Tagline: Life isn’t always made to order.
No Reservations movvie storyline. A master chef, Kate (Catherine Zeta-Jones) lives her life like she runs the kitchen at upscale 22 Bleecker Restaurant in Manhattan-with a no-nonsense intensity that both captivates and intimidates everyone around her. With breathtaking precision, she powers through each hectic shift, coordinating hundreds of meals, preparing delicate sauces, seasoning and simmering each dish to absolute perfection.
More at ease behind the scenes, she only leaves the sanctuary of her kitchen to accept compliments for one of her signature dishes, or, on rare occasions, to tangle with a customer who dares question her expertise. After work, most nights find her in bed before midnight, set to rise at dawn to beat her competition to the fish market for the next day’s freshest selections.
Kate’s perfectionist nature is put to the test when a brash new sous-chef joins her staff, the high-spirited and freewheeling Nick (Aaron Eckhart). A rising culinary star himself, Nick favors opera while working and loves to make everyone around him laugh. His casual approach to both life and cuisine couldn’t be more different from Kate’s, yet the chemistry between them is undeniable…as is the discord, like forks clanging off a granite countertop.
It might be easier to deal with this turbulence at work if Kate wasn’t already off-balance at home, struggling to connect with her nine-year-old niece, Zoe (Abigail Breslin), who has recently-and very unexpectedly-come to live with her. A bright, perceptive child, more comfortable with fish sticks than foie gras, Zoe is clearly out of place in Kate’s routine but Kate is determined to make a home for her…just as soon as she figures out how.
As the weeks progress, Kate is not sure what steams her more-that Nick’s talent scores big points with 22 Bleecker’s owner, Paula (Patricia Clarkson), and its discriminating clientele, or that his easygoing charm quickly wins over the shy Zoe, who finds it easier to open up to him than to her aunt. But when he challenges the boundary between rivalry and romance, Kate finds herself questioning, for the first time in years, some of the choices and beliefs that have made her so self-sufficient and so safe.
If she wants to forge a real bond with Zoe, find happiness with Nick and rediscover her appetite for life, Kate will have to try something bold and new, and learn to express herself outside the realm of her kitchen. That would be like trying to cook without a recipe. But, as Kate discovers, sometimes the best recipes are the ones you create yourself.
Sometimes, Life Isn’t Made to Order
For “No Reservations” director Scott Hicks, it was not only the story itself that first attracted him, but the way in which it offered touching glimpses of human interaction at its most intimate and relatable level. “It’s a heartfelt, contemporary drama that strikes an interesting balance between deep emotions and moments of natural humor and lightheartedness, which is how most of us experience life,” he says. “It’s about loss, but also about learning to change and finding real love out of loss.”
Hicks earned international acclaim for the powerful 1996 drama “Shine,” which received seven Oscar nominations, including Best Director and a Best Screenplay nomination for Hicks. As a filmmaker, he says, he is drawn to “character-driven stories of real emotion,” and saw in Kate’s dilemma an opportunity to explore how a person with an extremely well-ordered life might deal with unexpected events that change all of it in an instant. More importantly, “how that person might find, through challenge and adversity, the gifts of love, purpose and a fresh perspective on life.”
Catherine Zeta-Jones, who counts herself among Hicks’ biggest fans, offers a similar assessment. “It has so many facets. There’s a wonderful love story, there’s the poignant relationship between Kate and her young niece, there is Kate’s passion for her work and then there’s the fascinating theater of a professional kitchen and seeing how that fast-paced world operates.
“When I heard that Scott Hicks wanted to direct it, I was thrilled,” she continues. “I knew from his body of work that he would bring to it the right sensitivity and texture.”
“No Reservations” is based on the 2001 European feature “Bella Martha” (or “Mostly Martha”), a film that charmed many of the “No Reservations” cast and filmmakers prior to their collaboration. Says producer Kerry Heysen, “It was both a stylish and very tender film. We thought that by relocating it to America we could bring it to a larger audience. Setting it in New York-a city with such a rich relationship with food and restaurants-was the perfect choice and I knew it would add its own zest to the film. You can’t walk down a street in New York without passing little cafés of every description and taking in all that aroma and activity.”
“It was a love story that celebrated the universal joy of making and sharing great food,” says producer Sergio Agüero. “I was tremendously excited about its potential worldwide because both of these subjects strike a familiar chord in every culture.”
