NY Post: Laws Wardrobe 
Cindy Adams (6-12-03)

--As we speak Julianne Moore and Pierce Brosnan are starting a shoot in Ireland. They play lawyers. Both are divorced and they hook up. Movie's called "Laws of Attraction." She's eccentric. One eccentricity being major clothing. The stylist was all over Manhattan last week collecting Prada wardrobe, Manolo Blahnik shoes which match Lana Marks alligator handbags and are very specifically in cognac, burgundy and red. The stuff's being made as we speak. The filming starts the 15th. 

Variety: Duo attracted to 'Laws' pic Financers move in as impasse is overcome with coin 
By Dana Harris 
July 23, 2003

Construction magnate Ron Tudor and Los Angeles entrepreneur David Bergstein, who hold a 45% stake in Elie Samaha's Franchise Pictures, have expanded their reach in Hollywood by acquiring the $32 million Intermedia production Laws of Attraction, which stars Julianne Moore and Pierce Brosnan. 

The film was originally to be co-financed by Intermedia and Bob Yari's Stratus Film Co. 
"The financing was at an impasse," Bergstein told Daily Variety. "They had different points of view over how it was going to get financed. I paid Intermedia off and they got their investment plus a producing fee and I worked it out with Stratus." 

For Stratus, that will include some back-end participation. However, neither Intermedia nor Stratus hold equity in the pic and the copyright will revert back to Tudor and Bergstein. 
Bergstein told Daily Variety that he expected the Laws of Attraction deal to be first of several with Intermedia. 

"I've been looking at doing other things with Intermedia," he said. "This helped facilitate that. (Tudor and Bergstein) have a heavy interest and focus in getting into the entertainment business." 
New Line Cinema will release Laws of Attraction domestically, with Initial handling foreign sales.

Irish Independent: Pays to know the reel laws of attraction 
By: Nick Webb

PIERCE Brosnan and Julianne Moore are sitting at a table in the back of Whelan's pub on Wexford Street. The heat from the lights is something fierce. A scene from Jim Sheridan's $30m movie Laws of Attraction is ready to roll. And heaven help anyone who hasn't turned off their mobile phone. Producer Arthur Lappin needs little persuasion to abandon the frenzied world of the film set to go off and talk somewhere quieter. 

Lappin uses the opportunity to talk about the Screen Producers Ireland (SPI) report into the Irish film industry. The Sheridan Report, as it is known, calls on Finance Minister Charlie McCreevy not to bugger up the whole industry by axing its tax breaks. Section 481 is due to expire next year and if it's not renewed, the Irish film industry could be crippled. "This is not bluff or scaremongering but if the initiative expires, literally 70 per cent of the employment in the industry will melt away over night. It really will," says Lappin flapping away the smoke from his Marlboro Light. 

While Ireland was at the forefront of developing tax incentives for movie makers, it has lagged behind other countries in recent years. "Ideally the Government has to look at the competitive environment that exists internationally because it is a global industry. Production is notoriously fickle where it chooses to base itself," the Meath man warns. Competitive advantage is being eroded. At the moment Section 481 provides a net benefit to filmmakers of 10-11 per cent. In the UK, net benefits are closer to 14-15 per cent. 

But McCreevy and his civil servants would want to decide pretty damn fast about Section 481 because Ireland will be taken off a list of possible movie locations for all films shooting after 2004. This is because Hollywood and other studios plan projects some 18 months to two years ahead of actual filming. If there's still uncertainty over the tax breaks, it's goodnight Vienna. 

Tick, tock, Charlie. 

The uncertainty is hitting Lappin and Sheridan's company Hells Kitchen directly. "We've about six or seven films seriously looking at shooting in Ireland in the next 12 months, and there's a further 10 to 15 projects where if we knew that Section 481 was to be continued, then we'd be in much more active discussions." 

