Fine Line Features | Head Above Water

This is the story of a judge, his wife, her ex-lover, the boy next door and a dead body that just won't go away. But of course there is a perfectly reasonable explanation.

HEAD ABOVE WATER is set on an idyllic, yet remote island off the coast of Maine. George (HARVEY KEITEL), a respectable judge and his young, attractive wife, Nathalie (CAMERON DIAZ) are spending a vacation at her family's isolated seaside house. They are alone, but for Nathalie's childhood friend, Lance (CRAIG SHEFFER), a sculptor who lives in a simple cabin and serves as the caretaker for the island.

One evening, while George and Lance are out fishing, Nathalie is suprised by her old boyfriend, Kent (BILLY ZANE), a charming relic from her wilder past. Though such a man is hard to resist Nathalie wakes up the following morning on the sofa, her marriage vows we assume are intact. Seeing the return of her husband she rushes through to the bedroom to find that fun loving Kent is naked and dead. Panicked and fearful of George's jealous nature, she hides the body in the cellar, removing all the evidence of his visitation.

In the nightmare scenario that Nathalie unleashes, each character in turn, becomes a guilty party. Nobody will be able to avoid the terrifying consequences of their actions. Everyone is suspicious of the other. How did

Kent die? Did George poison the vodka that he knew Kent would drink? Is Lance harboring a homicidal fatal attraction for Nathalie?

As director Jim Wilson explains "Firstly this film aims to entertain. What always fascinated me about the story was it's rollercoaster like quality. There are twists and turns throughout which will leave the audience on tenderhooks as to the ultimate fate of their leading lady - so naturally and yet so vulnerably played by Cameron Diaz."

InterMedia Films presents in association with Fine Line Features a Tig Productions / Majestic Films Production of a Jim Wilson film, starring Harvey Keitel, Cameron Diaz, Craig Sheffer and Billy Zane in HEAD ABOVE WATER. The film is produced by Jim Wilson and John M. Jacobsen from a screenplay by Theresa Marie, and co-produced by Helen Pollak who also serves as unit production manager. Executive producers are Guy East and Tristan Whalley. Michael R. Miller, A.C.E. serves as editor and Jeffrey Beecroft as the production designer. The director of photography is Richard Bowen, A. S. C. and the costumes were designed by Colleen Atwood.

This pacey black comedy, is set off the cost of Maine and marks the first major feature film to be directed by Academy Award-winner Jim Wilson, who produced DANCES WITH WOLVES and THE BODYGUARD, both starring his long-time producing partner Kevin Costner. As Wilson explains, "It's a very smart film, a contemporary black comedy set on an isolated island. All the characters come into the story innocent, but they bring their personal baggage to the situation which turns into complete mayhem, some of which I hope will make people laugh."

Directing from a screenplay by Theresa Marie, Wilson explains why he was initially drawn to this tale. "I always loved the plot. It was a very story-driven, very plot-oriented tale. Things aren't what they appear from the beginning I love to keep people off balance."

One of America's most treasured actors, HARVEY KEITEL (THE PIANO, PULP FICTION) stars as George, a man of intellect, though not altogether as stable as he may seem. Despite valiant efforts to conquer the outdoors, he remains a fish out of water on this secluded island; where he has come for a romantic holiday with his beautiful young wife, at her family's beach house. "Harvey Keitel's honesty and intensity as an actor, along with his sense of humor, make him the perfect choice for the role of George," states Wilson.

Known for his tough-guy roles in such films as MEAN STREETS, TAXI DRIVER, PULP FICTION, THE BAD LIEUTENANT and RESERVOIR DOGS, Harvey Keitel takes on a whole new kind of role in HEAD ABOVE WATER. Keitel says, "It was a chance to have some fun and do a comedy. It's a very humorous script and that's what appealed to me."

Keitel also enjoyed working with some fresh new talent including Cameron Diaz whom he describes as, "a delight. She's a young, vital, humorous and lovely lady. Billy Zane has a very good sense of humor too, a very funny fellow."

Keitel found working with Wilson was an excellent experience. "This is perhaps the best produced movie I've ever worked on. Jim really has a very smooth-running machine, as far as the production goes. He himself has a wonderful sense of humor and he's a very spontaneous guy. As a director he's very willing to let the actors create the moment. Jim is very accepting of that, which is perhaps the most important ingredient a director needs to have; the ability to understand the spontaneity of the actor,and accept the moment when it occurs." Diaz concurs, "Jim has created such an incredible atmosphere for making this film. He also knows the script inside out and is able to give me a sense of the mood at any particular moment of the movie."

CAMERON DIAZ ( THE MASK, SHE'S THE ONE, FEELING MINNESOTA) stars as George's uncertain wife Nathalie, who is 20 years his junior and looking for a father figure to add stability to her life, after a somewhat checkered past. Nathalie is confronted by her unpredictable ex-lover, who turns up on the island unannounced, only to mysteriously die within hours of his arrival. Afraid of what her jealous husband might think upon finding her ex-lover's naked body, she tries unsuccessfully to get rid of it. Wilson believes Cameron Diaz was the natural choice for the role of Nathalie. "After meeting her I was impressed with her fearlessness, openess and vulnerability, not to mention her striking beauty. She creates a character who is immediately sympathetic. This is really Cameron's tale as she is the sole survivor."

