Knight and Day The Movie in Monterrey, Mexico

• Info
• Cast & Crew

• Genre: Action, Comedy
  
  Synopsis:
  A woman (Cameron Diaz) gets ensnared in a deadly, global adventure when she becomes the reluctant partner of a fugitive spy (Tom Cruise) .
  
  Release Date: -0/23/2010
  Running Time: 109
  
  Rating: PG-13 - Parents Strongly Cautioned
  
  http://www.knightanddaymovie.com/
  
• Cast:
  Tom Cruise, Cameron Diaz, Peter Sarsgaard, Jordi Mollà, Viola Davis, Paul Dano, Maggie Grace, Marc Blucas, Celia Weston, Falk Hentschel, Lennie Loftin, Rich Manley, Dale Dye, Gal Gadot, Jack O'Connell, Trevor Loomis, Nilaja Sun
  
  Crew:
  Director - James Mangold, Screenwriter - Patrick O'Neill, Producer - Cathy Konrad, Producer - Steve Pink, Producer - Todd Garner, Executive Producer - Joe Roth, Executive Producer - Arnon Milchan, Executive Producer - E. Bennett Walsh, Cinematographer - Phedon Papamichael, Production Design - Andrew Menzies, Film Editor - Michael McCusker, Film Editor - Quincy Gunderson, Original Music - John Powell, Costume Designer - Arianne Phillips, Casting - Lisa Beach, Casting - Sarah Katzman, Casting - Donna De Seta, Supervising Art Direction - Greg Berry, Art Director - Jeffrey Wisniewski, Set Decoration - Jay Hart
  