Lappin has a $140m project straining at the leash to be made here but only if the tax breaks remain in place. "There's one book - a Lord of the Rings type trilogy - and the studio is very interested. They're ready to do the first one but they won't do the first one here unless they know that they can do the other two as well." He won't go into detail about the project but it's fairly clear that it's Artemis Fowl, a series of fantasy books about a young master criminal, written by former Wexford school teacher Eoin Colfer. A decision on the location is expected shortly. Our new deadly rival New Zealand is also in the running. Worryingly. 

One of the immediate problems facing movie production in Ireland is the strength of the euro against the dollar, which has come close to wiping out some of the tax gains sought by film makers. Laws of Attraction hasn't been hit too badly. They've been fierce cute about structuring the deal. "At the moment the Section 481 (tax break) on this project is probably just balancing the currency loss had they shot it three to four months ago," he says. "But if it's set up correctly we can dovetail with the sale and lease back arrangement in the UK, which will probably yield about 25 per cent of the budget between the two schemes." 

Lappin says that there is "not a hope in hell" that the movie would have been made in Ireland without the tax breaks. However, along with our reputation for providing top-class crews, Sheridan and Lappin were able to persuade Hollywood moguls to rewrite the script so that it could be filmed here, with Dublin again masquerading as a US city. All of the film is to be shot here, apart from four days filming in Manhattan. 

Lappin and Sheridan have a $32m budget to play around with for the film but it goes pretty fast. "A proportion - often as much as 50 per cent - goes on 'above the line' costs. This is the talent; the writers, producers, directors and cast. Also on their ancillary costs like hotels and transport. There are a number of US-based artists; Julianne Moore, Pierce Brosnan and Frances Fisher who are coming in from abroad and they need to be housed, transported . . . and paid," he says. "The lion's share of the budget is spent on Irish goods and services. I'd say that we've 100 people working on the production only about eight are not Irish." The film costs about $150,000 per day to shoot, which means that Lappin has been working 14 hours a day, six days a week for the last couple of months. Bearded, and with sandals and socks rather than an Armani suit and shades, Lappin looks more like a maths teacher than a film mover and shaker. 

The slowdown in the world economies has hit Hollywood and now the bean counters are really taking control. "We found that with this film that the interrogation of the budget before we actually agreed on it was quite something. We would have liked another $1.5m below the line. It's a significant part of the the $8m to $9m that we're spending on making the film, so it's very tight and we're having to work very hard and very creatively to live within the resources. But so far so good." 

Once Laws of Attraction is in the can, there's plenty more for Lappin and Sheridan to get their teeth into. An epic Irish in America movie called Sins of the Father is motoring along nicely. "It's very advanced. The studio is very keen to shoot the film early next year," he says. "We've some ideas for the cast. It'll be a top A-list cast. We're talking about the top people internationally." That'll be Daniel Day Lewis and Helen Mirren then. Lappin says that he's be "surprised" if the budget wasn't $40m "or even significantly more". As far as locations are concerned Lappin says that he would like to film in Ireland. "It's set in Philadelphia. But it's up to us to convince the studio. But we've done it before for the filming of In America. The secret to keeping the wolf from the door in the film business is to have a rake of projects on the go at the same time. "We're also developing about seven or eight films. We also have a joint venture with Element Films to attract overseas projects. There are maybe six, seven or eight films seriously considering Ireland as a location. They're just scripts at the moment. There's about three or four from the US and a number from the UK." 

Despite being probably the most successful Irish producer/director combo ever, Lappin and Sheridan have shipped some knocks. Some of their films have . . . er . . . "underperformed" at the international box office. But they keep coming back for more. Three years ago, the pair suffered something of a body blow when their umbilical cord was severed from giant US studio Universal. It ended a lucrative arrangement lasting almost eight years, which saw a steady flow of funds into the Irish firm. 

"The studio was sold," says Lappin. "A lot of the people we knew moved on. And we also felt that in a way it was probably good for us. It was a very rich deal and maybe there was a danger of a bit of complacency creeping in. We haven't actually sought a deal with any studio since then, although generally those sorts of deals aren't available any more." 

