"THE GARAGE"

Production Notes

A coming-of-age drama set in small town America circa 1977, The Garage stars newcomer Gabriel Marantz as Matt Ruppert, a smart and sensitive young garage mechanic searching for a better life. Shot in 18 days around Austin, Texas during the fall of 2004, The Garage co-stars veteran character actor Xander Berkeley as Matt's father, a taciturn, hard-drinking, yet sympathetic garage owner, who is one of several obstacles to Matt leaving his small town.

In fact, it'll be hard for Matt to leave the rest of his family as well, including his stoic, strong-willed mother (played by Marilyn Dodd Franks) and younger brother, John (Rusty Kelley), a jokester who's ill-equipped to take Matt's place in the family garage. Then there's the matter of Bonnie Jean (Tania Raymonde), a beautiful young girl new to town who Matt falls for. If he leaves town, it'll mean leaving "B.J." as well.

But when tragedy strikes Matt's best friend Schultz (Corby

Griesenbeck), Matt is forced to rethink his entire life path, and decide once and for all whether to stay in his hometown or leave everything behind and follow his passion.

Writer/director Carl Thibault drew on his own experiences growing up in Central Massachusetts during the late 1970s to create the world of The Garage. "Like Matt, I worked in my dad's garage and left home after graduating from high school to move to Los Angeles," says Thibault. "It's always a tough decision to make that kind of change, especially when you don't know what's in store for you. But, in the end, it was the right choice for me, and I know it's the right choice for Matt."

The journey of making The Garage began, as most films do, with th e script. Thibault wrote the first rough draft of the screenplay longhand over the course of four months--in four different coffee houses. "It was a story I'd been living with my whole life so it came out pretty easily," he says. "Getting to the shooting script, though, took several more big leaps."

"The trick for me was to let the reality of the story inform the writing process rather than overtake it," adds Thibault. "I had to keep remembering that just because something actually happened in a certain way, doesn't mean that's how it has to play out in the film. Ultimately, it was about objectively mixing fact and fiction to tell the best possible story."

Speaking of that first handwritten draft of the script, Thibault accidentally left it out on a bench in his backyard, only to have his dog chew it into shreds. Recalls the writer/director, "Once I calmed down, I taped it all together and immediately transferred it to a computer. I can honestly say that my dog ate my movie."

Around the same time Thibault was writing the script, he was also completing a full renovation of his Burbank, California home. As the filmmaker, who spent much of his early career as a building contractor, proudly watched the long-gestating vision of his house finally come to life, it gave him the drive and confidence to take on another major artistic endeavor. "I suddenly realized there was a direct correlation between constructing a house and creating a film," says Thibault. "Once I had my foundation--the script--I knew the entire movie now had to be built."

Of course, Thibault still had to find the financing to produce The Garage. In an effort to get the project going in a more timely manner, he decided to take a tremendously bold step --and put his newly remodeled house of 14 years on the market. It sold quickly and provided him with the money he needed to make the film a reality. "It was a huge, scary commitment," Thibault admits, "and I now felt like a truly 'independent' filmmaker."

Thibault then began the process of scouting the ideal location for script's small town setting. He scoured Northern California, parts of Washington state, and even his native Massachusetts trying to find the right look and feel and, most importantly, the garage that the film centers around. "I was interviewing potential line producers when one of them suggested I check out Austin, Texas," relates Thibault. "My first response was that it'd be too dry and not the right look, but he said it's not like the rest of Texas--that it was actually green and has a lot of the small town feel I was looking for." Thibault then contacted the Texas Film Commission, told them what he needed, and they soon e-mailed him photos of several towns and two possible garages. "I took one look at that first garage and just knew it was where I was going to shoot," asserts the filmmaker.

Thibault loaded up a motor home ("A 'class A'...they're the big ones") and his two very large hybrid wolf dogs--one of which appears in the film--and drove to Lockhart, Texas, where he lived for six weeks. Though the film takes place around early fall, it was actually shot in temperatures that often reached the upper 90s, causing several cases of heat exhaustion among cast and crew, Thibault included. "I wish I could say the heat added something authentic to the film," jokes the writer/director, "but all it did was increase our medical bills."