The filmmakers needed to reinvent the story in its new context but were fully committed to retaining what everyone loved best about “Mostly Martha”- its heart and its flavor, as well as its heroine, a successful and single-minded master chef who runs her life and her kitchen with equal measures of disciplined efficiency.
The arrival of sous-chef Nick changes everything-dramatically. “He’s flamboyant; he fills the kitchen with the sounds of opera and singing, and the staff is laughing at his jokes. It’s a completely different atmosphere with his presence and Kate doesn’t like it,” says Heysen, who concedes that, from Kate’s point of view, there could also be another, more insidious nuance in play. As a woman who has achieved a level of success and autonomy in a highly competitive field with few plumb positions, Kate considers Nick a potential threat to her professionally. In truth, Heysen explains, “Nick has taken this job because he’s a great admirer of Kate’s work and wants to learn from her, but she doesn’t see that. She is immediately distrustful. While Nick challenges her domain at the restaurant, the arrival of Kate’s newly orphaned niece, Zoe, seriously disrupts her home life.
Says Hicks, “The child turns everything upside down, not only emotionally but on a practical level. There’s simply no room for a nine year old in the world of a busy chef with a tight schedule, late hours and such precise habits. Kate is not maternal. Her heart is in the right place, but she has absolutely no idea what to do with this child who won’t even eat her food. Meanwhile, at the restaurant, this new chef in the kitchen is making sparks fly.”
But sparks aren’t necessarily a bad thing… Aaron Eckhart, who stars as the gregarious Nick, notes that, “It’s through these conflicts that Kate will find the joy in life. Zoe and Nick change everything and really start breaking her down. But it’s up to Kate where she’s going to go from there to overcome her problems and find growth and new life.”
And what better medium than food for nurturing romance and bringing people together? Food and everything related to food-the preparation, presentation and sharing of it, not to mention the aroma, the texture, the look and the taste of it-has undeniable romantic and life-affirming elements, which Hicks weaves throughout the story. That intention began with the screenplay, of which screenwriter Carol Fuchs says, “The element of food serves in both a literal and a figurative sense. It’s not just about what we eat but how we feed ourselves emotionally.
“Food has its own power and symbolic presence in the film,” the director offers. “All the communication and seduction begins with food. The connection between Kate and Nick begins with their shared love of cuisine, and it also plays a role in bringing Zoe out of her shell. In Zoe’s case, as a child whose grief has suppressed her appetite, the fact that she finally takes the spaghetti Nick offers her is a sign that she trusts him and is warming up to him. In the case of Kate and Nick sharing their first meal together, there is an erotic charge to it.”
In a general sense, says Heysen, “Food here is a metaphor for life and the life force or, if you like, love.”
Eckhart agrees. “It certainly engages all the senses. With the cooking itself, especially at this level where it’s practically an art form, there’s a heightened awareness of incorporating ingredients and layering tastes to stimulate the palette… Oh yeah, it’s very romantic.”
“I never thought I could get excited about scallops,” declares Zeta-Jones, “but when you really focus on them, you get a whole different perspective.”
h4>Casting: How Many Cooks in This Kitchen?
“My husband said that this role was the biggest stretch I’ve ever had as an actress, because it puts me into the kitchen,” Zeta-Jones jokingly reveals, before going on to admit that, prior to her culinary training for the film, she was unsure of her ability to properly cook an egg.
In fact, says Hicks, not only did Zeta-Jones quickly learn her way around the kitchen to authenticate her performance in the weeks before “No Reservations” began shooting, but the film depended greatly upon her formidable range throughout.
“The story absolutely rests on her shoulders. She’s in nearly every scene and the whole thing revolves around her. She has great subtlety and amazing timing, which, when you consider her background as a dancer, isn’t surprising. That timing plays so well into her sense of drama, because there are scenes of strong emotion here but also breakthrough moments of fun.”
“Kate runs a tight ship, to say the least,” says Zeta-Jones. “She knows her business and tends to get a little defensive when a customer questions the taste or presentation of any of her dishes. But when she brings that strict perfectionism into her private life it keeps her from having real relationships with people. It keeps away the insecurities and fears and the potential pain, but also the joy and the fullness of life that only exists when you can open up to people, let go a little and let things happen.”
