Lucky Logan: Soderbergh’s New Film

Soderbergh’s new film, “Lucky Logan,” is a variation of a familiar genre film.

Trying to reverse a family curse, brothers Jimmy (Channing Tatum) and Clyde Logan (Adam Driver) set out to pull off an elaborate heist during the legendary Coca-Cola 600 auto race at Charlotte Motor Speedway.

In this heist comedy from Oscar-winning director Steven Soderbergh, West Virginia family man Jimmy Logan (Channing Tatum) leads his one-armed brother Clyde (Adam Driver) and hairdresser sister Mellie (Riley Keough) in an elaborate scheme to rob North Carolina’s Charlotte Motor Speedway. To help them break into the track’s underground cash-handling system, Jimmy recruits volatile demolition expert Joe Bang (Daniel Craig). Further complicating the already risky plan, a scheduling mix-up forces the thieves to execute the job during the Coca-Cola 600, the track’s most popular NASCAR event of the year. As they attempt to pull off the ambitious robbery, the down-on-their-luck Logans face a final hurdle when a relentless FBI agent (Hilary Swank) begins investigating the case. Also starring Seth MacFarlane, Katie Holmes, Katherine Waterson, Dwight Yoakam, Sebastian Stan, Brian Gleeson and Jack Quaid. Long Synopsis Divorced and desperate for money, unemployed West Virginia coal miner Jimmy Logan (Channing Tatum) hatches a wildly elaborate scheme to rob the Charlotte Motor Speedway in neighboring North Carolina during a NASCAR race. He convinces his one-armed brother Clyde (Adam Driver), an Iraq War vet now tending bar at a local dive, and his car-obsessed hairdresser sister Mellie (Riley Keough) to join him in the daring heist. The down-on-their-luck Logans need outside help to pull off the complex robbery. Eccentric demolition expert Joe Bang (Daniel Craig) is clearly the man for the job, but there’s one catch: Bang’s incarcerated. So Jimmy and Clyde hatch a plan to get him out just long enough to blow the racetrack vault and sneak him back into jail before the warden (Dwight Yoakam) notices he’s missing.

On the day of the hugely popular Coca-Cola 600 race, the Logan crew breaks into an underground pneumatic tube system used to transport millions in vendors’ cash. Just when it  seems they’ve pulled off the most incredible robbery in North Carolina history, a relentless FBI agent, Sarah Grayson (Hilary Swank), begins snooping around the scene of the crime, suspicious of everything and everyone she comes across. Filled with unexpected plot twists, offbeat characters, deadpan humor and a raucous soundtrack, Logan Lucky marks the big screen return of director Soderbergh.

Logan Lucky stars Channing Tatum (Magic Mike, 21 Jump Street ), Emmy® nominee Adam Driver (Star Wars: The Force Awakens, Paterson), Seth MacFarlane (“Family Guy,” Ted), Riley Keough (“The Girlfriend Experience,” It Comes at Night), Katie Holmes (All We Had, Batman Begins), Katherine Waterston (Inherent Vice, Alien: Covenant), Dwight Yoakam (Sling Blade, Panic Room), Sebastian Stan (Captain America: Civil War, The Martian), Brian Gleeson (Mother!, Snow White and the Huntsman), and Jack Quaid (“Vinyl,” The Hunger Games), with Academy Award winner Hilary Swank (The Homesman, Million Dollar Baby) and Daniel Craig (Road to Perdition, James Bond franchise).

Logan Lucky is directed by Academy Award winner Steven Soderbergh (Ocean’s Eleven, Magic Mike). The screenplay is by first-time screenwriter Rebecca Blunt. The film is produced by Gregory Jacobs (Magic Mike, “The Knick”), Mark Johnson (Rain Man, “Breaking Bad”), Channing Tatum and Reid Carolin (Magic Mike, 22 Jump Street). Executive producers are Dan Fellman, Michael Polaire (“Behind the Candelabra,” Mulholland Drive) and Zane Stoddard. Director of photography is Peter Andrews (Ocean’s Eleven, Magic Mike). Production designer is Emmy winner Howard Cummings (The Usual Suspects, Magic Mike). Costume designer is Ellen Mirojnick (“Behind the Candelabra,” The Greatest Showman). The film is edited by Mary Ann Bernard (Emmy winner for “Behind the Candelabra”). Music by David Holmes (Ocean’s Eleven, Out of Sight).

ABOUT THE PRODUCTION After directing nearly three decades of era-defining films, Oscar winner Steven Soderbergh surprised Hollywood four years ago when he announced his retirement from moviemaking. Switching gears, Soderbergh shifted his focus to television and earned two Emmy wins for HBO’s “Behind the Candelabra” and two Emmy nominations for directing the acclaimed series “The Knick.” Logan Lucky marks the filmmaker’s return to the big screen, a decision he ascribes to “a convergence of a couple of things, one technological, and one creative.” “On the technological front,” he says, “we’re reaching a point in the digital landscape where a small company can put a movie into wide release without involvement from major studios. I was having conversations about the future of feature film distribution when this script came over the transom.” The screenplay, given to him by his wife, Jules Asner, was written by their friend Rebecca Blunt. “I was initially asked to help find a director for the script but I was very excited by what I read,” says Soderbergh. “After a couple of weeks, I admitted that I really didn’t want anybody else to direct Logan Lucky because I saw the movie very clearly from what was on the page. It’s kind of a cousin to an Ocean’s film, but it’s also an inversion of those movies because these characters have no money and no technology. They live in very pressured economic circumstances, so a couple of garbage bags full of cash can turn their lives around.” “I also like the fact that when the movie starts out, these characters are not criminals,” he adds. “Unlike the Ocean’s crew, Jimmy Logan and his team have to learn on the job, so I also liked that aspect of the script. The story felt close enough to the kind of film that makes me comfortable but different enough to make me excited.” Financed completely independently of the major studios, and distributed in the United States by Soderbergh’s new company Fingerprint Releasing, in association with Bleecker Street (Captain Fantastic, Trumbo), Soderbergh’s Logan Lucky is the epitome of what he envisioned as the new model of digitally empowered indie filmmaking. “It’s a bit of an experiment,” he says. “To test this distribution theory I needed a commercial movie with movie stars to justify a wide release in a situation that allows me absolute creative control over everything.”