What was "authentic," however, was the film's faithful recreation of its late 1970s setting. With the expertise of production designer Rodney Becker, set decorator Melanie Ferguson, and costumer Cynthia Obsenares, the filmmakers were effectively able to roll back the clock some 30 years, to present a time before things like cell phones, the internet, and plasma televisions. "Since our characters and settings are mostly working-class, we opted for a look that was more basic and slightly grittier than you might even find in a similar environment today," explains Thibault. "There's a simplicity and an honesty to the designs of the garage, the Rupperts' house, the drive-in restaurant, and so on, that I think successfully mirror my overall approach to the story and characters.

One thing that wasn't so easy about going back in time was the use of so many older vehicles. "This is a movie centered around a garage, so naturally, cars and trucks are an integral part of the action," Thibault explains. "But, unfortunately, given the sheer age and number of vehicles we had to use, almost every day one or another would break down." He continues, "I'd be driving to location and there'd be one of our picture cars propped up on the side of the road with its hood open. As the days went on, I'd try to guess which vehicle would break down next!"

The production also went through two tow trucks and had to rebuild, at considerable expense, the top end of the motor on the one seen in the film. "Then there were the times that vehicles would have to be pushed into a scene because we couldn't get them running," recounts Thibault. "That was fun." He adds, with a grin, "Luckily, we were going for accuracy--and not efficiency."

Once shooting was finished, Thibault immediately jumped into the editing phase. The movie had its first assembly in Los Angeles, after which the filmmaker took his rough cut to New York where it went through two classes at "The Edit Center," a high-profile school for film editing. "Working with the student editors at The Center was a great process," affirms Thibault. "It was an incredible way to allow others to help interpret your vision and flesh out all the possibilities."

At the end of the first five-week class, the school was so happy with their students' involvement with The Garage that they asked Thibault if they could continue working on it through a second class. He happily agreed and ultimately felt he ended up with a new version that was way ahead of what he started with. "Though I didn't use all their edits, their creative, enthusiastic approach to the material opened up a new way of looking at much of the film that I'd never considered," says Thibault.

Between the two Edit Center sessions, Thibault returned to Texas for three days of pick-up shots, which helped fill in some of the gaps he felt were an issue in the most recent cut. Then, later, back in L.A., he brought on a final editor, Ben Pollack, to help finish and lock the picture.

Around this same time, Thibault also shot the bookends of the film, with highly respected film and television actor Martin Donovan (The Opposite of Sex, Insomnia, Saved!) playing the present-day, adult Matt. Though Thibault had been trying to secure Donovan since the previous February, it was only once the actor watched a rough cut of the film that he finally agreed to sign on. "Martin brought such a strong and believable presence to the film in what's just two short scenes," states Thibault. "He's a terrific actor who's able to convey a tremendous amount in a single look." Thibault adds, "It also didn't hurt that he looks remarkably like a grown-up version of Gabriel Marantz, who plays the younger Matt."

Urban Wolf Productions presents The Garage, written and directed by Carl Thibault. It stars Gabriel Marantz, Xander Berkeley, Corby Griesenbeck, Marilyn Dodds Frank, Robert Knott, Tania Raymonde, Rusty Kelley, and Martin Donovan. The director of photography is Jas. Shelton; the editor is Ben Pollack; the production designer is Rodney Becker; costumes are by Cynthia Obsenares.

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ABOUT THE FILMMAKERS...

CARL THIBAULT (Writer/Director) makes his writing and directing debut with "The Garage." He began his film career as an actor, first appearing as the Wolfman in the Shane Black-scripted cult hit "The Monster Squad." He went on to act in such features as "Woman Undone" (with Mary McDonnell and Benjamin Bratt), "A Breed Apart," and the action-thriller "One Foot in the Grave."

