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Elite Fan
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another articel I found enjoy! 
Quote:
Colin Hanks
Ana Claudia Talancón
in a film written and directed by
Eric Nicholas
ALONE WITH HER
PRESS NOTES
Press Contact: Sales:
Jessica Grant Arianna Bocco
Jeremy Walker + Associates THE GERSH AGENCY
160 West 71st St. #2A 41 Madison Ave
New York, NY 10023 New York, NY 10010
212-595-6161 212-634-8116
jessica@jeremywalker.com abocco@gershny.com
CAST
DOUG……………………………………………………………………………………..Colin Hanks
AMY………………………………………………………………….…….Ana Claudia Talancón
JEN………………………………………………………………………………………Jordana Spiro
MATT…………………………………………………………………………………Jonathon Trent
FILMMAKERS
Written and Directed by………………………………………………………Eric Nicholas
Produced by…………………………………………………………..………...Tom Engelman
Produced by……………………………………………………………......Robert Engelman
Director of Photography……………………………………………………Nathan Wilson
Production Design by………………………………………….……………………John Mott
Set Design by…………………………………………………….……………..Bryony Foster
Edited by…………………………………………………………………………….Cari Coughlin
Wardrobe…………………………………………………………………..………..Hilary Parkin
Makeup and Hair………………………………………………………….....Cassie Helfand
Sound Mixer………………………………………………………………...Michael Krikorian
Music by…………………………………………………………………………..……David Russo
Music Supervisor…………………………………………………….………Peymon Maskan
Casting by……………………………………………...Jay Scully and Annie McCarthy
ALONE WITH HER
This dark crowd pleaser about a stalker who secretly installs hidden video surveillance equipment in the home of a beautiful young woman so that he can manipulate her into a relationship gives likeable young star Colin Hanks a crack at the thriller genre, a challenge to which he triumphantly rises.
In a role for which he gained about twenty pounds and a creepy possessiveness that will surely stay with audiences long after they’ve left the cineplex, Hanks’ performance is understated and generous, allowing that of his co-star, Ana Claudia Talancón, who occupies just about every frame of the film, to shine through with an unselfconscious naturalism.
Written and directed by Eric Nicholas, the film was ingeniously shot by DP Nathan Wilson in High Definition entirely through the perspective of Hanks’ stalker.
ALONE WITH HER was produced by Tom Engelman and Robert Engelman.
LONG SYNOPSIS
Every minute three people become victims of stalking in the United States.
What concerns us most is that recent technology has created a golden age for predators to track and terrorize.
Hidden video cameras, microphones and other spy equipment can now be purchased for next to nothing and are available through the Internet and retail stores everywhere . . . to anyone.”
-- David Wiseman, U.S. Justice Department official
As ALONE WITH HER opens, our point of view is through a camcorder lens as it is being hidden in a bag. We see the recording date and time in the upper left hand corner – Aug 7, 11:12 AM.
Later, at the beach, the hidden camera, and its anonymous handler, capture various shots of unsuspecting women in bikinis. A little later we see a shot up one woman’s skirt, and watch her as she confronts the person holding the camera bag. “What?” she snarls, though she clearly has no idea how her privacy has been violated.
Later still, at a park, attention is focused on another attractive young woman playing with her dog. At one point she looks over wistfully at a romantic couple. She begins to tear up. The camera captures her emotion and vulnerability. The stalking begins.
Over the next week, the cameraman follows this young woman home and records her movements to and from work, her frequent visits to a coffee shop, on a jogging date with a friend. The stalker, whose perspective is the only one the audience will ever experience is becoming familiar with the subject’s routine.
At an electronics store, the still unseen, compulsively recording stalker, tells a salesman that he and his wife want to check up on their nanny. The salesman provides various surveillance equipment that can be hidden in common household objects. The salesman points out that this is all completely legal.
When the young woman is away from her apartment, the stalker breaks in and goes through her personal belongings, including photos and some impressive artwork. We discover that her name is Amy and we gather she is recovering from a painful break-up. The stalker installs hidden video cameras throughout Amy’s home.