Although he spent seven years working in retail banking with BoI, Lappin found that he was more of a thespian than a stuffy suit. 

He moved to the Arts Council and then into theatre, working with Ben Barnes and the Gaiety. The 52-year-old was also involved in the fledgling Irish film scene through Strongbow productions, which made movies like Eat the Peach in the 1980s before going to the wall. 

But Lappin kept plugging away and the break finally came. "Noel Pearson knew me through the theatre and he asked me if I would get involved in My Left Foot. The rest, as they say, is history. The Lappin/Sheridan partnership produced movies such as The Boxer, In the Name of the Father, The Field, and Some Mother's Son which have garnered 13 Oscar nominations, there's also a couple of Golden Bears on somebody's mantelpiece. "Jim has most of them. For Oscar nominations, you only get a certificate. It's at home somewhere in a drawer."

With all the positive whispers about their new $15m bio-pic In America, which opens in November, Lappin must be hoping that he'll get to pick up a gong at the Academy Awards in 2004. 

Irish Independent: Diamonds are forever but pearls go in an instant 
July 14, 2003
Alan O'Keeffe

JEWELLERY worth almost €100,000 has been stolen from the set of a Pierce Brosnan movie at Ardmore Studios. 

And the theft has damaged the country's reputation in the film industry, the studios' chief executive said last night. 

The makers of a $30m (€26.5m) romantic comedy, The Laws of Attraction, decided not to use fake jewellery in scenes being shot at the studios in Bray, Co Wicklow. They used authentic pearls loaned by a New York jeweller. But criminals broke into a safe at the studio and stole the pearls, along with other items. 

Kevin Moriarty, chief executive of Ardmore Studios, said the theft was bad news for the film industry here. "Never in the 30 years I've been at Ardmore Studios has anything so serious ever happened," he said. 

Filming of The Laws of Attraction will continue as usual until completion in early August. 

The movie is about two divorce lawyers who fall in love. Its main stars are Pierce Brosnan and Julianne Moore. 

Mr Moriarty said that items used on film sets were not normally of large monetary value. He said: "We're in the business of make-believe. What you see on the screen may not normally be items of real value." 

However, it was decided that fake pearls would not have looked real enough to cinema-goers and they decided on use the real things. 

He said Bray gardai were in charge of the investigation into the theft, which happened sometime over the weekend of June 28. 

The Laws of Attraction - which represents a break from James Bond for the hard-working Brosnan - is expected to go on general release sometime in 2004. 

Alan O'Keeffe

Irish Independent: 007's party night 

PIERCE Brosnan (aka 007) certainly caused a stir (rather than a shake) in Vicar Street on Friday night when he held a private party for the crew which has been working flat-out for the last three months on his new movie, The Laws of Attraction. One of the attractions was the devastatingly attractive Julianne Moore - Brosnan's co-star in the movie. Brosnan told me he is now off to his home in Hawaii with his family for a month's holiday. 

Ireland on Sunday: 'Pierce is All Stripes On The Night" 
The Irish Mirror: 'The Name's Bond.....Huggy Bond"


Pierce Brosnan who was guest of honour at the wrap party in Dublin for his movies Laws of Attraction held on Vicar Street. The 70’s theme bash saw Pierce arrive in a shiny striped suit, cartoon pattterned shirt and Elvis styled shades. The party held on Friday Night (August 8th) was just a few hours before an early morning Saturday flight to NYC where the last days of filming will take place.

Hollywood Reporter: Specialty films race heats up with Gill on board at WB
Aug. 13, 2003

By Martin A. Grove

Specialty scene: Just as major studios compete for moviegoers' time and money with mainstream films, they're also fighting for market share on the specialized front with smaller budgeted filmmaker driven product. 