Thibault is currently working on his next screenplay, a coming-of-age drama set in New England in the early 1970s.

JAS SHELTON (Director of Photography) shot the independent movies "The Dig" and "Plastic Utopia," as well as the short films "Crosswalk" and "Following Paula."

He has served as second unit director of photography on such features as "Bad Santa," "Arrangement," and the Coen Brothers' "The Ladykillers." He was also visual effects cinematographer on "Friday Night Lights."

In addition, Shelton has worked as an electrician on a wide variety of studio features including "The Newton Boys," "Varsity Blues," "Dr. T and the Women," "Miss Congeniality," "American Outlaws," and "Serving Sara." Shelton also just completed shooting the "Walking Tall 2" and "Walking Tall 3" sequels.

BENJAMIN POLLACK (Editor) most recently cut the upcoming British underworld drama "Played," starring Val Kilmer, Gabriel Byrne, and Anthony LaPaglia, produced by John Daly.

Pollack has edited over a dozen short films one of which is making the festival circuit "Gypsies, Tramps and Thieves", an American Film Institute thesis project, as well as commercials for RayBan and the G.L.A.A.D. organization. He is also the recipient of two ACE Eddie Award nominations, for his work on the hit USA Network series "Monk."

He is currently executive producing the feature "Moonpie," starring "Mad TV"'s Michael McDonald and Stephanie Weir, and again teaming with veteran producer John Daly.

ABOUT THE CAST...

GABRIEL MARANTZ ("Matthew Ruppert") and CORBY GRIESENBECK ("Schultz") both make their feature film debuts in "The Garage."

Gabriel has already been nominated for Best Actor twice and just Won Best Actor for his role as "Matt" in "The Garage" at The Solstice Film Festival where Nikki Reed of "Minis First Time" took Best Actress.

RUSTY KELLEY ("John Ruppert") starred in the dark indie comedy "Dear Pillow," which was the Grand Jury Award winner at the 2004 Atlanta Film Festival, won a Best Feature award at the 2004 Boston Underground Film Festival, and was nominated for a 2005 Independent Spirit award. Rusty just completed the role of "Max Cassidy"(teen) in Burn t Orange Prods. "The Cassidy Kids".

XANDER BERKELEY ("Doc Ruppert") is a veteran character actor who has appeared in nearly a hundred features and telefilms. He has also been seen in countless television episodes and, more recently, gained wide attention for his regular role as "George Mason" on the hit TV series "24."

Berkeley's film debut was as the adult Christopher Crawford in "Mommie Dearest." He went to act in such features as "Volunteers," "Sid and Nancy," "The Fabulous Baker Boys," "Internal Affairs," "The Grifters," "Terminator 2: Judgement Day," "Billy Bathgate," "For the Boys," and "A Few Good Men."

His many other film credits include "Apollo 13," "Safe," "Leaving Las Vegas," "Heat," "Air Force One," "Amistad," "Timecode," "Shanghai Noon," "Storytelling," "The Man From Elysian Fields," "Drop Dead Sexy," "Deep Water," "Standing Still," "North Country," and the upcoming "Champions," "Seraphim Falls", and "Fracture."

On television, the actor was first seen in such series as "M*A*S*H," "Hart to Hart," "Remington Steele," "The A-Team," "Falcon Crest," "Moonlighting," and "Miami Vice." He went on to appear in episodes of "The X-Files," "Nash Bridges," "ER," "The Twilight Zone," "Karen Sisco," "CSI: Crime Scene Investigation," "The West Wing" and "Law & Order." Berkeley also provided voices for such animated shows as "Duckman," "Justice League," "The Wild Thornberrys," "Batman Beyond," and "Teen Titans."