Citing their characters’ first encounter in the 22 Bleecker kitchen, Aaron Eckhart says, “Kate takes one look at this casual, easygoing new chef, playing opera and telling jokes, and she thinks he’s not taking the job seriously. It would appear that way but, in truth, Nick just has his own style. Once he feels Kate’s blast of hostility, he assumes the rubber band theory of `don’t break, just bend,’ and tries to be as nice and charming as possible in the hope that she will eventually let down her guard.”
Nick takes the sous-chef job as an opportunity to work with, and learn from, master chef Kate, whom he admires. “The romance is as much a surprise to him as it is to her,” Eckhart offers. “The difference is that once he recognizes it, he’s ready to embrace it, but she isn’t quite there yet, which means he has to be exceptionally charming and very creative. When he can’t get through to her any other way, he uses the language she understands best: food.”
“This role shows a wonderfully light side of Aaron, which we don’t always see. A lot of his roles have been quite intense,” observes Zeta-Jones.
“Not only is Aaron the romantic leading man here,” says Hicks, “he also has to have the ability to genuinely connect with a little girl and bring out the emotion in that as well, which sounds easier than it actually is.”
“As Nick, Aaron approaches young Zoe the way you would approach a pony in a paddock,” says Heysen, drawing on her experience working with horses on the Australian property she shares with husband and 30-year filmmaking partner Scott Hicks. “If you have a shy pony that won’t come to you, you cannot pursue it. You must sit and wait with gentle overtures and eventually it will come to you. It requires a great deal of sensitivity.”
Eckhart enjoyed his scenes with Abigail Breslin, who turned 10 years old during production. “It’s fun to have that kind of youthful spirit around. She taught me some cheerleading cheers, and we would practice together in the kitchen between takes.”
Unlike her buoyant personality off-camera, Breslin’s portrayal of Zoe-at least in the film’s initial scenes-was necessarily more subdued. As the young actress describes her, “Zoe is sort of quiet in the beginning. She’s not really hostile towards Kate, not mean to her or rude, but just not really friendly or open either. She doesn’t know how this living arrangement is going to work. She’s feeling kind of lost and on her own.”
Hicks, who proclaims Breslin “delightful,” says, “She’s not caught up in the business of it all; she simply enjoys acting. I love working with children. Although they may not bring a wealth of experience or technique to a role, they can, like Abigail, bring tremendous honesty and access to their emotions. If I explain the context and situation of a scene to her, Abigail can sense precisely where to take her character. She’s extremely resourceful and absolutely the real deal as an actress.
Illustrating this, Heysen relates a scenario that Breslin’s mother offered. “It was right before we shot the scene in which Zoe first sees where she’s going to live with her aunt after her mother has died. Abigail’s mother said that she had been preparing for the scene at home and had remarked to her, `When that little girl walks up the steps into that house her life is never going to be the same again.’ She really thinks it through and that’s why she is so convincing on screen.”
Meanwhile, Kate has another confrontation brewing with the owner of her restaurant, Paula, played with authoritative panache by Patricia Clarkson, who notes that the two women are very much alike. “Paula has her own control issues. She’s a very can-do person and runs every aspect of this restaurant. She’s the host, the maître d’, the manager, the owner, not to mention head of personnel and wine selection. This is her baby; her whole life is wrapped up in this restaurant.
“Paula respects Kate for her talent and work ethic and so tolerates her fits of temperament,” Clarkson continues. “They are friends and they have history but it’s not an easy relationship. Like Kate’s relationship with Nick, this one generates its own sparks.”
A longtime admirer of Clarkson’s work, Hicks remarks, “She gives a smart, sophisticated razor-sharp wit to the role.”
Adds Heysen, “Patricia brings all the many facets of Paula to the fore-good, bad and complex-but above all conveys the feeling that, ultimately, this is a woman you don’t want to cross. And Kate is often dangerously close to crossing her.”
Rounding out the main cast are Jenny Wade (“Rumor Has It…”) as Kate’s loyal but very pregnant sous-chef Leah, whose imminent due date and leave of absence prompts Paula to hire Nick as her replacement; Lily Rabe (“Mona Lisa Smile”) as waitress/actress Bernadette, who likes to run lines for her next audition in the kitchen’s walk-in refrigerator and is Nick’s biggest fan; and Brían F. O’Byrne (“Bug” and Broadway’s “Doubt”) as Kate’s downstairs neighbor Sean, a divorced dad who has been futilely asking her out for years.