An Auspicious Screenwriting Debut
The Logan Lucky script represents a remarkable effort by first-time screenwriter Rebecca Blunt. Like the characters in her script, Blunt grew up in West Virginia. She briefly attended UCLA before moving to New York to hone her writing skills. Blunt says Logan Lucky ’s working-class anti-hero was inspired by the remarkable background of her friend Channing Tatum. “I wrote Jimmy Logan with Channing in mind because I see Jimmy as an alternative version of Chan’s own story,” she says. “Chan’s from a small southern town, I believe he won a football scholarship to play in Florida but ended up blowing out his knee before the season started, so he became a stripper. I thought of Logan Lucky as, ‘What if Chan hadn’t become a male stripper and had gone back home?’ I ran into Chan and his partner Reid at a bowling alley and mentioned the the idea to them — at the time I called it Hillbilly Heist — and Chan said, ‘That sounds great!’ I don’t know if he even remembers saying that and I never imagined all of this would really happen.” Blunt fleshed out the film’s central plot based on a combination of news reports and her own imagination. “I heard about sinkholes at the Charlotte Motor Speedway, which is built on landfill. They brought in out-of-work coal miners to make repairs. With my West Virginia roots, I have a lot of sympathy for coal miners. I also had a fascination with pneumatic tubes from when I was a little kid and my mom would go to the drive-thru at the bank. She’d always let me put the money in the tube and it would magically take the money away to the teller.” Blunt gave the finished script to Soderbergh, “I wanted to see if Steven had any suggestions about directors I should go to with the script, since he’s made so many great heist movies,” Blunt says. “I was thinking he’d sworn off feature films so I was very surprised when he came back and said he wanted to direct it himself.”

Meet the Logans Soderbergh, who had worked with Channing Tatum on Magic Mike and its sequel, saw the actor as a natural for the role. “Chan’s got this everyman quality that’s very genuine,” he says. “He seems like a guy who not only would be fun to hang out with but who would totally have your back if something went sideways.” Tatum says he jumped at the chance to reunite with the man who directed him in his breakthrough 2012 hit the minute he heard Soderbergh’s pitch. “We were doing Magic Mike XXL with Gregory Jacobs directing when Soderbergh told me he had a script about hillbillies

robbing NASCAR,” Tatum recalls. “I laughed because the idea of non-professional thieves robbing anything, much less a giant organization like NASCAR, sounded like fun. I love an underdog story. And this band of characters is amazing. They’re just enough outside of reality to make it fun.” Beyond being intrigued by the storyline, Tatum says he simply wanted to collaborate with Soderbergh again. “I love the guy,” he says. “That’s the bottom line. But it’s a huge plus that he’s also a master filmmaker. His films are always so different from everything else out there.” At screenwriter Blunt’s recommendation, Tatum prepared for the role by immersing himself in Appalachian subculture, including watching the jaw-dropping 2009 documentary The Wild and Wonderful Whites of West Virginia. “I also drank a lot of beers and ate a lot of pizza, just because I could,” jokes Tatum, who bulked up considerably for the part. “It’s a ‘character choice.’” With Tatum on board, Soderbergh turned his attention to the role of Jimmy Logan’s younger brother Clyde. Numerous A-list actors expressed interest in the role but Soderbergh says he always pictured Adam Driver as the lugubrious West Virginia bartender with a prosthetic limb. “Like most people, I first saw Adam on ‘Girls,’” Soderbergh says. “I immediately watched everything else he did and realized, ‘This kid’s really good.’” Driver describes Clyde as “the thinker in the family. He’s slow to act until he’s analyzed all the angles. He’s always idolized his brother Jimmy, but I think he sees himself as the caretaker of the family.” When the director sat down with Driver to discuss the part, he recalls the actor was particularly focused on perfecting Clyde’s speaking style. “We didn’t really talk about the role other than that he wanted to dive in and chase that West Virginia accent,” Soderbergh says. Driver says he kept two people in mind as he developed his portrayal. “Clyde was a cross between [the actor] Sam Elliott and my Uncle Kenny. Mostly my Uncle Kenny. But if he had a kid with Sam Elliott, it’d be Clyde.” After working with dialect coach Diego Daniel Pardo, the three-time Emmy nominee showed up on set and performed his first scene in character. “We had people in the crew who grew up in West Virginia and when they heard Adam talk they were stunned,” Soderbergh recalls. Even screenwriter Blunt was taken aback by Driver’s mastery of the regional accent. “Adam sounded exactly like my grandfather,” she says.

In addition to nailing his character’s patois, Driver had to acquire another impressive skill for his first major scene in the film. “I learned how to make a martini with one arm,” he says. Jimmy and Clyde’s sister Mellie is played with steely charisma by Riley Keough. She wowed Soderbergh when they worked together on the 2016 Starz cable series “The Girlfriend Experience,” which earned her a Golden Globe nomination. “Mellie’s a very striking looking young lady with a beauty salon who’s also a gearhead,” Soderbergh explains. “She doesn’t have a lot of friends and keeps her own counsel, so the actress who played her needed to have a lot going on behind the eyes. That’s something Riley’s really good at. Riley as Mellie was the perfect accelerant to add into this mix of boys.” Keough responded to the gritty characters and unique setting described in the Logan Lucky script. “I like the idea of regular people winning in life,” she says. “And being Southern myself, I thought doing a heist movie in the South was pretty cool. Plus, its got everything: it’s comedy, and it’s action, and it’s about family. Of course, Steven’s amazing so I wanted to work with him again.” To get into character as a back roads speed demon, Keough took lessons from stunt coordinator Steve Kelso to master a new skill set: driving a car with manual transmission. “I didn’t know how to drive stick so he taught me,” she says. “We drove around in California first and then when I got to Atlanta we drove around in the Mustang you see in the movie. I don’t really drive that often, so it was really fun to go racing around in this sports car shifting gears.”

Joe Bang & Bros. Daniel Craig relished the rare opportunity to showcase his comedic chops as quirky explosives expert Joe Bang. “I have played weird parts before but not for a long while,” Craig says. “With Joe Bang, I could really disappear into the role, yet it wasn’t a massive commitment because this is really Channing and Adam’s story. I could just go to the set, give it my all and have fun with the character.” Craig, world famous for his roles as James Bond in four 007 blockbusters, recently starred in an Off-Broadway production of “Othello,” but he’s never before stretched himself in the direction of an Appalachian crook. “As soon as I got offered the job I started working on that accent to find out who this person was and what kind of character I wanted him to be,” says the actor. “Joe Bang was really well written on the page, so I didn’t have to add a huge amount. I just had to find his voice. Once I got the accent, Joe Bang appeared.”

Without any direction from Soderbergh before production began, Craig decided to physically transform himself with a radical DIY makeover: a blond crew cut. “I went down to the CVS store and bought a bottle of bleach and did my hair,” he says. “I showed it to the hair and makeup people and they were like, ‘Yep, that works.’” Soderbergh, who first met Craig while producing the 2005 movie The Jacket, sensed that the British actor would be up for the standout supporting role. “Daniel and I have run into each other over the years so I emailed him the script and said, ‘I think I may have something for you.’ The next morning I got an email back from him saying, ‘This is great.’ I had a feeling Daniel would respond to it because Joe Bang is arguably the best part in the film. He gets all the fun lines and does a bunch of fun stuff for a third of the film without having to shoulder all the responsibility of a lead role.” Rounding out the heist crew are Joe Bang’s allegedly born-again younger brothers Fish and Sam, portrayed by Jack Quaid and Brian Gleeson. “I love the Bang brothers,” says Quaid, hired for Logan Lucky on the strength of his scene-stealing performance in the HBO rockmusic melodrama “Vinyl.” “I mean, the Logans are at least functioning members of society who have jobs, but Fish and Sam are two backwater hillbillies coming out of the meth world. For me it was fun to play someone with a little less intelligence, because usually I play neurotic people who overthink things.” Quaid took a less-is-more approach to the character’s wardrobe, inspired by The Wild and Wonderful Whites of West Virginia. “Hank Williams III often wore a vest with no shirt in that movie, so when I went in for the fitting they were looking for something like that for Fish. I feel like my character wouldn’t bother to cover himself any more than what’s absolutely, legally necessary.”