As Amy returns to the apartment it becomes clear that she is now under surveillance 24/7. We see her talking on the phone with her mom and best friend, watching TV, showering, going to bed. As she falls asleep, we see the stalker curling up next to a monitor in his home which features a close-up of Amy sleeping. He is recording himself “with her,” his face so close to hers that he can almost feel her breath.
The stalker has rehearsed a meeting with Amy and intentionally bumps into her at the coffee shop that she frequents, holding the same DVD movie she recently enjoyed. She sees it in his hand and begins a conversation, sharing strangely similar perspectives of the movie. The stalker has concealed a mini spy cam in his shirt, so we are still seeing Amy through his perspective. Amy introduces herself. The stalker, we learn, is named Doug.
One night Amy goes out, parties, comes home and masturbates. The stalker, watching, pleasures himself simultaneously, once again recording himself at his monitor with his face pressed against Amy’s, “climaxing with her.”
Amy sees Doug again at the coffee shop. After another conversation, she is amazed at even more that they have in common, especially a love for an obscure band called “Skinny.”
Back in her apartment, Amy works on a new painting while talking on the phone to her best friend, Jen, about the new guy she’s met and with whom she appears to have so much in common. Her friend tells her to give the guy a chance, but Amy is hesitant, feeling there might be something a little off about Doug.
Later, Amy gets a call from Matt, a smooth and flirty co-worker who asks her out. She accepts, much to the distress of the ever observant Doug.
The next day Doug is back at the coffee shop. When he encounters Amy this time, he asks her out to see their favorite band for a one night only performance. But she turns him down saying she has other plans. When Doug presses, she doesn’t mention her date with Matt, but cites family obligations instead. Stifling his pain, Doug rushes off back to his car, but once inside lets out a roar of rage.
Later, Doug, once again, breaks into Amy’s apartment. Using a syringe, we see him go to her refrigerator and poison a drink. Amy later becomes violently ill and must cancel her plans with Matt.
Outside the coffee shop, Doug claims his car has broken down and is running late for a meeting. He accepts Amy’s offer of a ride. During the ride, Amy discovers they have even more in common, including taste in art. Doug claims to be a photographer on the side, while Amy shares her dream of painting professionally. Doug tells Amy she needs a website to advertise her work and then offers to design it for her.
At home, on the phone with Jen, Amy’s instincts tell her not to pursue Doug, but Jen advises her not to burn any bridges. Amy then has a date with Matt, which appears to go well.
Doug calls Amy and says he has something he wants to show her. He comes by the apartment the next day. This is the first time we get a full view of Doug’s face through the hidden cameras. He shows Amy the website. She is thrilled and appreciative, but Doug refuses to accept payment for the job. Doug says she can repay him with dinner.
They meet at a restaurant but things get awkward when Doug reaches over for Amy’s hand and she pulls away. Later, at home, she tells Jen that Doug’s hand was “sweaty and gross.” Amy says she doesn’t want to hurt him, but plans to slow it down and say she’s busy whenever he calls.
In a parking lot, we see Amy leave her car to get coffee. When she returns, she becomes frantic. Her work laptop has been stolen. Next we see Amy leaving her office building, carrying possessions in a cardboard box. We learn she has been fired for losing the laptop which contained extremely sensitive material.
Matt stops by Amy’s apartment to comfort her. One thing leads to another and they are soon making out. Watching on his home monitor, Doug reacts violently. He phones Amy, but hangs up before she can answer. The interruption gives Amy pause and she stops going further with Matt.
Later, Doug breaks into Amy’s apartment, spreading a skin irritant over her bedding. That night Amy is driven crazy by the reaction and her skin develops unsightly red welts. Consequently, she needs to break another date with Matt.
