Blast From The Past is a romantic comedy about the fallout of falling in love. At its center are two children of the Nuclear Age ­ one a savvy, cynical, modern L.A. woman; the other an innocent, naive young man cocooned since 1962 in a bomb shelter. Brendan Fraser is Adam, a man out of time. Alicia Silverstone is Eve, a woman of her times. When these two polar opposites begin to attract, the result is a wondrous chain reaction.

Adam was born in a steel bunker buried in his parent's backyard, an unforeseen product of the "duck-and-cover" era taken to its extreme. The son of brilliant-but-paranoid scientist Calvin Webber (Christopher Walken) and picture-perfect suburban wife Helen (Sissy Spacek), Adam's bizarre upbringing was the result of a major tactical mistake. In the midst of the fearsome Cuban Missile Crisis, the Webbers witnessed a blast they thought must be the Big One, but was actually a plane crashing into their yard. So it was that they ensconced themselves in their elaborately engineered bomb shelter to wait out the half-life of radioactive contamination. For 35 years, Adam was raised on Jackie Gleason re-runs, Perry Como records and dreams about life on the surface. While his father taught him about science, baseball and avoiding Communists, his mother taught him about dancing, manners and charming girls. Meanwhile, he waited and waited for a chance to see the sky.

Eve, on the other hand, grew up in a rapidly changing Los Angeles and emerged as a woman suspicious of intentions, smart about survival and pretty darned uncertain about the possibilities of love. Her life has been a series of dead-end jobs, shallow boyfriends and dashed hopes.

Now, for the first time, Adam is about to leave the safety of the underground for the overwhelming complexity of the '90s ­ and Eve is about to get a whole new perspective on life. When the time-triggered locks on the Webber's shelter at last open, Adam is sent out to replenish supplies and find a nice, non-mutant girl from Pasadena in order to repopulate the world with upstanding citizens.

Adam's hapless search in the brave new world of homeless people, adult book stores and all-night supermarkets leads him smack into Eve. At first, she just can't believe this guy who says "Ma'am," thinks seersucker jackets are stylish, and has never seen color television, is for real. But the more Eve watches Adam approach the world with wide eyes, comic miscomprehension, joyous delight and a deliciously sweet innocence, the more she begins to find herself falling . . . in love?

But the question still remains: can these two find happiness in the real world, or will their sparks send Adam back underground?

ABOUT THE PRODUCTION

In the midst of Cold War hysteria, suburban Americans everywhere went bomb shelter crazy. By 1962, at the height of the Cuban Missile Crisis, major American cities were receiving hundreds of applications for permits to build shelters per week. The reasons were obvious: fear of possible Soviet attack was running rampant, atomic instability seemed imminent and families were eager to survive at any cost. While kids at school were taught to "duck and cover" under their desks, at home some parents were taking more serious precautions, stocking enough supplies to live on for years.

Most of these residential shelters were simple concrete bunkers, unlikely to house even the most eccentric family for more than a few weeks. But some were far more elaborate, with dining halls, swimming pools and au courant furnishings. Perhaps the most elaborate shelter was built under a Virginia resort and intended to house all of Congress in luxury style - constructed by secret contractors in the dead of night.

Luckily, none of these shelters were ever called into use. That is, all but one. For the Webber family of California, the Cold War seemed to turn suddenly hot one night in 1962 when a blast went off outside their shelter. Ever vigilant and verging on paranoid, Calvin Webber figured it was the A-bomb. After all, he'd always known it was going to be dropped, and he was prepared in every possible way - with a shelter featuring a hydroponic garden, personal fish farm, contained air system and elaborate flood drain. How could he have guessed the flash was only a plane crashing into the backyard?

For 35 years, the Webbers hunkered in their bunker, raising their son Adam on early '60s kitsch and Ozzie-and-Harriet values. Now the doors have unlocked and Adam is ready to emerge. Everything is new to him -cars, credit cards, personal computers, nightclubs, shopping malls and most of all the mysteries of women. A total innocent in the world of love - operating entirely from his heart and without any guile - Adam is the perfect foil for a modern romantic comedy. The less he knows about cynical, contemporary dating games, the more irresistible he seems to become. And the more he learns, the more confused he gets.