Gals with Gumption In a story filled with unexpected twists, one of the most surprising revelations occurs in the third act, when two-time Oscar winner Hilary Swank shows up as FBI Agent Sarah Grayson. Soderbergh, who produced the 2002 Christopher Nolan movie Insomnia, in which Swank stars as a young detective, enlisted the actress to deliver a jolt of eccentricity once the guys pull off their caper. “Hilary’s obviously great and I needed the movie to get a new weird energy at that point in the story,” Soderbergh says. “The FBI Agent needed to be as off-center as everybody else in the film, so I just told Hilary, ‘She needs to be odd.’”

Swank developed her own take on the dogged federal agent. “She’s no-nonsense, gets to the point and will not give up until she’s figured out the case — and will be happy to kick your ass along the way,” she says. “I like that Grayson thinks she’s smarter than everyone else. She basically thinks everyone else is an idiot.” The needs of Jimmy Logan’s fractured nuclear family are what prompt him to embark on the ingenious scheme in the first place. Soderbergh cast Katie Holmes to play Jimmy Logan’s embittered ex-wife Bobbie Jo. “Katie embraced the idea that she couldn’t soften the character, because if she backs off from putting pressure on Jimmy then it dilutes the film,” Soderbergh explains. “When we met about the role, I told Katie, ‘You don’t get that mad at somebody who you are over. That’s all I’m going to say.’ And she said, ‘I know what you mean.’” Holmes understood the dramatic underpinnings of her role. “I was excited to take on Bobbie Jo because I felt like she’s a survivor,” Holmes says. “There’s still love between her and Jimmy, but she also experienced a lot of disappointment and heartbreak. I just went for it.” Logan Lucky opens with an endearing car-fixing scene between Jimmy and his daughter Sadie, played with exceptional charm by young actress Farrah Mackenzie. “Farrah had a wonderful spark and her little face was so compelling,” says Soderbergh, who met her for the first time on set after casting director Carmen Cuba selected her for the role. “Chan has a daughter and I knew he and Farrah would really play off each other because he’s very comfortable with kids.” Mackenzie, who was 10 at the time of filming, describes her character as a “fun, loving, competitive little girl who likes to be beautified and loves her daddy a whole bunch.” According to Tatum, the days he spent sharing scenes with Mackenzie were among his favorites of the shoot. “Farrah’s so free and honest,” he says. “When she looks at you, you can’t help but smile.”

A Mismatched Race Team
Rounding out Logan Lucky ’s

stellar cast is comedian, writer, actor and director Seth MacFarlane, virtually unrecognizable in the role of arrogant race-team owner Max Chilblain. The creator of TV’s “Family Guy” and the Ted films, MacFarlane got a simple directive from Soderbergh. “I told Seth, ‘You can go any way you want with Max as long as you remember he’s one of those people where the minute he comes into the room, the molecules shift and everybody hates him. It has to be instantaneous.’”

A few weeks later, MacFarlane showed up on the Logan Lucky set adorned in curly hair and mustache, speaking in a British accent — which wasn’t specified in the script. “It was perfect,” Soderbergh says. “Seth’s a comedian. He knows how to read a room so I trusted him.” Obsessed with promoting his line of energy drinks, Max tangles with his healthconscious ace driver Dayton White, portrayed by Romanian-born actor Sebastian Stan. “Dayton’s married to the purpose of winning the race, which is probably why he forms this unlikely partnership with Chilblain,” says Stan. “Everything Dayton does is geared towards being in the best condition possible physically and mentally. He looks at his body very much the way a mechanic looks at the engine of a car.”

Pulling off the Heist
Logan Lucky began its 36-day shoot in late August 2016, with cast and crew headquartered in Atlanta. On hand to supervise day-to-day logistics was Oscar-winning producer Mark Johnson (Rain Man, “Breaking Bad”). “The biggest challenge quite frankly was keeping up with Steven,” Johnson says. “He gets to the location in the morning and goes! Then at night, he’s back at the hotel editing what was just shot. It’s amazing to watch.” Primary locations included a rented trailer standing in for Jimmy Logan’s West Virginia mobile home, a vacant plot of land dressed to resemble a county fair, a roadside tavern, and a former prison. In contrast to the brightly-hued action that dominates the rest of the story, Soderbergh asked Emmy-winning production designer Howard Cummings to make the penitentiary as drab as possible. “That’s really the one area where I asserted myself in terms of production design,” says Soderbergh. “I wanted everything for the prison scenes to be monochromatic, so I asked our production designer Howard Cummings to paint everything gray. I had our costume designer Ellen Mirojnick make black-and-white uniforms for all the prisoners to wear.” The production’s most complex sequence centers on the heist itself. Filmmakers shot at four separate locations, and the footage was stitched together during post-production to create the Charlotte Motor Speedway scenes. Soderbergh spent a couple of intensive days in Concord, North Carolina, shooting at the actual track. The Atlanta Motor Speedway served as location for numerous close-ups of race cars in action. The Georgia World Congress Center in Atlanta was used for the racetrack’s underground tunnels. And the film’s climactic burglary was filmed in a warehouse soundstage dressed with a fully functioning pneumatic tubes transport (PTT) system.

“We had a lot of discussions about the PTT,” Soderbergh says. “It had to be hi-fi enough to look like a viable transport system but lo-fi enough to make it seem like these guys could hack it. There was a lot of research and development on the parts of the prop and physical effects department to make the canisters open and close themselves and be sucked back into these tubes, the way it was described in Rebecca’s screenplay. I wanted to shoot it practically without having to resort to any CGI tricks in post-production.” Driver was impressed by Soderbergh’s trademark efficiency, which helped the cast stay focused throughout the day. “Controlling the rhythm and momentum of the set is important to Steven,” says the actor. “He’s operating the camera, and lighting practically everything, and directing, so he’s not held ransom by anyone else’s schedule. He’ll just pick up the camera from this bean bag and say ‘Ready.’ For actors, that means nobody’s going to retreat back to a trailer and then come back an hour later and waste a few takes getting back into the moment.” Soderbergh’s fast-paced approach didn’t prevent the cast from enjoying themselves on — and off — the set, however. “It was a real brotherhood with Channing and the guys,” says producer Gregory Jacobs, who has worked alongside Soderbergh on nearly all of his movies dating back to 1993’s King of the Hill. “The vibe on set was very collegial, reminding me of what we saw happening with the cast on the Ocean’s films.” Soderbergh says the actors’ off-camera rapport translated into on-screen chemistry. “They basically formed a gang, which really comes across when you’re setting up scenes. Everybody feels like it’s a safe place to try stuff, whether it’s a line or a piece of blocking, because you know everyone’s in the same boat and rowing in the same direction.”

