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Ithaca Pictures, Little Bear and TF1 International present

Tommy Lee Jones

IN THE ELECTRIC MIST

A film by Bertrand Tavernier

JOHN GOODMAN PETER SARSGAARD

NED BEATTY JAMES GAMMON

LEVON HELM KELLY MACDONALD JUSTINA MACHADO

PRUITT TAYLOR VINCE and MARY STEENBURGEN

Written by Jerzy Kromolowski and Mary Olson-Kromolowski

Based on James Lee Burke’s best-seller

IN THE ELECTRIC MIST WITH CONFEDERATE DEAD

Length: 117 minutes

French release by TFM Distribution: April 15th, 2009

International publicity: Richard Lormand

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SYNOPSIS

New Iberia, Louisiana. Detective Dave Robicheaux is on the hunt of a serial killer who preys on young women. Driving home from another gruesome crime scene, Dave meets glamorous Hollywood star Elrod Sykes. Sykes is in town shooting his new movie, with backing from local crime kingpin Baby Feet Balboni. He tells Dave he saw a body lying in a swamp – the decomposed corpse of a black man in chains. The discovery brings memories hurtling out of Dave's past. He senses the two cases are linked. But as Dave gets closer to the murderer, the murderer gets closer to Dave and his family…

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BERTRAND TAVERNIER’S BIOGRAPHY

Bertrand Tavernier decided to become a filmmaker when he was very young. At 14, he roamed the Cinemathèque (National Film Library) where he discovered the impact of Renoir, Fritz Lang and Buster Keaton’s movies. He made his debut as an assistant for Jean-Pierre Melville on Léon Morin, prêtre / The Forgiven Sinner. In 1974, his first feature film L’Horloger de Saint-Paul / The Clockmaker of Saint-Paul won the Silver Bear at the Berlin Film Festival and the Silver Hugo at the Chicago Film Festival. Que la fête commence / Let Joy Reign Supreme (1975) and Le Juge et L’Assassin / The Judge and the Assassin (1976) garnered several French Awards. Then, in 1977, he co-produced a film for the first time: Des Enfants Gâtés / Spoiled Children. In 1980 he made Death Watch in Scotland. Shot in English and starring Romy Schneider and Harvey Keitel, the film earned Tavernier international recognition In the same year, he directed Une semaine de vacances / A Week's Vacation with Nathalie Baye. In 1982, he adapted Jim Thompson’s novel (Pop 1280) Coup de Torchon / Clean Slate with Philippe Noiret and Isabelle Huppert. In 1984, Un dimanche à la campagne / A Sunday in the Country received several awards including the Best Director Award in Cannes, the New York Critics’ Award and the British Critics’ Award. He followed this in 1985 with Round Midnight, a feature film about jazz. Herbie Hancock won the Academy Award for Best Score. Tavernier tackled the Hundred Years' War in La Passion Béatrice / Beatrice in 1987 and World War I in the hit film La Vie et Rien d’Autre / Life and Nothing But. Noiret was awarded the César (French Award) and Félix (European Awards) for Best Actor for La Vie et Rien d’Autre / Life and Nothing But. Bertrand Tavernier also directed several documentaries, including two features: Philippe Soupault et le Surréalisme (in collaboration with Jean Aurenche) and Mississipi Blues in 1984 (co-directed by Robert Parrish). After Daddy Nostalgie / Daddy Nostalgia (1990), Tavernier returned to documentary filmmaking in 1991 with La Guerre sans nom / The Undeclared War, a four-hour movie about the Algerian War. In L627, he then described corruption in a police station in France. La Fille de D’Artagnan / D’Artagnan’s Daughter followed in 1994. He took over from Riccardo Fredda to direct this movie one week before production began. With L’Appât / The Bait (1995), he garnered the Golden Bear at the Berlin Film Festival. Capitaine Conan / Captain Conan in 1996 earned Bertrand Tavernier the César (French Award) for Best Director and Philippe Torreton the César for Best Actor. Ca commence aujourd’hui / It All Starts Today (1999) dealt with the fight of a teacher and administrator against the ravages of the recession in northern France. The film won the Audience Award in San Sebastian. Jacques Gamblin earned the Silver Bear for Best Actor in Laissez-passer / Safe Conduct (2002) and played opposite Isabelle Carré in Tavernier’s Holy Lola (2004), the story of a couple and their arduous quest that will be the most fulfilling experience of their lives: the adoption of a Cambodian baby. In 2007, Tavernier shot In the Electric Mist in the United States.