Directed by Hugh Wilson (The First Wives Club), Blast From The Past is the funny and romantic story of a modern-day Adam and Eve. Like the original Adam, this one is a strangely innocent grown man just entering the world who is tempted by a savvy, sexy woman towards a knowledge of love that is as exciting as it is comically dangerous.

Blast From The Past stars Brendan Fraser, Alicia Silverstone, Christopher Walken, Sissy Spacek, and Dave Foley. Directed by Hugh Wilson, the film is produced by Wilson and Renny Harlin under his Midnight Sun Pictures banner, and executive produced by Amanda Stern, Sunil Perkash, and Claire Rudnick Polstein. Mary Kane serves as co-producer. The film is written by Bill Kelly and Hugh Wilson.

ADAM'S ORIGINS: HUNKERED IN THE BUNKER

Where does one find a total innocent in the hypermedia information age of the '90s? To relate the story of Adam Webber, Blast From The Past first goes back to a time of relatively ignorant bliss: a time of paranoid and vigilant guarding of the polite American lifestyle, a time when everyone thought the world as we know it might end at any moment and was prepared for the worst. For Adam Webber is a true product of the Atomic Age - a boy raised in a bomb shelter.

Adam's story was conceived by screenwriter Bill Kelly, who wondered what a man might be like if he was raised without any of the hyper-modern influences that changed life so radically in the '60s, '70s and '80s. Thus, he came up with the idea of a family literally "sheltered" since 1962. Explains Kelly: "I was fascinated by the idea of someone frozen in time, like the isolated Japanese who didn't know the war was over. With no other influence than the principles of his parents -- no friends, no current events, no MTV -- Adam is raised in a bubble, but not a vacuum."

In fact, Adam is raised to be something that has almost been lost in today's society: a gentleman. Devoid of any input other than his parents, Perry Como and '50s sit-coms, Adam grows up truly believing a man should have manners, speak politely, and seduce with subtle charm and panache. When Hugh Wilson first read Kelly's script, he was drawn to the idea of a perfect '60s gentleman colliding headlong with the manic and cynical '90s dating world. He explains: "Adam is the true definition of a gentleman: someone who endeavors to make the people around him as comfortable and charmed as possible. And that's the most important thing in the world in romance. All the houses and cars and clothes in the world make no difference if you don't have that."

Confronted with this character who is as pure as the driven snow, Wilson was struck by the idea of turning the conventional comedy-of-manners structure on its head. He notes: "This script is a comedy-of-manners that breaks the formula. Normally, the hero is an anti-hero, breaking the rules, getting laughs from being physically offensive, often at the expense of someone polite, sensitive, well-educated. But in this case the hero is the polite and sensitive one, the one who proves himself to be what people secretly want."

While working on the script, Wilson also wanted to strongly convey the atmosphere of Atomic Terror amidst which the Webbers descended into their shelter. "It's hard to remember how deep the paranoia was," he says, "with people talking annihilation all the time. If you lived in or near a big city in the United States, you knew you were a target. That's why Calvin Webber builds the mother of all fallout shelters in his back yard. When the blast comes, Calvin is in hog heaven. He predicted nuclear war, prepared for it, and thinks he saved his family. His underground home works. He actually doesn't mind the isolation; he's got his wife, his son, his books. He thinks, if only they could stay..."

But eventually, Adam must emerge and when he does it is a prime opportunity to reveal the wacky and wondrous reality of today's world through an unjaded pair of eyes. "Adam reacts to everything you and I take for granted," points out Wilson. "He sees it all, he takes it in. The sky blows his mind. The ocean moves him to tears. He sees a dog and it knocks him out. And then, he meets Eve, who is unlike anything he's experienced or imagined."

Adam's deeply romantic view of the world - born of innocent awe -- is what drew producer Renny Harlin to Kelly and Wilson's unusual script. "It was both very romantic and very funny," he says. "But, I also feel it's about something important. It deals with the loss of values, loss of morals, loss of innocence that we've undergone in the last 30-40 years. Since the fifties, the world has changed a lot. In this world, you can't trust anything or anybody. Introducing Adam to our world really juxtaposes these values and beliefs in a very, very funny way."

A BLAST OF A CAST

From the beginning of his association with Blast From The Past, Hugh Wilson knew the whole enterprise would hang on the casting of Adam - requiring an actor who could play a contemporary 35 year-old man possessing a child's awe, a '50s naivete and an underlying sizzling sexuality all at the same time. Brendan Fraser, who had just revealed his innate charms in the hit George of the Jungle, immediately impressed Wilson and Renny Harlin with his ambitious take on the character.

