting, it’s the humor and fast pace he brings to whatever he does. The worst thing for me is to sit in a theatre and feel bored by what I see on screen. Dominic’s images are intriguing; everything he does adds to the narrative of the story. Dominic is a true artist."

When Sena signed on, Bruckheimer was not aware that the director had actually worked for the original film’s director in 1979/1980. "When I first came to L.A., I was hired by Toby Halicki as a camera operator," explains Sena. "He gave me a copy of the original ‘Gone in 60 Seconds’ and said, ‘Kid, here’s my first movie. I made it for a million bucks and this one’s going to be even better. So I worked with him for about three or four weeks on ‘The Junkman’ until the stunts became too crazy," he describes. "Toby had a lot of energy and enthusiasm."

According to Sena, the filmmakers’ task was to reinvigorate the stunt work as well as the story line. "People knew the movie and the chase scene so we had to raise the bar and pull out all the stops. Lots of hairy close calls without too much catastrophic destruction, and because Nic [Cage] did the driving, it’s very real. If there are any stunt men, it’s marginal. Besides, I think he drives as well as the stunt men do; he’s an amazing driver – he can do anything they can do."

"Nic set the tone and everyone had a ball," says Bruckheimer. "The studio was seeing the dailies and then they realized Nic was driving the car, driving very fast," he laughs. "And all of a sudden we had visitors on the set to make sure it was safe, so we pulled him back twenty percent." But for Cage, who loves to drive, that was easier said than done.

"I don’t really enjoy stunt driving per se," Cage lets on. "I do a lot of it in this film – 360s and 180s, burning rubber and all that. It’s what was necessary for the character. I prefer driving fast. Speed on an open road or track is more what appeals to me."

For Sena the difficulty lay in creating something audiences hadn’t seen before. He was a vigilant protector of his characters when it came to devising the stunt work (with stunt coordinator Chuck Picerni, Jr.,) which often times became a character in itself, serving to move the plot forward. "You don’t want to bore the audience with old gags. And for me it was important to keep the humanity, keeping the players involved – the flavor of the relationship Nic has with the car. It’s not just all sheet metal."

Rosenberg’s script direction said simply: "Look, chase scenes are like love scenes, what makes one man hot leaves another cold. This ain’t us shirking responsibility, but the only thing duller than writing chase scenes is reading them … Suffice it to say, this will be one exciting chase."

"It can be tough for a writer to create these things without having seen different locations," concedes Picerni. "It’s tough to envision what the director or the stunt coordinator has in mind. On this film, the process of creating the end chase sequence evolved over the months we were shooting. Dominic and I and Johnny Martin [Picerni’s assistant coordinator] reworked the plans many times."

The driving force behind the chase is Memphis’ ongoing relationship with one particular car, a 1967 Shelby Mustang GT 500 he calls Eleanor. He and his buddies demonstrate their affection for the cars they take by giving each a girl’s name. Designating proper names also operates as a practical code so that the authorities are unaware of which automobile is about to be stolen.

"It’s a car he’s never been able to obtain in all the years he’s been stealing cars," explains Picerni. "He’s never been able to capture this prize. Holding on to Eleanor is the culmination of years of frustration, and he decides this is it, this is the one and the heat is on because this is the last time I will have a chance to get this car.

"There are so many great car chases," he continues. "We wanted to make this one different, but we really took care not to go over the top. We added interesting elements and some unique locations to make the stunts and the chase exciting in their own entity rather than going for the crash and bang."

"That’s the trickiest thing about this chase scene," says Sena. "You have to be more inventive because you don’t have bad guys chasing after good guys firing rounds at them, leaving death and destruction in their wake. It had to be big and spectacular and exciting so that the audience will get caught up in it, but nobody can get hurt. I was adamant about that. This is a car thief with a good heart who’s doing what he’s doing because he is trying to save his brother’s life and there’s no other way to do it. So good guys are chasing good guys. In this respect, we went into it with one hand tied behind our back. We couldn’t have big crashes or blow anything up or hurt people. Hopefully we found a way to make it exciting without getting anyone’s hair mussed!"

The most intricate part of the chase involved shutting down the Vincent Thomas Bridge, which links Long Beach and San Pedro. Luckily for the filmmakers, the city was retrofitting the bridge periodically throughout the year, closing it down on intermittent weekends during the months of filming. Supervising location manager Laura Sode-Matteson worked tirelessly to secure the proper permits, enlisting the aid of The California Film Commission, the California Department of Transportation, the Cities of Long Beach and San Pedro, the Port of Los Angeles as well as the Entertainment Industry Development Corporation. Each agency was integral in assisting the production company with pulling off this most complex sequence. No complete closure of the bridge has ever been done before. On two different weekends in October and November, the production team descended, creating an accident scene as a major obstacle in Memphis’ escape route. Stunt coordinator Picerni and visual effects supervisor Boyd Sherman worked with Sena to create the fantastic visual of Memphis jumping Eleanor up and over the tangle of cars, fire equipment, ambulances and unsuspecting pedestrians.

Cage, Ribisi and co-star Angelina Jolie prepared for their roles by training at a variety of driving schools as well as with professional mechanics. Ribisi went so far as to build his own car. With the help of a professor from Pasadena City College, he rebuilt a 1967 Camaro using a 502-crate engine from Chevrolet. Robert Duvall whose character Otto Halliwell knows literally everything about cars, inside and out, learned the detailed techniques of pinstriping and custom paint design with a professional in the field watching over him on the set during filming.

Even Christopher Eccleston was encouraged to participate in the adventure. "I don’t think Chris knew what he was in for," jokes Sena. "We hadn’t written the ending when he signed on, so he didn’t know he was going to have to hang three or four stories up in the air from a metal cable and then fall. He actually did it over and over, at least a dozen times."

Rigged to a device called a decelerator, Eccleston earned the kudos of cast and crew alike when on one of his first nights of shooting, he allowed himself to be hoisted high into the air and dropped at a high rate of speed to the ground. The camera, mounted above Eccleston on a crane, was placed to shoot his fall as if from the top of a high rise building. Eccleston wore a harness under his costume, which was clipped to a cable (attached to a paddle system that controls the speed of descent) and then hoisted into the air so that he could freely move his arms and legs as he falls. The stunt crew placed safety catchers (large portable pads) on the ground to break his fall should anything untoward happen with the cable. Picerni and Martin oversaw the actor’s inaugural high wire stunt work.

"I had to cling to the crane and then let go and drop," says Eccleston. "And I’m not good with heights. They wanted my face big in the camera. I was supposed to fall backwards, firing all the while. The first time they released me, it wasn’t fun, but after that it just became part of the job."

"When we started the shot he was definitely nervous," reports Martin. "But after we dropped him the first time, he couldn’t wait to get up again, and when we thought he’d had too much and we’d better quit, Chris told us he wanted to do it again until it was perfect. He ended up pushing us. He was phenomenal."

Production designer Jeff Mann acted as the official car guru throughout the production. An avid car collector, whose father was a highly skilled auto mechanic, Mann has rebuilt and restored many of his own cars from the time he was in high school. "I am a big gear head," admits Mann. "There were carburetors on my dining room table ever since I was a little kid. I grew up being weaned on foreign cars and discovered American cars, hotrods and muscle cars as a teenager.

"I definitely related to the script – to the love and fascination of the car, to putting it above all else, if only symbolically," Mann says. "That emotional core of the script rang true for me and on certain occasions, Dominic would ask me to share that with him to keep him clear about the car lover’s point of view."

Mann, along with producer Jerry Bruckheimer, designed the look of the hero car, Eleanor, a 1967 Shelby Mustang GT 500. Mann brought several choice automobiles to the table: the newest from Carroll Shelby, a two-seat roadster Series 1 to a GT 40 made by Ford as a Le Mans car when Bruckheimer decided to take the Shelby Mustang GT 500 to the next level. "Jerry’s decision was double edged," says Mann. "You want the car to be as aggressive and sexy as it possibly can be on screen, but you don’t want to stray so far from what the car really is that you offend the Shelby purists out there." To make sure they didn’t stray too far, Mann called on the services of Steve Stanford who created a rendering of the car with the modifications and specs the filmmakers requested. After several revisions, Bruckheimer okayed the design and selected metallic black and pewter tones for the Mustang’s exterior.

According to Mann, Carroll Shelby, who has been involved in the car racing circuit since the 1950s, originally designed the first Shelby Cobra using an AC Bristol. Mann describes it as a two-seat, open car with an aluminum body. Built in England, they were powered by an anemic four-cylinder engine. Shelby had the wherewithal to transplant a small block Ford 260-cubic inch V-8 engine into these cars. With the aluminum chassis and short wheelbase, they were perfect for racing. This car became the Shelby Cobra, also known as the AC Cobra. Shelby began manufacturing the Cobra from 1961 through 1967; they were used both in racing and as street cars.

After entering into a partnership with Ford, Shelby began retrofitting Mustangs, making modifications to the suspension as well as other changes. Shelby sold the cars through the company’s many dealerships. These cars were the Shelby Mustangs, the first of which was the 1965 GT 350. In 1966 the demand for these cars was so high that Ford took over manufacturing because Shelby’s factory was not equipped to handle this kind of volume. True purists consider 1965 and 1966 cars made in his shop the only true Shelbys. The Ford Company utilized Shelby’s designs and with his blessing continued to put out these high performance cars, including the 1967 GT 500. Currently these cars range in price from $20,000 to $80,000 for a low mileage, mint condition original.

For the film, Mann and transportation coordinator Bryce Williams enticed the master of car restoration, Ray Claridge at Cinema Vehicle Services, to build the 11 Shelby replicas needed. Although the 11 have the same sleek exterior, each automobile was designed with a specific purpose in mind and includes different internal components – some go fast in a straight line, some have special braking systems along with rack and pinion steering and heavy duty suspensions in order to perform more spectacular spin outs, lock ups and slides. One was designed as a rear wheel right-hand drive car so that a stuntman could sit next to Cage and control the car during sequences that were too intricate and dangerous for the actor to perform himself. Two others had no engines; one was used as a tow car and the other a process car, which was cut into different pieces so that sections could be easily removed for camera placement. But the majority of the cars were multi-purpose, fitted with after-market suspension systems, heavy-duty rear ends, four-wheel disc brakes and high-performance crate motors. A twelfth car, the first to be built, was a prototype for the overall design concept.