Academy Award nominee Bob Balaban (producer, “Gosford Park”) is featured as the therapist Paula forces Kate to see, a man who resorts to slightly unorthodox methods when traditional therapy has no effect on the highly guarded chef who, clearly, would rather talk recipes than repression.
May I Take Your Order?
With so many scenes taking place over a hot stove at 22 Bleecker-pots clanging, waiters rushing in and out, and Kate and Nick’s personal drama unfolding amidst the fast-paced routine of preparing dinner for a restaurant full of patrons-Hicks wanted the actors to be at ease with the tempo of a professional kitchen. “I always strive for realism. In this setting, it was especially important for the actors to feel as though they were really preparing these dishes and coping with the stresses of their environment. It was essential that their actions be fluid and natural in order to keep the emphasis where it belongs-on the story,” the director says.
Just as important, Heysen points out, was that shots of Nick chopping onions and Kate garnishing plates ring true, because, “with everyone around the world watching The Food Network, audiences are extremely savvy and would know if someone was faking it.”
Toward that end, Hicks cast professional line chefs to serve as 22 Bleecker’s onscreen kitchen staff, hired numerous culinary and restaurant consultants and arranged hands-on training with genuine masters for his stars.
Catherine Zeta-Jones and Aaron Eckhart spent two weeks with celebrity chef Michael White, who tailored his instruction to their characters’ specialized roles: for Zeta-Jones, as head chef, an emphasis on preparing sauces, pan-tossing small items, plating and preparing garnish; and for Eckhart, as sous-chef, the more practical aspects of chopping vegetables and sautéing, cleaning and butchering fish and meat. Following the edict that the mark of a good chef is not only a flair for food but a command of his domain, both learned safety basics and the fine points of handling knives, grasping superheated pot handles with towels and deftly navigating the cramped space while simultaneously working, talking and cooking.
Eckhart, who has worked as a waiter and bartender but never a chef, found the curriculum fascinating, although, in addition to onions, carrots and mushrooms, he cut his fingers numerous times during his two-day practice with the knife. This was par for the course, he was assured by White, who, after 16 years of cooking professionally, still lives by the rule of assuming that every surface in a kitchen is hot.
Even Abigail Breslin learned to flip pancakes and pare vegetables under the tutelage of French Culinary Institute chef Lee Anne Wong and recounts how, during one scene, she got a little carried away with her newfound skill. “I was peeling asparagus. I got down to the part where it becomes white and just kept going until it got really skinny and Scott started laughing. He said, `You don’t have to turn it into a toothpick; it’s still asparagus.'”
Outside the kitchen, Patricia Clarkson took a crash course on how to handle front-of-house duties with aplomb from Daniele Sbordi, then general manager of New York City’s renowned Fiamma Osteria, and likens it to managing a theater. “When you’re running a restaurant, you have to be on top of everything: reservations, stock, orders, staff and the wine selection, not to mention the preferences and personalities of the VIPs coming in, and be ready to diffuse any potential situation. You get there early to prepare and coach the waiters on the day’s specials, and when that door opens and people start coming in, it’s like the curtain going up.”
Speaking of theater, one confrontational scene between Kate and an ill-mannered customer afforded Zeta-Jones the opportunity to add a neat trick to her professional repertoire: the classic tablecloth pull, in which a cloth is yanked cleanly out from under a full load of place settings with minimum spillage. Its success depends largely upon confidence and timing. “It was one of the best shooting days of my life,” she declares. “I didn’t get it straightaway, but once I did, I had so much fun I wanted to do it all the time. Now I can bet people at parties that I can whip out a tablecloth from under a stack of plates and glasses and not break anything.”
Zeta-Jones additionally went above and beyond any restaurant training Hicks had anticipated by volunteering to work the dining room one night during the busy dinner shift at Fiamma Osteria, an experience she calls “terrifying and a real learning experience.” Even in that atmospheric lighting, several patrons remarked on their server’s striking resemblance to the actress Catherine Zeta-Jones, to which she casually replied, “Yeah, I get that all the time.”
Production Design, and Props Good Enough to Eat
“As food is the metaphor for love in this story, food preparation is the context in which these characters live, behave and interact,” says Hicks. With this in mind, he and production designer Barbara Ling provided the cast a nearly fully functional kitchen set, which becomes the backdrop for some of the most significant moments that pass between Kate and Nick.