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Selected Filmography

2009 IN THE ELECTRIC MIST In Official Selection – Berlin Film Festival 2004 HOLY LOLA San Sebastian Film Festival – Audience Award 2002 SAFE CONDUCT (LAISSEZ-PASSER) Berlin Film Festival: Silver Bear for Best Actor for Jacques Gamblin and Best Film Music 1999 IT ALL STARTS TODAY (CA COMMENCE AUJOURD'HUI) Official Selection – Berlin Film Festival San Sebastian Film Festival – Audience Award 1996 CAPTAIN CONAN (CAPITAINE CONAN) Cesar Awards: Best Actor for Philippe Torreton and Best Director for Bertrand Tavernier – 7 nominations 1995 THE BAIT (L'APPAT) Golden Bear – Berlin Film Festival 1994 D'ARTAGNAN'S DAUGHTER (LA FILLE DE D’ARTAGNAN) 1992 L 627 Official Selection – Venice International Film Festival 1990 DADDY NOSTALGIA (DADDY NOSTALGIE) Official Selection – Cannes Film Festival 1989 LIFE AND NOTHING BUT (LA VIE ET RIEN D'AUTRE) BAFTA for Best Foreign Film Cesar Awards: Best Actor for Philippe Noiret and Best Music – 9 nominations European Film Award for Best Actor for Philippe Noiret Special Jury Prize - European Film Awards 1986 'ROUND MIDNIGHT (AUTOUR DE MINUIT) Academy Award for Best Music for Herbie Hancock Academy Award nominated for Best Actor – Dexter Gordon Cesar Award for Best Music

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1984 A SUNDAY IN THE COUNTRY (UN DIMANCHE A LA CAMPAGNE) Cannes Film Festival – In Official Competition – Best Director Cesar Awards: Best Actress for Sabine Azéma, Best Cinematography, Best Writing – Adaptation – 5 nominations New York Film Critics Circle Award for Best Foreign Language Film London Critics Circle Award for Best Foreign Language Film Nominated for BAFTA Film Award Nominated for Golden Globes 1981 CLEAN SLATE (COUP DE TORCHON) Academy Award - Nominated for Best Foreign Language Film 11 Nominations for César Awards Durban Festival – Audience Award 1980 DEATH WATCH (LA MORT EN DIRECT) 5 Nominations for César Awards 1976 THE JUDGE AND THE ASSASSIN (LE JUGE ET L'ASSASSIN) Cesar Award for Best Screenplay for Jean Aurenche and Bertrand Tavernier Cesar Award for Best Actor for Michel Galabru Cesar Award for Best Music for Philippe Sarde 1975 LET JOY REIGN SUPREME (QUE LA FETE COMMENCE) Cesar Award for Best Director Cesar Award for Best Supporting Actor for Jean Rochefort Cesar Award for Best Screenplay for Jean Aurenche and Bertrand Tavernier Cesar Award for Best Production Design 1974 THE CLOCKMAKER OF ST. PAUL (L'HORLOGER DE SAINT-PAUL) Silver Bear – Berlin Film Festival Louis Delluc Award

