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WELCOME TO COLLINWOOD - PRODUCTION NOTES

By Contactmusic.com on 16 April 2003


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Welcome to Collinwood



Production Notes

Every small-time crook in the rough and tumble Cleveland neighborhood of
Collinwood dreams of the perfect crime. In local lingo, it's called a "Bellini,"
a job so rich and simple that any fool with the right information can pull it
off. When it comes to a Bellini, belief and desperation are two sides of the
same coin.

Collinwood is one of those rust-belt neighborhoods ringing Cleveland's once
vibrant industrial center. It's the kind of neighborhood where streets form
boundaries between bristling ethnic and racial enclaves. It's the kind of place
that yuppies and urban pioneers don't invade, where Starbucks doesn't sell
coffee and happy-meals are only served from the parish soup kitchen. In
Collinwood, it might be 1960 or 1990-change comes slowly, if at all. It's not a
real nice place, but it is an authentic place, an American place.



In Welcome to Collinwood, the first feature film from Cleveland natives and
co-writer/directors Joe and Anthony Russo, Collinwood is not just the landscape
for a rare mix of tragedy and comedy, it's a part of the cast. "We set the story
in a traditional working class neighborhood of Cleveland, the kind of
neighborhood that's interesting because of its archaic feel," says Anthony
Russo, who, along with his brother, won the attention and support of Academy
Award-winning director Steven Soderbergh (Ocean's Eleven, Traffic, Erin
Brockovich) after he saw their student film Pieces at the 1997 Slamdance Film
Festival. "Because this story is a fable, we didn't want a specific or
recognizable time setting, and Collinwood was perfect for conveying something
indefinite in time and space."

Soderbergh, who produced Welcome to Collinwood with partner George Clooney,
agreed that the proper atmosphere couldn't be captured on a studio backlot. "I
thought shooting on location was very, very important, because I didn't want it
to feel like other movies, and I didn't want it to look like other movies.
Welcome to Collinwood doesn't look like your typical film because it's shot in
Cleveland and Collinwood, which results in an authenticity that is really
integral to the movie."

The Russos' journey from their Cleveland roots to directing their eight million
dollar action adventure comedy is, according to Collinwood executive producer
Casey La Scala, "a fairy tale - with two fairy godmothers - Steven Soderbergh
and George Clooney."

Their amazing Cinderella story began in 1997, when Soderbergh caught a screening
of the film Pieces, a black comedy about three crazed Italian brothers in a
failing Cleveland hairpiece business. A week later, the brothers received a
phone call from Soderbergh. "We couldn't believe it," remembers Joe. "Steven
said that he wanted to produce our next project, and he told us, 'there are two
routes you can take in Hollywood: you can write your own script to direct - or
we can try and get you connected to another screenplay.' We said we would prefer
to direct our own material, and we began writing intensely over the next couple
of years." Anthony then takes up the story, explaining that "when Steven and
George formed their Section Eight production company, they brought us in and
said they wanted to make one of our films. That film ended up being Welcome to
Collinwood."

"When I saw Pieces," Soderbergh relates, "I thought it was energetic and
creative, but also very well thought out and organized - not just a collage of
effects. Then when I read Collinwood, I liked the structure of it; it had a plot
and an approach to the characters that I thought was well developed, with a
great set-up and payoff. Intelligent comedies are very hard to write and I
thought it was really well built."

Collinwood is evocative of the ensemble comedies of the 1930s - the terrible
conditions that existed during the Great Depression drew storytellers to the
most hard luck neighborhoods and the desperate situations of the people who
lived there. "These movies, like the Dead End Gang movies, were some of our
favorites," says Joe, "because of their simplicity and innocence and faith in
the human spirit to transcend even the most absurd of life's conditions. It was
the stories of the people from places like this that drove us to write and
direct Collinwood."

"Collinwood reminds me of Preston Sturges' films," comments Soderbergh, "such as
Hail the Conquering Hero or The Miracle of Morgan's Creek - the sort of
multi-character comedies in which you have a real sense of each person. The
audience spends some time with them and they're very well drawn."

One film in particular inspired the Russo brothers' story about down-and-out
characters trying to pull off a too-good-to-be-true robbery. "Collinwood borrows
very heavily from Big Deal on Madonna Street," says Joe, "an old Italian comedy
that we transplanted to Cleveland. We've been enormous fans of the film all of
our lives, and we thought it was such a tragedy that American audiences had
never really experienced this classic comedy. That of course led us to the
notion that by remaking it, we could potentially bring the story to people who
would never see it otherwise."

The support of producers Soderbergh and Clooney has been instrumental in
affording the Russos an opportunity to further develop their potential as
filmmakers. "Steven and George are trying to create an environment where you can
combine the best of the studio world and the best of the independent world in a
single vision," says Anthony. "That's exactly what we've always wanted to do.
They've created a company that can support filmmakers like us, and it has been
an extremely valuable resource."

CASTING

Besides attracting financing and mentoring the Russos, Clooney and Soderbergh
also helped to secure a stellar cast. "Steven identified the Russo brothers as
extraordinarily talented directors, and that drew in these very experienced
actors who typically have their pick of projects," notes executive producer Ben
Cosgrove. "And the fact that George chose to play a small role in the film was
very influential in Warner Bros. Pictures' and Gaylord's decision to finance the
movie."

Although they wrote the screenplay with the intention of attracting high-caliber
talent, the Russos are nonetheless amazed at how successful they were. "The
movie, at its essence, is an actor's piece," says Anthony. "That was our
approach to casting. We really wanted to find 'actors' actors' to play these
roles because we felt the script needed it."

"We've kept a mental list of all our favorite actors from over the past decade,"
says Joe. "And those are the actors that we went after for the film. Insanely
enough, they actually said 'yes.' At first, being on set was incredibly
intimidating, but everyone treated us with such a high level of professionalism
that we were able to move beyond our awe and get down to business."

"If you ask me why I was attracted to this project, I'll tell you 'It's the
script,'" says veteran character actor William H. Macy. "It reads like it's
contemporary and at the same time like it's a Thirties comedy. It moves
wonderfully, with great humor and great affection towards the characters, and
with an underlying morality, which I found completely disarming. I've always
been attracted to the story of losers who get their shot."

Soderbergh also feels that a lot of the film's strength lies in the way the
actors' performances persuade the audience to root for the hapless criminals.
"When you have some sort of emotional investment in the characters the outcome
becomes important to you. And that's where I think Collinwood really stands out
- once they get to the last part of the film you desperately want them to pull
this thing off because you know how much they need this to happen."






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