Frustrated and angry, Amy slams the radio in the bathroom, which has a camera hidden inside it. Doug panics. For a moment, it looks as though Amy will uncover the device as she tries to repair the damaged radio. But at the last second, the radio starts working again and Amy puts it back on the shelf.
Talking to Jen later, Amy explains that her relationship with Matt is over. Jen asks if Amy’s heard from Doug and then suggests she call him to touch base.
Later that day, Amy receives a phone call from the owner of a five star restaurant who has seen her artwork and wants to display some of her pieces in his main dining room. He asks her to thank her “friend” for making it happen.
Amy meets Doug in a park where he explains how he recommended her artwork to the restaurant. Deeply grateful, she asks Doug to come over that night to share a celebratory meal she is planning with Jen. Doug says he needs to take a rain check as he has plans with another woman.
In her apartment, Amy discusses Doug’s new girlfriend with Jen, who seems a bit skeptical. Amy wants Jen to join them for lunch the next day – to be safe, she says, and because she doesn’t want to encourage him.
Later that night, returning to and walking through her darkened apartment, Amy trips on a mysteriously fallen shelf and cuts herself badly on broken glass. Doug “happens” to call as she’s bleeding on the floor. He comes to the rescue, bandages her and takes her to the hospital. They return with Amy on crutches. Doug cleans up the mess and overhears Amy on the phone with Jen, telling her what a sweetheart he has been. Before he leaves, Amy thanks him profusely and kisses him on the cheek.
The next day, Amy tells Jen how amazed she is over everything that Doug has done for her. Jen says that she can’t make lunch because of a business meeting. Amy says it’s fine, she can handle the situation.
Later, Amy greets Doug at the door, excitedly telling him that her paintings have sold, but is not sure who the buyer is. Doug congratulates her. Jen arrives unexpectedly, coming to celebrate the news of the sale. Doug is thrown by the unexpected interruption and struggles to keep it together. Jen quizzes him on his background. When some wine is spilled on his shirt, he freaks out. Doug, who has said he hails from Seattle and has an eye doctor father, is questioned about his hometown. When he retreats to the bathroom, Jen, who is familiar with Seattle, tells Amy she has caught him in a lie. Doug fakes a cell phone call to get out of there.
Doug calls Amy at home later to say he may have misspoken about Seattle, but was thrown off-guard by Jen’s many questions. Amy apologizes for her friend. Later, Jen is still skeptical, but Amy defends Doug, reminding Jen that she was the one who wanted to give Doug a chance in the first place. When Amy exits to take a shower, Jen calls her cousin in Seattle and leaves a message, asking him to call her at home. She wants him to check out a local eye doctor.
Later that night, Rocky, Amy’s dog, is missing from the patio. It’s raining heavily. Amy thinks he may have run off to the park. Since Amy’s on crutches, Jen goes in pursuit. In the park she is confronted by Doug, who strikes her. She falls down a flight of stairs to her death.
In the aftermath, police bring Amy home to her apartment and Doug comes over to comfort her and put her to bed. Amy stays in touch by phone after she goes to stay with her parents for a week. Doug tells her that he’s still looking for Rocky.
A depressed Amy returns home and later shares dinner with Doug. He tells her that he has broken up with his “girlfriend.” Late that night he comes back to the apartment with Rocky, explaining that he has been out looking for the dog every evening. Amy is thrilled and relieved.
After putting Rocky safely on the patio, an overcome Amy throws herself at Doug in thanks, moving him to the bedroom and down on the bed. Doug is unable to perform, however. Amy apologizes for trying to move the relationship to another level. She is convinced that they made a big mistake.
Doug is distraught and pleads with her to understand. He tells her she can’t go back to how things were. He slips up and mentions things he has seen on the hidden cameras. Amy is horrified he knows such intimate information about her. It finally dawns on her that she is being monitored. Amy smashes the clock radio next to the bed and discovers the hidden camera.