With the help of Williams and picture car coordinator Mike Antunez, the filmmakers researched many vehicles in assembling the list of cars Kip must deliver to Calitri. Initially Bruckheimer, Sena, and Mann pinned photos on the wall and spent a couple of hours brainstorming, picking their favorites. The next step was to whittle down that list to include cars that were not only plausible in terms of the story line, but also available. The list continued to change as the cameras rolled. Williams and Antunez worked incessantly, searching for cars. They looked on the Internet, via word of mouth, at specialty car shows and through private collectors for some of the rarer models.

"We went through hundreds of possibilities," Bruckheimer says. "We wanted to keep the list interesting, yet we had to include some staples in there, like Suburbans and Toyotas. Of course Calitri’s clients would also be looking for sexy makes like Lamborghini and Ferrari. One of my favorites was a 1950 Mercury. I think we came up with an even mix."

Keeping up with the mix of cars on Calitri’s list of 50 was also important to the technical advisors. The filmmakers counted on three undercover police officers--two from the Orange County Auto Theft Task Force (OCATT) and one from the Taskforce for Regional Auto Theft Prevention (TRAP), multijurisdictional law enforcement agencies in Orange and Los Angeles Counties--as well as a reformed car thief who is one of the many success stories of California’s prison rehabilitation program. This young man, only in his early 20s, was a prolific thief specializing in Porsche and Mercedes. Although he cannot claim title to every crime, overall car theft in Orange County decreased nearly 17% when he and his accomplices were arrested and convicted. Coincidentally, he was incarcerated at Folsom Prison when Bruckheimer and Cage visited the facility in preparation for their film "Con Air." He contends that newer cars "are that much more difficult to steal" and insists that in only a year or two, anti-theft devices have improved considerably rending many of his skills antiquated but not entirely useless. Accompanied by a law enforcement agent, this deft maestro was always on set during boost sequences.

"Our technical advisors were invaluable," says director Sena. "You can’t pick up a book and read how to steal a Testarosa or what’s the fastest way into a Porsche. You have to talk to people who did it for a living. They gave us a crash course and were there to advise if we were making it look too easy."

"Having your car stolen is a horrible experience," says Bruckheimer. "Like being robbed it’s a serious violation, but it happens somewhere in America every two seconds. No matter how many precautions you take, you simply must be aware that your car is never completely safe. Just like the title says, it could be here one minute, and then gone in 60 seconds."

1 1999 Aston Martin DB7 Mary

2 1962 Aston Martin DB1 Barbara

3 1999 Bentley Arnage Lindsey

4 1999 Bentley Azure Laura

5 1964 Bentley Continental Alma

6 1959 Cadillac El Dorado Madeline

7 1958 Cadillac El Dorado Brougham Patricia

8 1999 Cadillac Escalade Carol

9 2000 Cadillac El Dorado STS Daniela

10 1957 Chevrolet Bel Air Convertible Stefanie

11 1969 Chevrolet Camaro Z28 Erin

12 1953 Chevrolet Corvette Pamela

13 1967 Chevrolet Corvette Stingray Big Block Stacey

14 2000 Ford F350 4x4 modified pick-up Anne

15 1971 DeTomaso Pantera Kate

16 1969 Dodge Daytona Vanessa

17 1998 Dodge Viper Coupe GTS Denise

18 1995 Ferrari 355 B Diane

19 1997 Ferrari 355 F1 Iris

20 1967 Ferrari 265 GTB4 Nadine

21 1999 Ferrari 550 Maranello Angelina

22 1987 Ferrari Testarosa Rose

23 1956 Ford T-Bird Susan

24 2000 GMC Yukon Megan

25 1999 HumVee 2-Door Pickup Tracy

26 1999 Infiniti Q45 Rachel

27 1994 Jaguar XJ 220 Bernadene

28 1999 Jaguar XK8 Coupe Deborah

29 1990 Lamborghini LM SUV Gina

30 1999 Lexus LS 400 Hillary

31 1999 Lincoln Navigator Kimberley

32 1957 Mercedes Benz 300 SL/Gullwing Dorothy

33 1999 Mercedes Benz CL 500 Donna

34 1999 Mercedes Benz S 600 Samantha

35 1998 Mercedes Benz SL 600 Ellen

36 1950 Mercury Custom Gabriela

37 1971 Plymouth Hemi Cuda Shannon

38 1969 Plymouth Roadrunner Jessica

39 1965 Pontiac GTO Sharon

40 1999 Porsche 996 Tina

41 2000 Porsche Boxster Marsha

42 1961 Porsche Speedster Natalie

43 1988 Porsche 959 Virginia

44 1997 Porsche 911 Twin Turbo Tanya

45 2000 Rolls Royce Stretch Limousine Grace

46 1966 Shelby AC Cobra Ashley

47 1967 Shelby Mustang GT 500 Eleanor

48 2000 Toyota Landcruiser Cathy

49 1998 Toyota Supra Turbo Lynn

50 2000 Volvo Turbo Wagon R Lisa

Oscar^® winner NICOLAS CAGE (Randall "Memphis" Raines) is a versatile actor who is equally known for his poignant portrayals in both drama and comedy. He has received numerous awards for Best Actor including the Academy Award^®, a Golden Globe, the New York Film Critics, the Los Angeles Film Critics, the Chicago Film Critics and the National Board of Review–for his performance as a self-destructive alcoholic in "Leaving Las Vegas," directed by Mike Figgis.

"Gone in 60 Seconds" reunites Cage with producer Jerry Bruckheimer for the third time. He previously starred for Bruckheimer in the action blockbusters "Con Air" co-starring John Cusack and John Malkovich and "The Rock" with Sean Connery and Ed Harris.

His film credits also include Martin Scorsese’s "Bringing Out the Dead," "Eight Millimeter" directed by Joel Schumacher, "Snake Eyes" directed by Brian De Palma and "City of Angels" directed by Brad Silberling and co-starring Meg Ryan, "Guarding Tess" costarring Shirley MacLaine, "It Could Happen to You" with Bridget Fonda and Barbet Schroeder’s "Kiss of Death." His performance in "Face/Off" earned him a Blockbuster Entertainment Award for Favorite Actor in an Action/Adventure movie as well as three MTV Movie Award nominations for Best Male Performance, Best on Screen Duo (with co-star John Travolta) and Best Villain.

It was Cage’s portrayal of a tormented Vietnam vet in "Birdy" that first established him as a serious actor. Directed by Alan Parker, "Birdy" won the jury prize at Cannes. Cage then received a Golden Globe nomination for Best Actor for his role as Cher’s lover in "Moonstruck." He then starred opposite Laura Dern in David Lynch’s "Wild at Heart" which won the Palm d’Or at the 1990 Cannes Film Festival. He received another Golden Globe nomination for the romantic comedy "Honeymoon in Vegas," directed by Andrew Bergman. In 1996 the Montreal World Film Festival honored Cage with their prestigious Lifetime Achievement Award.

Earlier film credits include "Valley Girl," "The Cotton Club," "Racing with the Moon," "The Boy in Blue," "Peggy Sue Got Married," "Raising Arizona," "Vampire’s Kiss," and "Firebirds."

Nicolas Cage was raised in Long Beach, California and lived there until his family moved to San Francisco when he was 12. Cage began acting at age 15 when he enrolled in San Francisco’s American Conservatory Theatre where he appeared in the school’s production of "Golden Boy." While still a high school student, he moved to Los Angeles and landed a role in the telefilm "The Best of Times." He made his feature film debut in "Rumble Fish."

His upcoming projects include Brett Ratner’s "Family Man," "Captain Corelli’s Mandolin" for director Roger Michell and "Jack & Jill" to be directed by Lynda Obst.

The owner of dozens of cars, Cage’s first purchase was a yellow Triumph Spitfire he bought for $2,000. Obtained before he could legally drive, Cage would sit in the parked car in his driveway and pretend he was on his way to the beach. Once he could drive it, the car broke down every other week, so Cage sold it. Last year, he ran into the man who bought it all those years ago. Cage purchased the car back and is currently having it restored.

In only a few short years Academy Award^®-winner ANGELINA JOLIE (Sara "Sway" Wayland) has become one of Hollywood’s most respected young actresses. Having recently earned a third Golden Globe Award, a Screen Actors Guild Award and an Oscar^® for Best Supporting Actress for her moving performance as Lisa Rowe in "Girl Interrupted," she has also become one of the most sought after actresses in the entertainment industry. She recently starred in the dramatic thriller "The Bone Collector" starring opposite Denzel Washington for director Phillip Noyce. Other film credits include "Pushing Tin" co-starring Billy Bob Thornton and John Cusack, "Playing By Heart" (for which she won the National Board of Review Award for Breakthrough Performance) with Sean Connery, Gena Rowlands, Madeleine Stowe and Dennis Quaid, and "Playing God" co-starring David Duchovny and Timothy Hutton. Jolie’s earlier films included appearances in "Foxfire" and "Hackers."

Jolie earned critical praise for the HBO film "Gia" written and directed by Michael Cristofer. She received a Golden Globe Award and a Screen Actors Guild Award as well as garnering an Emmy nomination for her poignant portrayal of supermodel Gia Carangi who died of AIDS. She won the Golden Globe and a CableACE Award, plus another Emmy Award nomination for her role as Cornelia Wallace, the second wife of the controversial Alabama governor in John Frankenheimer’s "George Wallace," opposite Gary Sinise. She also starred in the Hallmark Hall of Fame presentation, "True Women," based on Janice Woods Windle’s best-selling historical novel.

A member of the famed MET Theatre Ensemble Workshop, Jolie trained at the Lee Strasberg Theatre Institute and has also studied with Jan Tarrant in New York and Silvana Gallardo in Los Angeles. She is actively workshopping playwright John Ford Noonan’s "Music From Down the Hill" in which she will star for director Tom Bower.