Explains Harlin: "Brendan is a leading man who is not afraid of being goofy or silly or nerdy, and at the same time really letting his masculinity and sensuality shine. He's a sex symbol who also happens to be great with comedy - the perfect combination for Adam."

Fraser fell in love with the script upon his first reading. "It was very funny, a gift waiting to be unwrapped," he says. "I felt that all of Hugh Wilson's talents in playwriting and filmmaking were manifested in this project. It was a comic fable about how being a gentleman can still be noble and it had a very different quality to it from any of my previous endeavors." He was also drawn to Adam who is an utter stranger in our modern times - yet an irresistible reminder of innocence lost. "Adam is the odd man out, thrust into a new and chaotic world," he explains, "and then to top it off, he falls in love."

To capture Adam's ingenuous manner and old-fashioned world-view, Fraser watched endless reruns of such '60s shows as "Dick Van Dyke," "My Three Sons" and "I Love Lucy." "I wanted to immerse myself in the flavor of that period in American history when the ideal of the nuclear family was still solid, when everyone tried to seem earnest," he says.

Adam's earnestness truly comes into play as he pursues his first love, the irascible Eve. "Our relationship would best be defined as playing ping-pong with an explosive ball," he comments. "We go back and forth and are constantly in danger of exploding. But Alicia Silverstone really was a wonderful choice for the role of Eve. She is such a strong and very real '90s woman who won't be seduced by platitudes or fawning or earnestness. And that's the premise of the comedy - that Adam gives her those things - only he's actually sincere about them and she can't quite believe that."

Silverstone saw the character of Eve as typical of many single women in America today. "Eve is an example of a woman who's angry and cynical because she's been hurt so many times. She's built up enough walls that she doesn't want to deal with men, other than to get what she wants from them," says Silverstone. "So when Adam comes along he's like her guardian angel. She's never fallen in love and he's known nothing but love his whole life. He respects her, he treats her with manners, he doesn't play games and he teaches her about being confident with who you are. Adam doesn't have to be anything but who he is to love her."

It was the percolating chemistry and love story between the polar-opposite pair that drew the actress to the script in the first place. "I'm a sappy romantic," she admits, "and this story was so charming and sweet and beautiful, I just wanted to be a part of it. You know, there's a lot of bad relationships in the world and there's a lot of unhappiness and sometimes it's hard to believe in the possibility of true love and people respecting one another and being kind to one another. I think it's a real possibility, only you have to create it and work at it."

For Bill Kelly, Eve's willingness to work at it is what ultimately makes her character courageous. Kelly says, "Eve may be cynical, but she is also brave. She comes to Adam's rescue. But like many young people, Eve has been in a hurry to shed her innocence for the protective cloak of world-weary cynicism. Once Adam gains his footing in this New World, he peels that away and she feels free to be young and hopeful."

Sums up Renny Harlin: "Brendan and Alicia made for a very sexy couple. She is the dream of half the boys in America and the teen role model for most of the girls. Naturally, he can't help but fall in love with her. And even though she begins a bit chilly, she can't help but have her heart melted by him."

With the volatile chemical reaction between Silverstone and Fraser set in motion, the filmmakers were inspired to make some risky choices for the other couple in Blast From The Past: Adam's self-exiled parents. "We could have gone with typical, comical character actors and that's what was expected. But I thought it would be more exciting to have two Academy Award-winning actors in the roles and let them really have fun," Hugh Wilson explains. "Christopher Walken and Sissy Spacek were an absolute scream."

Adds Renny Harlin: "We asked 'who are the wackiest parents you could find, in terms of acting talent who could really make you go "wow" as you spend time in the bomb shelter and watch them get nuttier and nuttier?' Who better than Christopher Walken, who is always playing the psychopath rather than the American family man, and Sissy Spacek who has never done a wild comedy before? The chemistry is perfect!"

