PATTY HEARST

ATLANTIC ENTERTAINMENT GROUP AND ZENITH

PRESENT

A MARVIN WORTH PRODUCTION

A FILM BY PAUL SCHRADER

PATTY HEARST

NATASHA RICHARDSON

WILLIAM FORSYTHE

VING RHAMES

FRANCES FISHER

JODI LONG

OLIVIA BARASH    DANA DELANY      MAREK JOHNSON

KITTY SWINK        PETE KOWANKO   TOM O’ROURKE

CASTING  PAMELA RACK

ORIGINAL MUSIC COMPOSED BY SCOTT JOHNSON

AND PRODUCED BY EUPHORBIA PRODUCTIONS

COSTUME DESIGNER RICHARD HORNUNG

ASSOCIATE PRODUCER LINDA REISMAN

EDITOR MICHAEL R. MILLER

PRODUCTION DESIGNER JANE MUSKY

DIRECTOR OF PHOTOGRAPHY BOJAN BAZELLI

LINE PRODUCER JAMES D. BRUBAKER

EXECUTIVE PRODUCERS THOMAS COLEMAN AND MICHAEL ROSENBLATT

BASED ON THE BOOK EVERY SECRET THING BY PATRICIA CAMPBELL HEARST

WITH ALVIN MOSCOW

SCREENPLAY BY NICHOLAS KAZAN

PRODUCED BY MARVIN WORTH

DIRECTED BY PAUL SCHRADER

MPAA Rating: Running Time: 108 minutes

INTERNATIONAL  NC

Cast

Patricia Hearst NATASHA RICHARDSON

Teko WILLIAM FORSYTHE

Cinque VING RHAMES

Yolanda FRANCES FISHER

Wendy Yashimura JODI LONG

Fahizah OLIVIA BARASH

Gelina DANA DELANY

Zoya MAREK JOHNSON

Gabi KITTY SWINK

Cujo PETE KOWANKO

Jim Browning (Kilgore) TOM O’ROURKE

Steven Weed SCOTT KRAFT

Neighbor JEFF IMADA

Randolph A. Hearst ERMAL WILLIAMSON

Catherine Hearst ELAINE REVARD

Charles Gould MARC SIEGLER

TV Announcer TONI ATTELL

Tall Muslim HAWTHORNE JAMES

Short Muslim REGGIE BRUCE

Woman STEPHANNIE HOWARD

Girl #1 SABA SHAWEL

Girl #2 LEILANI FIELDS

Girl #3 MAYAN MCCOY

Hippie CAREY FOX

Young Father STEVEN AVALOS

High School Student JAMES LAWRENCE GARFIELD

Newscasters CHRISTINE LUND JAMES KEVIN WARD

1st Male ERICH ANDERSON

2nd Male JAMES BERSHAD

3rd Male BRADFORD BANCROFT

1st Female VALERIE C. ROBINSON

2nd Female MARTA KOBER

FBI Man #1 MOSS PORTER

FBI Man #2 RON BOYD

Policeman JOHN PETIEVICH

Photographer STEVEN REISCH

Booking Officer JEANNE McGUIRE

Arresting Officer #1 JUDSON MATTHEW DAVIS

Arresting Officer #2 MICHAEL DEREK RUBIN

F. Lee Bailey GERALD GORDON

Al Johnson JOHN ACHORN

Assistant D.A JEFF ALLIN

Doctor ROBERT DICKMAN

Psychiatrist #1 JACK SLATER

Psychiatrist #2 BYRON CLARK

Psychiatrist #3 NORA MURBAUN

Psychiatrist #4 MURRAY LEAWARD

Psychiatrist #5 STEVEN ANDERSON

Judge Carter MAURICE HILL

Court Clerk BILL FEENEY

Juror Wentz ANNE MARIE GILLIS

Juror Wright THOMAS WAGNER

Construction Worker JOSEPH HART

Student DOMINIC HOFFMAN

Stunt Coordinators GREG WALKER

ROCK WALKER

Stunts TOM COZZA

JEANNIE EPPER

JAMES M. HALTY

CLIFFORD HAMILTON

ED HAMILTON

BILL McINTOSH

BETH NUFER

GRADY WALKER

Credits

Directed By PAUL SCHRADER

Produced By MARVIN WORTH

Screenplay By NICHOLAS KAZAN

Based on the Book Every Secret Thing by PATRICIA CAMPBELL HEARST

WITH ALVIN MOSCOW

Executive Producers THOMAS COLEMAN

MICHAEL ROSENBLATT

Line Producer JAMES D. BRUBAKER

Director of Photography BOJAN BAZELLI

Production Designer JANE MUSKY

Editor MICHAEL R. MILLER

Associate Producer LINDA REISMAN

Costume Designer RICHARD HORNUNG

Original Music Composed by SCOTT JOHNSON

and Produced by EUPHORBIA PRODUCTIONS

Casting PAMELA RACK

Unit Production Managers MARK ALLAN

GORDON WOLF

First Assistant Director STEPHEN DUNN

Second Assistant Director CAROL D. BONNEFIL

First Assistant Camera MARCO MAZZEI

Second Assistant Camera LANE RUSSELL

Second Camera Operators BRYAN DUGGAN

KENNETH A. JONES

Second Camera Assistants NATHANIEL JAY GOODMAN

CLIVE SACKE

DAVID SCHMIER

STEVE VERNON

CHRIS MAGEE, JR.