She runs for the door but Doug blocks her path. Amy races to the bathroom, locking herself in. She tries to get out a window, but Doug breaks in after her. As they struggle, Doug tries to explain himself. He confesses how he tried to kill himself after a past relationship soured. He tells Amy he needed a way to convince her that “they’re the same.” Amy pulls herself together and cleverly manages to calm Doug down. But when she tries to make another run for it, a fierce battle ensues.
ABOUT THE PRODUCTION
Told entirely through the perspective of hidden surveillance cameras placed and manipulated by a stalker (Colin Hanks), ALONE WITH HER is the harrowing story of a disturbed young man’s attempts to win the affections of an unsuspecting young woman as she becomes the object of his obsession and ceaseless gaze.
For writer/director Eric Nicholas, the idea for ALONE WITH HER originated a couple of years ago when he stumbled across a website selling inexpensive spy equipment to the general public. He went on to discover countless similar sites, as well as retail spy shops across America and Europe. He was stunned to learn that anyone with $100 and a particular impulse could, in theory, secretly watch or listen to anyone else.
“This terrifying potential for invasion of individual privacy drove me to write ALONE WITH HER. As a director, I was set on creating a new kind of movie experience that feels completely real and voyeuristic. To that end, we shot the entire film through the stalker’s hidden cameras, through his eyes. From first frame to last, we the audience, are in the stalker’s shoes, and in a way, complicit in everything he does.”
Since the film is shot entirely through the stalker’s perspective, it was both a narrative necessity and a creative choice to obscure the stalker’s face for the first half of the film, a choice that simultaneously builds suspense and emphasizes the young woman’s vulnerability.
“That’s how the film was written,” Nicholas explains. “I wanted the audience to use their imagination to create their own vision of Doug, the stalker. Given his actions, I like to think the audience might imagine a sinister, creepy looking guy. So when we finally see him clearly, we’re a little surprised: he’s harmless looking, even somewhat nerdy. To me, his ordinariness is even scarier – it creates a duality. He’s the sort of guy you don’t much notice. Doug blends in. He could easily be the person sitting next to you at work or that quiet neighbor you pass on the sidewalk every morning.”
To some, casting Colin Hanks as a deranged stalker might seem somewhat of a stretch, given the actor’s wholesome persona, but Nicholas disagrees.
“Colin was one of the first actors we discussed for the role of Doug and to be honest, I didn’t really see it as casting against type. Physically, he was exactly what I was looking for, and as an actor I think he has amazing range. Consider some of his work: ORANGE COUNTY, “Band of Brothers,” 11:14, KING KONG. He’s really done it all. After Colin read the script, we met for lunch and in minutes I could tell we were on the same page. We shared a vision for Doug and also a real excitement about shooting the entire movie from the stalker’s perspective. It was even Colin’s idea to gain weight for the role. I loved it for Doug’s character. A socially withdrawn guy who spends most of his time in front of the computer would naturally be a little doughy.”
But Hanks also didn’t want to play Doug in a conventional way, to make the character completely evil and unhinged from the start, as might be expected.
“I thought it would be more interesting,” the actor says, “if we see Doug as fragile and nervous at the beginning. Then as the story progresses, we watch him change.”
The director stresses Hanks’ generosity, considering the actor doesn’t truly appear on camera until well into the film, though he is an integral part of the process throughout. For instance, the actor operated the camera during all of Doug’s ‘body cam’ scenes – when talking to Amy in the coffee shop, in the parking lot, at the restaurant.
“I think it was a lot of fun for Colin,” Nicholas says, “and it really helped him get in the moment. What I love about those scenes is the freedom both actors have. Yes, Colin has a camcorder strapped to his chest but both he and Ana quickly learned to ignore it. After that, it was just two people looking right into each other’s eyes, having a conversation. Basically, they were free to move wherever and however they wanted. The resulting performances are exactly what I hoped for – very natural – both actors playing off each other with no interruptions, no cutting.”
The opening “camera bag” scenes, however, were shot by cinematographer Nathan Wilson, camera operator Mike Bratowski and by Nicholas himself.