Hicks and Ling researched approximately 60 area restaurants for their range of design options and mood, noting differences between work spaces created by chefs versus those created by restaurant owners. After briefly considering adapting an existing industrial facility but finding those spaces too sterile and large, they opted to build their kitchen from scratch on a soundstage at Silvercup East Studios in Queens.
Says Ling, “The one advantage was that we didn’t adhere to codes, or it would have been ridiculously expensive. Instead, I was able to design a kitchen to look completely functional but that doesn’t have to last very long. All the stainless steel is real, as well as the tile, the copper piping and the tanks for the cappuccino machines, the appliances, sinks, stoves, stainless tables, even the thermometers set into the walls. The only exceptions are two walk-in refrigerators. We built those units and then pumped in cold air.”
The walk-ins serve a dual purpose: to chill food, and to provide chefs with a place to cool down, literally, or to have a private conversation-a habit all the culinary and restaurant consultants on-set confirmed as authentically depicted in the movie, right down to the part where the rest of the kitchen staff sneaks glances through the tiny window to see what’s going on.
Says Eckhart, “They recreated everything to the nth degree. The detail is amazing. You can really lose yourself in a scene and completely forget you’re on a soundstage.”
Ling strove to depict the normal flow of a working environment from the camera’s point of view without removing walls. “I wanted to show what people don’t often see: how chefs maneuver in a kitchen, crisscrossing each other, one holding a plate while another one garnishes it and hands it off to someone else. It’s beautiful, almost like dance choreography. There is constant traffic-people coming in and out, deliveries arriving, waiters coming through the door-and the head chef supervises all of this from a central position like an orchestra leader in the pit.”
The flow generated in the kitchen then extends unbroken through the door to the restaurant dining room, and from there to the windows and out into the New York City street. For a scene that takes Kate shopping for fresh seafood, Ling recreated the historic Fulton Fish Market at its former lower Manhattan location near the Brooklyn Bridge. The nearly 200-year-old seafood distribution center was moved to the Bronx in 2005, a site that Ling raided for original signage, furniture and lots of fresh fish. “We even hired guys who used to work at the old place as extras. It was a fun set and nostalgic for the locals for whom the fish market had always been part of the landscape.”
“No Reservations” also served up real food daily for the cameras, courtesy of property master Diana Burton (“The Sopranos”) and a full cooking staff that started work generally two hours prior to production every morning from a bustling kitchen just steps away from the action, because, as Heysen attests, “No one is fooled by plastic props anymore. It was important for us to have food on screen that looked exquisite and fresh because it’s a reflection on our characters, who are supposed to be among the best chefs in New York.”
Except in certain instances when a meal was designed specifically for someone to eat on camera, Burton’s focus was more on presentation than taste. She experimented with cornstarch and colors, finding ways “to recreate the butter-based French cuisine to maintain its integrity under the hot lights, because there are many things that light and heat will do to make food appear less appetizing.” A blowtorch blast on quail achieved the right golden brown look while leaving the juices inside to give the dish more longevity on screen before drying.
With help from the production’s professional consultants, Burton and Hicks devised a menu of approximately 25 items for the film, including an asparagus terrine, Nick’s sea bass, a scallop dish, foie gras, an entrecote and Kate’s signature quail with truffle sauce. Hicks functioned as master chef in deciding the final look of each plate. Depending upon the day’s shooting schedule, Burton’s team would then prepare a continuous stream of dishes.
Setting up accounts with the same suppliers used by local restaurants, Burton ensured enough food on hand to meet the director’s needs at any given moment. The production’s backstage area often resembled the back entrance of a five-star restaurant with deliveries of lobsters and exotic produce by the crate because, as Burton confirms, “certain items needed to be fresh in order to look fresh.” For a scene in which Nick fillets a sea bass, she had 20 bass on ice awaiting their cue. “Ultimately, you cannot predict how many takes a director might want, and I certainly didn’t want to have to tell him he was out of fish.”
All this authenticity had its downside, as Catherine Zeta-Jones relates. “We found the aromas really effective at putting everyone in the mood, which is fine when you’re hungry. But when it’s six o’clock in the morning and you’re smelling fish, it can turn your tummy a bit.”