Until last Thursday, Warner Bros. was the only major without a presence on the specialty scene. That changed overnight, however, as Warners went from being out of the game altogether to being a key player with its appointment of former Miramax L.A. president Mark Gill to head its brand new label Warner Independent Pictures (WIP). Gill's past experience and success makes him the ideal choice to take on the challenges of launching WIP and with him on board you can expect to see the specialty films race heat up. 

For the past year Gill headed Stratus Film, where he developed, packaged and executive produced several films, including the romantic comedy "Laws of Attraction," starring Pierce Brosnan and Julianne Moore, opening domestically via New Line next year. He's best known for his five years as president of Miramax, where his responsibilities included development, production, post-production, acquisitions and marketing. 

At Miramax, Gill was involved in producing or acquiring more than 25 films, including such critical and/or boxoffice successes as "Frida," "In the Bedroom," "Amelie," "The Talented Mr. Ripley," "The Quiet American" and "Apocalypse Now Redux." Prior to that, as Miramax's marketing chief in New York he was responsible for launching a stream of hits, including "Pulp Fiction," "Scream," "Good Will Hunting," The English Patient," "Life Is Beautiful" and "Shakespeare in Love."

I was happy to have the opportunity Monday to focus with Gill on his plans for WIP and to hear his thoughts about distributing specialized films. Asked why it's a good business for Warners to get into now, he told me, "There are a lot of reasons. The first and probably the most important is that there are a number of filmmakers who already have deals here who want to work both in big movies and in independent films. Until now, they've not particularly been able to do that. The second (reason) is there is the next generation of Steven Soderberghs who we'd like to start a relationship with and help them toggle back and forth between big and small movies over the years. And that applies to actors and producers, as well. Those are all things that relate to just keeping talent happy.

"But another question (is), 'Don't you have to make movies that are successful?' And the answer is, 'Thank God, that sector is doing better than ever. Traditionally, you see five or six percent of the tickets sold going to specialized films. This year it's been 13 percent. I think the reason for that is that a lot of the blockbusters are feeling not very original and feeling like retreads in a way. So if you look at films like 'The Whale Rider' or 'Bend It Like Beckham' or '28 Days Later' or 'Swimming Pool' or 'Dirty Pretty Things' -- there's a lot of them -- you say, 'Well, every one of those is an absolute original and is really compelling and distinctive.' And that's what people want to see. In fact, those movies are crossing over to what you would call the non-art house public just because everybody's so starved for something that feels different."

It helps that with so many multiplexes having been built across the U.S. in recent years there are now many more screens than ever before that can be used to show specialized or art house type product that catches on in its initial big city engagements and then expands its release. "After about 200 screens you have to be in the multiplexes or you have nowhere to go," Gill explained. "Thankfully, they are realizing (the potential of such films) and they've confirmed repeatedly that they can do very well with a couple of screens playing the art movies that cross over."

There are, of course, a lot of ways to acquire the pictures companies like WIP need to fill their distribution pipelines. For some independents it means going to Sundance and watching the first 10 or 15 minutes of a screening before rushing up the aisle to bid in the lobby for rights to the film. Gill laughed that if you do stay that long to watch a hot movie you probably won't be able to bid in time to get it. "I think that's probably about a quarter of what we'll do," he said about festival acquisitions. "Let's imagine that we're going to do somewhere between five and 10 films a year, but let's say for the sake of argument that it's 10. I suspect two or three of those, at most, will be acquisitions. The business has changed so much that the rest of it is going to be about getting in early on pre-production or even well before that just at the script stage because a lot of the good projects are spoken for well before they get into production."

That, of course, is very similar to how the major studios, themselves, operate. "Increasingly, it's getting to be like the mainstream divisions of the studios," Gill said. "It's a function of increased competition and (also) of increased distribution alternatives. It's never been better to be a seller of independent films than it is right now. Between all the studio divisions and all the even smaller purely independent companies, there's a lot of choices. That means, basically, you need to be in production. You can't just rely on acquisitions."