“I must confess that I shot the opening footage at the beach and boardwalk,” Nicholas says today.
“Needless to say, it was more than a little awkward,” the director admits, hastening to add that everyone who appears in the film is a paid actor.
“This footage was inspired by real-life accounts of video voyeurs doing the same. What freaked me out was how easy it was to completely conceal our camcorder in the bag. No one around us knew what we were doing – with one exception. While shooting the early “up-the-skirt” shot, I got busted by a guy who was ready to kill me until my actress ran over and assured him that she was in on it.”
The voyeuristic realism Nicholas creates in ALONE WITH HER might have proved daunting to any number of actresses, as the often intensely intimate workings of Amy’s everyday life are exposed in virtually every frame of the picture. But as Nicholas tells it, actress Ana Claudia Talancón was more than up for the challenge.
“We found Ana through our casting directors, Jay Scully and Annie McCarthy. By that point, we had auditioned close to a hundred young women and we were starting to get a little nervous. To be honest, at first glance, I didn’t feel Ana was right for the role. I originally wrote Amy as a classic All-American girl-next-door -- blonde hair, blue eyes. But Ana gave such a powerful, unaffected audition; she blew everyone away. I realized immediately that she would bring truth and realism to the role like no other woman. The very next day we offered her the part.”
Ms. Talancón, in fact, sees her character as a sort of Everywoman.
“No matter how you are brought up or where you come from,” she says, “you can identify with this girl and the violation of her privacy. It’s really about trust.”
“What’s great about Ana (who is a popular star in her native Mexico) is that she’s confident in who she is and very in touch with her emotions,” the director continues. “During rehearsals, we discussed boundaries in terms of her nudity, but otherwise she was completely open to exploring whatever intimacy the scene called for. Most of her scenes were scripted, but sometimes only in general terms, which gave her a lot of freedom to try different things. It was a joy working with Ana. Like Colin, she’s a consummate pro.”
The entire movie was shot on location. Amy’s apartment, where much of the film takes place, is actually the interior of producer Robert Engelman’s pool house.
“A lot of credit goes to our production designer, John Mott and our set decorator, Bryony Foster,” Nicholas explains. “I wanted Amy’s space to be as visually interesting as possible and they transformed it into a giant artist’s palette, an apartment bursting with color and individuality – paintings everywhere, photo collages, handmade jewelry. It’s truly a peek into Amy’s soul, reflecting her passion and creativity.”
Although the narrative calls for the cameras in Amy’s apartment to be concealed, in reality the cameras were quite visible to the actors because Nicholas shot those scenes with a high definition camera “the size of a small car,” he jokes, a Sony F-900.
“We decided to shoot in high def,” says the director, “because ultimately we wanted to make a 35mm print for projection and needed as much resolution as possible. However, in order to create the gritty look of surveillance video, we actually degraded the picture quality and de-saturated the color in post-production.”
The hidden cameras in Amy’s apartment were fixed and had no zoom capabilities.
“In order to stress the realism,” Nicholas explains, “I had Ana (and the other actors) constantly move in and out of frame, sometimes bumping the camera, talking out of sight, etc. When Amy is in view, I often purposely composed the shots in an ‘artless’ manner – e.g. with part of her head cut off, or with her standing at the far edge of the frame, etc.
“Another advantage of this method is that it makes the audience constantly aware of the hidden cameras and of Doug’s presence. Often, we share his frustration when Amy moves out of sight because throughout the course of ALONE WITH HER, in our own way, we have become voyeurs. We want to see her too!”
Hanks echoes the director’s thoughts, underscoring the idea that perhaps we are all voyeurs at heart.
“In terms of voyeurism,” the actor says, “I think it’s something everyone is interested in, and I don’t necessarily mean in a perverted sexual way, but given the opportunity to watch someone who doesn’t know they are being watched, I think most people will do that. In fact, it’s called people watching.”