TANIA RAYMONDE ("Bonnie Jean") has been seen on such television

shows as "Providence," "The Brothers Garcia," "That's So Raven,"

"The Guardian," and "Navy NCIS: Naval Criminal Investigation

Service." She was a regular on "The O'Keefes," and recurred as

"Cynthia" in the hit comedy "Malcolm in the Middle." Most

recently Tania landed the role of "Alex Rousseau" in the hit ABC

show " Lost." Film roles include "Children on Their Birthdays,"

and the upcoming "Chasing 3000" (with Ray Liotta), "Japan"

(with Peter Fonda), and "Kiss of the Sun."

ROBERT KNOTT ("Mr. Johnson") has appeared in numerous studio and independent films such as "It Takes Two," "Across Five Aprils," "My Heroes Have Always Been Cowboys," "Coneheads," "Wild Bill," "The Hi-Lo Country," "The Joyriders," "Two Shades of Blue," "Pollock," "Gods and Generals," and the current festival favorite "Swimmers," in which he appears opposite Tony winner Cherry Jones.

On TV, Knott has acted in the telefilms "Oklahoma Passages," "Desperado: the Outlaw Wars," "Riverbend," "Invasion of Privacy," "The Stand," and "Buffalo Soldiers."

He was also seen in episodes of such series as "The Young Riders," "ER," "3^rd Rock From the Sun," "The Sentinel," and "JAG." Knott is also co-writing with Ed Harris the script "Appaloosa" adapted from the Robert B. Parker novel which Ed Harris will Direct.

MARILYN DODDS FRANK ("Mrs. Ruppert") has had roles in such feature films as "Flatliners," "Folks!," "Blink," "Richie Rich," "High Fidelity," "The Watcher," "Just Visiting," "Children on Their Birthdays," "The Company," "Uncle Nino," "The Game of Their Lives," and "The 40 Year Old Virgin."

Telefilms have included "Intimate Stranger," "In the Shadow of a Killer," "In the Company of Darkness," "and "The Woman Who Loved Elvis." She was also seen in episodes of the series "Miami Vice," "Early Edition," "and "Turks." Marilyn is also a veteran of The Stage in Chicago appearing at the Goodman in "One Flea Spare," "Skin of Our Teeth," "The Royal Family," "Valparaiso," "Everyman", "As I Lay Dying" (all directed by Frank Galati), "Time to Run," "Goodbye Stranger" and "Disappeared" at Steppenwolf; "Hard Times,"" Metamorphosis," "The Idiot" "Metamorphoses with Lookinglass," "Electra" at Court Theatre; and "Fur" at Latino Chicago.

MARTIN DONOVAN (Adult "Matt") first gained attention for his collaborations with quirky indie filmmaker Hal Hartley, starring in the writer-director's "Trust," "Simple Men," "Amateur," and "Flirt." Donovan also appeared in such films as "Malcolm X," "Nadja," "Hollow Reed," and Jane Campion's "The Portrait of a Lady," before landing his breakout role as a gay schoolteacher in Don Roos' acclaimed dark comedy "The Opposite of Sex."

Donovan's subsequent feature credits include "Spanish Fly," "Living Out Loud," "Onegin," "Pipe Dream," "Insomnia," "The United States of Leland," "Agent Cody Banks," "Saved!," and "The Pornographer: A Love Story."

On TV, the actor was seen in the telefilms "At Mother's Request," "Scam," "When Trumpets Fade," "The Hunt For the Unicorn Killer," "Custody of the Heart," "The Great Gatsby," "Amy & Isabelle," and "RFK," and in such miniseries as "Night Sins," and "Traffic."

Donovan's series credits include "The Adventures of Pete & Pete," "Wonderland," and "Pasadena." He has also appeared in episodes of "Law & Order: Special victims Unit," "CS I: Crime Scene Investigation," and in recurring roles on "The Dead Zone" and, most recently, Showtime's "Weeds."

In addition, the actor will soon be seen in the indie features "At Last," "The Quiet," "Wind Chill" and "Day on Fire" as well as in two films for 20^th Century Fox: "The Visitation," and "The Sentinel" (with Kim Basinger and Michael Douglas).

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