In announcing its plans for WIP, Warners said the new label's production budgets would range up to $20 million. "That is net of subsidies," Gill pointed out. "So if you're over in the U.K. with all the subsidies that are available to us, we could be making probably a $35 million or $40 million movie." With budget-stretching numbers like those, don't be surprised if Gill becomes a regular commuter to London once WIP is putting films into production.

By producing its own pictures, WIP will own worldwide rights to much of its product. "Or, in some cases, there (will be) people bringing us things where North America is available or North America plus some territories and that's fine, too," he said. 

Do specialized films have good international potential? "It depends on the movie," Gill replied. "A good bit of what I learned how to do at Miramax and was doing at Stratus for the last year was, in fact, making movies that would work very well overseas -- whether it was (Miramax's) 'Frida' or 'Laws of Attraction' that I made at Stratus. A lot of what was driving their green light was the international value. So probably unlike most people in Hollywood, I'm extremely oriented toward that (international marketplace) and probably always will be. That's not saying ignore the domestic release. Of course, it's the most important market. But I've learned to make it even balance. You can't, I don't think, be in the business of buying or making movies that really only work in North America. It doesn't fly." 

There's no question that Gill's unusual blend of both production and marketing experience will be an important asset in running WIP. "I think 75 percent of succeeding in independent films is getting the movie right," he said. "And, thankfully, I've had a lot of luck doing that. But you can do that entire 75 percent and still flop terribly if you don't have good marketing. That last 25 percent is the make or break difference. I was doing the marketing for -- I don't know -- 15 years. I'm sort of a rare person to have both those skills, which is particularly useful for this gig."

I told Gill how I always find a few successful independent films that I've missed seeing early not only because I didn't realize their commercial potential but also because their distributors didn't tip me off up front that they were something special. "In many cases, what they're doing is throwing it against the wall and seeing if it sticks thanks to the critics," he explained. "Our faith (in a film) will be determined heavily by critics, but you can't only do that. If you're going to succeed, you have to go market the movie, too."

So often, of course, specialized distributors lament that they don't have any money to spend to market their movies and have to get along on shoestring budgets. "The idea here will be, obviously, to be very much like an independent film company in terms of modest expenditures. But in comparison to the micro-distributors who don't have enough money to really even open a movie properly, to say nothing of to blow it out if it starts to work, we will absolutely be in a good deal better financial shape than them. You know, at Miramax (on) 'In the Bedroom' we had a very modest campaign initially, but when it started to work we went and spent and blew it out. That we'll absolutely be able to do here. We'll spend with success. But up front, obviously, we'll try to spend like an independent film company and keep things modest and not get ourselves in too much trouble if, God forbid, what we have isn't working."

Besides good reviews and great marketing support, awards are another element that specialized distributors like WIP make the most of to sell tickets. This year's truncated Oscar timetable has, of course, resulted in an awards season in which campaigning will start in September, about a month sooner than has been the case in the past. Seasoned awards campaigner that he is from all those years at Miramax, Gill will be sidelined this time around. "We'll be sitting this one out," he said. "We essentially will have our staff in place in the next 60 to 90 days. There's no possible way we could be ready to compete this year. I think our first movie will open next spring or, possibly, even as late as next summer. It will be a fascinating year to watch, too, of course, because with the compressed schedule I'm sure there will be a thousand strategy changes and it will be nice to learn from somebody else's mistakes instead of our own."

Nonetheless, awards and other accolades will be an important marketing tool for WIP. "So much of what we will do will be based on critical acclaim," he said. "Not just a good review for the individual movie, but, God willing, being on the Ten Best lists at the end of the year, maybe winning film festival prizes and absolutely trying to be in contention for the various year-end awards, including the Academy Awards."