The NASCAR Effect No heist is complete without a formidable target, and in the case of Logan Lucky , the North Carolina NASCAR racetrack Charlotte Motor Speedway offers an epic score. Zane Stoddard, NASCAR’s vice president of entertainment marketing and an executive producer on the film, offered the organization’s full cooperation after Soderbergh and Tatum showed up in his Los Angeles office to explain the project. “Charlotte Motor Speedway is a beautiful track,” Stoddard says. “Not only did the story geographically lead us to Charlotte, but it’s a great representation of a world-class NASCAR facility.” Soderbergh and Tatum assured Stoddard that Logan Lucky would represent NASCAR fans, and the sport itself, with respect. “We’re always prepared for stereotypical takes because a

lot of people in Hollywood only have an arm’s-length idea of what NASCAR is all about,” Stoddard says. “The sport is considerably more sophisticated than the entertainment business sometimes understands, and so are NASCAR fans. We want to be on the inside of the joke rather than making fun of the sport.” In fact, a number of NASCAR drivers have their own cameos in the film. Ryan Blaney plays a delivery man, Brad Keselowski and Joey Logano are Charlotte Motor Speedway security guards, Carl Edwards is a West Virginia state trooper, Kyle Busch is a highway patrolman and Kyle Larson plays a limo driver. Stoddard notes that the film’s portrayal of racetrack cash being transported via pneumatic tubes at the Charlotte Motor Speedway is an entirely fictional conceit. “It’s far more sophisticated than what we see in the film,” he says. NASCAR officials arranged for the filmmakers to spend a couple of days at the Concord, North Carolina, track to shoot racing action and crowd scenes. Soderbergh and company came and went anonymously. Race sequences were also staged at the Atlanta Motor Speedway, where Soderbergh positioned himself in the cockpit of a Porsche Cayenne and careened around the track at breakneck speeds. “It was interesting to recreate the feeling of being inside a race,” Soderbergh says. “We got out on the track with this Porsche that was specially built so we could mount cameras on it and move them around. We’re doing 110 miles an hour, and as you can see in the movie, we’re just inches away from the other cars. I’m in the passenger’s seat with the monitor in front of me and all I can think of is, ‘We’re going way too fast. And we’re way too close to these cars.’ And then you realize you’re only going half as fast as the real racers. I don’t know how they do it.” Fortunately for Soderbergh, stunt coordinator Steve Kelso and race coordinator and driver Laurence Chavez choreographed their moves with pinpoint precision. “When you got up into those banks and took those turns, the drivers were amazing,” says the director. “For one shot, the car had to hit the wall and go into a spin as two cars drive by on either side barely missing him. We did six takes of that and when we were done, I looked over at the skid marks and they overlaid each other exactly. They hit the same spot, did the same spin, at the same speed, six times, identically. That’s crazy.”

A Roots-Rocking Soundtrack Soderbergh worked with Irish composer and musician David Holmes to help him assemble music-driven montages for Logan Lucky . Holmes, a frequent Soderbergh collaborator who served as composer on all of the Ocean’s films and music supervisor or Ocean’s Twelve and Ocean’s Thirteen, made it his mission to find obscure Southern-rock songs loaded with swagger. “After we had a general conversation about the feel of the movie, David started sending me hundreds and hundreds of tracks I’d never heard before,” says the director. “I hate when people do obvious needle drops in a movie. In the case of Logan Lucky, we use a John Denver song as a plot point but beyond that, I wanted to take a very analog approach, where the music feels very much made by human hands. To match the scale of what these guys are capable of, the songs couldn’t sound expensive, they can’t sound too shiny. The soundtrack needed to be rough, like it had a little bit of rust on it. And on that front, David really outdid himself.” In addition to curating pre-existing songs for the soundtrack, Holmes composed and performed original music for the film. “I told David, ‘I’ve got X percentage of the track laid out so now you need to create some tracks that feel like the other stuff you pulled for me,’” Soderbergh explains. “He put a little band together, recorded these pieces he wrote and scored them to the picture. It was all a very fluid process.” To add an authentic musical touch to the big race, Soderbergh invited country music superstar LeAnn Rimes to perform “America the Beautiful” at the track. Screenwriter Blunt recommended Rimes after seeing the child-prodigy-turned-adult-artist perform at the Indy 500. “We wanted somebody with a great voice who might realistically be invited to perform at a NASCAR event,” Soderbergh says. Rimes performed for a few hundred extras at the Atlanta Motor Speedway, which would later be combined with cutaways to crowds at the Charlotte Motor Speedway. “‘When I got to the race track, all I knew was that Steven was asking me to sing ‘America the Beautiful’ and I was like, ‘Uh-oh, am I supposed to sing all 17 verses?” Rimes recalls. “I only knew two of them so I got a bit freaked out for a moment. I asked to speak to him, and Steven said he had no idea that there was that many verses — I just need you to sing two. I was like, thank you Jesus! Steven was fantastic to work with because he knows what he wants. Literally, I went onto the field and performed the song twice and that was it. I think it was the quickest thing I’ve ever done.” Soderbergh, who included Rimes’ latest single, “Love Is Love Is Love,” in the movie, appreciated the singer’s professionalism. “LeAnn blew everybody away with her voice and the

amount of control she has over that instrument,” he says. “When she finished singing we all just looked around at each other like, ‘I guess that’s why she’s LeAnn Rimes.’”

A Heist Movie with Heart A different kind of heist film featuring the kind of blue-collar workers not often seen on the big screen, Logan Lucky succeeds as a wry, witty popcorn action comedy burnished by Soderbergh’s uniquely skewed directorial flourishes. “I’m hoping audiences enjoy Logan Lucky as something that’s pure entertainment and fun, but at the same time is not disposable,” Soderbergh says. “I think there’s enough percolating under the surface of this film to have it resonate beyond the two hours you spend watching it. A lot of times, you’ll see a Hollywood picture that’s like sheer gossamer; it disappears from your brain as soon as it’s over. I feel like Logan Lucky is rooted enough in the real world that it won’t just disappear.” Soderbergh says he also looks forward to test-driving a wide-release business model uncompromised by interference from the major studios. “With Logan Lucky,” he says, “I feel like the planets have kind of lined up for me to put out a movie in the way I’ve always fantasized I could.”


CHANNING TATUM (Jimmy Logan) is known for his work both on the screen as an actor and behind the scenes as a producer. He next appears in Matthew Vaughn’s film Kingsman: The Golden Circle, to be released September 22. Most recently, the actor was seen in the Coen brothers’ Hail, Caesar! and Quentin Tarantino’s The Hateful Eight. In 2015 Tatum reprised his role as Mike Lane in Magic Mike XXL, directed by Gregory Jacobs. The first Magic Mike, directed by Steven Soderbergh, was released in 2012 and became a surprise hit. Other film credits include Foxcatcher, White House Down, Haywire, The Vow and Dear John. In 2014 Tatum announced the creation of his production company, Free Association, with partners Reid Carolin and Peter Kiernan. Free Association is currently producing “Magic Mike Live” at the Hard Rock Cafe. The company has also produced films such as 22 Jump Street, sequel to the smash hit 21 Jump Street, both of which starred Tatum and Jonah Hill.