Jolie still drives her first car, a Ford pickup, but the young actress also has her eye on a Stingray.

GIOVANNI RIBISI (Kip Raines) is quickly earning a reputation for delivering powerful performances in film and television. His credits include "Boiler Room," David Lynch’s "Lost Highway," "The Grave," "Scotch and Milk" and "That Thing You Do!" In addition, Ribisi is well known for his recurring role as Frank Jr. on the hit comedy series "Friends."

He received exceptional notices for his roles opposite Juliette Lewis and Diane Keaton in Touchstone Pictures’ "The Other Sister" directed by Garry Marshall and as a young medic in Steven Spielberg’s World War II epic, "Saving Private Ryan." Last year he also starred in the motion picture version of the 1970s television hit "The Mod Squad." He also received critical acclaim for his starring roles in "subUrbia" and "First Love, Last Rites." Other credits include "The Postman" and "Some Girls."

Ribisi has also appeared on numerous television programs including "The X-Files," "NYPD Blue," "Chicago Hope," "The Wonder Years" and "Family Album."

His upcoming projects include the black comedy "It’s the Rage" and "The Gift." costarring Cate Banshetee and Hilary Swank.

Ribisi bought his first car, a 1966 Caprice, from his father. He and his twin sister shared the car which was in mint condition when they first began driving it, but quickly took a beating from the two sixteen-year-olds who knew nothing about automobiles. Specifically for "Gone In 60 Seconds," Ribisi and Pasadena City College Professor Jason Norris rebuilt from the ground up a 1969 Camaro, full loaded, including a 520 hp engine.

DELROY LINDO (Detective Roland Castelbeck) most recently garnered critical acclaim for his role as Mr. Rose in John Irving’s "The Cider House Rules," directed by Lasse Halström and co-starring Michael Caine, Erykah Badu and Toby McGuire.
In Spike Lee’s contemporary urban drama "Clockers," written by Richard Price, Lindo played the role of Rodney, also to great critical acclaim. Lindo has worked with Lee on two other films: "Malcolm X," for which he earned a NAACP Image Award nomination for his portrayal of the West Indian, Archie, and "Crooklyn."
On television, Lindo received critical acclaim for Showtime’s drama "Strange Justice," starring as Judge Clarence Thomas. He was also seen in the TNT movie "Glory and Honor," in which he played Matthew Hanson, the African American who is credited with co-discovering the North Pole with Robert E. Peary. In 1997, Lindo appeared in the feature film "A Life Less Ordinary," directed by Danny Boyle ("Trainspotting") and starring Ewan Macgregor, Cameron Diaz and Holly Hunter.
In 1996, he teamed up again with writer Price in the box office sensation "Ransom" directed by Ron Howard and starring Mel Gibson. For his portrayal of FBI agent Lonnie Hawkins, he received a NAACP Image Award nomination for Outstanding Supporting Actor in a Motion Picture. Also in 1996, Lindo starred as Satchel Paige in the HBO original movie "Soul of the Game," a drama directed by Kevin Rodney Sullivan, which explores the lives of Paige, Josh Gibson, Jackie Robinson and the Negro Baseball League, prior to the integration of major league baseball. Again, he received a NAACP Image Award nomination for Outstanding Actor in a Television movie/miniseries.
In 1996, Lindo co-starred with John Travolta and Rene Russo in the MGM hit "Get Shorty" directed by Barry Sonnenfeld; and in "Broken Arrow," opposite Travolta and Christian Slater, for director John Woo. Also that year, he starred opposite Keanu Reeves and Cameron Diaz in "Feeling Minnesota," a slice-of-life comedy directed by Steve Bagelman.

Lindo’s additional film credits include "Romeo Must Die," "The Devil’s Advocate," "Mr. Jones," "Buhanzin," "Bound by Honor/Blood In Blood Out," "The Hard Way," "Bright Angel," "Mountains of the Moon," and also HBO’s "First Time Felon."

An accomplished stage actor, Lindo received nominations for both the Tony Award and the Drama Desk Award for his performance as Herold Loomis, in August Wilson’s "Joe Turner’s Come and Gone." He also appeared on Broadway and on the national tour of "Master Harold and the Boys" and off-Broadway in "The Heliotrope Bouquet" at Playwrights Horizon; the New York Shakespeare Festival production of "As You Like It," "Romeo and Juliet" and "Spell #7"; and "District Line" for the Negro Ensemble Company.

In addition, he starred as Walter Lee in "A Raisin in the Sun" at the Kennedy Center, for which he was nominated for the Helen Hayes Award. He later won an Image Award for Best Actor when he reprised his role in the Los Angeles production of that play. His regional theatre credits include productions of "Othello," "Julius Caesar," "Miss Evers’ Boys," "Cobb," "Home" and "Macbeth" at such venues as the Mark Taper Forum in Los Angeles, San Diego’s Old Globe Theatre, The Great Lakes Shakespeare Festival, the Yale Repertory Theatre, Hartford Sage Company, Baltimore’s Center Stage and Actors Theatre of Louisville. Lindo is also a member of The Actors Studio in New York.
Most recently, Lindo worked as executive producer, director and host of the documentary/interviews, "Delroy Lindo on Spike Lee," seen on the Independent Film Channel/BRAVO networks) and; "Delroy Lindo in Conversations with Charles Burnett" which aired on Showtime in February and April. These are in-depth looks at these acclaimed directors and their creative process.

Lindo’s first car was purchased in 1983; it was a lime green 1968 VW bug he called Angie.

WILL PATTON (Atley Jackson) last appeared on screen in the thriller "Entrapment." Prior to that he costarred opposite Bruce Willis and Ben Affleck for producer Jerry Bruckheimer in last summer’s blockbuster "Armageddon" and will soon be seen in Bruckheimer’s "Remember the Titans" with Denzel Washington.

A creative and diverse performer, Patton has played a wide variety of roles from an overzealous congressional aide in "No Way Out" to a sensitive and charming man in "The Rapture." Also on his impressive resume are the films "The Postman," "The Spitfire Grill," "Inventing the Abbotts," "The Client," "Copycat," "Desperately Seeking Susan," "In the Soup," "Fled," "Romeo Is Bleeding" and many others.

Patton began his career in New York after moving there from his native Charleston, South Carolina. He attended the North Carolina School of the Arts and also studied with Lee Strasberg at the Actors Studio and with Joseph Chaikin at the Open Theatre in New York.

Patton has appeared in over 40 off-Broadway plays. He has won three Obie Awards, one in 1982 for his role in Sam Shepard’s "Fool for Love" at the Circle Repertory, another several years later for his part in "What Did He See?" at the Public Theatre and a third for Best Ensemble with the cast from "Tourist and Refugees #2." He also won Villager Awards for his roles in "Dark Ride," "Goose" and "Tomtom." He recently starred in the world premiere of Don DeLillo’s play, "Valparaiso," at the ART in Boston.

His first vehicle was a motorcycle. Not really a car buff, Patton spent more time driving trucks when he was a youth.

CHRISTOPHER ECCLESTON (Raymond Calitri) is most widely recognized for his role as the Duke of Norfolk in the Academy Award^®-winning "Elizabeth" opposite Cate Blanchett.

Eccleston made his feature film debut in Peter Medak’s "Let Him Have It." Among his other credits are "eXistenZ," "A Price Above Rubies," "Jude," "Shallow Grave" and "Heart." He will soon be seen in Fine Line’s "Invisible Circus."

Born and raised in Salford, Manchester, England, Eccleston was trained in the classics at London’s Central School of Speech and Drama. His theatre work includes "A Streetcar Named Desire" at the Bristol Old Vic, "Abingdon Square" and "Bent" at the National theatre, "AIDS Memoir" at the Royal Court Theatre, "Waiting at the Water’s Edge" at the Bush Theatre and "Miss Julie" in the West End.

He has appeared on several British television series and movies. He was honored with two Press Guild Awards for Best Actor for his performance on "Hillsborough" for Granada TV and the BBC’s "Our Friends in the North." The latter also garnered him a BAFTA Best Actor nomination. Other British television work includes "Cracker I & II" for Granada TV; "Friday on My Mind," "Death and the Compass," "Humboldt" and "Clocking Off" for the BBC; "Poirot," "Inspector Morse" and "Chancer" for Central Television and "Hearts and Minds," "Bellman," "Box and Vandal" and "Killing" for Channel 4, to name but few.

One of his ambitions is to do the LeMonde 24-hour rally.

CHI McBRIDE (Kenny) has had a busy year. In addition to Touchstone Pictures/Bruckheimer Films’ "Gone in 60 Seconds," starring Nicolas Cage, he has just wrapped production on Walt Disney Pictures’ live-action feature "Disney’s The Kid." Earlier this year, Chi starred as Bundini Brown in the ABC Movie-of-the-Week "Muhammad Ali: King of the World." Chi will be returning to the small screen in the fall of 2000 to head up the cast of David E. Kelley’s newest series, "The Teachers."

Chi is well known for his role as the wisecracking, philosophical janitor on the NBC television series, "The John Larroquette Show." He next starred in a series of pilots, including "Odd Man Out" which he produced and starred in for CBS, and which was executive produced by Bill Cosby.

McBride’s other feature film credits include "The Frighteners," "Hoodlum," and "Mercury Rising," as well as a cameo appearance opposite Alan Arkin in James Merendino’s upcoming "Magicians." Chi received critical acclaim for his starring role in the Hudlin Brothers’ production "Tang," a segment of HBO’s "Cosmic Slop Trilogy."

Born and raised in Chicago, McBride has accomplished much and enjoyed great success in just the seven years that he has been working in the entertainment industry. When a producer offered to help him pursue his dream, he moved to Los Angeles and almost immediately landed a spot in the Fox Television movie "Revenge of the Nerds III" and made several appearances on the network’s comedy series "In Living Color."