On the set, the duo were dubbed "Chrissy and Sissy," an over-the-top parody of Lucy and Ricky, Ozzie and Harriet, Fred and Ethel. Christopher Walken saw his character as a mixture of sincere American father and whacked-out paranoid genius. "He's a pretty interesting man," says Walken. "He's invested everything, and he truly believes in this elaborate and extravagant bomb shelter. The parallel between the shelter and the Garden of Eden is very strong for him. He really loves it in the bomb shelter. For him, it's paradise. He's very happy there for thirty-five years. And he raises his son to be a totally wholesome person. It's a wacky, outrageous story and at the same time it's very sweet and charming."

For Sissy Spacek, the draw of the role was indeed its wackiness, the one area the actress has never really explored before. "I've been funny in some very serious films before, but I've never really made an all-out comedy," she states. She describes Helen Webber as somewhere between Edith Bunker and Lucille Ball. "She's a wonderful wife, very devoted to her husband, and very much a part of the days when we still set our hair, wore girdles, made Velveeta dip and did what our husbands told us to do. But Helen and Calvin adore each other. He still loves her and she still loves him. Any lesser woman would have gone completely mad, but not Helen. She's an odd woman who married a very odd man," says Spacek.

According to Hugh Wilson, "Sissy's performance was very exciting because she is a friend of mine and I always knew she could do comedy, so I'm glad to expose audiences to how hilarious she can be. And every time Chris Walken says a line, he blows jazz. He comes up with rhythms you never dreamed of and it's just tremendous to watch."

Completing the cast is the one well-known comic in the bunch - David Foley, former star of "Kids In The Hall," who portrays Eve's Cupid-like roommate Troy. Says Hugh Wilson: "I've been watching David Foley for a long time and we were very lucky to have him in this role. He's someone who ad-libs constantly, who comes up with all kinds of lines that just adds a whole other layer of comedy to the character."

Foley describes Troy as "Eve's confidante, sounding board and whipping boy." He adds: "Troy's role is basically to help facilitate Eve's warming moods towards Adam. He's a catalyst."

In fact, Blast From The Past is filled with catalytic moments that build to the burst of romance between Adam and Eve - from the first emergence of Calvin Webber into an East LA alley of the '90s, to Helen Webber's insistence that Adam bring back a nice girl from Pasadena, to Troy's addition of Helmut Lang jeans to Adam's wardrobe. The key to it all was a cast not only of individual charm but with the ability to drive and inspire one another. Summarizes Hugh Wilson: "The story is filled with very funny situations and we could have gotten just plain funny people to do this. But instead we got first-rate actors who really know how to play a part and to play off each other. Every single performance was surprising. It was an absolute joy."

BUILDING EDEN UNDERGROUND

How easy is it to construct a mega-luxury bomb shelter? Once upon a time, the world scrambled to erect them overnight. Renny Harlin recalls that nearly every neighborhood in his native Finland had one. Sissy Spacek remembers that her father paced off their backyard measuring out the space needed to build one himself. It seems difficult to believe now, but back in the early '60s many American households considered adding a bomb shelter like just another addition to the home.

In 1961, Life magazine published a cover story entitled How You Can Survive Fallout, with detailed plans for building home bomb shelters. In the face of threatened atomic war, the issue began with a special letter from President Kennedy extolling, "the ability to survive coupled with the will to do so." So it was that Americans stocked cream-cheese and celery, Jell-O, macaroni and Parchesi boards in their radiation-safe bunkers, ready to endure the worst.

Blast From The Past production designer Bob Ziembicki - who previously captured the '70s so vividly in Boogie Nights - found himself on a fascinating quest into the history of the American bomb shelter. Ziembicki hoped to forge a shelter-extraordinaire, filled with comic yet poignantly homey touches. To get a sense of what was possible, and what had actually been attempted, Ziembicki reviewed dozens of magazine articles, all the documentary footage of the era he could find, and a German book entitled Subterranean Places, the only volume he could locate dedicated to underground architecture. He then compiled images of the most ambitious shelters, including a "playboy's shelter" replete with a waterfall and a butler serving cocktails.

With all this fuel for thought, Ziembicki next set out to consider exactly what kind of shelter former Cal Tech professor, genius engineer and all-around nutcase Calvin Webber would build for his wife and future child. Hugh Wilson and Bill Kelly had determined that Calvin would construct an eight-room, underground facsimile of their actual San Fernando Valley tract house so that the family could live exactly as they would have ordinarily - albeit with the slight disruption of having no friends or neighbors.