Steadicam Operator BRUCE ALAN GREENE

Steadicam Assistant CRIS LOMBARDI

Script Supervisors ALESSANDRA MAZZOLA

CONNIE BARZAGHI

Still Photographer MARSHA BLACKBURN

Sound Mixer ED WHITE

Boom Operators KEN PAWLAK

MATTHEW JOHN McFADDEN

Chief Lighting Technician TONY NAKONECHNYJ

Best Boy Electrician STEPHEN SHARP

Electricians THOMAS COONEY

DAVID SALAMONE

Key Grip STEVE WELCH

Best Boy/Grip MICHAEL “SPIKE” RYAN

Grips MICHAEL BLUNDELL

STEVE GLYNN

DAVID RAKOCZY

Art Director HAROLD THRASHER

Assistant Art Director GARY WISSNER

Art Department Coordinator GERALDINE THRASHER

Set Decorator JERIE KAELTER

Lead Man ROBERT J. LUCAS

Set Swing JOHN.BANKSON

Swing RICHARD FRISCH

MICHAEL MILLER

Illustrator JANET KUSNICK

Scenic Artists DAN DORFER

ROBERT KRACIK

Modelmaker/Swing PATRICIA ANN KLAWONN

Set Dressers FLINT ESQUERPA

GREG HANSEN

GREGORY ZEMGALS

Construction Coordinator BENJAMIN THOMPSON

Costume Supervisor DANA FOX

Assistant Costume Spervisor ELLEN RYBA

Wardrobe Assistant LISA CACAVAS

Seamstress MARTHA ADAMS

Property Master DOUGLAS FOX

Assistant Property Master DOUGLAS DuROSE

Hair Stylist CYDNEY CORNELL

Make-up Stylist KATHRINE JAMES-COSBURN

Make-up Assistants JULIANNE WELCH

KERRY MENDENHALL

Production Coordinator DIANA PHILLIPS

Assistant Production Coordinator JENNIFER KAITZ

Production Auditors CYNTHIA WISE

SHELDON H. KATZ

Assistant Production Auditors LYNN C. MARCHIONNO

SHANNON KANE

Unit Publicist SAUL KAHAN

Publicity PEGGY SIEGAL COMPANY

Transportation Coordinator EDWARD D. ARTER

Transportation Captain ROBERT D. FISH

Drivers MIKE BROOMER

JOHN BRUBAKER

GARRETT BRUNBY

RONALD B. DINSON

ANDREW MENDEZ

ANTHONY ZAHN, JR.

RAYMOND SHANNON

Assistant Editors MICHAEL BERENBAUN

JIMMY KWEI

Apprentice Editors AMY BRIAMONTE

CURTIS CROENI

Supervising Sound Editor MICHAEL KIRCHBERGER

Music Editor ALEX STEYERMARK

ADR Editor DEBORAH WALLACH

Sound Editors BARBARA MINOR

IRA SPIEGEL

Assistant Sound Editors DAN KORINTUS

HOWARD GINDOFF

LIZ SCHWARTZ

Assistant ADR Editor MARYELLEN NORTON

Apprentice Sound Editor MATTHEW HANDEL

Effects Recordist ANDY AARON

Foley Artist MARCO COSTANZA

Re-recording Mixer MEL ZELNICKER

Negative Cutter BOB HART

Effects Technician EMMET KANE

Image Coordinator ROBIN D’AREY

Pyrotechnician GEORGE ZAMORA

Assistant to Mr. Worth DEBRA MENDEL

Assistant to Mr. Brubaker TINA ARTER

Assistant to Mr. Schrader ARTHUR GLACKIN

Production Assistants NICOLE LOU

MICHAEL BEZJIAN

MICHAEL RISOLI

JEAN-CLAUDE BONNARDORT

STEVE REICH

Technical Advisors STUART GANONG

CLIFTON L. TAYLOR

Assistant to Technical Advisors DAVID FOSTER

Casting Assistant TORY HERALD

Extra Casting STAR CASTING

Teacher/Social Worker ELIZABETH H. THTJMAN

Craft Service ROBERT BIRNBERG

MICHELLE COSTELLO

Set Medic MARK MILLER

L.A.P.D. Coordinator ARNO MOYENES

Video Playback VAN SCARBORO

San Francisco Unit

Director of Photography STUART BARBEE

Camera Operator TERRY MORRISON

Camera Assistants DOUG HUNT

JOHN MALVINO

GARY MORRISON

Sound Mixer STEVE POWELL

Boom Operator STEPHEN BALLIET

Gaffer ROBERT POWELL

Electricians BILL DREYFUS

CRAIG VANDE MOORTEL

REUBEN GOLDBERG

Key Grip GARY BRICKELY

Grips DAVID CHILDERS

CLARK GARLAND

CHRIS KELLY

Cable GEORGE REINHARDT

Script Supervisor KASUMA JACOBSEN

Still Photographer JANET SILVA

Costume Designer MARIANNE DE FINO

Wardrobe Supervisors KATHLEEN EDWARDS

ODESSA McDUFFY

Set Decorator BARBARA MUNCH

Construction Coordinator DWIGHT WILLIAMS

Set Painter TERESA WILLIAMS

Hair Stylist KATHY CHILDERS

Make-up Stylist DEBRA COLEMAN

Property Master GEORGE MAURICO

Property Assistant GARY HEIDER

Production Secretary JOAN WELLIAN

Production Assistants NICHOLAS ERDEI

JOHN FORDHAM

JOHN PAUL KIMMEL

DOUGLAS MORTON

EILEEN TURNER

Technical Advisor LES MILNE

Extra Casting CALIFORNIA CASTING

Transportation Captain DAVID PAPPAS

Drivers JOHN HATTAN

JOHN MELENDEZ

ED RAMOS

ALEX SOLA

Craft Service JAMES WILHELM

EUGENE TEXIERA

First Aid JOSIE CORNELL

Original Music Produced by KURT MUNKACSI

Original Music Executive Produced by RORY JOHNSTON

Egineering and Synthesizer Programming MILES GREEN

Conductor MICHAELRIESMAN

Assistant Engineer BLAISE DUPUY

Additional Synthesizers PETER PHILIPS

Original Music Recorded at The Living Room, NYC

Original Soundtrack Album on NONESUCH RECORDS

“WAY BACK HOME”

Performed by The Crusaders

Written by Wilton Felder

Published by Four Knights Music

Courtesy of MCA Records

“THE FLIP WILSON SHOW”

Courtesy of Clerow/Bob Henry Productions

SLA SHOOTOUT FOOTAGE

Courtesy of Sherman Grinberg Film Libraries, Inc.