McBride made his feature film debut in "The Distinguished Gentleman" starring Eddie Murphy, and followed with roles in the Oscar^®-nominated "What’s Love Got To Do With It" and "The Great White Hype."

McBride also performed in the stage play "Nagasaki Sake" directed by Robert Downey Sr., in which he portrayed eight different complex characters.

His first car was a red 1972 Grand Torino Sport with black racing stripes – a very hot car, literally. In the middle of winter in Chicago McBride’s car blew up. McBride had only had the car a month when it burst into flames as he stood by, stranded under a viaduct on the roadway. The car cost $200.

Award-winning actor ROBERT DUVALL (Otto Halliwell) earned his Oscar^® as Best Actor for the 1983 release "Tender Mercies," a Golden Globe Award for his portrayal of Josef Stalin in HBO’s "Stalin," an Obie as the hero in the 1965 revival of "A View from the Bridge" and Oscar^® nominations for his roles in "The Godfather," "Apocalypse Now," "The Great Santini" and most recently for "The Apostle" (which he also wrote and directed) and "A Civil Action."

His recent film credits include "Deep Impact," "Phenomenon," "Sling Blade," "The Gingerbread Man," "Something to Talk About" and "A Family Thing."

Making his career debut as Boo Radley in the 1963 film classic "To Kill A Mockingbird," Duvall has appeared in over 70 motion pictures including "True Grit," "M*A*S*H," "The Godfather," "The Godfather, Part II," "Network," "The Seven-Per-Cent Solution," "The Eagle Has Landed," "True Confessions," "The Natural," "Colors," "Days of Thunder," "Rambling Rose," "Falling Down," "Wrestling Ernest Hemingway," "Geronimo" and "The Paper."

Duvall starred in two popular miniseries, "Lonesome Dove" and "Ike." He directed "We’re Not the Jet Set," a documentary about a Nebraska rodeo family that he also co-produced, and "Angelo, My Love," a portrait of New York’s mysterious Gypsy community which he wrote, directed and produced.

Duvall purchased his first car, a Ford, when he was about to be discharged from the Army.

SCOTT CAAN (Tumbler) last year marked his major motion picture debut as a marine gone bad in Jerry Bruckheimer’s "Enemy of the State."

A Los Angeles native, Caan most recently starred in "Ready to Rumble" starring David Arquette and directed by Brian Robbins. He also worked with director Brian Robbins on the hit film "Varsity Blues." Recently he was also seen in "Boiler Room" alongside Giovanni Ribisi and Ben Affleck.

His other feature film credits include James Toback’s "Black and White" with Robert Downey, Jr. and Ben Stiller, as well as the independent films "Nowhere to Go," "Bongwater," Gregg Araki’s "Nowhere" and "Lunchtime Special."

Caan is also a screenwriter, having sold his first script, "Chasing the Party," to Jerry Bruckheimer Films. He is presently starring in "Novocaine" opposite Steve Martin and Helena Bonham Carter. And will soon start filming the Warner Bros. feature "Jesse James."

Although Caan thinks of himself as a Chevy guy, his first car was a 1992 Ford Mustang. Although he never received a ticket in the car, and continues a tradition of safe driving, he did meet up with a tree when he thought someone was following him home one night.

TIMOTHY OLYPHANT (Detective Drycoff) can be seen in the movies "Go," "Scream 2," "A Life Less Ordinary" and "The First Wives Club." He will star in the upcoming film "The Broken Hearts League" with John Mahoney and Dean Cain. The film premiered at this year’s Sundance Film Festival. Olyphant will also be seen in "Auggie Rose" with Jeff Goldblum and Anne Heche and is currently shooting "Metal God" co-starring with Mark Wahlberg and Jennifer Aniston.

On television he starred in the police drama "High Incident" and in the Hallmark Hall of Fame Presentation "Ellen Foster." He also appeared in John Irvin’s "When Trumpets Fade" for HBO.

Olyphant made his acting debut in the Playwright’s Horizon production of "The Monogamist" and received the Theatre World Award for Outstanding Debut Performance. He then starred in David Sedaris’ one-man show, "The Santaland Dairies."

Olyphant was born in Hawaii and raised in California. His first car was a white VW Rabbit handed down from his older brother. Shortly after he began driving the car, he was rear ended and used the insurance money not only to repair the car, but also to tint the windows and stylize the paint job by adding a wide metallic blue racing stripe across the entire top of the car. Olyphant calls it a "Typical ‘80s look."

WILLIAM LEE SCOTT (Toby) can currently be seen in James Toback’s "Black & White," which made its world premiere at the 1999 Toronto International Film Festival and also stars Robert Downey, Jr. For producer Jerry Bruckheimer, Scott stars opposite Josh Hartnett and Kate Beckinsale in "Pearl Harbor." He was previously seen in "October Sky" directed by Joe Johnston.

Audiences may best remember Scott as Christina Ricci’s boyfriend in "The Opposite of Sex," for which he received strong critical accolades. Previously, he co-starred in the sci-fi drama "Gattaca," as the younger character played by Loren Dean. In 1995, he won Columbia University’s Best Actor Award for his work in the student film "’Tis the Season."

Scott’s television credits include the Emmy Award nominated movie "Before Women Had Wings," starring with Ellen Barkin and Julia Stiles, which was Oprah Winfrey’s first telefilm production; Robert Altman’s "Gun," and Robert Pastorelli’s series "Cracker," as well as the WB network series "The Steve Harvey Show."

Scott was raised in a small town north of New York City, where he attended an arts-intensive high school studying writing, painting, singing and theatre. He then moved to Manhattan, where he was "discovered" while waiting tables at the Cub Room in SoHo.

Now living in Los Angeles, Scott divides his time between acting and screenwriting. He still finds time to paint, read, play drums and go fly-fishing with his father.

VINNIE JONES (The Sphinx) was previously best known for his athletic ability as a renowned world-class footballer (soccer player). He became a professional player for Wimbledon F.C. in 1986 and won the F.A. Cup in 1988. He signed for Leeds United a year later, winning the first division championship. Jones also played for Sheffield United, Chelsea and Queens Park Rangers (where he was a coach as well as player), returning to Wimbledon in 1994.

After being seen in a cameo role on British television, Guy Ritchie asked Jones to join his cast as Big Chris in "Lock, Stock and Two Smoking Barrels." His performance garnered him numerous awards, among them Best Newcomer from the Odeon Cinemas’ People’s Choice Awards, Best Debut Performance from the Variety Club of Great Britain and Empire Magazine’s Best Newcomer. A natural on screen, Jones officially retired from soccer in 1999 to pursue his acting career.

For close to six years he wrote a weekly column for the Sun newspaper (a national edition) and also hosted his own radio and television shows. He appeared in the popular drama "Ellington" and soon the BBC will air a special about him on the highly rated "Omnibus."

He is currently in England, shooting "Snatch" with Brad Pitt and plans to co-star in Ritchie’s "Diamonds" (the sequel to "Lock, Stock and Two Smoking Barrels").
Jones was born in Waterford, England and raised on an estate where his father was a gamekeeper. He played semi-professional football for Wealdstone before joining Wimbledon.

Jones’ first car was a blue Mini Traveler that cost 120 English Pounds Sterling. Almost as soon as he began driving it, the car was smashed beyond recognition, but luckily the insurance was more than three times the car’s worth.

JAMES DUVAL (Freb) recently appeared in the sleeper hit "Go" co-starring Katie Holmes, Scott Wolf and Sarah Polley, and also starred in "The Weekend" with Gena Rowlands and Brooke Shields. He is best known for playing the role of Miguel in Roland Emmerich’s 1997 blockbuster hit "Independence Day."

Duval made his independent feature film debut in director Gregg Araki’s cult dramas "Totally F***ed Up," "The Doom Generation" and "Nowhere." He also appeared in James Merendino’s "SLC Punk" co-starring Annabeth Gish, which premiered at the Sundance Film Festival. Additional credits included "Mod Fuck Explosion" and "Ambush of Ghosts."

Born in Detroit, Michigan, Duval moved to Los Angeles when he was two. He hails from a rich ethnic background that includes French, Irish, American Indian and Vietnamese heritages. While growing up, he was trained as a classical pianist. To this day music remains a strong force in his life and work. He also plays guitar and is an avid collector of obscure musical recordings.

Duval’s first car was a 1984, a 1984 … he’s not quite sure. But ask him about motorcycles and he can recall his 1969 Triumph Bonneville, which he loved, but unfortunately, it took too much work to maintain.

TJ CROSS (Mirror Man) is a 21-year-old comedian originally from Columbia, South Carolina who now resides in Jersey City, New Jersey. A graduate of Johnson C. Smith University in Charlotte, North Carolina, Cross holds a degree in computer science.

Cross moved to New York after graduation and he targeted every Open Mike Night at comedy clubs across the city. In 1999 he won an award for the "Funniest Up & Comer." He has appeared at some of the hottest comedy clubs in the country including The Peppermint Ballroom, Caroline’s Comedy Club, The Boston Comedy Club, The Comedy Store, The Comedy Strip, The Improv and The Punchline among others.

Currently, Cross is appearing on BET’s "Comic View."

His first car was a 1988 Ford Tempo – no air, no headlights, no radio. He drove it to all his stand-up gigs. When he went to leave his hotel early one morning after doing a late show in Myrtle Beach, South Carolina, he found someone had stolen the car. He waited for three days until friends could pick him up.

FRANCES FISHER (Junie) is most notably remembered for her role in James Cameron’s "Titanic" which won 11 Academy Awards^® and for which Fisher received a Screen Actors Guild nomination as part of Best Ensemble Cast. She recently completed Tom Rice’s film, "The Rising Place," a story of courage and friendship co-starring Laurel Holloman and Elyse Neal, and earlier this year portrayed a power publicist to the stars in Warner Bros.’ offbeat comedy, "The Big Tease" with Craig Ferguson.

Fisher starred with Clint Eastwood in "True Crime" and the Academy Award ^® winning "Unforgiven." She also co-starred with Robert Duvall and Aidan Quinn in "The Stars Fell on Henrietta." Other film credits include "Tough Guys Don’t Dance," "Female Perversions," "Babyfever" and "Patty Hearst."