ADAM DRIVER (Clyde Logan) played Kylo Ren in J.J. Abrams’ highly anticipated sequel Star Wars: The Force Awakens. The film has grossed over two billion dollars worldwide, including more than $900 million domestically, the first film ever to do so. Honored as one of AFI’s “Top 10 Movies of the Year,” the film also received four BAFTA Award nominations. Driver will reprise his role in Star Wars: The Last Jedi, to be released December 15, 2017. Most recently, Driver played the title role in Jim Jarmusch’s Paterson, which premiered at the Cannes Film Festival in 2016. His performance was honored with a Gotham Award nomination and won the L.A. Film Critics Award for Best Actor. Driver also appeared in Martin Scorsese’s 2016 film, Silence, starring opposite Andrew Garfield and Liam Neeson. Prior to that, Driver could be seen in Jeff Nichols’ acclaimed Midnight Special, starring opposite Michael Shannon, Joel Edgerton and Kirsten Dunst. Driver also starred in Noah Baumbach’s While We’re Young, opposite Ben Stiller, Naomi Watts and Amanda Seyfried; Saverio Costanzo’s Hungry Hearts, alongside Alba Rohrwacher (Volpi Cup Award for Best Actor); Shawn Levy’s This Is Where I Leave You, alongside Jason Bateman, Connie Britton, Tina Fey and Jane Fonda; John Curran’s Tracks, opposite Mia Wasikowska; the Coen brothers’ Inside Llewyn Davis, alongside Oscar Isaac; Steven Spielberg’s

Lincoln, with Daniel Day-Lewis; Noah Baumbach’s Frances Ha, alongside Greta Gerwig; and Clint Eastwood’s J. Edgar, with Leonardo DiCaprio. Driver recently wrapped production on the sixth and final season of HBO’s Golden Globe Award®-winning series “Girls,” in which he stars opposite Lena Dunham. Driver plays Adam Sackler, Hannah’s (Dunham’s) mysterious, striking and eccentric on-again, off-again boyfriend. Driver’s performance in “Girls” has garnered him three consecutive Emmy Award® nominations for Outstanding Supporting Actor in a Comedy Series, as well as a 2015 Critics’ Choice Television Award for Best Supporting Actor in a Comedy Series. Driver graduated from Juilliard in 2009. He is the co-founder of the non-profit organization Arts in the Armed Forces.

SETH MACFARLANE (Max Chilblain) possesses talents that encompass every aspect of the entertainment industry. He has created some of the most popular content on television and film today while also expanding his career in the worlds of music, literature and philanthropy. Most recently, MacFarlane voiced a small mouse with a big, Sinatra-esque voice in the animated musical family comedy Sing. At age 25 MacFarlane became the youngest showrunner in television history when his animated series “Family Guy” premiered on Fox. Now in its 15th season, the series has garnered MacFarlane Emmy Awards for both Outstanding Voice-Over Performance and Outstanding Music and Lyrics. He also serves as co-creator, executive producer and voice actor on a second long-running animated comedy, “American Dad!” MacFarlane executive produced the 21st-century version of “Cosmos: A Spacetime Odyssey,” which premiered on 10 U.S. networks and simultaneously across the Fox and National Geographic platforms, making it the largest television premiere event of all time. The series received a Peabody Award, two Critics Choice Television Awards and a Television Critics Association Award, as well as nominations for 13 Emmy Awards including Outstanding Documentary or Nonfiction Series. MacFarlane is now in production on “The Orville,” his first live-action television series. Fox has given a 13-episode straight-to-series order to the sci-fi dramedy, which MacFarlane created and will both executive produce and star in. Set 300 years in the future, the show follows the adventures of the Orville, a not-so-top-of-the-line exploratory ship in Earth’s interstellar fleet. The series premieres on September 10.

MacFarlane made his feature directorial debut in 2012 with the highest-grossing original R-rated comedy of all time, Ted. Co-written and produced by MacFarlane, the film starred Mark Wahlberg and featured MacFarlane as the voice of the title character, a lovable but foul-mouthed teddy bear. Ted made more than $545 million worldwide. Fresh off this success, MacFarlane hosted the 85th Academy Awards® in 2013. That same year he was Oscar nominated (Best Original Song) for “Everybody Needs a Best Friend,” which appeared in Ted. A much-anticipated sequel, Ted 2, was released two years later. 2014 brought MacFarlane’s comedic Western A Million Ways to Die in the West, which he wrote, produced, directed and starred in as part of an ensemble cast that included Charlize Theron, Liam Neeson, Amanda Seyfried and Neil Patrick Harris. MacFarlane is an enormous fan of orchestrations. He has sung with famed composer John Williams at the Hollywood Bowl and the John Wilson Orchestra for BBC Proms, in addition to joining celebrated symphonies such as Boston, San Francisco, Atlanta, Chicago, Baltimore and the National Symphony Orchestra. His debut album “Music Is Better Than Words” debuted at No. 1 on the iTunes jazz charts in 2011 and went on to receive four Grammy Award® nominations, including Best Traditional Pop Vocal Album. Released by Universal Republic, the album is a celebration of the classic, sophisticated sound of swing orchestras. In 2014 MacFarlane released his first-ever Christmas album, “Holiday for Swing,” which debuted at No. 1 on the iTunes holiday album charts. On his third and most recent album, “No One Ever Tells You,” MacFarlane showcases the unique orchestral arrangements of the ’50s and ’60s. The album quickly rose to No. 1 on the jazz charts and garnered MacFarlane a Grammy nomination for Best Traditional Pop Vocal Album. In addition, MacFarlane recently joined Barbra Streisand for a duet on her new musical pairings album, “ENCORE: Movie Partners Sing Broadway.” In 2009 MacFarlane created the Seth MacFarlane Foundation to focus his charitable efforts. As an advocate for science, he funded the Seth MacFarlane Collection of the Carl Sagan and Ann Druyan Archive at the Library of Congress. He also executive produced This Changes Everything, the climate change documentary inspired by Naomi Klein’s nonfiction bestseller. Shot in nine countries over four years, the film brings awareness to the urgent issue of global warming and the economic systems that facilitate it.

Through his foundation, MacFarlane continues to be an avid supporter of science communication, cancer research, Reading Rainbow, The Human Rights Campaign, Oceana, the People of the American Way, Chrysalis and Perry’s Place.