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INTERVIEW WITH DIRECTOR

BERTRAND TAVERNIER How did you come up with the idea of adapting James Lee Burke's novel? I've been a great fan of his work for years and I'd been thinking of adapting one of the books from the Dave Robicheaux series. Philippe Noiret and I shared the same passion for Burke's novels. But I hesitated at some point between Dixie City Jam and In the Electric Mist with Confederate Dead and I eventually chose the latter. I can still hear Philippe Noiret telling me: "Are you talking about the book with the general? It's a great book." I got in touch with Burke to secure the rights to the book and he told me it was precisely the book that he was the most proud of. Then I had to find an American producer – I thought of Michael Fitzgerald because the films he produced, including John Huston's Wise Blood, Sean Penn's The Pledge and Tommy Lee Jones's The Three Burials of Melquiades Estrada, are outstanding. Did you think of updating the storyline from the outset? Definitely. The novel was written in the early 90s and I was convinced that since we were shooting in Louisiana – it was out of the question to shoot anywhere else – we had to include the Katrina disaster and its aftermath. It was more exciting, more meaningful. It made the story more forceful and perfectly echoed Balboni's criminal business – actually, the Mob stole hundreds of millions of dollars after Katrina. You've worked in close collaboration with Burke, haven't you? He was our guide in New Iberia. He helped us locate Dave and Batist's bait shop, which plays such a key part in the book. This is where Dave and Batist sell bait, boudin sausages and pies. He also introduced me to several sheriffs I interviewed to make sure that, if we updated the narrative, the storyline still held together– I wanted to make sure that the world in which Balboni lived was as violent now as it used to be. And it certainly was. The sheriff of New Iberia – Dave Robicheaux's turf – told me that things were even more violent today than when the book was written. The thing is that a great many mobsters like Balboni have become richer thanks to Katrina by embezzling federal money. Are some characters inspired by local people? Yes. Just like the sheriff who had nothing to do with the stereotyped characters from TV shows. Sheriff Sid Hebert from New Iberia was an educated character– he didn't carry a gun and insisted his team be law-abiding citizens. He also cooked the best crawfish etoufees and gumbo! Besides, I left some characters out, including a very racist deputy sheriff – our sheriff had no such person on his team – that character belonged in the 80s.

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Could you tell me about the writing of the script? To start with, Michael Fitzgerald introduced me to Jerzy Kromolowski and Mary Olson-Kromolowski. I very much liked their screenplay for The Pledge. Jerzy also wrote a beautiful adaptation of William Faulkner's As I Lay Dying. Now when they completed the first draft, I disagreed on several points, including the ending which was too explicit and not romantic enough. Burke then joined us to rework the script. I had asked him to write the first voice-over and a lot of dialogue. Last but not least Tommy Lee Jones did a wonderful job on the script. He almost compulsively scrutinized each word, each punctuation mark, and eliminated all the overexplicit lines as well as redundant scenes you can see in TV crime shows. He did a great job condensing some scenes with concise and pointed dialogue. He also wrote several scenes during the shoot, including the beautifully written salamander scene and the conversation between Alafair and Elrod on what it means to be a star. Could you describe the Dave Robicheaux character? Robicheaux stands out as one of the most interesting crime novel characters along with Philip Marlowe. He's an amazingly complex and endearing character, haunted by his past. He seeks to protect the world he grew up in – a world now threatened by greedy, evil men. The man has high moral standards, but gives in to outbursts of rage and pent-up anger against injustice and man's rogue behaviour. He embodies the concept of "common decency" defined by George Orwell who regarded it as the cement of democracy: common decency encompasses several attributes like generosity, loyalty, selflessness, the act of giving without receiving and collective solidarity. He's a cop known for his unorthodox ways… As a matter of fact, he trusts his instinct. He knows the people and their customs as well as the history of the area. His behaviour is closer to that of our Inspector Maigret [in France] than to that of your typical TV crime show cop. He’ll even break the law if need be. He's filled with pent-up anger against those who destroy what he believes in and this is exactly what makes him endearing. He also experiences pangs of guilt fostered by his Catholic faith. Tommy Lee Jones beautifully portrays this multi-layered character. He did a wonderful job portraying Robicheaux's fits of anger and irony, his compassion and education, his weariness and his fear of disillusion. Robicheaux's sense of humour was superbly rendered by Tommy Lee Jones: the barrage of insults that he hurls at Balboni, which clashes with his sophisticated language, is just hilarious. His guilt-ridden violence was also beautifully portrayed by Tommy. And above all it was his understated performance devoid of all tricks that allowed him to achieve this. Does an actor like Tommy Lee Jones need to be directed? Hardly. When he's on the set one cannot but admire him. I must say that prior to the shoot we worked together for about thirty times on the script – we studied each sentence, each line, and each punctuation mark. Consequently Tommy was so well-prepared that I almost didn't have any advice to give him on the shoot. I would just listen to his advice about some of the dialogue, because English isn't my mother tongue, and about the fighting scenes which he's quite familiar with. Sometimes he