Although at this point WIP isn't even one week old officially, Gill can point to some pictures that are already set for release under the new banner. "In no particular order because I don't know which will come first," he said. "'Eros' (from Section Eight) is a four director enterprise. It's three segments -- one each by Wong Kar-wai, Steven Soderbergh and Michelangelo Antonioni. Now Mr. Antonioni is 92, so it's probably likely that this will be his last movie, which in itself is a cultural event. Topping that off, the wrap-arounds (that bookend) those three segments will be done by Pedro Almodovar. So already you've got something that's enormously prestigious. They're still working on it. I haven't seen it yet. But with those names alone there's bound to be considerable interest. 

"The second (film already set at WIP) is 'At Home at the End of the World,' John Wells and Christine Vachon producing (through their companies). This is from the author Michael Cunningham, who wrote 'The Hours.' Colin Farrell, Robin Wright Penn and Sissy Spacek (are starring). And I've got to say it's a hell of a compelling drama. I've seen it. It's in post now. And it's damn good. It's about something (important) and it also happens to be very funny, but it's really moving. And that's what they're in the business to do -- to engage people emotionally."

Both "Eros" and "World," he explained, "preceded me. They were handed to me on a silver platter, which I just love." Asked if they could be put into the marketplace in time to compete for awards this year, Gill noted, "You could if you had everybody in place today and tried to jam as hard as you could. But my theory about these things is that you really need film festival exposure and long lead press exposure. And we're already too late really for both of those right now. 'At Home at the End of the World,' if we're lucky, will be ready by late November. That's if everything goes fast. And 'Eros,' if we're lucky, will be ready in February. So it's just too late, unfortunately (to open them this year). We'd have wanted to have the finished movie like three weeks ago. And that would have been really tight. You can do it faster than that and everybody does all the time, but there's no reason that we need to screw up our first opening. I'd like to put every possible chance into getting it right."

In addition to those films, Gill said, "There's one more, which is the first project I've brought in here that's greenlit. It's called 'Around the Bend' (and stars) Michael Caine, Christopher Walken and Josh Lucas. It's a story of four generations of men, all in the same family, who haven't seen each other for years and who come together and head out on the road to uncover a family secret. It's extremely powerful. It's written by Jordan Roberts, who will also make his directorial debut on it. Jordan's become one of the hot writers in town, partly for a lot of the work he did on 'Road to Perdition,' but for many other movies, too. Obviously, the script was good enough to get that cast, so it's very encouraging. That starts (shooting) Oct. 13 in New Mexico. 

"And we're moving as quickly as we can to get into others. We'll be in Toronto in full force and looking, perhaps, to buy something there. And, obviously, we're reading already a ton of scripts. We won't be starting from scratch in terms of hearing pitches, but we will be working from books and remakes and, obviously, scripts all the time. We won't simply be looking for people to walk in with director, cast and script all put together and all we have to do is say, 'Yes.' A lot of this will be reworking the scripts and finding the directors and the actors and so on. So a lot of this will be the traditional studio functions of the later stages of development and producing the movies. It's worked for me before and I think it'll work again."

As for the highly fragmented specialized films marketplace, Gill observed, "I think there's no more room for bad movies and it will be easier than ever to flop. But I think there's plenty of room for more good movies. So, God willing, we'll make enough of those and we'll be okay. But the other thing is, there are only so many distributors who have the wherewithal to chase a movie if it started to succeed. I would say there are, at best, four and I would include us in that. Maybe five. And, as you know, there are probably 20 or 30 independent distributors. But most of them are not capitalized well enough to jump on a movie if it's succeeding and really turn it into the hit it deserves to be."

It's a key point because while many companies can afford to get into the game by picking up a film at a festival showing and then opening it at a few theaters in New York and Los Angeles, it's something else to be able to move forward with that film if it happens to catch on with the public. "To know how to do that and when to do it and so on is not easy either," Gill added, "and I've been there probably a hundred times. There's a lot of experience brought to bear there. But let's face it, the world of quality movies that, at least, upscale audiences are hungering for is a growing business. As the population ages and gets smarter, it only works in our favor."