NBC News Video Archives

Worldvision Enterprises, Inc.

PEOPLE IN NEED FOOTAGE

Courtesy of KRON—TV, San Francisco

Post Production Facilities SOUND ONE CORPORATION

Camera Equipment Provided By OTTO NEMENZ INTERNATIONAL

Titles and Opticals By CINEMA RESEARCH CORP.

Color Timer REID BURNS

Color By deluxe CR)

Special Thanks To Eddie Powell

PRELIMINARY PRESS KIT FOR CANNES FILM FESTIVAL ONLY

“PATTY HEARST”

—Production Information—

“Despite the massive media coverage, people still don’t know

what actually happened. Enough time has passed that there’s now

an emotional distance from the issues that allows the story to be told.”

The speaker is Patricia Campbell Hearst, the Californianewspaper heiress who, at the age of 19, was kidnapped in 1974 by radical terrorists, transformed into an urban guerilla, captured by the FBI, and put on trial.

The story is Hearst’s own as uniquely crafted by director Paul Schrader in the motion picture “PATTY HEARST,” starring Natasha Richardson who makes her American motion picture debut in the title role. The film was made with Hearst’s cooperation and is based on her book, Every Secret Thing.

All the events depicted in the film, an intimate psychological portrait of a young woman under extraordinary pressure,   are seen from Hearst’s point—of-view.

Atlantic Entertainment Group and Zenith present a Marvin Worth production of a film by Paul Schrader, “PATTY HEARST,” starring Natasha Richardson. William Forsythe, Ving Rhames, Frances Fisher and Jodi Long co—star. The screenplay is by Nicholas Kazan based on the book Every Secret Thing by Patricia Campbell Hearst with Alvin Moscow, published by Doubleday in 1982. Bojan Bazelli is the director of photography. Produced by Marvin Worth and directed by Paul Schrader, “PATTY HEARST” is scheduled for release in the United States by Atlantic Releasing in August.

About the production...

Patty Hearst was caught between two violent forces: her captors -- the Symbionese Liberation Army (SLA), a self-styledurban guerilla group —— and the FBI, who were gunning for her in what Newsweek described as “one of the most mammoth manhunts ever.”

Although her case was also dubbed “the media event of its decade,” “PATTY HEARST” is not a headline-laced docudrama.

“It’s a personal story,” says Hearst, “and I hope it will give people the feeling of what happened and how they might react in the same situation. I want people to understand what I experienced.”

The film, which opens with Patty’s kidnapping and concludes with her Presidential pardon, deals with, as director Paul Schrader says, “the event and the aftermath. Patty had to fight both the terrorists and the political-media establishment.”

Schrader goes on to call the film “a real journey, an emotional roller coaster. It’s the story of how a person survives, a tribute to the resiliency of the individual.”

As to the nagging and fascinating question of Patty Hearst’s “brainwashing,” Schrader says “there is no simple answer to that one. It takes the whole film to state our point of view, and the film must speak for itself.”

As in Schrader’s screenplay for “Taxi Driver,” the events in “PATTY HEARST” are refracted through the feelings and visions of the main character; we are viewing the events from Hearst’s perspective -- one which shifts dramatically as the story develops.

Schrader designed “PATTY HEARST” as a film in three acts, to reflect the three markedly different perspectives of the title character. The first phase of her nightmarish experience is depicted in surreal photography and set design that puts the story right inside her head, in what director Paul Schrader calls “psychological space.” “The environment keeps changing as her sense of where she is and what’s happening changes,” he adds.

The visual style of the movie progresses from the first act --the hallucinatory stylization of the blindfolded section-- to the second act’s realistic world of guerilla activity into which she emerges and moves on to the stark, color—drained courtroom and jail scenes depicting Patty’s trial and imprisonment.

Schrader and director of photography Bojan Bazelli worked to create the visual feeling of someone trapped in a closet and translate the mood to the audience. Explains Bazelli: “the camera’s point of view had to be very subjective to capture the composition, the lighting, and the dull, cool, saturated colors necessary to give the audience the visualization of Patty’s situation from her perspective.”

Producer Marvin Worth acquired the rights to Patricia Campbell Hearst’s book Every Secret Thing in 1984 and secured her cooperation in the filming of her story.

Worth describes it as “a story of survival, about a person who, without warning, became a prisoner of war —— an experience that’s horrendous to deal with and hard to even comprehend.”

The producer terms the infamous events of the case as “an anachronistic hangover from the conflict and turmoil of theSixties” and “a study of white, middle-class guilt. This woman’s experience reflects the state of America at the time.”

Worth commissioned Nicholas Kazan to develop the screenplay, which was brought to Schrader.

“What attracted me to the project was the opportunity to get into a state of mind,” says Schrader, “‘PATTY HEARST’ is an internal perception of events. In effect, we placed the camera behind her forehead. You see everything through this strange subjective tunnel of first-hand experience, her changing perceptions of this nightmarish drama. Everything you see in this picture are her visions and her feelings.”

After reading and approving Nicholas Kazan’s script, Hearst sent director Schrader twelve pages of notes, which he called “very helpful observations and suggestions on the balance of making the drama mesh with history. Her notes were articulate and detailed, and the majority of them were either used or influenced what was used in the film. They were very objective remarks, with very little special pleading.”

With script in hand, Schrader set about the difficult task of finding the right actress to portray the sought-after titlerole. Says Schrader, “I needed ‘a piano mover’ —— an actress who could strap the film to her shoulders and walk with it.”