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would respond very fast to one of my requests and come up with a wonderful new scene two days later. Robicheaux is surrounded by a great many monstrous characters. Burke's books abound with colourful supporting characters – criminals, mobsters, sleazy bartenders etc. They are picturesque characters whose unique vernacular we tried to include in the dialogue. Many dialogues come straight from the novel. Others were added by Burke – Balboni's insults hurled at the local journalist and Cholo's line when he says that because of Katrina, Louisiana is so short of money that it can't afford to lobotomize people like him! Can you tell me about the relationship between Dave and Elrod? At the beginning they're poles apart. Elrod is the one who approaches Dave and who feels that he relates to him. Their relationship gradually develops into friendship not only because of the criminal narrative but mostly because they find out they have much in common. For instance they both have visions of the general. I thought that they became friends in a very subtle way. It gave more substance to the story. With Burke, relationships between characters prevail over the plot. Peter Sarsgaard's performance is amazingly natural. I was so glad to have him on board. I was a bit afraid of the character's alcoholism because in movies drunks are often theatrical and actors use gimmicks. Now Peter didn't use any – he admirably portrayed the elation of drunkenness. In those scenes he was just hilarious. What about Kelly? At the beginning of the book Kelly is a bimbo-like character who then turns out to be something else. We couldn't do this in the film because Kelly Mac Donald is such a sensitive and smart actress. Besides, I wanted to save some time and show her humanity earlier on. So I included the scene between her and Bootsie where you kind of understand that she wants to have a child. I like this scene when they talk in the kitchen while you can hear thunder in the distance. It's one of those "useless" shots that are so telling. Are you the one who thought of casting John Goodman as Balboni? I am. It was important to me from the very beginning. I wanted to have someone who often played the "good" guy and cast him against type. Goodman was very familiar with Burke's universe and dreamed of playing Clete Purcell – but he wouldn't play an Italian-American mobster like Balboni. When I told him the character didn't have any accent because he was second-generation, and that he talked like people from New Orleans, he was thrilled and took the part. Tell me about Mary Steenburgen. Just as on screen Tommy Lee is Dave Robicheaux incarnate, no better actress than Mary Steenburgen could have portrayed Bootsie. She's radiant, light-hearted and comforting. She never pities Dave. She just shows all that Dave owes her without having to say anything.

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The film conveys the idea that you can't escape from your past, whether it has to do with the American Civil War, the Vietnam War or a racial crime committed 40 years ago. What has always attracted me about Burke is his relationship with the past: he says that in Louisiana the past determines the present. For him the fact that people didn't dare to address the race issue during the Civil War has brought about crime and corruption. In Louisiana, every act of violence can be traced back to olden times. I've often addressed this issue in my films and so I easily related to it. So I had to immerse myself in the Louisiana culture to avoid shooting a tourist travelogue. "I make films to learn something," my mentor Michael Powell used to say and I love getting immersed in worlds I know nothing about to film them from the inside. The film is amazingly realistic. I found out how much many people I met in Louisiana were offended by the way Hollywood movies deal with their customs and their accents which are way different in New Iberia than in New Orleans – in most movies set in New Orleans accents are over the top. So I thought we owed it to the people of Louisiana to respect their way of life and to pay heed to their way of speaking. I wanted to confront both the beauty and the misery. Likewise, the locations had to be accurate and so I wanted to shoot the film in New Iberia – that's where the book takes place – to show that the characters belong to a specific environment. For credibility's sake I also asked the sheriff and his deputy and the coroner to serve as technical advisers. Your New Orleans is very different from the New Orleans we're used to seeing in films. Instead of shooting the French quarter we've so often seen in films, I thought it was more interesting to film the bus station or someone using Katrina's devastation to smuggle stuff in an abandoned church – you incidentally catch a glimpse of the FEMA (Federal Emergency Management Agency) sign because the guy got hold of FEMA rations to smuggle them. The production design is just outstanding. I picked several technicians whose work in The Three Burials had struck me or who were recommended to me by Michael Fitzgerald, including the production designer Merideth Boswell who did a wonderful job. Indeed her work is just seamless. I'm thinking of the camp at the end of the film or of Dave's finely decorated house where you get a glimpse of his CDs and books which tell you he's no ordinary cop. The film sometimes borders on fantasy… There's something obviously metaphysical about Burke's work, just as there is about Jim Thompson's. This is something I just love. It helps escape from what I call the "dictatorship of the narrative" and break away from the clichés of the genre. But to get there you have to physically bring that world – and the characters that live in it – to life. For me this film is a companion piece to Clean Slate.