For television, Fisher starred in ABC’s "The Audrey Hepburn Story" with Jennifer Love Hewitt, as Baroness Ella von Hemstra, Hepburn’s mother; and as Lucille Ball in "Lucy & Desi: Before the Laughter" for CBS. Currently, she is recurring, as Ted Danson’s love interest on the comedy series, "Becker" for CBS.

Born in Milford On-Sea, England, Fisher had lived in Columbia, Canada, France, Brazil, Turkey, Italy and various locations in the United States by the time she graduated from high school in Orange, Texas. After cutting her teeth with Tennessee Williams and Robert Bolt in Orange Community theatre, she apprenticed at the Barter Theatre in Virginia before moving to New York City for 14 years of regional and off-Broadway theatre that included "Fool For Love," "Desire Under the Elms," "Cat On a Hot Tin Roof," "Orpheus Descending" and "A Midsummer Night’s Dream." During this time she studied with Stella Adler and is one of the last three students selected by Lee Strasberg to become a member of The Actors Studio. Fisher earned a Drama-Logue Award for best ensemble cast in the world premiere of Caryl Churchill’s "Three More Sleepless Nights."

Fisher’s first car was a bright yellow Volkswagen bug she purchased at age 18. When she and her husband went on their honeymoon, he spent the better part of the their wedding night scraping off the "Just Married" from the rear window.

GRACE ZABRISKIE’s (Helen Raines) impressive list of screen credits includes Angelica Huston’s directorial debut "Bastard Out of Carolina," "A Family Thing," "The Waterdance," "Fried Green Tomatoes," "My Own Private Idaho," "Wild at Heart," "Drugstore Cowboy," "The Big Easy," "An Officer and a Gentleman" and "Norma Rae."

On television she was a series regular on the cult favorite "Twin Peaks." Zabriskie’s roles in television movies and guest starring credits on sitcoms and episodics are extensive. She appeared on "Dharma & Greg," "NYPD Blue," "Jesse," "Seinfeld," "Hill Street Blues" and "Moonlighting," to name a few. Roles in telefilms include TNT’s "Houdini," "The Executioner’s Song," "My Father, My Son," "The Ryan White Story," "A Deadly Silence," "The Burning Bed," "East of Eden," "Blinded by the Light" and many more.

A silk-screen printmaker in Atlanta before she moved to Hollywood to pursue acting, Zabriskie is a well-respected, multitalented artist whose paintings, sculptures and woodwork are frequently on exhibition in Los Angeles galleries.

Zabriskie first learned to drive during college. On her very first day behind the wheel, she drove herself to school. While frantically searching for a parking place, she hit a parked car. A responsible young woman, she left a note on the car, only to find out later that she had hit the car belonging to the school’s president.

DOMINIC SENA (Director) is a founding member of Propaganda Films where he directed countless award-winning videos and commercials. He began his career as a cameraman during the early 1980s. He worked on over 100 music videos and was honored with a variety of awards for his inventive cinematography, including the Eastman Kodak Certificate of Visual Excellence.

In 1985 Sena added directing to his repertoire, creating videos for Sting, David Bowie, Tina Turner, Bryan Adams, Steve Winwood, Fleetwood Mac and Janet Jackson to name a few. He earned a Grammy for Best Long Form Video for Jackson’s "Rhythm Nation 1814." His television commercials for such clients as Nike, Saturn, Apple Computers, Acura and IBM among many others have also earned awards. Two of his Nike spots, "Bouncing TV" and "Dueling TV’s," and an Apple ad "Coal Train," helped earn Propaganda Films the Palme d’Or at the International Advertising Festival in Cannes. The Nike campaign also garnered Sena a Gold Lion for Individual Achievement.

In 1991 (Nike "Heritage"), in 1995 (Saturn "Erin Walling") and again in 1996 (Nike "Marshall Faulk") Sena’s commercials won top honors at New York’s prestigious AICP awards show and have been made part of the permanent collection of the Museum of Modern Art.

Sena made his feature film debut with "Kalifornia," starring Brad Pitt, Juliette Lewis, David Duchovny and Michelle Forbes. The film earned the International Film Critics Jury Prize at the 1993 Montreal Film Festival, as well as taking top honors for its cinematography.

Sena’s first car was a convertible 8-year-old Austin-Healey purchased when he was in college.

JERRY BRUCKHEIMER (Producer), one of the most successful producers of all time, is a filmmaker who loves telling a story with fully developed characters who go through a process to learn something. His films take us, his audience, through those same processes, and we leave the theaters enriched by the unforgettable characters, excited by the great stories and intrigued by the new experiences.

So we go back, and keep going back, to the films that begin with the lightning bolt—the Bruckheimer films that have grossed billions and have earned their producer the acclaim and respect of his industry and devotion of moviegoers throughout the world.

Bruckheimer has always been a storyteller. He started out with short ones – the 60-second tales he created as an award-winning commercial producer in his native Detroit. One of those mini-films, a parody of "Bonnie and Clyde" he created for Pontiac, was noted for its brilliance in Time Magazine. It also brought the 23-year-old producer to the attention of world-renowned ad agency BBD&O, which lured him to New York.

Four years on Madison Avenue gave him the experience and the confidence to tackle Hollywood, and not yet 30, he was at the helm of memorable films like "Farewell, My Lovely" and "American Gigolo."

Also among those early films was 1983’s "Flashdance," a film that cliches aside, actually changed lives. It changed Jennifer Beals’ life by making her a box office star. It changed its audiences’ lives by killing off the jumping jack forever and turning us all into aerobic dancers. Most importantly, it changed Bruckheimer’s life by becoming a sleeper hit (grossing $100 million in the U.S. alone) and pairing him with an old acquaintance, producer Don Simpson, who would be his partner for the next 14 years.

As one of the most prolific partnerships in recent motion picture history, Bruckheimer and Simpson produced films that were honored with 15 Academy Award^® nominations, two Oscars^® for Best Song, four Grammys, three Golden Globes, two People’s Choice Awards for Best Picture and the MTV award for Best Picture of the Decade.

Equally important to Bruckheimer as a creative force was the fact that the films were turning their stars into box office giants. "Beverly Hills Cop" launched Eddie Murphy’s film career and "Top Gun" made Tom Cruise an international superstar.

Industry acclaim followed box office success. In both 1985 and 1988, the National Association of Theater Owners (NATO) named Bruckheimer Producer of the Year. Along with Simpson, Bruckheimer was named Motion Picture Showman of the Year in 1988 by the Publicists Guild of America.

By 1995 the team was producing one hit after another. In that year alone, Bruckheimer was responsible for "Bad Boys," the Will Smith/Martin Lawrence film that was Columbia Pictures highest grossing movie of the year; Michelle Pfeiffer’s acclaimed "Dangerous Minds;" and "Crimson Tide," the Denzel Washington/Gene Hackman adventure that, with "Dangerous Minds," topped Hollywood Pictures’ box office slate.

In 1996, Bruckheimer produced "The Rock" starring Sean Connery and Nicolas Cage. The film broke new ground and continued to establish Bruckheimer’s tradition of success; with a box office gross of nearly $350 million worldwide; it set the video rental market record as the most-ordered film in history. His casting of the film reestablished Connery as an action star and created that same image for the intellectual Cage. "The Rock," which was named Favorite Movie of the Year by NATO, more significantly was Bruckheimer’s last movie with Simpson, who died tragically during production.

Now on his own, Bruckheimer followed in 1997 with "Con Air," a film that placed Cage in the stratosphere of international action heroes, and grossed over $230 million. It also earned the producer two more Oscar^® nominations and a fifth Grammy and brought him once more to the attention of the international industry, which last year awarded him the ShoWest International Box Office Achievement Award for his unmatched foreign box office grosses. This year he is being honored by the Producers Guild of America with the David O. Selznick Award for Lifetime Achievement in motion pictures.

Those grosses continued in 1998 with the July release of Touchstone Pictures’ "Armageddon," the highest-grossing live action film ever to come from the Walt Disney Studios; starring Bruce Willis, Billy Bob Thornton, Ben Affleck, Liv Tyler and Steve Buscemi. The outer space adventure, directed by Michael Bay, proved to be the biggest movie of 1998, with combined revenues of over $560 million worldwide. (The film’s receipts for its first several days in theaters ranked the picture the third largest grossing opening for a July 4^th holiday weekend ever.) The film’s soundtrack album hit multi-platinum status and spawned a #1 single, "I Don’t Want to Miss a Thing," for rock star Steven Tyler and Aerosmith. The group’s video, which included scenes from the film, debuted on MTV and immediately became the #1 video in America.

With worldwide revenues of over $11 billion in the box office, video and recording receipts, more than any other producer in history, he continues to find and develop the films that will take him into the new millennium.

Also slated for summer release, "Coyote Ugly," a romantic comedy from Touchstone Pictures, is the story of a 21-year-old’s wild adventures in Manhattan while pursuing her dream of becoming a songwriter.

Walt Disney Pictures will release "Remember the Titans" with Denzel Washington in fall of 2000. Inspired by the true story of the integration of a high school football team in Virginia – and the two coaches who first clashed, then led the team to glory.

The company began production in early April on "Pearl Harbor," which Michael Bay will direct. This is their fourth collaboration. Penned by Oscar^r®-nominated Randall Wallace, "Pearl Harbor" is a story of love and heroism on an epic level. It follows the lives of two daring young pilots who grew up like brothers, and the beautiful courageous nurse they both come to love. As the two fliers strive to maintain their friendship while vying for the same woman, they put their lives on the line for the sake of their country.

Scheduled to begin shooting in Australia this summer is the comedy, "Down and Under." This project will mark the second collaboration between Jerry Bruckheimer and "Coyote Ugly" director David McNally. This raucous comedy follows the misadventures of two friends from Brooklyn forced to deliver mob money to Australia. While taking photos with a kangaroo, one of them places his red jacket on it. But when the kangaroo bounces off and they realize the mob money was in the jacket, they’re forced to give chase in the Outback.