Cameron Diaz describes her character, Nathalie as "the type of girl who's always had somebody taking care of her. She's always had somebody who pulls her out of the situation she's gotten herself into. I think Nathalie's a little crazy, a little neurotic, but all in all she's a pretty cool girl."

Nathalie is also the central character and catalyst for all that happens. Explains Diaz, "the audience watches through me. Nathalie creates the whole situation and if it weren't for her none of this would have happened. She is literally and figuratively trying to keep her head above water."

CRAIG SHEFFER (A RIVER RUNS THROUGH IT) plays Lance, who shares a solitary affinity with the island, living a peaceful life in a rustic cabin; at one with nature, he paints and sculpts in an environment that inspires him. Lance is like a brother to Nathalie, having grown up together there is a strong bond between them. His intense feelings for her impel him to protect her from harm at any cost. Jim Wilson explains the benefits Craig's experience brings to the project. He "brings a well-planted and centered vibe to the set all the time. He really completes this triangle of characters who subtly begin to pull at one another until they come apart. He is always there for support."

In describing his own character, Sheffer says "he's sort of the black sheep of the film. He has been the caretaker to this island and lives here most of the time by himself. He's an artist who sculpts and paints and draws; he's a pretty uncomplicated guy who has sort of checked out of the world.

I also loved the script because it moves non-stop, and it's really funny on top of that. It's a black comedy thriller with elements of drama and horror. The thing that really hit me about it was fear, how fear drives their lives and sends them into places where they never should have been. Everything in this film is based on people's fear of things that they didn't know were ever going to happen."

Speaking of his co-stars, "Harvey's very funny. He really has the tone of the black comedy down and milks it for all it's worth. I think it's going to be a lot of fun for the audience. Cameron is just delightful. She has such potential and talent for somebody so young, She's done such a nice job and she has to hold the movie together with a really hard role."

The last but by no means least to round off the cast is BILLY ZANE (DEAD CALM, PHANTOM) as Nathalie's ex-lover, the roguish Kent. His wife has finally deserted him and he's come to see the girl he's always been in love with, only to unexpectedly realize that she really is happily married. " When casting the role of Kent, I needed a character who was so full of life that you wouldn't forget him when he dies," Wilson points out. "I wanted someone incredibly memorable and Billy Zane hit it right on the nail for me. I knew it when I met him, and he didn't disappoint."

For Cameron the central character also meant being the center of attention for the three different men in her life. "They're all very different; they're fun though. Billy is a real charmer. He comes in and puts this great energy over the set that says 'everybody let's have a good time.' That was a lot of fun which is great because that's what his character is as well."

"I have to laugh when I think of Harvey because he's a very funny man. You have this idea of Harvey being this really dark, serious man, but he's really funny and always cracking jokes. As an actor it's second nature to him and what he does he does so well that he just comes into a scene and he's there in character. He's really a good actor."

"Craig and I get along really well. He's a real joker and very sly. I always look forward to seeing Craig because he's got this way about him. You think he's going to be nice to you and say something really sweet and then the next thing you know you're turning bright red because he's embarrassed you. But he's very serious as well."

ABOUT THE PRODUCTION

To quote every real estate agent in the world, "Location, location, location." and so it was with this film. Being based entirely upon a single island made it's location one of the most important parts of the production. Last Autumn location manager Tim Wilson began to scout locations for the filming of HEAD ABOVE WATER. "We looked at the coast of Mexico, British Columbia, the Great Lakes and northern California. We hadn't really even considered Maine, until I received a coffee table book of the Maine coast from the film board liaison. We were very impressed and in October I flew for days north and east along the coast searching for just the right spot."

The location near Small Point Beach was actually found as Tim was hiking along some of the coast by foot. Here he found the horseshoe shaped cove with a small neighboring cove only 200 yards away, perfect for the script; both located on private property. He was able to locate the owners and negotiate use of the site, however any building along the coast requires extensive permitting; this was only the beginning. The next stage then was to have the sight surveyed and the plans for filming presented to the Coastal Commission, the Army Corps of Engineers, Department of Environmental Protection, the Phippsburg city council and others to get permission and to show that every step was being taken to protect the environment. The impermanence of the structures was an advantage in gaining approval; everything built could be dismantled and removed once filming was completed restoring the environment to it's original condition. As Jim Wilson reasons "Movie making is a very clean industry. We take out what we've brought in."

The next stage was to draw up the plans and approve them. There were basically four structures - the main house at the horseshoe shaped cove where George and Nathalie were holidaying, a 210- foot long pier extending out into the cove, a copper-topped gazebo on a rock outcropping, which was to overlook the area, and the rustic cabin in the neighboring cove where Lance was to live. Jeffrey Beecroft, the production designer created a "stage" which perfectly fitted into the natural setting, surrounded by the sea on one side and the forest on the other. "The cottage is modeled on the single-story bungalows of Nantucket, and the cabin on the rustic fishing cabins you see throughout the Maine coastline," explains Beecroft. He arranged for the front of each dwelling to be lined with windows to take full advantage of the spectacular view, the rugged hills covered with sumac, sea grass, poison ivy and other low-growing shrubs.