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Religion is also something important about Burke and his character Dave Robicheaux. I'm also very interested in it. Burke is a devout Catholic, but he's a liberal Catholic. The same goes for Robicheaux who is defined by idealism and guilt. Once again I was on familiar ground because I was brought up in a Catholic environment. I wanted Bootsie to work with the activist nuns that Burke had introduced me to and that have rebuilt hundreds of fishermen's and poor farmers' houses destroyed by Katrina or Rita. They've been fighting gas corporations and Burke has been supporting their action. How did you capture Louisiana's ghostly, almost morbid atmosphere? When you're in the bayous you're suffocated by the stench of the swamps and you're left in awe by the combination of amazing beauty and a feeling of decadence. Burke kept telling me that Louisiana was a third-world region and that this was what awaited America if people like Bush remained in office. How did you work on the cinematography? I wanted to have a French DOP on board and I'd wanted to work with Bruno de Keyzer again for some time. He was very excited about shooting a crime movie in the Bayous and capturing the lush colours of the region while creating a film noir atmosphere in CinemaScope. So beforehand we determined the lighting for each scene, even if we then had to adjust to the constantly changing lighting conditions in Louisiana. You have worked with the composer Marco Beltrami. From day one, I wanted to work with him because he'd impressed me with his scores for The Three Burials and 3:10 to Yuma. He was thrilled because most of the time in Hollywood composers are hired when the shoot wraps. He even went to Louisiana to get the feel of Cajun music and talk with musicologists. This helped us determine way in advance the use of percussion instruments or of the accordion, or of the different musical themes. Besides he gave me leeway to do what I wanted during sound mixing since he recorded all the instruments on a separate track. You have also used pre-existing music. This is music I personally picked, like Clifton Chenier's "Im A Hog For You" and "Coming Home." Or like Michael Doucet's "Rendez-moi Pauline" and "J'ai passé devant ta porte" which I found out about thanks to the Cajun crew members and fell in love with. For the ending I used a Handel aria because I wanted to break away from the Cajun musical atmosphere we'd grow accustomed to – I then needed religious music that matched the crane camerawork and the mist over the graveyard. What will you remember from this American experience? No matter how burdensome the American production system and the unions' influence may be, I've worked with amazing people, including the cameramen, the grips, the best boys (who were Cajun) and the several assistants. I especially want to give a nod to the sound mixer Paul Ledford. The soundtrack was beautifully recorded in direct sound and was nicknamed "organic sound" during sound mixing. Prior to the shoot Paul even looked up the potential noise sources on the Internet. I had the sound he had recorded on a separate track on the one hand, and the sound Larry Blake – Steven Soderbergh's sound mixer – had recorded on the other. The sound

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mixing in Boulogne with Olivier Do Huu was an exciting experience. Based on the material we had collected, we were able to make some daring moves as far as sound mixing is concerned. I wanted the soundtrack to include the Southern Louisiana atmosphere, the howling of animals and the singing of birds. I also wanted to preserve the beauty of the voices - Tommy Lee, John Goodman, Mary Steenburgen, Buddy Guy, Kelly McDonald all have unique, deep voices which have greatly contributed to the film's musicality. I wanted In the Electric Mist to have a musical quality to it, thanks to its pace and intensity.

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James Lee Burke, author of the novel In the Electric With Confederate Dead

James Lee Burke was born in Houston, Texas, in 1936 and grew up on the Texas-Louisiana gulf coast. He attended Southwestern Louisiana Institute and later received a B. A. Degree in English and an M.A. from the University of Missouri in 1958 and 1960 respectively. Over the years he worked as a landman for Sinclair Oil Company, pipeliner, land surveyor, newspaper reporter, college English professor, social worker on Skid Row in Los Angeles, clerk for the Louisiana Employment Service, and instructor in the U.S. Job Corps.

He and his wife Pearl met in graduate school and have been married 46 years, they have four children: Jim Jr., an assistant U.S. Attorney; Andree, a school psychologist; Pamala, a T.V. ad producer; and Alafair, a law professor and novelist who has 3 novels out with Henry Holt publishing.

Burke's work has been awarded an Edgar twice for Best Crime Novel of the Year. He has also been a recipient of a Breadloaf and Guggenheim Fellowship and an NEA grant. Three of his novels, In the Electric Mist With Confederate Dead, Heaven's Prisoners and Two For Texas, have been made into motion pictures. His short stories have been published in The Atlantic Monthly, New Stories from the South, Best American Short Stories, Antioch Review, Southern Review, and The Kenyon Review. His novel The Lost Get-Back Boogie was rejected 111 times over a period of nine years, and upon publication by Louisiana State University press was nominated for a Pulitzer Prize.