He saw Natasha Richardson in Ken Russell’s “Gothic” and, to test her for “PATTY HEARST,” he flew to London where the versatile actress was starring in the stage version of the MGM musical film “High Society.” “Roles like this come along once in a blue moon,” says Richardson of her American film debut. “The part has extraordinary emotional range, big, emotional gear changes —— from total, childlike submission to a strong woman struggling for her life and identity in a completely bizarre and terrifying situation.

“It’s almost a suspense thriller, and I think it will keep people on the edge of their seats.”

In her research, Richardson, daughter of Vanessa Redgrave and director Tony Richardson, found that “many people have opinions about Patty Hearst without knowing the whole picture.

I think the film will change a lot of people’s minds when they see how and why she reacted the way she did.”

To prepare for the demanding role, Richardson steeped herself in written and video material about the famous case of 1974-1979, as did director Schrader and all the principal actors.

Under Schrader’s supervision, Richardson and the cast members playing her SLA captors roomed for several days in a San Francisco apartment under living conditions similar to the ones in the flat where Patty Hearst was held captive.

Richardson also talked with a friend who had been kidnapped for three days and, with Schrader, visited key San Francisco locations where the actual events took place.

Prior to the start of filming, Richardson met Hearst in a meeting arranged by producer Marvin Worth.

“She was very helpful,” recalls the actress. “She didn’t tell me how to play it, but I identify with how she felt. It was tentative and awkward at first, because I didn’t know when she was talking about Patty then, or Patty now or the role I was about to play.”

Adopting an American accent was no problem for an actress of  Richardson’s training and talent.

She studied with a voice coach to make the shift from the Eastern upper class dialect of Tracy Lord in “High Society” to the West Coast upper class dialect of Patricia Campbell Hearst, adding Patty’s particular speech patterns learned from tapes and talking to her in person.

While researching the role, Richardson developed her own thoughts about Hearst’s actions as a prisoner of the SLA. “I don’t think escape entered her mind,” says Richardson. “She was trapped between two worlds. The outside world became just as much of a deadly threat as her captors. Her situation was unique and terrifying.”

“There are no neat labels for what happened to her, but once you understand the experience of the first six weeks, you can understand what followed.”

 About the locations...

Principal photography took place in the Fall of 1987 with locations in Los Angeles and San Francisco. Interiors at Culver Studios included Jane Musky’s surrealistic sets of the Daly City apartment, featuring expressionistic colors and forced perspectives that evoke Patty’s mental state after her closet imprisonment.

The street shooting at Mel’s Sporting Goods Store was filmed at a sports shop in San Pedro, and the apartment of Steven Weed (Patty’s fiancé), where she was kidnapped, was shot in Santa Monica.

The motel where Patty, Teko and Yolanda watched the live newscast showing the FBI’s incineration of their hideout was in Anaheim, opposite Disneyland, as per the actual incident.

In San Francisco, the scene of Hearst on the campus of the University of California at Berkeley was shot on the school’s grounds, near Sather Gate. The filmmakers used the real Daly City apartment exterior where Patty was held captive. A Bank of America at 38th and Balboa doubled for the branch of the Hibernia Bank which was robbed by the SLA, including a gun-wielding, bewigged “Tania” (Patty). It was during this holdup that Patty Hearst was pictured for the world to see on the bank’s security video system.  (Actually a system that used 35 MM film shot at three frames per second, giving a total running time of around four minutes. There was no "video system" in the form of a video camera, video recorder and videotapes like we have today)

About the cast...

NATASHA RICHARDSON (Patty Hearst) made her movie debut in Ken Russell’s “Gothic” as Mary Wolistonecraft Shelley, the author of Frankenstein. In the film version of the modern novel “A Month in the Country,” she portrayed the repressed Mrs. Keach.

In the lavishly staged “High Society,” Richardson played the lead role previously done in films by Grace Kelly and Katherine Hepburn. Among her other stage credits, Natasha Richardson received the London Drama Critics’ Award as the Most Promising Newcomer of 1986 for her portrayal of Nina in Chekov’s “The Seagull,” her West End debut.

WILLIAM FORSYTHE (Teko) received excellent reviews as the shoplifter—convict in “Weeds.” His other films include “Raising Arizona,” “Extreme Prejudice,” and “Once Upon a Time in America.”

VING RHAMES (Cinque) has his first major film role in “PATTY HEARST.” Rhames played a lead in the Broadway drama “The Boys of Winter” and author James Baldwin’s preacher—father in the PBS movie “Go Tell it on the Mountain?”

FRANCES FISHER (Yolanda) starred in “Tough Guys Don’t Dance,” and “Heart” and will also be seen in “BIG.” She has many credits in TV and New York theatre.

JODI LONG (Wendy Yoshimura) has acted in the films “Secret of My Success,” “Bedroom Window,” and “Splash.” On Broadway, she has been in “The Bacchae,” “Loose Ends,” and “Nowhere To Go But Up.”

OLIVIA BARASH (Fahizah) won a New York Drama Critics’ Award in “Panama Hattie” and played Baby June with Angela Lansbury in “Gypsy,” was Emilio Estevez’ love interest in “Repo Man” and has extensive television credits.

DANA DELANY (Gelina) was Roy Dotrice’s wife in Hugh Leonard’s “A Life” on Broadway and recently can be seen in the films “Moon Over Parador” and “Masquerade.” She was Bruce Willis’ ex—girlfriend on “Moonlighting,” Tom Selleck’s fiancee on “Magnum P.1.,” and Peter Horton’s girlfriend on “thirtysomething.” Following “PATTY HEARST,” Delany starred in the ABC-TV movie “China Beach.”

MAREK JOHNSON (Zoya) has appeared on the New York stage as played the upper-class Boston painter in the Broadway production “Painting Churches.”