“My inspirations were myriad,” Nicholas concludes, “but the movies that had the biggest influence in making ALONE WITH HER were FATAL ATTRACTION, THE BLAIR WITCH PROJECT, ONE HOUR PHOTO and PSYCHO.”
ABOUT THE CAST
Colin Hanks (Doug) A dynamic young actor, Colin Hanks has crafted a distinguished career in theatre and television and is quickly becoming one of the finest newcomers to hit the big screen.
Hanks was most recently seen in Universal’s KING KONG directed by academy award winner Peter Jackson. Set in the 1930s, the remake focuses on a group of explorers and documentary filmmakers who travel to the mysterious Skull Island to investigate legends of a giant gorilla named Kong. The film costars Naomi Watts and Adrien Brody.
Hanks will soon be seen starring in STANDING STILL, an independent dramedy which tells the story of a group of friends that reconnect for a wedding several years after graduation. In addition, Hanks co-stars opposite Hilary Swank in the drama 11/14. The film tells the seemingly random, yet vitally connected, story of a set of incidents that all converge one evening at 11:14pm.
Hanks additional film credits include the box-office hit, ORANGE COUNTY opposite Jack Black, Miramax’s comedy GET OVER IT with Kirsten Dunst and Ben Foster and WHATEVER IT TAKES.
Hanks’ television credits include a starring role in Steven Spielberg’s 10-part mini-series “Band of Brothers” for HBO as well as a lead role on the WB’s series “Roswell.”
Colin’s theatrical credits include “Noises Off!,” a theatrical production at Loyola Marymount.
Ana Claudia Talancón (Amy) -- Mexican actress Ana Claudia Talancón studied acting in Cancun with the Cuban professor Albio Paz. She later went to Mexico City to continue her studies at the Acting Workshop of Héctor Mendoza and Rául Quintanilla. She has starred in various telenovelas such as "Al Norte del Corazón" (1997), "Señora" (1998), "Romántica Obsesión" (for which she won the Sol de Oro Award in 1999 for "Best New Actress"), "Amor Latino" (2000), and "Valle Todo" (2002).
Her big screen debut was in the movie EL COMETA by Marisa Sistach (1998), playing the character Valentina, for which Talancón received an Ariel nomination for "Best New Actress.” She then went on to star opposite Gael Garc�*a Bernal in EL CRIMEN DEL PADRE AMARO, the highest grossing movie in the history of Mexican cinema. The film was nominated for a 2003 Golden Globe Award as well as an Academy Award for Best Foreign Language Film, and was selected by the National Board of Review as one of the top five foreign films of 2002.
Ana Claudia went on to star in Buena Vista's LADIES NIGHT which was the highest grossing film in Mexico in 2003. She then starred opposite John Leguizamo in the Mark Forster produced feature film SUEÑO. Ana Claudia recently wrapped production on the feature THE VIRGIN OF JUAREZ in which she stars opposite Minnie Driver.
Ana Claudia will also appear in the upcoming FAST FOOD NATION directed by Richard Linklater.
Jordana Spiro (Jen) currently stars as P.J. in TBS’ first original comedy series “My Boys,” which will premiere late November/early December. P.J. is a twenty-something “guy’s girl” (a sports columnist) who tries to find romance within her world dominated by male friends.
Last year she knocked critics and audiences out as the ditzy Sherri in MUST LOVE DOGS. The NY Times Arts and Leisure section devoted an entire piece to her on the film’s opening weekend and Peter Travers of Rolling Stone raved that “not since the young Goldie Hawn has an actress put a funnier, feistier spin on dumb,” advising audiences to keep an eye on her in the future.
Spiro has appeared in numerous TV shows including “Cold Case,” “CSI: New York,” and “Out of Practice,” as well as a starring role next to Annettte O’Toole in the USA series “The Huntress.”
Born and raised in Manhattan, where she studied at the Circle in the Square Theatre School, she left home to study acting at the Royal Academy of Dramatic Arts in London and in Los Angeles with Alfred Molina at the Odyssey Theatre. She currently resides in Los Angeles.