Today he and his wife live in Missoula, Montana, and New Iberia, Louisiana.

In The Electric Mist with Confederate Dead has been published in the following countries: UNITED STATES – IN THE ELECTRIC MIST WITH CONFEDERATE DEAD DANEMARK - GENFAERDS GENERALEN (Hovedland) FRANCE - DANS LA BRUME ELECTRIQUE AVEC LES MORTS CONFEDERES (Rivages) GERMANY - IM SCHATTEN DER MANGROVEN (Bechtermunz Verlag) GREAT BRITAIN - IN THE ELECTRIC MIST WITH CONFEDERATE DEAD (Orion) ITALY - L'OCCHIO DEL CICLONE (Mondadori) JAPAN - THE ELECTRIC MIST WITH CONFEDERATE DEAD (Kadokawa Bunko) NORWAY - I ELEKTRISK TAKE (Gylgendal Norsk Folag - Den Svarte Serie) POLAND - ELEKTRYCZNA MGLA

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James Lee Burke’s other books are as follows HALF OF PARADISE TO THE BRIGHT AND SHINING SUN LAY DOWN MY SWORD AND SHIELD TWO FOR TEXAS - made into a movie for television in 1998, directed by Rod Hardy, starring Kris Kristofferson and Peter Coyote. The film won a Western Heritage Award. THE CONVICT THE LOST GET-BACK BOOGIE - nominated for a Pulitzer Prize THE NEON RAIN HEAVEN’S PRISONERS - Major motion picture in 1996 starring Alec Baldwin, Kelly Lynch and Teri Hatcher. Directed by Phil Joanou. BLACK CHERRY BLUES - Edgar Award-Best mystery novel of 1989 A MORNING FOR FLAMINGOS A STAINED WHITE RADIANCE DIXIE CITY JAM BURNING ANGEL CADILLAC JUKEBOX CIMARON ROSE - winner of Edgar Award SUNSET LIMITED - Doubleday, 1998, Dell, l999, winner of England’s Golden Dagger Award for Best Novel of 1998 HEARTWOOD PURPLE CANE ROAD BITTERROOT JOLIE BLON’S BOUNCE WHITE DOVES AT MORNING LAST CAR TO ELYSIAN FIELDS IN THE MOON OF RED PONIES PEGASUS DESCENDING CRUSADER’S CROSS THE TIN ROOF BLOWDOWN JESUS OUT TO THE SEA

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THE CHARACTERS

Tommy Lee Jones – Dave Robicheaux The Detective In his late 50s, robust, Detective Dave Robicheaux enforces the law in the sleepy Southern Louisiana town of New Iberia. After an eventful career in the New Orleans Police Department, this former high school baseball star and Vietnam veteran got out of the city and now runs a boat and bait shop as a sideline. Dave is a lawman prepared to break the written and unwritten rules to see that justice is done. He is as obsessive about protecting his family as nailing the criminal. Both obsessions take him into some very dangerous waters. Selective filmography: 2009 IN THE ELECTRIC MIST by Bertrand Tavernier 2007 IN THE VALLEY OF ELAH by Paul Haggis Academy Award Nominated for Best Actor NO COUNTRY FOR OLD MEN by Joel and Ethan Coen BAFTA Nominated for Best Supporting Actor 2005 THE THREE BURIALS OF MELQUIADES ESTRADA by Tommy Lee Jones Best Actor and Best Screenplay at the 2005 Cannes Film Festival 2002 MEN IN BLACK 2 by Barry Sonnenfeld 2000 SPACE COWBOYS by Clint Eastwood 1999 DOUBLE JEOPARDY by Bruce Beresford 1997 MEN IN BLACK 1 by Barry Sonnenfeld1995 1995 BATMAN FOREVER by Joel Schumacher 1994 THE CLIENT by Joel Schumacher 1993 THE FUGITIVE by Andrew Davis Best Actor in a Supporting Role at the 1994 Academy Awards Best Performance by an Actor in a Supporting Role in a Motion Picture at the 1994 Golden Globes 1991 JFK by Oliver Stone Academy Award Nominated for Best Supporting Actor 1978 EYES OF LAURA MARS by Irvin Kershner