KITTY SWINK (Gabi) was seen in the films “Like Father, Like Son” and “In The Mood” and has a variety of credits in television as well as New York and Los Angeles theatre.

PETE KOWANKO (Cujo) has acted in several features and, among his television work, played lead roles in two movies, ABC-TV’s “Starcrossed” and PBS’ “The Star—Crossed Romance of Josephine Cosnof ski. “

 About the filmmakers...

With “PATTY HEARST,” director PAUL SCHRADER continues todeliver drama that is original, hard-hitting and highly relevant. Schrader wrote “Taxi Driver,” “Raging Bull,” “Obsession,” and Martin Scorsese’s new film, “The Last Temptation of Christ.” He directed the controversial and award—winning “Mishima: A Life in Four Chapters,” as well as “Light of Day,” “Cat People,” “American Gigolo,” “Hardcore,” and “Blue Collar.”

MARVIN WORTH produced “Lenny,” “The Rose,” and the Academy Award—nominated documentary feature “Malcolm X.” The former two films received ten Academy Award nominations between them, including two Best Picture nominations. Among his many other major motion pictures, Worth also produced the comedy classic “Where’s Poppa?” and “Falling in Love,” starring Robert DeNiro and Meryl Streep. Among several projects he is now preparing are an offbeat comedy, “See No Evil,” scheduled for production this year, and a theatrical feature about Malcolm X, in development.

Screenwriter NICHOLAS KAZAN is a former West Coast journalist who contributed to New York, Newsweek, The Village Voice, New West and the San Francisco Examiner, among his other outlets. His previous films include “Frances,” the acclaimed biographical film about movie star Frances Farmer, and “At Close Range,” starring Christopher Walken and Sean Penn. Kazan’s New York stage plays include the Obie winning Manhattan Theatre Club production of “Safe House,” and “Blood Moon” which was performed at the Odyssey Theatre in Los Angeles following successful runs in New York and Washington, D.C.

Director of photography BOJAN BAZELLI was trained at Famu, the internationally recognized film school in Prague where he studied under such noted cinematographers as Miroslav Ondricek (“Amadeus”) and Jaroslav Kalis. His recent credits include “China Girl,” directed by Abel Ferrara, and “Pumpkinhead,” directed by Stan Winston. He is currently shooting “The Hunchback of L.A.” for director Jeremy Kagan.

Music composer SCOTT JOHNSON has achieved wide recognition for his compelling blend of classical structures, jazz and rock instrumentation and avant—garde electronic techniques prompting critic Robert Palmer of The New York Times to write: “Johnson’s music mirrors the subterranean rumble, the welter of voices and other overlaid sounds of the city.” It was this originality that lead director Paul Schrader to commission Johnson to do his first film score for “PATTY HEARST.” Trained in music and visual arts at the University of Winsconsin, Johnson has toured extensively throughout Europe and North America since 1982. His record, John Somebody is currently in release on the Nonesuch/Icon label.

Production designer JANE MUSKY trained in theatre design at Boston University and spent two years in England at the Glyndebourne Opera Festival and the English National Opera working with such eminent artists as David Hockney and Ralph Koltai. Musky worked as assistant set designer to David Mitchell for the Broadway production “Barnum” (which won a Tony Award for Set Design), and was set designer for the Broadway musical, “The News.” Her work in feature films includes the Coen brothers’ “Blood Simple” and “Raising Arizona;” Peter Bogdanovich’s “Illegally Yours” and the upcoming “Young Guns,” directed by Christopher Cain. Musky’s television credits include “LBJ: The Early Years” and “The Alfred G. Greabner Rules and Regulations,” the latter earning her an Emmy nomination.

NATASHA RICHARDSON (Patty Hearst)

Biography

Natasha Richardson, one of England’s finest young actresses, makes her American film debut in the coveted titled role of “PATTY HEARST.” She plays Patricia Campbell Hearst, the 19-year-old California heiress who was kidnapped by radical terrorists, transformed into an urban guerilla, captured by the FBI, and put on trial.

“Roles like this come along once in a blue moon,” says Richardson of her American film debut. “The part has extraordinary emotional range, big, emotional gear changes—— from total, childlike submission to a strong woman struggling for her life and identity in a completely bizarre and terrifying situation.

On working with Schrader, Richardson comments, “Although Paul’s always been recognized as having a brilliant visual style, I found him to be a wonderful actor’s director as well. We discussed the role constantly, yet he also gave me a lot of freedom in developing the character.”

Paul Schrader’s film, in which everything is seen from the lead character’s point of view, is a challenging vehicle for itsyoung and talented star, who is on screen in nearly every scene.

“I needed a ‘piano mover, ‘“ recalls director Schrader, “an actress who could strap the film to her shoulders and walk with it.”

He found her when he saw Natasha Richardson portray MaryWollstonecraft Shelley, the author of Frankenstein, in her first film, Ken Russell’s “Gothic.”

To test her for “PATTY HEARST,” Schrader flew to London, where the versatile actress was staring in the stage version of the MGM musical movie “High Society.”

In that lavishly staged hit, Richardson played Tracy Lord, a role performed on screen by Katherine Hepburn and Grace Kelly. The British theatrical production was based on the 1956 film, scored by Cole Porter, which was an updated remake of “The Philadelphia Story.”

Born in 1963, the daughter of Vanessa Redgrave and director Tony Richardson, Natasha wanted to be an actress since childhood. Immediately after leaving the Central School of Speech and Drama, she spent four months with the Leeds Playhouse, appearing in “Top Girls,” “On The Razzle,” and “Charley’s Aunt.” At the New Shakespeare Company, she played Helena in “A Midsummer Night’s Dream,” and at The Young Vic she was Ophelia in “Hamlet.”