Jonathon Trent (Matt) is one of the hottest up-and-coming actors in Hollywood. His impressive acting range is prominently displayed in leading roles in seven feature films and supporting roles in several others completed this year alone. The varied characters include the drug addicted, hopelessly in love teen in LOVE IS THE DRUG (2005) the homeless drifter in MAKING CHANGE, the misunderstood poet in SMILE (2005) (a feature shot in Mainland China), the flamboyantly gay club kid in BOY CULTURE (2005), the petty thief in WONDER DOGS, the movie idol, psychopath in DELUSION (2004) and a high school sleuth in PRAY FOR MORNING (2005). He has had the honor of sharing the screen with Charles Durning, Leslie Ann Warren, Sean Astin, Beau Bridges, Linda Hamilton, Patrick Bauchau, Cheri Oteri, Ed Begley Jr., Janine Turner and Colin Hanks. TV Audiences have seen him as the star of “The Inside”.
This former high school football captain, a California native, was born to a Finnish father and half Japanese mother and spent his youth excelling at a variety of sports including competitive football, wrestling, track, tennis and surfing.
Mr. Trent currently resides in Los Angeles.
ABOUT THE FILMMAKERS
Eric Nicholas (writer/director) was born in London, Ontario, Canada. After graduating business school, he studied briefly at USC’s School of Cinema-Television. In 1997, Nicholas sold his first original screenplay to producer Pierre David (known for SCANNERS, INTERNAL AFFAIRS.) Later that year, Nicholas moved to Los Angeles to take a stab at professional screenwriting. From 1998-2004, he worked for some of the top producers in Hollywood, including Warner-based Alcon Entertainment and Sony-based Escape Artists, where his script Diary is currently set up with Jennifer Aniston attached to star. In 2004, Nicholas decided to take a shot at writing and directing his first feature – a low-budget thriller that, in a pinch, he could finance himself. However, the script that was to become ALONE WITH HER quickly found backing in producer Tom Engelman (THE LAST SAMURAI) and by summer 2005 production was under way with Colin Hanks and Ana Claudia Talancón starring.
Tom Engelman (producer) graduated from Stanford University, after which Tom began his film career at Twentieth Century Fox Studios as a creative executive. After joining Interscope Communications, he produced THE LAST SAMURAI and PITCH BLACK as well as THEY, THE GRIMM BROS’ SNOW WHITE, TERMINAL VELOCITY, THE TEMP and THE THREE STOOGES (for ABC). Tom has also acted as executive and/or financial representative on numerous Interscope and Radar Pictures productions, including the recent TEXAS CHAINSAW MASSACRE remake.
ALONE WITH HER is Tom’s first independent, equity financed production -- but not his last. Having enjoyed the process so much, Engelman is now launching a development and production company to make lower budgeted, equity financed films.
Tom lives in Santa Monica, California with his wife Robin and two children.
Bob Engelman (producer) made his first film in 1973 at UCLA, a student film that won the Jim Morrison award. Bob went on to apprentice with the late cinematographer John Alonzo on films THE BAD NEWS BEARS, BLACK SUNDAY and CASEY’S SHADOW, to name a few. He then became an assistant director, working on such films as STEEL MAGNOLIAS with Herbert Ross and THE SERPENT AND THE RAINBOW with Wes Craven. He soon became a producer, making such films as THE MASK, MORTAL KOMBAT, ONE NIGHT STAND, BLADE, LITTLE NICKY, MYSTERY MEN and SCOOBY DOO, among others. Following these big budget projects, Bob became interested in making an independent film with his brother Tom. Together they produced ALONE WITH HER. Bob continues to make independent films for Darkhorse Indie. The first in a series, DRIFTWOOD, is slated for release in 2006. In addition, Bob is starting a production company that will be producing genre pictures.
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If I'll ever get to see it, that is. But it sounds really interesting, and since Colin is a really talented actor I'm sure he'll pull it off perfectly 
Thanks for all the info.
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