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Peter Sarsgaard - Elrod Sykes A-list Hollywood actor Suave, handsome, 40ish, Elrod Sykes is an A-list Hollywood actor in New Iberia to star in a Civil War movie. He meets Dave when Robicheaux pulls him over for driving while under the influence. He leads Dave to a corpse that has been washed up on the bayou. Despite, or perhaps because of Elrod’s drink problems, the two men become good friends. They also share an unlikely acquaintance with General Hood. Selective filmography: 2009 IN THE ELECTRIC MIST by Bertrand Tavernier 2007 RENDITION by Gavin Hood 2005 JARHEAD by Sam Mendes FLIGHTPLAN by Robert Schwentke 2004 GARDEN STATE by Zach Braff 2003 SHATTERED GLASS by Billy Ray 2002 K-19: The WIDOWMAKER by Kathryn Bigelow 1999 BOYS DON’T CRY by Kimberly Peirce 1998 ANOTHER DAY IN PARADISE by Larry Clark

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John Goodman - Julie “Baby Feet” Balboni The Mobster A barrel-chested whale of a man, Balboni used to play baseball with Dave in high school. Since then, their paths keep crossing for the wrong reasons. Balboni is one of the most feared mobsters in Louisiana. He is now busy trying to reinvent himself as a Hollywood player, but can’t erase his violent ways like he rubs out his enemies. His “history” with Dave allows him to accept some of the detective’s more forceful behavior that would have seen other cops lose their limbs or their lives. Selective filmography: 2009 IN THE ELECTRIC MIST by Bertrand Tavernier 2008 SPEED RACER by Andy and Larry Wachowski 2007 EVAN ALMIGHTY by Tom Shadyac 2006 CARS by John Lasseter 2003 THE JUNGLE BOOK 2 by Steve Trenbirth 2000 MONSTERS, Inc. by Pete Docter STORYTELLING by Todd Solondz 2000 O’ BROTHER, WHERE ART THOU? by Joel and Ethan Coen 1999 BRINGING OUT THE DEAD by Martin Scorsese

1998 THE BIG LEBOWSKI by Joel and Ethan Coen

BLUES BROTHERS 2000 by John Landis

1994 FLINTSTONES by Brian Levant 1991 BARTON FINK by Joel and Ethan Coen Golden Globe Nominated for Best Supporting Actor

KING RALPH by David S. Ward

1989 ALWAYS by Steven Spielberg

SEA OF LOVE by Harold Becker

1987 RAISING ARIZONA by Joel and Ethan Coen

THE BIG EASY by Jim McBride

1984 MARIA’S LOVERS by Andrei Konchalovsky

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Kelly MacDonald - Kelly Drummond The Actress Beautiful actress, Kelly Drummond is in the car when Dave first meets Elrod Sykes. Her Hollywood-style attempts to get Elrod off a drink-driving charge earn Dave’s contempt, but Kelly soon has the chance to show she has other qualities besides those that get her on the cover of glossy magazines. Selective filmography: 2009 IN THE ELECTRIC MIST by Bertrand Tavernier 2007 NO COUNTRY FOR OLD MEN by Joel and Ethan Coen Screen Actor Guild Award for Best Actress (with rest of the cast) BAFTA Nominated for Best Supporting Actress London Critics Circle Film Award for Best Supporting Actress 2005 NANNY MCPHEE by Kirk Jones A COCK AND BULL STORY by Michael Winterbottom 2004 FINDING NEVERLAND by Marc Forster 2001 GOSFORD PARK by Robert Altman 1999 SPLENDOR by Gregg Araki 1998 ELIZABETH by Shekhar Kapur 1996 TRAINSPOTTING by Danny Boyle