In 1985, Richardson acted opposite Samantha Eggar and John Hurt in the Lyric Hammersmith staging of Chekhov’s “The Seagull,” directed by Charles Sturridge. When the show transferred to the Queen’s Theatre, the Eggar and Hurt roles were assumed by Vanessa Redgrave and Jonathan Pryce, giving Natasha her first chance to actress who could strap the film to her shoulders and walk with it.”

He found her when he saw Natasha Richardson portray Mary Wollstonecraft Shelley, the author of Frankenstein, in her first film, Ken Russell’s “Gothic.” To test her for “PATTY HEARST,” Schrader flew to London, where the versatile actress was staring in the stage version of the MGM musical movie “High Society.” In that lavishly staged hit, Richardson played Tracy Lord, a role performed on screen by Katherine Hepburn and Grace Kelly. The British theatrical production was based on the 1956 film, scored by Cole Porter, which was an updated remake of “The Philadelphia Story.”

Born in 1963, the daughter of Vanessa Redgrave and director Tony Richardson, Natasha wanted to be an actress since childhood.

Immediately after leaving the Central School of Speech and Drama, the spent four months with the Leeds Playhouse, appearing in “Top Girls,” “On The Razzle,” and “Charley’s Aunt.”

At the New Shakespeare Company, she played Helena in “AMidsummer Night’s Dream,” and at The Young Vic she was Ophelia in “Hamlet.”

In 1985, Richardson acted opposite Samantha Eggar and John Hurt in the Lyric Hammersmith staging of Chekhov’s “The Seagull,” directed by Charles Sturridge. When the show transferred to the Queen’s Theatre, the Eggar and Hurt roles were assumed by Vanessa Redgrave and Jonathan Pryce, giving Natasha her first chance to act with her mother and to perform in London’s prestigious WestEnd. For her portrayal of Nina, she received the London DramaCritics’ Award as the Most Promising Newcomer of 1986. Sheacknowledges the enormous influence her mother has had upon her career - her family tradition of acting at its best has made her “acutely aware of what is not so good and what you should strive for.”

“The Seagull” enabled her to meet director Pat O’Connor, who came to see one of the other actors, and subsequently cast Richardson in “A Month in the Country” as the repressed Mrs. Keach.

Her television appearances include “In a Secret State” and Ibsen’s “Ghosts,” both for the BBC, and an episode of Granada’s popular “Sherlock Holmes” series.

After making her American motion picture debut in “PATTY HEARST,” Natasha Richardson plans to pursue challenging roles on the stage and in films -- from both sides of the Atlantic.

WILLIAM FORSYTHE (Teko)

Biography

As Teko in “PATTY HEARST,” William Forsythe adds yet another rich portrayal to the growing gallery of characters that are making him one of the most versatile actors of recent years.

In the film “Weeds,” Forsythe drew rave reviews as the doltish shoplifter and one of the convicts who puts on a play,led by Nick Nolte. In the offbeat comedy “Raising Arizona,” he was the bank robber who kidnapped a kidnapped infant. Forsythe portrayed a heroic member of a special forces unit in the action thriller “Extreme Prejudice,” and, in “Once Upon A Time In America,” he was Cockeye, a warm but deadly gangster. Now, William Forsythe gets one of his best roles in Paul Schrader’s film about the 19—year-old California heiress who was kidnapped by radical terrorists and became transformed into an urban guerilla by the Symbionese Liberation Army, the self-styled gang of revolutionaries that Time described as “a ragtag platoon.” In the bizarre course of the story, Teko’s shoplifting attempt at an L.A, sporting goods store is a pivotal incident.

Forsythe’s “Teko,” is, according to the actor, “intense.. .passionate. . .volatile,” both in his guerilla maneuvers and his embattled relationship with he equally dynamic wife, Yolanda, played by Frances Fisher.

Says Fisher of Forsythe the actor: “He’s a firecracker. You never know where he’s going to go next.”

William Forsythe was born in a tough section of Brooklyn, where a harsh childhood and the lure of gangs pushed him towards a life of crime. He was saved by a teacher, a Severian brother, who channeled young Forsythe’s energies into the art of acting. At the age of ten, Forsythe performed in his first play, “Julius Caesar,” portraying the title role. He continued acting with church and community theatre productions, and at sixteen began to study and work professionally, doing over fifty plays.

In his early twenties, Forsythe moved from New York to Los Angeles to pursue a career in film. Although he had a lot of acting experience under his belt, the gates of the studios weren’t exactly thrown open for him. Forsythe did everything he could to break into Hollywood, including the use of disguises to get past studio guards. He even dressed up as a gorilla delivering telegrams. A break finally came when his voice was used in an on-air commercial while delivering one of his Gorilla-Grams to a famous Los Angeles disc jockey.

Forsythe’s first television role was in “The Miracle of Kathy Miller,” a movie—of—the—week. His other television rolesincluded characters such as a mohawked punk rocker in “CHIPs,” a handball-playing lovesick tough on “Fame,” a chilling killer in a two—part “Hill Street Blues,” and the mentally retarded Isaac in the television remake of “The Long Hot Summer.”

Forsythe’s film credits now include his first, Sergio Leone’s “Once Upon A Time In America, with Robert DeNiro; “TheLightship,” directed by Jersey Skolimowski and co-starring Robert Duvall; “King Of The Mountain,” with Dennis Hopper; “Cloak And Dagger;” the Coen brothers’ “Raising Arizona,” and Walter Hill’s “Extreme Prejudice.”

And, of course, there was his role in “Weeds” in which New Yorker film critic Pauline Kael wrote: “Forsythe’s Burt is both a comic—stripe goof and a believable character.. .He’s magic... Forsythe incarnates the magic of theatre that theconvicts are reaching toward.”

Forsythe’s off—Broadway and regional theatrical work include the roles of Stanley in “A Streetcar named Desire,” Polo in “A Hatful of Rain,” Lago in “Othello,” and Mark Anthony in “Julius Caesar.” He was also in the national tours of “1776,” portraying Thomas Jefferson, in “Hair,” as Claude, and in “Godspell,” playing John the Baptist and Judas. Forsythe travels, writes and enjoys working with kids, a means of repaying the teacher who changed his life and set him on the road to Hollywood.