RILEY KEOUGH (Mellie Logan) is a Golden Globe nominee and one of Hollywood’s rising stars. In 2015 she co-starred in Mad Max: Fury Road, the highly anticipated fourth installment of director George Miller’s cult-classic film franchise begun in 1979 with Mad Max. The Oscar® winner (and Best Picture nominee) featured a distinguished cast led by Tom Hardy, Charlize Theron, Zoë Kravitz and Nicholas Hoult. Keough was also seen in Andrea Arnold’s American Honey, alongside Shia LaBeouf, Sasha Lane and McCaul Lombardi. The film earned her a 2017 Independent Spirit Award nomination in the category of Best Supporting Female. Most recently, Keough co-starred in Trey Edward Shults’ acclaimed horror film It Comes at Night, alongside Joel Edgerton. She also co-stars with Robert Redford and Rooney Mara in Netflix’s “The Discovery”; Lovesong, opposite Jena Malone and Brooklyn Decker; and Hank Bedford’s Dixieland, co-starring Faith Hill and Chris Zylka. Up next are Justin Kelly’s Welcome the Stranger, with Abbey Lee and Caleb Landry Jones, and David Robert Mitchell’s Under the Silver Lake. She recently wrapped production on Peer Pederson’s feature We Don’t Belong Here, alongside Cary Elwes, Anton Yelchin and Catherine Keener; Lars von Trier’s The House that Jack Built, opposite Uma Thurman and Matt Dillon; and Jeremy Saulnier’s Hold the Dark, starring Alexander Skarsgard and Jeffrey Wright. On the small screen, Keough starred in Steven Soderbergh’s 13-part series “The Girlfriend Experience,” which premiered on Starz in 2016. Inspired by the filmmaker’s 2009 feature of the same title, the show was directed by Lodge Kerrigan and Amy Seimetz. Keough’s role earned her a Golden Globe Award nomination in the limited series or telefilm category. From a young age Keough wanted to explore her talents within the film industry, and by the age of 19 she had dedicated herself to developing her acting craft for the camera. In 2010 Keough made her big-screen debut as Marie Currie in The Runaways, starring opposite Kristen Stewart and Dakota Fanning. People took notice; shortly thereafter, she starred alongside Orlando Bloom in The Good Doctor, directed by Lance Daly. Keough’s memorable work in the film, which premiered at Tribeca in 2010, earned her a nomination for Best Supporting Actress at the Milan International Film Festival.

Next, Keough’s talents landed her a lead role in Bradley Rust Gray’s werewolf flick Jack & Diane. She also appeared alongside Channing Tatum and Matthew McConaughey in Magic Mike, directed by Steven Soderbergh, which grossed nearly $167 million worldwide. Next, Keough completed work on director Nick Cassavetes’ film Yellow, alongside Sienna Miller, Melanie Griffith and Ray Liotta, as well as the Xan Cassavetes’ Kiss of the Damned. The actress currently resides in Los Angeles.

KATIE HOLMES (Bobbie Jo Logan Chapman) is an actress who has received critical acclaim for a spectrum of diversified roles on stage and screen, ranging from the blockbuster Batman Begins, directed by Christopher Nolan, to critically acclaimed art house pictures such as Ang Lee’s The Ice Storm and Peter Hedges’ Pieces of April. More recently, Holmes starred as Jacqueline Kennedy in REELZ’s TV miniseries “The Kennedys: Decline and Fall,” which premiered in April. She starred in and made her directorial debut with All We Had, which premiered at the 2016 Tribeca Film Festival. Also last year, she starred in Touched with Fire, which had premiered at SXSW in 2015. Previously, Holmes appeared in the dark comedy she helped produce, Miss Meadows, utopian drama The Giver and biopic Woman in Gold. Holmes’ film career began in 1996 when she landed the role of Libbets Casey opposite Tobey Maguire in Ang Lee’s classic drama The Ice Storm. Since then she has worked with some of Hollywood’s most prominent actors and directors. Notable credits include Curtis Hanson’s Wonder Boys, Jason Reitman’s Thank You for Smoking, Sam Raimi’s The Gift, Stephen Gaghan’s Abandon, Doug Liman’s Go, Joel Schumacher’s Phone Booth, Keith Gordon’s The Singing Detective, Forest Whitaker’s First Daughter, Kevin Williamson’s Teaching Mrs. Tingle, David Nutter’s Disturbing Behavior, Shari Springer Berman and Robert Pulcini’s The Extra Man, Dito Montiel’s The Son of No One and Don’t Be Afraid of the Dark, produced by Guillermo Del Toro. Holmes executive produced and starred in writer/director Galt Niederhoffer’s The Romantics, a romantic drama featuring Anna Paquin, Josh Duhamel, Malin Akerman, Candice Bergen and Elijah Wood. In 1997 Holmes was cast as Joey Potter on the WB TV series “Dawson’s Creek,” opposite James Van Der Beek and Michelle Williams. The show quickly became the highestrated series on the WB network throughout its six-season run. She returned to television in “The Kennedys,” playing First Lady Jacqueline Kennedy opposite Greg Kinnear as President John F.

Kennedy. Chronicling the story of the most fabled political family in American history, the miniseries garnered 10 Emmy nominations including “Outstanding Miniseries.” In 2015 Holmes starred opposite Liev Schreiber in the third season of Showtime’s hit drama “Ray Donovan.” In 2012 Holmes starred in the Broadway production “Dead Accounts,” opposite Nobert Leo Butz. She had previously made her Broadway debut in the 2008 limited run of Arthur Miller’s “All My Sons,” alongside John Lithgow, Patrick Wilson and Dianne Wiest. Her portrayal of Ann garnered glowing reviews and established her as an accomplished actress on both screen and stage.

KATHERINE WATERSTON (Sylvia Harrison) is a stage and film actress who garnered critical acclaim for her breakout role opposite Joaquin Phoenix in Paul Thomas Anderson’s drug-fueled crime drama Inherent Vice. Since then she has positioned herself as one of Hollywood’s leading ladies, working with top filmmakers such as Paul Thomas Anderson, Danny Boyle and Ridley Scott. Most recently, Waterston starred with Michael Fassbender in Alien: Covenant, the latest chapter in Ridley Scott’s groundbreaking Alien franchise. She has wrapped production on Alfonso Gomez-Rejon’s The Current War, alongside Tom Holland and Benedict Cumberbatch, as well as State Like Sleep, with Luke Evans and Michael Shannon. In February the actress acquired the screen rights to A Separation, the latest novel from author Katie Kitamura, and is also attached to star in the adaptation. Previously, Waterston starred in David Yates’ Fantastic Beasts and Where to Find Them, opposite Eddie Redmayne; Danny Boyle’s Steve Jobs, alongside Michael Fassbender and Kate Winslet; The Disappearance of Eleanor Rigby, opposite Jessica Chastain and James McAvoy; and Kelly Reichardt’s Night Moves, opposite Dakota Fanning, Peter Sarsgaard and Jesse Eisenberg. Other film credits include Manhattan Romance, Queen of Earth, Michael Clayton, Taking Woodstock and Being Flynn. In 2012 Waterston was seen on the small screen, recurring on the critically acclaimed HBO series “Boardwalk Empire.”