"Calvin was the kind of person who would go to total extremes in creating his bomb shelter. Most people didn't really take the threat very seriously, or they didn't really understand so they built simple shelters that might work for a few days, but he wanted a place that would have all the comforts of home for three decades. He understood that if it really happened they would be in there for a very long time," explains Ziembicki. "Sure his shelter is excessive, elaborate and huge but it was the obsession of his life, the place that would save his family in his mind. It's a little wacky, but then so is Calvin."

Ziembicki had a great deal of fun designing the shelter and its attendant ultra-'60s furniture and accessories, many of which have become retroactively trendy. "It's just a great era, the early '60s" says Ziembecki, "a sort of liberation era after the staid designs of the '40s and '50s, mixing space-age optimism and vibrant shapes and structures. Of course the Webbers are a little on the conservative side, so we didn't want to go too far out. We went for a very middle-American but still actively Kennedy-era look. We flipped through a lot of old magazine layouts to get the color schemes exactly right, but when it came to finding props and furniture we had enormous choices because there are so many hip Los Angeles second-hand shops devoted to that era."

Part of what drew Ziembicki to Blast From The Past was the chance to design a production that moves from such a stylistically distinct era to our more hybridized modern era. "There were a lot of different design challenges and that was fun, especially collaborating with Hugh on all the designs," he notes. "We start off with super-saturated, slightly exaggerated color and then the designs get darker and darker as we come into modern times." Ziembicki and Wilson used the device of a Malt Shop built in the space where the Webber's house once stood to show the changes that take place on the surface even as the Webbers remain underground.

Over the years, the Malt Shop transforms from teen hangout to disco to punk pit to sleazy, run-down bar - each brave new world designed to the hilt by Ziembicki. "We needed a way to show how life, style, and culture changed dramatically during the years when the Webbers were sheltered," explains Ziembicki. "We also wanted the world to look particularly scary and distasteful to Calvin Webber when he first emerges so that he would continue to believe he had a reason to stay underground. While the bomb shelter was more whimsical, we went for a touch more realism in the modern-day designs."

Distasteful as it is to Calvin, the world is a revelation and a source of wonder to Adam, who latches onto such simple pleasures as the ocean and the wind in his hair. But it isn't easy - Adam enters into a contemporary labyrinth of tremendous over-stimulation and electronic clutter. "Obviously, we needed Eve's house to be the opposite of everything Adam knew of life," says Ziembicki. "It's very modern and high-tech but we also wove in touches of '60s design to show how things come around in cycles. After all, that stuff is very trendy, so some of Eve's things mirror the trappings that Adam grew up with . . . with a twist."

Finally, Ziembicki had one last major challenge: designing the "dream house" that Adam builds for his ever-exiled parents after cashing in his early-issue IBM stocks. "The dream house was meant to be a reflection of their original family home and the bomb shelter done up in a sort of '90s style. Obviously, Adam didn't want to shock his parents with a full immersion into the '90s, but he also wanted them to have the advantages our modern lifestyles afford. So there are little touches of the modern, like a microwave oven where their glass-top stove once stood. We also wanted it to sort of have a 'golden years' aura to it, so everything is kind of tinged in gold. It's a house that celebrates the past and incorporates the future," Ziembicki summarizes.

Ziembicki wasn't the only design artist enlisted to create two clashing worlds. Academy Award-winning special effects makeup artist Matthew Mungle (Bram Stocker's Dracula, Schindler's List) and key makeup artist Ben Nye Jr. designed the Webber's makeup to reflect the effects of underground confinement as well as normal aging. In an elaborate makeup process that eventually took over three hours, Sissy Spacek and Christopher Walken age from their early thirties to their seventies. While Sissy jokes that Helen "must have ran out of lipstick in l968," it was Mungle and Nye's job to keep her ever-looking the picture-perfect American mom while lending a realistic tinge of wear and tear.

For costume designer Mark Bridges, who also contributed to the authentic period look of Boogie Nights, the goal was to forge a wardrobe that could realistically survive 35 years of underground life. "The reality is that the Webbers enter the bomb shelter in 1962 in one set of clothes and throughout the next 35 years they have to wear some version or vestige of those same clothes," he explains.