VING RHAMES (Cinque)

Biography

Ving Rhames plays his first major film role as Cinque, leader of the Symbionese Liberation Army (SLA), in Paul Schrader’s “PATTY HEARST,” the story of the California heiress kidnapped by the revolutionary gang and transformed into an urban guerilla.

The Harlem-born actor, who played a lead role of a Vietnam “lifer” in the Broadway drama “The Boys of Winter,” describes Cinque as “a man of the people...a man who was ready to do whatever he felt he had to do for his cause.”

The powerful actor’s other screen work includes the roles of a gang member in “Native Son,” an actor in Alan Parkers s ~~Fame,” and a street character in the HBO drama “The Park Is Mine,” with Tommy Lee Jones.

On television, Rhames played James Baldwin’s preacher/father in the PBS production “Go Tell It On The Mountain,” with Paul Winfield, a regular role in “Another World,” the pilot film “The Clinic,” and several series appearances, including “Miami Vice” and “Tour of Duty.”

Off-Broadway, Rhames portrayed Hasting Persuivant in the New York Shakespeare Festival’s “Richard III,” a boxer-convict in the Second Stage’s “Short Eyes,” and an Africa delegate in “Map of The World” at the Public Theatre.

Rames also played the antagonistic general in director Peter Sellars’ English tour of his unorthodox staging of Sophocles’ “Ajax,” and several parts in U.S. regional productions. These include “Streamers” at the Kennedy Center and “The Road” at the Goodman Theatre in Chicago.

Rhames is a graduate of the High School for the Performing Arts in New York, and the Julliard School.

FRANCES FISHER (Yolanda)

Biography

In 1974, when the Patricia Hearst story was happening, Frances Fisher was in New York studying acting in the Village and working as a nanny on Park Avenue. Now she’s portraying Yolanda, one of the radical terrorists who kidnapped the California heiress and transformed her into an urban guerilla in “PATTY HEARST,” Paul Schrader’s film about thefamous young woman’s extraordinary struggle for survival.

Yolanda and her husband, Teko, were key members of the Symbionese Liberation Army (SLA), the self—styled band of militants who wrote one of the most bizarre chapters in the history of U.S. political protest.

“Yolanda,” says Fisher, “was clever. She got away with a lot and never showed her cards. She was the most mysterious one •“

Of her relationship with her equally volatile husband, the actress observes that “it was hot, intense. They were addicted to each other. They shared everything, and fought a lot. It’s a great part.”

Frances Fisher, an acclaimed veteran of New York theatre and Hollywood films, recently starred as an ex—porno star in “Tough Guys Don’t Dance” and played a Bronx barmaid in “Heart.” She’ll also be seen as Tom Hanks’ neighbor in “BIG.”

Fisher’s extensive stage work includes “A Midsummer’s Night Dream” with Ellen Burstyn and Christopher Walken, the Public Theatre’s “The Hunchback of Notre Dame,” “The Chain,” directed by Elia Kazan, Julia in “1984” at the Joyce Theatre, Maggie in the Center Stage (Toronto) production of “Cat On A Hot Tin Roof,” and “Still Life,” directed by Claudia Weill.

On television, she was a regular on “The Guiding Light” and “Edge of Night,” and acted in the TV movie “Broken Vows” as well as PBS’ “The Thousand Dollars.”

Frances Fisher was born in Milford—on—Sea, England, the daughter of a globe-trotting construction worker. She played her first stage role in “The Windmill” in France. In New York, she was a member of the Actor’s Studio.

PAUL SCHRADER (Director)

Biography

Paul Schrader, one of America’s most original and powerful filmmakers, delivers another unique film drama with “PATTY HEARST,” the personal story of the 19—year—old California heiress who was kidnapped by radical terrorists, transformed into an urban guerilla, captured by the FBI, and put on trial.

Far from the docu—drama one might expect from such material, Schrader’s “PATTY HEARST” is the stunningly subjective portrait of a young woman fighting for her life and identity under extraordinary pressures.

Schrader, working from a screenplay by Nicholas Kazan, based on Patricia Campbell Hearst’s book Every Secret Thing, has told Hearst’s story entirely from the protagonist’s point of view, with stylized sets and cinematography to match her dramatically shifting mental states.

The result is, as Schrader puts it, “an emotional roller coaster ride” as well as “a story of how a person survives, a tribute to the resiliency of the individual.”

“PATTY HEARST,” one of the few films on which Schrader has a direction but not a screenwriting credit, stars NatashaRichardson, one of England’s brightest young actresses, whom Schrader first saw in Ken Russell’s film “Gothic.”

Paul Schrader, director of “Mishima: A Life In Four Chapters,” returns to his examination of extraordinary true—lifepeople with “PATTY HEARST.” The former was a unique portrait of the life of Yukio Mishima, the eminent Japanese writer of the post—war years. Schrader became the first American to direct a major feature in Japanese on this project, and was winner of the Palme for Artistic Merit at the 1985 Cannes Film Festival.

Schrader also served with his brother Leonard as co-screenwriter.

In the course of his career as a writer and director, Paul Schrader has been responsible for such critically acclaimed andoften controversial films as the union drama “Blue Collar,” whichstarred Richard Pryor, Harvey Keitel, and Yaphet Kotto; “American Gigolo,” starring Richard Gere; “Cat People,” with Malcolm McDowell (director only); “Hardcore,” starring George C. Scott; and “Light of Day,” with Michael J. Fox and Joan Jett.