DWIGHT YOAKAM (Warden Burns) has delivered strong supporting performances in such films as Sling Blade, alongside Billy Bob Thornton; Panic Room, with Jodie Foster; and

Three Burials, opposite Tommy Lee Jones. Most recently, he starred with Boyd Holbrook in Boomtown, a drama that netted two awards in its Nashville Film Festival premiere. Best known as a highly acclaimed musician and beloved country icon, Yoakam has recorded more than 22 albums and sold over 25 million copies worldwide, with five reaching the No. 1 spot on Billboard. He is a 21-time Grammy nominee and has won twice. In 2013 he was awarded the Americana Music Association Award for Artist of the Year. Yoakam has collaborated with everyone from Beck to Kid Rock, ZZ Top, Hunter S. Thompson and Jack White. He has toured with the likes of Buck Owens, Johnny Cash and Hüsker Dü. Yoakam’s latest album, “Swimmin’ Pools, Movie Stars…” was released by Sugar Hill Records and reached No. 2 on the Americana Radio Chart. Yoakam continues his North American tour this fall and winter throughout the U.S. and Canada. For this album Yoakam assembled a band of bluegrass luminaries to reinterpret favorites from his catalogue of gems, including 11 Yoakam compositions and a new cover of Prince’s “Purple Rain.” The album reflects the love for bluegrass music that Yoakam developed at an early age in Kentucky and that has inspired him ever since. 2015’s critically acclaimed “Second Hand Heart” made NPR’s “Best Albums of 2015” list. It reached No. 2 on the Billboard Country chart. Yoakam’s performance of “What I Don’t Know” from the Americana Music Association Honors & Awards show will air in a special episode of PBS’ “Austin City Limits Presents” on November 19. In 1977 Yoakam left Kentucky for Nashville to embark on a music career but found that the Music City was moving away from its traditional country roots to a more “pop-country” sound. He found himself better suited to the post-Bakersfield movement and, alongside X, Los Lobos, The Knitters, Rank & File and the Blasters, he became one of the founding fathers of the “L.A. Cowpunk Scene” influenced by second-wave rockabilly and punk.

SEBASTIAN STAN (Dayton White) has evidenced the kind of talent and versatility that make an actor stand out in Hollywood. The actor reprised his role as Bucky Barnes, aka the Winter Soldier, in Marvel’s smash hit Captain America: Civil War. Stan played the role in previous Captain America films The Winter Soldier and The First Avenger. He was also seen in Bryan Buckley’s The Bronze, alongside Melissa Rauch; Ridley Scott’s Golden Globe winner The Martian, opposite Matt Damon and Jessica Chastain; and Ricki and the Flash, alongside Meryl Streep.

Up next, Stan will be seen in I’m Not Here, opposite J.K. Simmons and Mandy Moore; We Have Always Lived in the Castle, with Taissa Farmiga; I, Tonya, alongside Margot Robbie and Allison Janney; and Captain America: Infinity War, opposite Chris Evans. Other film credits include Black Swan, Rachel Getting Married, Spread, The Apparition, Gone, Hot Tub Time Machine, The Education of Charlie Banks, The Architect and The Covenant. On television Stan is well known for his recurring role as Carter Baizen on the hit CW series “Gossip Girl.” He starred in USA Network’s “Political Animals,” opposite Sigourney Weaver, and the NBC drama “Kings,” alongside Ian McShane. The actor also appeared in Season 1 of ABC’s hit series “Once Upon a Time,” playing fan-favorite the Mad Hatter. In 2007 Stan made his Broadway debut opposite Liev Schreiber in Eric Bogosian’s “Talk Radio.” During the Roundabout Theatre Company’s 2013 season, he returned to the Broadway stage in “Picnic,” directed by Sam Gold. The actor currently resides in New York.

BRIAN GLEESON (Sam Bang) played Gus opposite Kristen Stewart in Snow White and the Huntsman and played the lead role of Cormac in How to Be Happy, a feature directed by Mark Gaster, Michael Rob Costine and Brian O’Neill. For the small screen, Gleeson notably played the role of Sinclair in the BBC adaptation of Benjamin Black’s “Quirke” series, starring Gabriel Byrne. He was also seen in the BBC series “Stonemouth.” Forthcoming projects include Paul Thomas Anderson’s as-yet-untitled feature project and Darren Aronofsky’s Mother! He also recently filmed a second season of the RTÉ TV series “Rebellion,” reprising his lead role as Jimmy Mahon. Other recent film work includes Declan Recks’ The Flag, Justin Kurzel’s Assassin’s Creed, Simon Dixon’s Tiger Raid, Ronan and Rob Burke’s Standby, Fiona Tan’s History’s Future, Wiebke von Carolsfeld’s Stay, Patrick Ryan’s Darkness on the Edge of Town and Andy Taylor Smith’s Serious Swimmers, a short film. On stage, Gleeson was seen in “The Weir,” directed by Amanda Gaughan at the Lyceum Theatre, Edinburgh. He also co-starred alongside his brother Domhnall and father Brendan Gleeson in “The Walworth Farce,” directed by Seán Foley at the Olympia Theatre, Dublin. Prior to that he appeared in the Donmar Warehouse’s acclaimed production of Conor McPherson’s “The Night Alive,” which also ran at the Atlantic Theater in New York and was named Best Play of 2013-2014 by the New York Drama Critics Circle.

Gleeson is currently based in London.

JACK QUAID (Fish Bang) is a rising star and one of Hollywood’s most exciting and versatile young actors working today. He can next be seen in the film Tragedy Girls, which premiered at a midnight screening at SXSW this year. Audiences can also see Quaid in It’s Been Like a Year, which recently won the Santa Barbara Film Festival’s Bruce Corwin Award for Best Live Action Short Film. Up next, the actor joins the cast of video-game adaptation Rampage, now in production. Additional credits include the HBO series “Vinyl,” from executive producers Martin Scorsese and Mick Jagger; the first two installments of The Hunger Games film franchise, alongside Jennifer Lawrence; and Meg Ryan’s directorial debut, Ithaca, opposite Ryan, Tom Hanks and Sam Shepard. Quaid is a founding member, writer and performer in Sasquatch Comedy, a group whose online video sketches have been featured on Funny Or Die, Cracked and many other sites. The actor currently resides in Los Angeles.