Like most creative homemakers of her time, Helen knows how to sew, knit and crochet; she uses all those skills to recycle their respective wardrobes. Bridges points out, "A sweater Calvin wears reading Alice in Wonderland to young Adam shows up twenty years later as a sweater-vest, presumably, having worn out the sleeves. A pair of Helen's shorts are later seen on young Adam when he boxes. Her pedal pushers become his long pants. Helen has lovingly crocheted a Converse sneaker design for the shoes of 11-year old Adam's rollerskates. Her gingham shirtwaist dress is separated and shared: young Adam wears the shirt and she the skirt in the scene where he watches his parents romantically dance."

But the piece de resistance is a jacket Helen makes for Adam from her twin bedspread and lovingly presents to him in l995 for his 33rd birthday. "It's a jacket Helen was totally capable of constructing - a simple, unlined single-breasted jacket. She's made buttons from zinc washers covered with string, as we did," Bridges says.

The production was filmed entirely in Los Angeles, using locations in Hollywood, Studio City, Venice Beach, Canoga Park, Westlake Village and Agoura Hills. The restaurant at historic Union Station was transformed by the production into a trendy contemporary dance club with '40s-themed decor and hosted by a Humphrey Bogart look-alike DJ, introducing swing music to a crowd of attractive, well-dressed young Angelenos.

For Hugh Wilson, Los Angeles was the perfect backdrop for this story of old school values-meets-cutting edge culture. "Los Angeles is the place where culture goes to the farthest edge," he notes. "And of course it's also a place where people look at the world with very jaded eyes. There aren't very many people out here who look up in wonder at the sky everyday. Or who appreciate the rain. Or who can get a hip L.A. chic like Eve who's seen it all to react with her heart. But that's Adam. He might be wearing his mother's bedspread for a sport coat but he's full of extraordinary surprises."

ABOUT THE "Blast From The Past" FILMMAKERS

Hugh Wilson (director/producer/co-writer) helmed the l996 box office hit The First Wives Club, starring Goldie Hawn, Diane Keaton and Bette Midler. It was the second of his films to gross over $100,000,000, having directed the low-budget Police Academy, which became a smash comedy franchise. Wilson also directed and wrote Rustler's Rhapsody and directed and co-wrote Guarding Tess. He just wrapped shooting on a live-action comedy based on the cartoon Dudley Do-Right, starring Brendan Fraser.

Hugh Wilson created the television series "WKRP in Cincinnati" and the Emmy-winning "Frank's Place." In l988, he won the Emmy for best comedy writing, and he has twice been awarded the Humanitas Award for television writing. Born and raised in the Miami, Florida neighborhood of Coral Gables, Wilson graduated from the University of Florida. He resides in Central Virginia.

Renny Harlin (producer) His first project solely as a producer was the critically acclaimed Rambling Rose, which garnered Oscar nominations for Best Actress and Best Supporting Actress. In l993, he produced and directed the box office blockbuster Cliffhanger, starring Sylvester Stallone, which earned more than $260,000,000 worldwide, and in l996 he produced and directed The Long Kiss Goodnight. Harlin's other directing credits include Die Hard 2: Die Harder and Nightmare on Elm Street IV: The Dream Master, which at the time of its release was the highest grossing independent film ever made. His next film will be the action-adventure Deep Blue Sea. A native of Finland, Renny Harlin now resides in Los Angeles.

Amanda Stern (executive producer) is President of Production at Renny Harlin's company, Midnight Sun Productions. As an independent producer, together with Sunil Perkash, she developed the original script of Blast From The Past, which she brought with her when she joined Harlin in l994 and then helped set up at New Line. Stern has served as a creative executive at Touchstone and VP of production at Hollywood Pictures. Earlier, she was in development at Jaffe-Lansing Productions.

Sunil Perkash (executive producer) is a 28 year old graduate of Stanford University where he majored in Economics and Communication, makes his filmmaking debut with this property. He has five projects at various stages of development, including Bill Kelly's Enchanted with producers Barry Josephson and Barry Sonenfeld at Touchstone.

Mary Kane (co-producer) has served in the multiple capacities of co-producer, line producer and UPM on such films as Edwards and Hunt, Sunset Park, Speechless, Rambling Rose, Mr. and Mrs. Bridge, Slave of New York and Call Me. Kane has been producer of Abel Ferrara's The Funeral, Dangerous Game, Bad Lieutenant, and King of New York, since their first association in l987 on China Girl.