Schrader’s additional screenplays include Martin Scorsese’s new film “The Last Temptation of Christ,” as well as “Raging Bull,” “The Yakuza,” “Obsession,” “Rolling Thunder,” “Old Boyfriends,” and “Taxi Driver” (in which the events were, like those in “PATTY HEARST,” refracted through the increasingly aberrant viewpoint of the lead character).

A native of Grand Rapids, Michigan, Schrader went to UCLA Film School and became a film critic and historian. Hisinfluential Transcendental Style in Film (1972) contains incisive essays on the work of directors Ozu, Bresson and Dreyer.

Schrader lives in New York with his wife, actress Mary Beth Hurt, and their 4-year-old daughter Molly.

Partial Filmographv

The Yakuza, 1974 Warner Bros. Writer; Dir. Sidney Pollack

Taxi—Driver, 1976 Columbia. Writer; Dir. Martin Scorsese

Obsession, 1976 Columbia. Writer; Dir. Brian DePalma

Blue Collar, 1977 Universal. Writer/Director

Rollina Thunder, 1977 American International. Writer; Dir.

John Flynn

Hardcore, 1978 Columbia. Writer/Director

Old Boyfriends, 1978 Avco/Embassy. Writer; Dir. Joan Tewkesbury

American Giczolo, 1979 Paramount. Writer/Director

RaqinQ Bull, 1980 United Artists. Writer; Dir. Martin Scorsese

Cat People, 1981 Universal. Director

Mishixna, 1985 Warner Bros. Writer/Director

The Mosauito Coast, 1986 Orion. Writer; Dir. Peter Weir

Light of Day, 1987 Taft-Barish, Tn-Star, Writer/Director

Patty Hearst, 1988 Atlantic Entertainment Group, Director

The Last Temptation of Christ, Fall 1988, Universal, Writer; Dir.

Martin Scorsese

MARVIN WORTH (Producer)

Biography

Marvin Worth, whose flair for top-quality, hard-hitting films on the lives of public figures has earned him three Academy Award nominations, now brings to the screen the untold, personal story of Patricia Campbell Hearst.

Worth’s productions of “Lenny,” the biography of Lenny Bruce, and “The Rose,” the portrait of a doomed rock star,received ten Oscar nominations, both for Best Picture, and his “Malcolm X” was nominated for Best Feature-Length Documentary. Worth now brings his talent for combining personal and recent historical drama to “PATTY HEARST,” the extraordinary film about the 19-year-old California heiress who was kidnapped by radical terrorists, transformed into an urban guerilla, captured by the FBI, and put on trial.

Worth approached Patty Hearst in 1984 about making a theatrical feature which would tell her story in a creative and meaningful way, beyond the confines of a docu—drama. He obtained the rights to her book Every Secret Thing, which tells the personal story behind what was dubbed “the media event of its decade.” And he secured Hearst’s consultation in the production of the film, which has now been directed by Paul Schrader from a screenplay by Nicholas Kazan for Atlantic Entertainment Group/Zenith. Natasha Richardson, one of England’s top young actresses, stars in her American film debut.

A New York native, Marvin Worth has worked in many areas in the entertainment business, including music, television, theatre  and feature films.

At the age of fifteen, Worth began promoting jazz concertsand booking and managing jazz greats including Charlie Parker, Billie Holiday and many others. Soon he hooked up with the fledgling comedian Lenny Bruce. He roomed with Bruce, helped cover his bills when money ran short, and eventually got Bruce his first big break on the Arthur Godfrey show. As Bruce’s manager, Worth helped him grow into a legend.

During this time, Worth also began writing monologues for Bruce, Buddy Hackett, Alan King, Joey Bishop, Dick Shawn, and other top comedians. Teaming up with Arne Sultan, he turned to television, writing for such programs as “The Steve Allen Show, “The Martha Raye Show,” “The Jackie Gleason Show,” “The Milton Berle Show,” “The Colgate comedy Hour,” “The Chevy Show,” “Judy Garland,” “Get Smart,” “The Ann Southern Show,” and many more, working on some as both writer and producer. He won several awards during this period, including a Peabody and an Emmy.

Worth and Sultan collaborated on stories and screenplays for “Boys’ Night Out,” “Three on a Couch,” and “Promise Her Anything,” among others.

Worth’s feature film debut as a producer was the classic comedy “Where’s Poppa?,” starring George Segal in 1970. He spent two years getting his dream project, “Lenny,” off the ground, and finally produced it on Broadway to great acclaim. The biographical drama of his friend Lenny Bruce’s life was a huge success and brought Cliff Gorman a Tony Award for Best Actor.

At this time, Worth also produced the feature documentary “Malcolm X,” which received an Academy Award nomination for Best Documentary.

Two years later, Worth produced the film version of “Lenny,” directed by Bob Fosse and starring Dustin Hoffman. It received six Academy Award nominations, including one for Best Picture, as well as numerous international awards. Worth next produced “Fire Sale,” directed and starring Alan Arkin, and “The Rose,” starring Bette Midler in her Oscar—nominated movie debut. “The Rose” received four Oscar nominations. Worth’s additional films include “Falling in Love,” starring Robert DeNiro and Meryl Streep, and “Unfaithfully Yours,” starring Dudley Moore.

Marvin Worth’s current projects include a black comedy, “See No Evil,” and a theatrical feature based on the life of Malcolm X.

THOMAS COLEMAN & MICHAEL ROSENBLATT

(Executive Producers)

Thomas Coleman and Michael Rosenblatt are the Executive Producers of “Patty Hearst.” Coleman and Rosenblatt are also the principals of Atlantic Entertainment Group, which includes Atlantic Releasing Corporation and Atlantic International, Inc.

Atlantic has distributed over 100 motion pictures in the last eleven years, and, among the films executive produced or produced by Coleman and Rosenblatt are: “Valley Girl,” “Night of the Comet,” “Teen Wolf,” “Extremities,” “The Men’s Club,’ “Nutcracker” and “Cop.”