Some of the building materials were brought to the site by barge, but the majority were carried in by hand. It took a 20 man crew six weeks to construct the homes and another two weeks to paint and decorate the interiors. Both the cottage and the cabin were built with removable walls and panels to allow for easy filming. And according to Beecroft "both could easily be brought up to code for permanent habitation with the installation of electricity and plumbing."

The interior of the cottage was done in a classic, comfortable, beach style with overstuffed chairs slip-covered in white canvas, a collection of 19th century sailboat photographs on one wall and scattered everywhere were sea shells collected from along the beach. On another wall was a large bookcase which housed Nathalie's father's collection of classic literature and law books and placed on the fireplace were a gathering of family photos and other finds from the sea. The porch, which enveloped the front and sides of the cottage, was furnished with rough hewn teak sitting chairs found only in New England. The whole ensemble created the perfect place to spend time together.

Lance's cabin was made to reflect his solitary lifestyle; alone on a hill overlooking a small private cove, a simple one-room fishing cabin with a fireplace at one end and his bed at the other. Like the cottage, the ceiling beams were large and rustic, with shingled sides, salvaged from local barns which had collapsed. Inside, Lance's home was crowded with the things that would interest him; old postcards and photographs, some of his own clay sculptures and drawings, fishing floats and other nautical finds and his favorite books. At the back of the cabin was the aviary where "Mo" a Crested Cara Cara bird and his only constant companion, was to live.

A few hundred yards from the set was the lower base camp, a small clearing in the forest of fir, pine, oak and birch trees, here the construction department was located and it was here they created their "movie magic" as they treated materials making them look old and worn, and where they built special props like the collapsing gazebo roof and the bucket of "cement" that Nathalie would have to wear like a pair of very heavy shoes. A quarter of a mile further up the road was the upper base camp where the all important meals were served in a big blue-and-white striped tent, and where the make-up and wardrobe trailers were also situated. It's also where numerous vans transported cast and crew both to and from lower camp to another parking area at Hermit's Island, a mile away.

The production office was located 15 miles from the set in the town of Bath, (pop. 10,000). This is the home of American shipbuilding which began down river from Bath in 1607 when the 30-ton ship Virginia was launched by Popham Colony settlers. Bath is the headquarters for the Bath Iron Works, which employs 9000 workers and is located on the banks of the Kennebec River. Bath is ranked among America's eight largest seaports and the naval ships built at BIW slide out to sea through a channel which is from 35 to 1150 feet deep.

Filming on location takes enormous planning, ingenuity and vision. Not only did the crew have to deal with working in an isolated wilderness area, but with the elements themselves - sand, rock, sea and poison ivy. Lights the size of large dustbins weighing in excess of 150 1bs had to be carried over rocks and down narrow sandy paths; scaffolding was transported over hills covered with poison ivy and erected to hold the lights that would illuminate the outdoor area surrounding the set; tracking platforms for the camera were constructed on rock outcroppings and other precarious locations.

According to the director Jim Wilson "the trickiest thing about making this film was the water work. You must constantly be aware of ocean swells and the tides and plan your shots accordingly." Most of the water work was filmed from a 33 x 70 foot "jack up" barge equipped with four 60 foot legs outfitted with 3 hydro-electric motors each with enough power for each leg to lift 60 tons. Once the legs are lowered to reach the solid ocean floor, the barge platform is then "jacked up" above the water level where it is stable and relatively free from movement of ocean waves. To record sound from the scenes being shot, the boom operator was hoisted 20 feet above the action in a small dingy held in position by a large crane.

The water work was particularly hard on the actors, namely Cameron Diaz and Craig Sheffer, who were in scenes requiring them to do take after take in waters that were between 50 and 60 degrees. Thankfully both are extremely fit. Cameron explains how it felt to work in such temperatures; "It's the kind of cold that you don't even know you're cold because you can't feel anything. It goes straight to your bones, right through your muscles."

Working in water also of course requires boats of which the set included three, one of which was a beautifully restored 1957 Chris Craft speed boat named "Nathalie." Another an old fishing schooner called "Grandpop." The third was a Coast Guard patrol boat which gets away and crashes against the rocks where it is blown to pieces in a very carefully planned explosion. Special effects co-ordinator Eric Rylander rigged the boat with 20 gallons of gasoline and 100 feet of prima cord, which is similar to a plastic explosive, to create an impressive explosion which rips the boat to shreds.

In shooting the film, Wilson and the director of photography Dick Bowen, carefully planned each shot. As Wilson explains, "The film uses isolation as it's frame, and so we made a point of not duplicating the angles on any of our shots. There is always a different viewpoint helping to create this feeling of unfamiliarity."