HILARY SWANK (Sarah Grayson) has enjoyed a career spanning more than 20 years as one of Hollywood’s most dynamic and nuanced voices, proving herself the epitome of what it means to be a consummate professional as an actress and producer. Swank has worked with such leading filmmakers as Clint Eastwood, Christopher Nolan, Mira Nair, Richard LaGravenese, Gary Marshall, Philip Noyce, Brian De Palma and Sam Raimi. Her most recent films include You’re Not You, in which she starred as well as produced through her 2S Films banner, and The Homesman, opposite Tommy Lee Jones. 
 This year Swank voices “The Queen” in Aaron Woodley’s 3D animated film Spark: A Space Tail. She co-stars alongside Ed Helms and Ed Harris in HBO’s latest series, “The One Percent,” created by Alejandro González Iñárritu. The series follows a dysfunctional family struggling to keep their farm from financial ruin. Swank will also appear in the Bille August film 55 Steps. The film is based on the true story of Eleanor Riese (Helena Bonham Carter), who filed a class-action suit to give competent mental patients the right to have input on their medication. Swank portrays Colette Hughes, the lawyer appointed to Riese’s case. Swank won an Oscar, Golden Globe and Critics’ Choice Award (Best Actress) for her breakout role as Brandon Teena in the 1999 drama Boys Don’t Cry. Her much-lauded

performance also earned her Best Actress honors from the New York, Los Angeles and Chicago critics circles, as well as the National Society of Film Critics. Additionally, the National Board of Review recognized Swank’s work with the Breakthrough Performance of the Year Award and she earned BAFTA and Screen Actors Guild (SAG®) nominations. In 2005 Swank won her second Academy Award for her starring role in Clint Eastwood’s Best Picture winner Million Dollar Baby. She also won her second Golden Globe and a SAG Award, as well as National Society of Film Critics and Critics’ Choice honors (Best Actress). That same year, she received Golden Globe and SAG nominations for her role in HBO’s “Iron Jawed Angels.” Other credits include starring in and executive producing the fact-based drama Conviction, for which Swank received a SAG Award nomination; starring in and executive producing Mira Nair’s Amelia, the story of the legendary aviatrix; and Freedom Writers, directed by Richard LaGravenese. Additional credits include LaGravenese’s P.S. I Love You, Brian De Palma’s The Black Dahlia, Charles Shyer’s The Affair of the Necklace, Sam Raimi’s The Gift, Stephen Hopkins’ The Reaping, Christopher Nolan’s Insomnia and Garry Marshall’s New Year’s Eve. She produced the romantic comedy Something Borrowed, the first film produced under the banner of her production company, 2S Films. Swank’s philanthropic efforts focus on her commitment to animal welfare and rescue. In 2009 she participated in the IAMS Home for the Holidays campaign, dedicated to placing homeless pets. During the campaign, more than 1.4 million animals found forever homes. For more than a decade she has been involved with Best Friends Animal Society, which works tirelessly on behalf of animals through adoption, spay/neuter programs and education programs for “pet parents.” On Thanksgiving Day in 2014 and 2015, Swank executive produced and co-hosted Fox’s “Cause for Pause: An All-Star Dog Spectacular,” a groundbreaking primetime special aimed at dog rescue. During the event, more than 60 dogs were rescued and tens of thousands of dollars raised to help local, grassroots charities. Swank continues her dedication and commitment to animal welfare through the launch of her charity The Hilaroo Foundation, which brings at-risk youth and abandoned animals together to help heal one another through Rescue, Rehabilitation and Responsibility Training.

In 2016 Swank added clothing designer to her resume with her own line, Mission Statement. In a world where women are often objectified and trivialized, Swank focused on creating clothes that merge high performance and high fashion to allow the wearer to find the perfect balance of movement while in the gym, in the office, resting or playing.

DANIEL CRAIG (Joe Bang) has been hailed as one of the finest actors of his generation on stage, screen and television. Best known as James Bond, Craig has played the character four times, most recently in 2015’s Spectre. Previous 007 outings Skyfall, Quantum of Solace and Casino Royale were critically acclaimed, highly successful or both. In 2011 Craig starred opposite Rooney Mara in The Girl with the Dragon Tattoo, directed by David Fincher and based on the international bestseller. Up next Craig will appear in Kings, with Halle Berry and Rick Ravanello. Set in the violent aftermath of the 1992 Rodney King beating, the story follows a foster family in South Central and the implications the resulting verdict has on their lives. The actor was recently announced as the star of Showtime’s adaptation of Jonathan Franzen’s novel, Purity, which will begin production later this year. The plot follows a young woman who joins an activist group and begins a global journey in search of her father. Other film credits include Love & Rage, Obsession, The Power of One, Road to Perdition, Layer Cake, Infamous and Munich. Craig is also an accomplished stage actor. In 2013 he starred in the critically acclaimed Broadway show “Betrayal,” opposite Rafe Spall and Rachel Weisz. Directed by Mike Nichols, the play ran for 14 weeks and grossed $17.5 million in that time. Craig’s most recent theater venture was the Off Broadway production of “Othello,” alongside David Oyelowo and directed by Sam Gold, at the New York Theatre Workshop in 2016. In 2009 Craig starred in a 12-week Broadway run of “A Steady Rain.” This contemporary American play co-starred Hugh Jackman. Other theater credits include leading roles in “Hurlyburly,” with the Peter Hall Company at the Old Vic; “Angels in America,” at the National Theatre; and “A Number at the Royal Court,” alongside Michael Gambon.


STEVEN SODERBERGH (Director) is a writer, director, producer, cinematographer, and editor. He most recently executive produced and directed two seasons of the series “The Knick” on Cinemax. He earned the Academy Award in 2000 for directing Traffic, the same year he was nominated for Erin Brockovich. Soderbergh earlier gained an Academy Award nomination for Best Original Screenplay for sex, lies, and videotape, his feature film directorial debut. The film also won the Palme d’Or at the 1989 Cannes Film Festival. Among his other credits are the films Side Effects, Magic Mike, Haywire, Contagion, And Everything is Going Fine, The Girlfriend Experience, The Informant!, Che, the Ocean’s trilogy, The Good German, Bubble, Equilibrium, Solaris, Full Frontal, The Limey, Out of Sight, Gray’s Anatomy, Schizopolis, The Underneath, King of the Hill and Kafka. His television film “Behind the Candelabra,” for which he won a 2013 Emmy Award for Outstanding Directing, debuted on HBO in May of that year. In 2009, he created and directed the play “Tot Mom” for the Sydney Theatre Company. While in Sydney he also directed the film The Last Time I Saw Michael Gregg. In April of 2014, he directed the world premiere of Scott Burns’ play “The Library” at New York’s Public Theater. He is currently working on the project “Mosaic” for HBO.

REBECCA BLUNT (Writer) was raised in Logan, West Virginia and hails from a family that worked the local coal mines for many generations. After researching on the interweb how to make the explosive device featured in the film, she was informed her TSA PRE status was permanently revoked. Logan Lucky
is her first screenplay. She now makes her home in New York City.

GREGORY JACOBS (Producer) is a film and television producer, writer and director. He co-created, writes and executive produces the Amazon Studios series “Red Oaks,” which premieres its third and final season this fall. Previously, he executive produced both seasons of the Cinemax series “The Knick,” directed by Steven Soderbergh and starring Clive Owen. Jacobs directed Magic Mike XXL, starring Channing Tatum, and Wind Chill, starring Emily Blunt. He made his directorial debut on Criminal, starring John C. Reilly, Diego Luna and Maggie Gyllenhaal. Released by Warner Independent, the film screened previously at the Venice, Deauville and London film festivals.  Jacobs produced Edge of Tomorrow, directed by Doug Liman and starring Tom Cruise.

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