Burton even went to the extent of having a model maker craft truffles that could authentically slice, if the production schedule passed the season in which real truffles could be obtained, as they figure prominently in more than one scene. For pots and pans that looked properly carbon-stained and broken in, she struck a unique bargain: procuring Fiamma Osteria’s entire collection of workaday crockery in exchange for a replacement set of shiny new ones. Finally, as a personal touch, she stocked the bar with bottles of wine from Hicks and Heysen’s own South Australian vineyard.
Aaron Eckhart, whose character samples a plate of risotto, proclaims “No Reservations” to have “the best-tasting props ever,” and admits that he couldn’t resist polishing off the entire plate between scenes. Adds Abigail Breslin, whose character is offered a bowl of spaghetti, “It was so delicious, I tried to get a big mouthful in before the director said `cut.'”
22 Bleecker Street
By electing to shoot “No Reservations” in New York, Hicks intended for the city to lend its own character to the story. “It has such a restaurant culture, so appropriate for the story, plus the rich architecture and design details everywhere you look,” he says, adding that, “so much of the action takes place indoors, in a kitchen or an apartment, that I wanted the outdoor scenes to provide as much breadth as possible. I wanted those few location shots to have maximum impact.”
The director found a vacant corner space on Bleecker Street at Charles for his fictional restaurant in the West Village, with large windows that offered excellent views of “city life out on the street, which we enhanced with our own lights and extras, but that served as a wonderful ready-made backdrop no matter which way we looked out.”
Inside, production designer Barbara Ling created a comfortable, subdued atmosphere with darkened walls and minimalist charcoal artwork, to make the food the star element.
“The space formerly housed a Chinese restaurant and is now a retail store,” offers Heysen, who explains that the temporary presence of a film production in the interim caused some confusion in the neighborhood, especially as they decided to name the restaurant 22 Bleecker Street…and the storefront wasn’t anywhere near number 22. “The only number not in use on Bleecker Street was 22. Number 24 was a church. So we thought we were safe with our name but, in fact, it confused the local messengers when we put our sign up that indicated `22 Bleecker’ in a spot that was actually in the upper 300s. We had to remove the signage until the moment when we were actually filming the exterior.”
The faux restaurant also attracted attention for another reason, as Catherine Zeta-Jones recalls. “I was doing a scene in which I was standing beside the maitre d’ in the entrance area. There was fake wine being sipped and waiters serving delicious-looking food. The place was bustling with extras, the bar looked cool, very inviting, and several people came in from the street asking, `Do we need reservations?’ They thought it was the new hot spot to have dinner. We had to break it to them that it was just a movie set.”
Filming “No Reservations” inspired a real interest for Zeta-Jones, who says, “I definitely have a new appreciation now for food and how it’s presented. I’m looking forward to preparing Thanksgiving dinner. The house is already full of cookbooks.”
Nearly everyone in the cast and crew discovered something new about haute cuisine during the shoot, and audiences may do the same. Says Hicks, “We certainly didn’t intend the film to be an education on the subject of French cuisine but when you’re telling the story of people whose lives are completely enveloped by this world, you can’t help learning their language. At the very least a person might pick up an interesting term they hadn’t come across before, depending on their dining habits, such as what an entrecote is or how rare a steak can be. It was fun to be surrounded by all this beauty and perfection. The dishes coming out of the Bleecker kitchen were extraordinarily tempting…yet, I expect, not something you would necessarily want to have every day.”
Having sampled the finest saffron sauces and scallops and all the other dishes highlighted in “No Reservations,” both Zeta-Jones and Eckhart find, like Hicks, that they remain alike in their simple tastes. When asked to name their favorite foods, both reach back to childhood favorites. Eckhart says, “I’m kind of a burrito guy,” and Zeta-Jones responds, “Fish and chips for me, fish and chips any day”
No Reservations )2007=
Directed by: Scott Hicks
Starring: Catherine Zeta-Jones, Aaron Eckhart, Abigail Breslin, Patricia Clarkson, Jenny Wade, Bob Balaban, Lily Rabe, Dearbhla Molloy, Arija Bareikis, Zoë Kravitz
Screenplay by: Sandra Nettelbeck
Production Design by: Barbara Ling
Cinematography by: Stuart Dryburgh
Film Editing by: Pip Karmel
Costume Design by: Melissa Toth
Set Decoration by: Leslie E. Rollins
Art Direction by: W. Steven Graham
Music by: Philip Grass
MPAA Rating: PG for some sensuality and language.
Distributed by: Warner Bros. Pictures
Release Date: July 27, 2007
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