Entering the specialized film distribution business is something Warner had its eyes on for some time, but wasn't ready to do until it had the right person on board to make it work. "They're clearly quite committed to it," Gill said. "You can see the beginnings of it going back all the way to 'Driving Miss Daisy' and clearly with the Christopher Guest films 'A Mighty Wind' and 'Best in Show.' They've had some success at it and confirmed what we hear today, which is that they like that part of the business. They like being involved in films like that. And this is a way to do it that allows them to do not one or two a year, but up to 10 a year."

NY: Times With Plumbers' Candles and Guest Traffic Cops, Region Perseveres (excerpt)

August 15, 2003

The Movie Set

Much of the business in the courthouses around Foley Square in Lower Manhattan came to a standstill, but one thing did not stop: a movie called "Laws of Attraction" that was filming in front of the State Supreme Court at 60 Centre Street. The film, a romantic comedy set in the world of divorce lawyers, starring Pierce Brosnan and Julianne Moore, was in its first day of shooting, said the director, Peter Howitt.

"It didn't affect us at all," Mr. Howitt said, adding that the film crew was relying on its own generators. One actor, Rick Johnson, 53, who stands in for Mr. Brosnan, also did not seem affected one bit, even as the streets filled with traffic and sirens wailed. "We're going full tilt boogie right now," he said. "This is our last scene. Then we are going to face reality." 

NY Post: Page Six: No Intermission
August 16, 2003

THE show must go on. Yesterday morning the Mayor's Film Office still didn't have power, but the enterprising staff set up a kiosk on the sidewalk outside the Ed Sullivan Theater on Broadway just in case any Tinseltown types wanted to go to work. Sure enough, production folk from the upcoming romantic comedy "Laws of Attraction" starring Pierce Brosnan and Julianne Moore arrived and asked for a permit to shoot at 60 Centre St. They got one and headed off to work downtown.

NY Post:  H'Wood 'Lovers' in N.Y. buss stop 
August 21, 2003 

Who's this our lensman caught smooching in a romantic summer rainstorm? 

It's Hollywood heartbreakers Pierce Brosnan and Julianne Moore in mid-liplock yesterday on St. Marks Place in the East Village. 

Alas, their friskiness (and the rain) is fictional, as they were merely filming a scene for their new movie, "Laws of Attraction." 

The romantic comedy, about a pair of divorce lawyers who find love despite their heavy caseloads, also stars Parker Posey and Sarah Gilbert. 

--Steve Sands 

Open All Night: Celebrities Served Up Hot
Pierce Brosnan & Julianne Moore at Work
By: Dennis Van Tine, Bennett Marcus


Pierce Brosnan and Julianne Moore
Pierce Brosnan and Julianne Moore taking direction on the set of Laws of Attraction 
Pierce Brosnan and Julianne Moore

Pierce Brosnan & Julianne Moore smooch on the set of Laws of Attraction 

August 19 – We caught Julianne Moore kissing another man just days before her marriage to director Bart Freundlich! Actually, it was all in a (long) day's work. Open All Night was really open all night, when at 4 a.m. we met Moore and Pierce Brosnan drenched and shooting a kissing scene for their upcoming romantic comedy, Laws of Attraction. It’s not very visible in the photos at left, but the filmmakers created a rainstorm on the Greenwich Village street. This turned out to be the final shoot on the movie, and the crew broke out the champagne for an impromptu wrap party. The film is due for release in 2004. Moore and Freundlich were married on August 23.

About.com:  Excerpt from an interview with Nora Dunn (10-03)

Next up you've got "Laws of Attraction." What's your character in that movie?

I play a judge in that, and actually there’s a little history to her. That is a wonderful script. That is kind of an homage to "Adam's Rib" with Julianne Moore playing the Katherine Hepburn part and Pierce Brosnan - oh my goodness. It is a wonderful cast: Parker Posey, Michael Sheen, it’s wonderful. We shot it in Ireland and it’s beautiful. 