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Mary Steenburgen - Bootsie Dave Robicheaux’s wife Bootsie, mid-40s, is a good-looking woman, who settled down with Dave after he moved out of New Orleans. They have a happy home, which Bootsie is anxious to preserve from the hostile elements in the outside world. Selective filmography: 2009 IN THE ELECTRIC MIST by Bertrand Tavernier 2007 THE BRAVE ONE by Neil Jordan 2006 THE DEAD GIRL by Karen Moncrieff INLAND EMPIRE by David Lynch 2002 SUNSHINE STATE by John Sayles 2001 I AM SAM by Jessie Nelson LIFE AS A HOUSE by Irwin Winkler 1995 NIXON by Oliver Stone 1993 PHILADELPHIA by Jonathan Demme WHAT’S EATING GILBERT GRAPE by Lasse Hallström 1989 PARENTHOOD by Ron Howard 1987 WHALES OF AUGUST by Lindsay Anderson DEAD OF WINTER by Arthur Penn 1982 A MIDSUMMER NIGHT’S SEX COMEDY by Woody Allen 1981 RAGTIME by Milos Forman Golden Globe Nominated for Best Supporting Actress 1980 MELVIN AND HOWARD by Jonathan Demme Academy Award for Best Supporting Actress Golden Globe for Best Supporting Actress New York Film Critics Circle Award for Best Supporting Actress 1978 GOIN' SOUTH by Jack Nicholson

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Ned Beatty - Twinky Lemoyne The Rich Businessman Mid-60s, Twinky Lemoyne has built up one of the biggest fortunes in the county. His business empire covers sugar mills, security operations and, now, with Julie Balboni, motion pictures. Twinky doesn’t appreciate Dave and Rosie’s questions. Selective filmography: 2009 IN THE ELECTRIC MIST by Bertrand Tavernier 2007 CHARLIE WILSON’S WAR by Mike Nichols 1999 COOKIE’S FORTUNE by Robert Altman 1997 HE GOT GAME by Spike Lee 1991 HEAR MY SONG by Peter Chelsom Golden Globe Nominated for Best Supporting Actor 1987 THE FOURTH PROTOCOL by John Mackenzie THE BIG EASY by Jim McBride1980 SUPERMAN 2 by Richard Lester 1979 1941 by Steven Spielberg WISE BLOOD by John Huston 1978 SUPERMAN 1 by Richard Donner 1977 EXORCIST 2: THE HERETIC by John Boorman 1976 NETWORK by Sidney Lumet Academy Award Nominated for Best Supporting Actor ALL THE PRESIDENT’S MEN by Alan J. Pakula 1975 NASHVILLE by Robert Altman 1973 THE LAST AMERICAN HERO by Lamont Johnson 1972 DELIVERANCE by John Boorman

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CAST

Dave Robicheaux Tommy Lee Jones Elrod T. Sykes Peter Sarsgaard Julie Balboni John Goodman Bootsie Mary Steenburgen Kelly Drummond Kelly MacDonald Twinky Lemoyne Ned Beatty Rosie Gomez Justina Machado Ben Hebert James Gammon General John Bell Hood Levon Helm

Sam “Hogman” Patin Buddy Guy Lou Girard Pruitt Taylor Vince Murphy Doucet Bernard Hocke Cholo Manelli Julio César Cedillo Michael Goldman John Sayles Batist Walter Breaux Alafair Alana Locke Sheriff Gary Grubbs Adonis Brown Tony Molina, Jr. Clothilde (Cleaning woman) Adella Gautier Doobie Patout Louis Herthum Margot Andrea Frankle Jimmie Ryan Rilette St. Clare Parish Deputy Randy Austin

Club Leon Bartender Ritchie Montgomery

21

CREW

Directed by: Bertrand Tavernier 1st Assistant Director: Phil Hardage Written by: Jerzy Kromolowski, Mary Olson-Kromolowski Based on: James Lee Burke’s best-seller IN THE ELECTRIC MIST WITH CONFEDERATE DEAD Produced by: Michael Fitzgerald - ITHACA PICTURES, INC. and Frédéric Bourboulon - LITTLE BEAR PRODUCTIONS in coproduction with TF1 INTERNATIONAL Co-producer: Deborah Dobson Bach Executive producers: Gulnara Sarsenova Penelope Glass Line Producer: John Hardy Production designer: Merideth Boswell DoP: Bruno de Keyzer, BSC Costume designer: Kathy Kiatta Costume Supervisor: LeeAnn Radeka Editors: Thierry Derocles, Roberto Silvi and Larry Madaras Music: Marco Beltrami Casting Director (Los Angeles): Jeanne McCarthy, CSA Casting Director (Louisiana): Lisa Mae Fincannon Location Manager: George Herthel Key Make Up Artist: Allison Gordin Key Hairstylist: Yolanda M. Mercadel Special Effects Coordinator: Neil Stockstill Stunt Coordinator: Billy Burton