Presently development is the action thriller "Take Down." The drama unfolds when a U.S. Marshal, determined to avenge the brutal rape of one of his female partners, learns that the very officials he’s served for years are now harboring his enemy in order to gain access to an even bigger criminal. Start of production is set for late summer.

Also in development is "Affirmative Action," from an original idea by Ben Affleck about a black Louisiana cop and a white FBI undercover agent who reluctantly team up to track down missing police flash money and put away a major drug lord. The film will star Will Smith and Affleck.

Additional projects include "Blackhawk Down" for Touchstone, the gripping recounting of the 1993 Somalian Battle of Mogadishu adapted from the best selling novel by Mark Bowden; "The Veronica Guerin Story," a biography of the heroic Irish journalist gunned down by Dublin crime lords; "Rogue Warrior," the story of a Navy SEAL; "Witness to the Truth," based on the true account of FBI agent Paul Lindsay; "The Tiger Project," based on the work in India of conservationist Belinda Wright; and "Operation Moses," the real story of a New York stockbroker who risked everything on a covert operation to rescue Ethiopian Jews.

What these and the other projects on Jerry Bruckheimer’s slate have in common is what his concepts have always shared – great characters playing out great plots. When the films reach the screen, they will share with each other what his films have always given us – stories told with style and passion, cinematic adventures that engage and hold us until Jerry Bruckheimer himself says it’s a wrap.

Mr. Bruckheimer saved for years to purchase his first car during his freshman year of college; it was a 1957 Plymouth convertible.

MIKE STENSON (Producer) is president of Jerry Bruckheimer Films, for which he supervises all aspects of film and television development and production. Before joining the company, he was an executive in charge of production at Disney, responsible for many Bruckheimer films including "Armageddon," "The Rock," "Crimson Tide" and "Dangerous Minds."

Born and raised in Boston, Stenson graduated from Harvard University with a bachelors degree in economics and a master of business administration. After his undergraduate stint, he became a production assistant in New York and worked for two years in independent film before returning to Boston to complete his graduate education.

After completing business school, Stenson moved to Los Angeles where he began his tenure at Buena Vista working as director of special projects for two years before moving into the production department at Hollywood Pictures as a creative executive. He was promoted to vice president and subsequently executive vice president during his eight years with the company, overseeing development and production for Hollywood Pictures as well as for Touchstone Pictures. In addition to the many Bruckheimer Films, "Instinct," "Six Days, Seven Nights" and "Mr. Holland’s Opus" were developed and nurtured through production and release under his aegis.

Throughout his tenure with Disney, many filmmakers attempted to woo Stenson away from the studio, but not until last year did he entertain leaving. With his newest position at the helm of Jerry Bruckheimer Films, Stenson is spearheading Mr. Bruckheimer’s plan to expand the company’s production schedule of film and television projects.

Stenson is executive producing "Coyote Ugly," a romantic comedy about a young woman’s adventures in Manhattan while pursuing her dream of becoming a songwriter for Touchstone Pictures set for release this August, as well as "Remember the Titans" starring Denzel Washington and Will Patton for Disney. This film, inspired by the true story of the integration of a high school football team in Virginia will be released in fall.

Jerry Bruckheimer Films began production in early April on "Pearl Harbor," directed by Michael Bay and is scheduled to begin shooting the comedy "Down and Under" in Australia this summer. This project will mark the second collaboration between Jerry Bruckheimer and "Coyote Ugly" director David McNally. Presently in development is the action thriller "Take Down." Start of production is set for late summer. Also in development is the comedy "Affirmative Action," form an original idea by Ben Affleck. The film stars Will Smith and Affleck.

Stenson’s first car was a 1982 Honda Prelude.

DENICE HALICKI (Executive Producer) was born and raised in California, into a prominent family. Her great-grandfather built the world’s largest independently owned dairy and her grandfather founded the world-renowned Full Gospel Businessman’s Fellowship International. Today under her father’s guidance as International President FGBMFI represents over 5,000 chapters in over 160 nations. Denice’s mother’s family originated from Norwegian missionaries whose pilgrimage led them to China. Both worlds exposed her to prominent leaders within politics, business and religion.

Denice attended Oral Roberts University. While pursuing an academic life, she acted as the "television ambassador" to the president of the university, hosting such personalities as Bob Hope and Natalie Cole. She also modeled and spent time speaking to youth groups and women’s organizations throughout the country.

In 1983 a mutual friend who knew the couple was destined to be together formally introduced Denice to H.B. "Toby" Halicki. After six years of courtship, they married on May 11, 1989. Soon after the honeymoon, they began filming "Gone in 60 Seconds II," in which they both would star.

On August 20, with tens of thousands of fans and the press watching, Toby was killed while preparing for the most dramatic stunt sequences of the movie. In one tragic moment, Denice was a bride and a young widow in the same summer.

While accepting engagements as a motivational speaker around the world, Denice is also working on the remake of Toby Halicki’s "The Junkman" and "Deadline Auto Theft" as well as writing a book celebrating their life together and her fight to preserve the legacy of the man she loved.

Denice's first car: "I wanted a cool-hip car, and after long debates with my parents, I ended up with a yellow Ford Maverick."

ROBERT STONE & WEBSTER STONE (Executive Producers). As writer-producers of high-octane nonfiction-driven books and films, these are the guys who hit the medium-security penitentiary to meet a few of the notorious car thieves who didn’t get away, then ride shotgun car-boosting on the backstreets of Boston and street-dragging in Carlsbad with the ones who did.

While most in Hollywood content themselves with reading scripts, calling agents, and meeting studio executives, suffice it to say, the Stones try to get out of the office. In developing the concept for their previous film, "The Negotiator," executive producers Web and Rob Stone met a dozen hostage-negotiators on and off situations around the United States and abroad.

A few years ago, they made their way to southern Russia (with black market visas obtained through the Moscow Circus), in order to investigate the largest murder case in the history of the Soviet Union/Russia. The story they wrote became the basis of the HBO political thriller, "Citizen X," which earned the film Emmy and Golden Globe nominations for "Best Picture," and brought the co-producer Stones a CableACE award in the same category.

They’ve been shot at by old-guard Nazis while in the Czech Republic, and trailed by DEA agents (for their own protection) in Medellin, Colombia. They’ve trekked the Crusader route mapped by Lawrence of Arabia in western Syria, and flown on, and off, carrier decks in the southern Atlantic. They were in Jerusalem during the "uprising," and Afghanistan during the war.

Their investigative work has taken them from the White House Situation Room to briefings by special warfare commanders at I.D.F. headquarters in Tel Aviv; from meals of dog and salted insects with Golden Triangle hill tribes, to black tie/"decorations" banquets with O.S.S. operatives; from interviews with Palestinian terrorists in a maximum security facility outside Rome, to Mafia-ridden streets of Sicily under martial law.

They’ve done projects with the only CIA officer ever to defect, and with the FBI’s head of Investigations; with the first Commander of the Navy’s top-secret Seal Team Six, and with N.E.S.T. physicists at Los Alamos and Nevada Test Site; with crypto-zoologists at NASA’s Ames Research Center, and with assassin/

counterterrorists from the Soviet’s elite Alpha Group.

It has been said that the Stones might be well served to spend a little bit more time at the office.

Rob’s first set of wheels as a 1944 Willys Jeep MB – said by war correspondent Ernie Pyle to be "as faithful as a dog, as strong as a mule and as agile as a goat." True enough, but by 1984 she was one old goat.

And Web’s first was a 1973 Triumph TR6, from which he learned that you can jump-start a car going backwards too.

JONATHAN HENSLEIGH (Executive Producer) is widely known as a preeminent writer and producer of big-budget Hollywood action adventure films. In the past five years he has conceived and written (or reconceived and rewritten) a string of hits with domestic and international grosses over two billion dollars. Hensleigh’s "Die Hard with a Vengeance," which he adapted from his own script "Simon Says," was the top grossing film in the world in 1995. Also released in 1995 was the huge family hit "Jumanji," which Hensleigh adapted from Chris Van Allsburg’s award-winning children’s book. In quick succession came "The Rock" and "The Saint," both released in 1996. In 1997 Hensleigh rewrote and executive produced "Con Air." In 1998 Hensleigh again wrote the largest grossing film worldwide, "Armageddon," which he also executive produced.

A former Manhattan-based corporate lawyer and investor, Hensleigh has been writing for the screen since 1990. His first writing credits were on George Lucas’ breakthrough television series "The Young Indiana Jones Chronicles" and the Disney/Amblin feature, "A Far Off Place" (1993).

Hensleigh’s next release will be his original sequel to "Jumanji" now in pre-production at Sony/Columbia.

Hensleigh is currently writing "Jurassic Park III" for producer Steven Spielberg and director Joe Johnston, and preparing an original script with which he will make his feature film directorial debut.

6’3" Hensleigh’s first car was a Morris Minor. On occasion he and his friends would lift the tiny vehicle to fit it into tight parallel parking spaces. The engine compartment is only 500cc and it has no trunk.

CHAD OMAN (Executive Producer) is the president of production for Jerry Bruckheimer Films for which he oversees all aspects of film and television development and production.

Prior to joining Simpson/Bruckheimer in the spring of 1995, Oman was a founding employee of the Motion Picture Corporation of America. After six years, he left the independent production company as senior vice president of production.

His resume includes credits as executive producer on Jerry Bruckheimer Films’ "Enemy of the State," starring Will Smith and Gene Hackman; "Armageddon" starring Bruce Willis and "Con Air" starring Nicolas Cage. He was also the supervising producer on ABC’s drama "Dangerous Minds" starring Annie Potts.

Oman acted as the associate producer on "Dumb and Dumber," starring Jim Carrey, executive producer on Touchstone Pictures’ "The War at Home," starring Emilio Estevez, Kathy Bates and Martin Sheen, co-producer on "The Desperate Trail" with Linda Fiorentino and Sam Elliot and on "The Sketch Artist" with Drew Barrymore and Sean Young. Oman produced "Hands That See" with Courtney Cox and Jeff Fahey and "Love, Cheat and Steal" with John Lithgow and Eric Roberts.