Bill Kelly (co-screenwriter) whose first produced screenplay is Blast From The Past, was born and raised in the Chicago suburb of Elk Grove Village. Kelly is currently completing a new screenplay called Enchanted for executive producer Sunil Perkash and Touchstone.

Jose Luis Alcaine (Director of Photography) has been sought by director Hugh Wilson since their first collaboration on Rustler's Rhapsody, filmed on location in Spain. His prolific body of work includes Pedro Almodovar's Tie Me Up! Tie Me Down! and Women on the Verge of a Nervous Breakdown, Vicente Araude's Turkish Passion and Amantes, Fernando Tureba's Belle Epoque and The Mad Monkey, Fabio Carpi's Barbablu Barbablu, Victor Erice's The South, and Alberto Laltuada's Cosi' Come Sei with Marcello Mastroianni.

Bob Ziembicki (production designer) garnered much acclaim for his stylistic contribution to the critically-praised Boogie Nights, written and directed by Paul Thomas Anderson. His work was also recently seen in Wes Craven's box office hit Scream II. Ziembicki has served as production designer on films such as Jim Jarmusch's Deadman, Neal Jimenez' The Waterdance; Eat A Bowl of Tea, directed by Wayne Wang; Dragon: The Bruce Lee Story and Barbet Schroeder's Barfly. A film major graduate of the University of Illinois at Chicago, Ziembicki first came to Hollywood as a regional winner of the Student Academy Awards. He also designed Dudley Do-Right for Hugh Wilson.

Mark Bridges' (costume designer) Prior to his work in the '70s-period Boogie Nights, his feature film credits included Hard Eight. As assistant costume designer, he has worked on such films as Nixon, Natural Born Killers, Dave, Hero, Doc Hollywood and The Grifters. Bridges also worked on three Coen brothers films: The Hudsucker Proxy, Barton Fink and Miller's Crossing. For television, he designed the costumes for HBO's "Dream On." Bridges' extensive background in stage includes assisting Gianni Versace in the LA Scala production of "Salome." He received his MFA in Design at New York University's Tisch School of the Arts.

Adam Shankman (choreographer) is another alumni of the highly-praised Boogie Nights. His feature credits include Meet the Deedles, George of the Jungle, Mrs. Winterbourne, A Life Less Ordinary, Scream II, Anastasia, Casper, Don Juan DeMarco, Addams Family Values, Congo, Miami Rhapsody, Hearts and Souls, and The Flintstones, for which he was nominated for a Bob Fosse Award. He is currently working on Inspector Gadget, Isn't She Great, and The Out-of-Towners.

Shankman has also lent his talents to television, commercials and music videos. Among the shows and artists he has worked with are "Caroline in the City," "Friends" and "Ellen," Whitney Houston, the B-52's, Johnny Gill, Stevie Wonder and Barry White. He won the Bob Fosse Award for his choreography of the "SAP- Office America" software commercial. On stage, Shankman has choreographed "Patti Lupone On Broadway," Jason Alexander's "Promises, Promises," "Commitment to Life-VII, VII & IX", as well as the l995 Barry White Tour, which earned him Performance Magazine's Best Stage Concept Award. He has won two Drama-Logue Awards for Choregraphy: "Tight Quarters" at the Tiffany and an LA production of "West Side Story."

Matthew Mungle (special effects makeup artist) an Oscar-winner, working with Ben Nye Jr. (key makeup artist), designed the special aging makeup for Calvin and Helen as they traverse the years from 1962-1997. Among Mungle's honors are a l992 Academy Award and a l993 BAFTA nomination for Bram Stoker's Dracula, an Academy Award and BAFTA nomination in l993 for Schindler's List, a l996 Academy Award nomination for Ghosts of Mississippi and an Emmy Award for Citizen Cohn in l993. He was also nominated for an Emmy in l995 for "The Elizabeth Taylor Story," in l996 for "The Late Shift," and in l997 for "MIss Ever's Boys." Mungle has completed creating the Fagin character on Richard Dreyfuss for Oliver Twist and special makeup for Meryl Streep in One True Thing.

Don Brochu (editor) has feature film credits including The Fugitive, Volcano, Chain Reaction, Steal Big, Steal Little; Under Seige, Alien Nation, Mystic Pizza and Born in East L.A.