Open All Night: Celebrities Served Up Hot
Pierce Brosnan & Julianne Moore Back On Set
By: Dennis Van Tine, Bennett Marcus


Jan 12, 2004: Some celebrities even had to work outside in the arctic cold this week. Pierce Brosnan and Julianne Moore were re-shooting some wedding scenes from their upcoming Laws of Attraction on Saturday, and with a high of 13° Fahrenheit, we’ve never seen a film crew move so quickly. Ironically, to match the scenes shot last summer – we were on the set with them in August when the lights went out – they strew flowers along the frozen street, and the extras had to take their coats off. Between shots, Brosnan kept warm inside a red Humvee and Moore in a limo. 

Laws of Attraction: Story & Character Notes


High-powered New York divorce attorneys Daniel Rafferty (Pierce Brosnan and Audrey Woods (Julianne Moore) have seen love go wrong in all it's worse case scenarios -- so how bad could their own chances be?

At the top of their respective games, Audrey and Daniel are a study in opposites.  She practices law strictly by the book; he always manages to win by the seat of his pants.  But soon they're pitted against each other on opposite sides of a nasty public divorce between famous clients (Parker Posey and Michael Sheen), with the case centering on an Irish castle that each future divorcee has their sights set on.  Audrey and Daniel travel to Ireland to chase down depositions, yet the two lawyers, who have slowly been developing a mutual attraction that neither wants to acknowledge, find themselves thrown together at a romantic Irish country festival.  After a wild night of celebrating, they wake up the next morning as man and wife.  Now they have to return to New York to carry on with both their surprising new situation and the ongoing court case.

Maybe getting married first is the best way to fall in love? 

Pierce Brosnan and Julianne Moore star in the romantic comedy Laws of Attraction, directed by Peter Howitt (Sliding Doors).  The film's ensemble cast also features Parker Posey (A Mighty Wind), Michael Sheen (Underworld), Frances Fisher (Titanic) and Nora Dunn (Bruce Almighty)

New Line Cinema will release Laws of Attraction (rated PG-13 by the M.P.A.A. for "sexual content and language") in theaters nationwide on April 30th, 2004


Pierce Brosnan stars as celebrated New York divorce attorney Daniel Rafferty, a media darling who finds time to practice laws in between writing legal books and appearing on the talk show circuit.

Brosnan describes his character as a man who has been in the game a long time but who has lost interest in what he does.  Rafferty only continues arguing cases because "he's very good at it," says the actor.  'And then, out of the blue, one day he goes into divorce court and he meets this other great attorney, Audrey Woods."

They comes form different schools of thought," explains co-witer/diretcor Peter Howitt (Sliding Doors).  "Audrey follows the rules and doesn't lose a case because she's good.  Daniel is this forgetful, slightly Columbo-like slacker.  But with him, what you see is not what you get."  Instead, Daniel's laid-back presence hides a cunning and acute intelligence.


Like Daniel, Audrey is at the top of her game.  "She lives for her work," says four-time Oscar nominee Julianne Moore (The Hours, Far From Heaven, Boogies Nights), who plays Audrey.  "She doesn't have much of a social life, and when she meets Daniel he poses a real challenge to her."

Audrey is not unlike many working women, today, Moore explains.  "It's difficult, as any of us know who have families know, to keep all those things going and not be consumed by any one of them."

"Audrey is a very reticent character," the director says.  "She can't believe that Daniel would see something in her and also doesn't believe that he is sincere, so she has to look beyond the surface.  That his devil may care attitude hides a more profound moral and psychological foundation, which over a period of time she comes to understand."

Swept off to Ireland to compete against Daniel on a case, Audrey's New York wariness is stripped away.  "They are brought to God's own earth," says co-writer and director Peter Howitt, "They start to connect to each other as human beings, not lawyer to lawyer."