In addition to his work on JBF’s many motion picture projects, Oman was also supervising production on several television projects including the "Soldier of Fortune" series starring Brad Johnson for Rysher Entertainment.

Along with Bruckheimer, Oman is producing "Coyote Ugly," a romantic comedy about a young woman’s adventures in Manhattan while pursuing her dream of becoming a songwriter for Touchstone Pictures set for release this August, as well as "Remember the Titans" starring Denzel Washington and Will Patton for Disney. This film, inspired by the true story of the integration of a high school football team in Virginia will be released in fall.

Jerry Bruckheimer Films began production in early April on "Pearl Harbor," directed by Michael Bay and is scheduled to begin shooting the comedy "down and Under" in Australia this summer. This project will mark the second collaboration between Jerry Bruckheimer and "Coyote Ugly" directed David McNally. Presently in development is the action thriller "Take Down." Start of production is set for late summer. Also in development is the comedy "Affirmative Action," form an original idea by Ben Affleck. The film stars Will Smith and Affleck.

Oman graduated from Southern Methodist University with a degree in finance. He also attended the University of California at Los Angeles where he studied screenwriting and New York University where he participated in the undergraduate film production program. He was born and raised in Wichita Falls, Texas.

Oman’s first car was a 1965 Alfa Romeo GTV – midnight blue, 2-door, hardtop.

"Gone in 60 Seconds" marks BARRY WALDMAN’S (Executive Producer) third project for Jerry Bruckheimer Films. His previous credits include Jerry Bruckheimer’s "Armageddon" and "The Rock." He acted as production manager and associate producer on "Batman & Robin" and was the production manager on "The Craft."

Born and raised in New York City, Waldman moved to Florida to complete his film studies at the University of Miami. Upon graduation, he paid his dues as a production assistant before quickly moving up the ranks to become the assistant director for various independent films and television programs. Waldman realized his ambition as he soon progressed to producing and production managing such popular television shows as "Key West" and MTV’s "Dead at 21," which garnered a Genesis Award and a Cable Ace nomination. Another highlight included producing a documentary shot on location in Nicaragua and Honduras, depicting the war between the Sandanistas and Contras. Waldman decided to make the transition to feature films and relocated to Los Angeles. He produced "Zooman" starring Lou Gossett Jr. for Showtime before beginning his association with Jerry Bruckheimer Films.

Waldman is currently executive producing Bruckheimer’s upcoming World War II saga, "Pearl Harbor," which began lensing in April.

His first car was a 4-door Oldsmobile Cutlass.

PAUL CAMERON (Director of Photography) makes his major motion picture debut with Touchstone Pictures’/Jerry Bruckheimer Films’ "Gone In 60 Seconds." He served as the cinematographer on the independent film "Advice From a Caterpillar," which won Best Feature at the U.S. Comedy Arts Film Festival last year, and on the 1996 Sundance Film Festival entrant "the Last Supper."

Cameron has worked in television, helming the camera department on the pilots "Michael Hayes" for CBS and "Relativity" for ABC. He was also the director of photography on Showtime’s "Parallel Lives" and "Chantilly Lace."

From his days in film school at SUNY in Purchase, Cameron has worked not only on independent and underground films, but has made a name for himself in music videos and commercials. He won an Emmy Award for Best Cinematography for NBC’s national sports campaign for the Olympics as well as a Silver Clio at Cannes for his work on a series of Healthnet spots. He has created memorable videos for such artists as David Bowie, Billy Joel, Janet Jackson and Puff Daddy to name a few.

Cameron Born in Montreal, Canada and raised in and around New York City.

His first car was a 1969 LeMans, not so different from his current car, a 1967 LeMans.

"Gone in 60 Seconds" marks JEFF MANN’S (Production Designer) debut as production designer on a major motion picture. He previously acted as the art director on Dominic Sena’s first feature film, "Kalifornia."

Mann was born in San Diego, California in 1965. As a young man his family and friends encouraged him to develop his artistic talents. Instead, he set out to accumulate a series of varied and off beat experiences that have given him a unique perception of the world. Contacts Mann made in the art and music scene led to working in the art department on music videos which quickly segued into work on television commercials. His natural artistic ability and acquired skills, together with a strong work ethic, helped to catapult him through the ranks. He quickly advanced to assistant art director and by 1995 Mann was busy working as one of the top commercial production designers in the industry.

His resume of commercials includes many award-winning ads for such well known directors as David Kellogg, Michael Bay, Herb Ritts, Antoine Fuqua and Sena, to name a few. Mann’s client roster includes Kodak, American Express, Nike, Chevrolet, Coca-Cola and many more.

In his early teens Mann was given a 1970 VW Bug as a gift, but he considers his true first car the 4-speed 1969 Chevelle SS 396 which he bought when he was 18 years old. Together with his father they rebuilt that car’s engine and kept it running for three years. However, the car was of value only for the sum of its parts and he ended up selling it off piecemeal.

While working on her designs for "Gone in 60 Seconds," MARLENE STEWART (Costume Designer) was also overseeing the vast costuming of Jerry Bruckheimer’s "Coyote Ugly." She also worked for the producer last year on his hit film "Enemy of the State."

Stewart has designed costumes for the upcoming "The Adventures of Rocky and Bullwinkle," "The X-Files," "The Saint," "The Phantom," "To Wong Foo, Thanks for Everything Julie Newmar," "True Lies," "Terminator 2: Judgement Day," "The River Wild," "Falling Down," "J.F.K.," "The Doors," "Truth or Dare" and "Siesta."

Before turning to entertainment, Stewart designed contemporary women’s clothing for her own label, which sold in the United States and abroad. During this time, she met and began an association with singer/songwriter Madonna, collaborating with her to create a look that would inspire an entire generation. She worked on eleven of her videos, including "Vogue," "Express Yourself," "Like A Prayer" and "Material Girl," and on four of her concert tours.

Stewart has also helped to create many of the influential looks that marked the beginning of the fashion and music video movement, designing costumes for live shows by Cher, as well as videos for Smashing Pumpkins, Mick Jagger, Bette Midler, Janet Jackson, Rod Stewart, Debbie Harry and The Eurythmics, among others.

Born in Boston, Stewart graduated from the University of California at Berkeley with a degree in European history. After living in Europe for several years, she returned to New York and attended the Fashion Institute of Technology where she studied design, but soon transferred to the Los Angeles Fashion Institute before starting her own business.

Stewart’s first cars were her boyfriend’s Austin-Healey and 1967 Camaro.

TOM MULDOON (Editor) has worked on numerous commercials, music videos and trailers for television and motion pictures. He made his feature film-editing debut on Jerry Bruckheimer’s "Armageddon."

Beginning as an assistant editor at San Francisco’s Varitel Video in 1980, he advanced to full time editor handling both off-line and on-line editing for Varitel’s television series projects. Two years later the company chose Muldoon to spearhead their first editing facility in the Los Angeles market and became the chief editor on "Woman to Woman," their first series, which later won an Emmy Award. At the same time, music video television was evolving and Muldoon was at the forefront of the industry working on the first MTV series, "The Cutting Edge."

In 1986 Muldoon left Varitel to embark on a freelance career and quickly found work at all the top production facilities in Hollywood. A year later he became post-production supervisor and associate director for CBS’s "Flip," and soon after left for Japan to direct and edit segments for ABC’s prime time variety special "Look of the Year." He also developed and edited ABC’s 1989 and 1990 fall promotional campaigns.

As the music industry grew, Muldoon focused his attention on editing videos for such high profile artists as Michael Jackson, Tom Petty, Harry Connick Jr., Mariah Carey and Jon Bon Jovi.

In 1992 Muldoon and three partners founded their own commercial post-production editorial company, Superior Assembly Editing Company. A major force in the commercial market, the company maintains thriving relationships with DDB Needham Worldwide, Weiden & Kennedy, Ogilvy & Mather and Hal Riney & Partners. They not only edit award winning commercial campaigns for Coca-Cola, Nike, Miller Brewing, Isuzu and many others, but they also handle motion picture trailers and promotions for film and television.

In late 1995 Muldoon, along with John Murray and Scott Carleton, formed Nomad Editing. Since its inception, Nomad has positioned itself as one of the leading creative post-production companies in the highly competitive commercial market.

Muldoon’s first car was a used 1974 Plymouth Duster, silver with plaid seats. He purchased it with the help of his father who wanted to ensure Muldoon would have a means to get to work at the local hydraulic plant.

CHRIS LEBENZON (Editor) most recently edited "Sleepy Hollow" directed by Tim Burton and starring Johnny Depp and Christina Ricci.

Lebenzon earned Academy Award^® nominations for his work on producer Jerry Bruckheimer’s "Crimson Tide" and "Top Gun" for director Tony Scott. He was also part of the editing team on their films "Days of Thunder" and "Beverly Hills Cop II." He was also editor on "Enemy of the State" and co-editor on "Armageddon" and "Con Air." He is currently editing "Pearl Harbor."

Lebenzon’s other credits include Tim Burton’s "Mars Attacks!," "Ed Wood" and "Batman Returns." He was a consulting editor on "Tim Burton’s Nightmare Before Christmas." His other credits include "Midnight Run," "Revenge" (for Tony Scott), "Weeds," "Weird Science," and "Wolfen" to name a few.

Born in Redwood City and raised in Palo Alto, California, Lebenzon graduated from Stanford University before entering the motion picture industry.

His first car was a 1974 red Chevy Nova with black pinstripes – his mother eventually totaled the car.

TREVOR RABIN (Music by) has consolidated a position in the first rank of popular film composers. He wrote the music for the Jerry Bruckheimer blockbuster "Armageddon" and provided an intricate, unnerving electronic score for Bruckheimer’s techno-thriller "Enemy of the State." At the opposite end of the spectrum was a lyrical orchestration for the Michael Keaton family movie "Jack Frost." In 1999, Rabin also wrote a pulsating composition for "Deep Blue Sea." Trevor returned to his roots for "Whispers: An Elephants Tale," drawing on traditional African instrumentation, vocal performances and powerful rhythms to create his atmospheric score.
His first film work was composing additional music for "Fair Game." He contributed the music either in whole or in part for "Eraser" and "The Glimmer Man," and wrote the entire scores for "Con Air" and "Homegrown."
Rabin is part of a new generation of film composers who hail from the world of rock music. As a member of the rock band phenomenon YES for over a decade beginning in 1983, he played guitar and wrote most of the music on the group’s best-selling album 90125 including the number one single "Owner of a Lonely Heart." He also penned the majority of the songs and co-produced YES’s next album, Big Generator. For his solo albums, Rabin wrote or co-wrote all the songs, played every instrument but drums and engineered most of the recordings.
A native of Johannesburg, South Africa, Trevor studied classical piano and trained as a conductor and arranger. His first professional band performed original anti-apartheid songs. He later founded Rabbit, which became the most popular rock band in South African history. After moving to London and co-producing Manfred Mann’s Chance album, Rabin released three albums on Chrysalis Records. He moved to Los Angeles in 1981 and two years later joined YES.
Rabin and his family make their home in Los Angeles.

With a list of more than 140 film and television soundtracks to her credit, KATHY NELSON (Music Supervisor) is one of the most prominent music executives in the recording industry. During her career as both music supervisor and executive album producer, Nelson’s projects have amassed close to 35 million units in sales.
She has worked with such distinguished filmmakers as Don Simpson & Jerry Bruckheimer ("Armageddon," "Con Air," "The Rock," "Dangerous Minds," "Beverly Hills Cop 1 & 2"), Jon Avnet ("Up Close & Personal," "Fried Green Tomatoes"), Jon Turteltaub ("Phenomenon"), Robert Redford ("The Horse Whisperer"), Ron Howard ("Ransom," "Apollo 13"), Ridley Scott ("G.I. Jane," "Thelma & Louise"), Tony Scott ("Enemy of The State," "Days of Thunder," "Beverly Hills Cop 2"), Alan Parker ("Evita," "The Commitments"), Steven Spielberg ("Schindler’s List," "Jurassic Park"), Martin Scorsese ("Bringing Out The Dead," "Kundun," "Casino," "The Color of Money"), Jonathan Demme ("Beloved," "The Silence of the Lambs," "Something Wild"), Garry Marshall ("Runaway Bride," "The Other Sister"), Adrian Lyne ("Indecent Proposal"), Spike Lee ("Summer of Sam," "He Got Game," "Clockers," "Crooklyn"), John Waters ("Hairspray," "Cry Baby," "Serial Mom"), Quentin Tarantino & Lawrence Bender ("Pulp Fiction," "Reservoir Dogs") and television/film producer Michael Mann ("The Insider," "Miami Vice").
As the president of film music for The Walt Disney Motion Pictures Group, Nelson is responsible for all aspects of development and production of feature film music for the studio’s three banners: Disney, Touchstone and Hollywood Pictures.
Nelson most recently served as music supervisor on Touchstone Pictures’/Spyglass Entertainment’s comedy/action/adventure "Shanghai Noon" and Touchstone Pictures’/Spyglass Entertainment’s romantic comedy, "Keeping the Faith." She is currently working on Touchstone Pictures/Jerry Bruckheimer Films release "Coyote Ugly."
Prior to joining Disney, Nelson spent over 10 years at MCA Records where she built the label’s soundtrack division from the ground up and enjoyed success across all genres. As the senior vice president/general manager of MCA Soundtracks, she oversaw the production of many prevalent soundtracks and co-produced the Grammy Award-winning Rhythm, Country and Blues project.

BOB BADAMI (Music Supervisor) has enjoyed a long and distinguished career in Hollywood as a motion picture music supervisor and music editor. His previous films for producer Jerry Bruckheimer include "Enemy of the State," "Armageddon," "Con Air," "The Rock," "Dangerous Minds," "Crimson Tide," "Beverly Hills Cop," "Beverly Hills Cop 2," "Top Gun" and "American Gigolo." In addition, he worked on many films with Tim Burton including "Mars Attacks!," "The Nightmare Before Christmas," "Batman," "Batman Returns," "Edward Scissorhands" and "Beetle Juice." Among his other recent feature film credits are "The Insider," "Bulworth," "Instinct," "Mighty Joe Young," "Grosse Pointe Blank" and "Michael."

Mr. Badami’s nearly innumerable contributions to film music over more than two decades include "James and the Giant Peach," "Grumpier Old Men," "Darkman," "Love Affair," "Sommersby," "Scent of a Woman," "Dick Tracy," "Midnight Run," "Broadcast News," "Pee-wee’s Big Adventure," "Star Trek: The Wrath of Kahn, "Star Trek III," "Thief of Hearts, "Terms of Endearment, "The Outsiders," "Wolfen," "Boulevard Nights" and "Thief."

H.B. "TOBY" HALICKI lived the American dream. At 15 he left his home in Dunkirk, New York and moved to California. He started working pumping gas and within two years owned his own body shop. He enrolled in real estate classes and began investing in commercial properties, which lead to numerous land holdings and a successful junkyard business. An avid collector, Halicki also owned the world’s largest toy and automobile collections.

In 1974, he wrote, produced, directed and starred in his first movie, "Gone in 60 Seconds." He became known as the "Car Crash King" when "Gone in 60 Seconds" became a cult classic. He followed his success in movies with "The Junkman" and "Deadline Auto Theft." In 1989 he began shooting "Gone in 60 Seconds II" in which both he and his new bride, Denice Halicki, would star.

During production, as Halicki prepared to shoot one of the most dramatic stunt sequences of his sequel, the unthinkable occurred. When a 160-foot water tower rigged to fall later in the scene collapsed prematurely, the tower snapped a supporting cable which sheared a nearby power pole. The power pole came crashing to the ground, instantly killing Halicki as crowds of fans, the press and his wife looked on.

Ten years later, Denice is one of the executive producers on the remake of the original cult classic "Gone in 60 Seconds," a tribute to Toby Halicki’s ability to thrill audiences and a celebration of his legacy. Remakes of his other films, "The Junkman" and "Deadline Auto Theft" are currently being planned.

Toby's first car was a 1956 Buick Century. He customized it, painting it "Candy apple red," highlighted by trailing and reversed scallops of yellow and orange, tipped with red.

MIKE MEINARDUS (Special Effects Coordinator) last worked for Jerry Bruckheimer on the hit films "Enemy of the State" directed by Tony Scott and "The Rock" and "Bad Boys," both directed by Michael Bay. He acted as the overall special effects coordinator on "The Rock" and spearheaded the special pyrotechnic unit for "Bad Boys."

His credits as special effects coordinator include last year’s hit "Austin Powers 2," starring Mike Myers, Jan Dabont’s "Twister" (pyrotechnics unit), "Just Cause," Tony Scott’s "True Romance," "Lawnmower Man II," "Hero" and "Ricochet." He has also worked on "The Quick and the Dead," "Speed," "Die Hard II" and "Total Recall" as the second unit coordinator.

Meinardus honed his skills working as a special effects foreman on "Demolition Man," "Ghost," "Lord of the Flies" and "Blind Date."

Born and raised in southern California, Meinardus was always fascinated by illusions, explosions, and the magic of filmmaking. He became interested in special effects when he was a teenager and saw "Damnation Alley."

He apprenticed under such special effects masters as Al DiSarro, Tommy Fisher, and Joe Lombardi. He landed his first job as a coordinator on the picture, "Ricochet."

Meinardus’ first car was a 1959 Volkswagen van on which he spent months working with his father. A week after the van was finally in running condition and looked spotless, Meinardus loaned it to a friend who called him within hours of borrowing the car to give him the bad news that someone had just rear-ended him. The fuel filter broke and in no time the car was in full flame. By the time the fire department arrived, the van had burned to the ground.

Last year, CHUCK PICERNI, JR. (Stunt Coordinator) created the intense action sequences for Jerry Bruckheimer on his box office hit, "Enemy of the State."

He was the stunt coordinator and second unit director on such films as "Idle Hands," "Imposter," "Most Wanted," "Kiss the Girls," "Just Cause," "The Hunt for Red October," "Block Party," "Things to Do in Denver When You’re Dead," "Vital Signs," "They" and "Occhio Pinocchio." He acted in the same stead on the television show "Parker Cane" starring Jeff Fahey.

Picerni acted as the stunt coordinator on the films "The Fan," "Seven" and "Ma Femme Me Quitte." He has also created stunts for such commercial clients as Budweiser, Nissan, Pepsi, BMW, Mercedes, Kodak, AT&T, Nike and many, many others.

Picerni borrowed money from his father to purchase his first car, a 1979 280 ZX.

A third generation transportation coordinator, MICHAEL D. ANTUNEZ’s (Picture Car Coordinator), background includes work as a mechanic in his father and uncle’s auto body repair shop. His grandfather, Frank Antunez, was in charge of transportation for Charlie Chaplin Studios from the mid-1920s through the 1940s, and his father Jimmy was a transportation coordinator for 35 years.

Antunez began his career in the entertainment industry in 1977 and was given his first opportunity to run the transportation department on the set of "CHiPs" in 1978. Antunez has coordinated more than 30 television and motion pictures to date, including "Blue Streak," "Pleasantville," "Volcano," "Crimson Tide," "Dennis the Menace," "Cruel Intentions," "Defending Your Life," "Beverly Hills Cop II" and "Body Heat." He is currently working on "Metal God" for Warner Bros.

"Gone in 60 Seconds" marks Antunez’s first time as sole picture car coordinator on a motion picture. In this capacity he was responsible for securing all of the rare and vintage vehicles used on screen as well as overseeing their care and maintenance.

After repeated requests for a car, Antunez’s father responded to his son by giving him two 1968 Camaros, one them with a demolished front end, the other a complete wreck in the rear. Combining parts from the two, 19-year-old Antunez was able to put together one fine "new" automobile.

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GG/rtj

(5/17/00)

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