  Production Companies:
  Pink Machine, Todd Garner, Tree Line
  
  Distributors:
  20th Century Fox
  
  Notes:
  - Notes provided by 20th Century Fox - In the action-comedy KNIGHT AND DAY, Tom Cruise is a covert agent and Cameron Diaz is a woman caught between him and those he claims set him up. As their globetrotting adventure erupts into a maze of double-crosses, close escapes, false identities, and head-spinning romantic snafus, they come to realize that all they can count on is each other. Twentieth Century Fox and Regency Enterprises present a Pink Machine / Todd Garner/ Tree/Line Film production, a film by James Mangold (Walk The Line, 3:10 To Yuma), starring Tom Cruise and Cameron Diaz, Knight And Day. The film also stars Peter Sarsgaard, Viola Davis, Jordi Mollà and Paul Dano. The film is written by Patrick O'Neill. Knight and Day is produced by Cathy Konrad, Steve Pink and Todd Garner; and executive produced by Joe Roth, Arnon Milchan and E. Bennett Walsh. Mangold reunites with his behind-the-scenes team from Walk the Line and 3:10 To Yuma -- director of photography Phedon Papamichael, ASC, editor Michael McCusker, A.C.E., costume designer Arianne Phillips, and production designer Andrew Menzies (the latter collaborating with Mangold only on 3:10 to Yuma) - who bring to life Knight and Day's sleek action, humor and edgy suspense in an array of spectacular locations. The music is by John Powell, whose many contemporary thrillers include The Bourne trilogy, Mr. and Mrs. Smith and The Italian Job. BEGINNINGS At breakneck speed, secret agent Roy Miller (Tom Cruise) sends the ordinary-seeming June Havens' (Cameron Diaz) life on a screeching detour . . . and vice versa. June boarded a plane in Wichita, Kansas and began chatting up her charming, mysterious seatmate - Roy. Soon after, everything changed. Suddenly, the plane was hurtling into a cornfield without any living crew or passengers. Without even time to catch her breath, June finds herself being pursued around the globe -- dodging bullets in Boston, leaping rooftops in Austria, and running from bulls in Seville - all in the company of a potentially duplicitous, possibly unstable yet decidedly alluring secret agent at the center of a life-or-death adventure that will push these two people from opposite worlds to do the one thing they've long avoided: trust. Now, nothing will be the same again for them, as this exceptional secret operative finds himself undone by ordinary love and this everyday woman finds herself capable of the most extraordinary things she could imagine. ``Knight and Day has everything I love in movies, says Tom Cruise. ``It's a perfect mix of action, comedy and fresh, identifiable characters with a love story that feels very organic. What interested me so much about the story of Roy and June is that everything that happens to them happens through the prism of action. The challenge and joy for Cameron and me was finding ways to reveal our characters in the middle of these manic moments of danger -- showing how Roy and June start to bring out the best in each other, which is the ultimate romantic idea. Cameron Diaz, who was already attached to the project when Cruise came aboard, appreciated the characters' interplay, their romance - and the chance to take the journey with her leading man. ``I was drawn to Knight and Day not only for its high-level action, but because I saw it as an impassioned love story between two people who find each other from opposite worlds, Diaz says. ``Roy and June have that thing where they each bring out something interesting and unexpected in the other, and I thought that would be so much fun to explore on this thrilling ride with Tom. Director James Mangold has a history of taking creative, edgy approaches to classic genres - he most recently helmed the Oscar(R)-winning biopic of Johnny Cash, Walk the Line; and brought wit and speed to the Western in the critically acclaimed 3:10 To Yuma. Now he makes another departure, mixing global espionage action with witty romance, and wrapping an intricate web of high-speed chases, battles and escapes inside a love story full of glamour and fun. Unlike most action films of this scope, Knight and Day did not begin as a comic book, TV series or franchise property -- but as a spec script by Patrick O'Neill. For Mangold, it was a chance to make something classic new again. ``We saw Knight and Day as an update of those wonderful, Hollywood cinematic confections -- a movie full of travel, glamour, humor, love and adventure - but with modern characters and dynamic, intense action, he says. ``One of the things important to me, as a director who has done both dramatic and comedic films, was not to let Knight and Day become a James Bond movie. We wanted to do something more fanciful, more like Charade or North by Northwest; a modern action picture with a light heart. We wanted to take audiences on a fun journey around the world, a journey filled with comedy, yet with characters who feel completely real and actors who would commit to that. He continues: ``To do all that, you need the right people. With Tom and Cameron, I knew it could happen. One of the things I've really missed about Tom's movies in the last several years, and what I really wanted to see again in Knight and Day, was Tom in a role that is both human and funny. I was really excited by the opportunity to take that step with him playing Roy Miller, a character who is suddenly second-guessing everything that he wants in life. And then into Roy's world walks Cameron Diaz, as June Havens, who puts him in a position to do things and feel things he's never done or felt before. A major interest for me was the humor of mixing together their romantic squabbles and confusion with high-scale action. Another person key to the project was Mangold's long-time filmmaking partner and behind-the-scenes marriage partner, producer Cathy Konrad, with whom he has developed a tight-knit creative shorthand that it verges on telepathy. Konrad was drawn to Knight and Day by the story's originality. ``It's hard to find fresh material that isn't superhero based or something like that, she observes. ``What spoke to us is that Knight and Day is about two great characters, even more so than the action. It reflects something that I think is found in all of our work: the idea that behind every good story there are always great people. Mangold relished the challenge of bending a beloved genre. ``We were very aware of the legacy and iconography of spy movies - the Bond pictures, the Bourne pictures, the Mission: Impossible pictures - and we were always looking at how we could upend that and find new ways to approach it, he explains. ``Knight and Day is not a send-up. We set out to create a world that feels completely real to the audience, yet is also deeply comic. Mangold upped the clash of high-end spycraft with comedy and romance, while taking the characters into slippery territory, which is just where he likes to dwell. He says: ``One of the fun questions the movie asks is: even if you are a spy capable of bringing down a plane or saving the world . . . can you handle a relationship? You have these two wonderfully opposite characters - a woman who has always had a fantasy of going somewhere but has never let go enough to do it and a man who has been absolutely everywhere, but has never let himself know love. It's a collision of opposite desires from the moment they meet. TOM AND CAMERON Roy Miller is a spy whose mission is unexpectedly detoured by his brush with ordinary love. Cruise, an actor of a very rare breed who mixes iconic action hero roles with finely tuned character portrayals, brings unexpected dimensions to the film's twist on a classic movie character. His work as Roy Miller leaves audiences to wonder, just who is this guy, really? Roy had to come off alternately as hero or anti-hero, a framed agent or a seductive traitor - or as a man so in love he's ready to make a 180-degree turn in his life. ``When we first meet Roy, he's an enigma, and you don't know if he's good or bad, what he's up to or why, says Mangold. ``And with Tom you have somebody who instantly brings the credibility of being an action icon, yet who also has the ability to lighten up and reveal that Roy Miller is changing. Adds Cathy Konrad: ``Tom gets to the sense of longing just beneath the surface of Roy. He's endearing and charming, yet he keeps people wondering what he's all about until the last minute. Cruise has come to define the suave, bold, quick-witted action hero in contemporary movies - in roles ranging from Top Gun to the hugely popular Mission: Impossible series - while at the same time earning three Academy Award(R) nominations for emotionally complex dramatic roles in Magnolia, Jerry Maguire and Born on the Fourth of July. He was thrilled to now have a chance to playfully upend just the kind of debonair, unflappable hero audiences expect him to evoke. From the minute he came onto the project, his motto was ``Make it fun and make it cool. ``I couldn't wait to make this movie, sums up Cruise. ``Knight and Day sweeps you into this grand adventure and love story - and we did everything we could to make it non-stop, unpredictable fun. I think Jim [Mangold] is a terrific storyteller and I really wanted to work with him and Cameron on this. A large part of the attraction lay in the way Cruise's consummate action hero is suddenly shaken -- not by the dangers of his mission or the sheer numbers of people after him, but by his own heart when he meets June. Cruise enjoyed the idea that the start of Roy and June's rapid-fire romance isn't like any other, but that their relationship has much in common with every love story. Cruise explains: ``Inside this wild plot, these two characters each have a dream of what might come true 'someday.' But then they begin to see that this dream can actually be fulfilled. I think it's something audiences will relate to. Every couple has a story about how they met - it's just that Roy and June have a truly extraordinary tale behind the start of their relationship. Roy and June have the same dilemmas everyone always has in love - can I really trust this person? And who are they really? - but Roy and June's comes with higher stakes. The fun lies in how their relationship builds as the excitement around them mounts. That romantic tension in every scene made it some of the most intriguing action I've ever done. Key to crafting that romantic tension was Cruise's long-awaited reunion with Cameron Diaz, with whom he previously starred in the suspense-fantasy Vanilla Sky. ``As soon as we took on these roles, I could not wait to see what Cameron was going to do with her character. I always wanted to make this kind of movie with Cameron, he says. ``I was really excited about it because I enjoy her work in action movies. She's talented, funny, athletic and a great actress, and this was such a winning character, I knew she'd give a winning performance. Their chemistry began simmering from the first day on the set. ``The repartee between us was just like boom-boom-boom, says Cruise. ``Cameron's style of humor is unique and I love the way she can mix physical comedy with a really authentic feeling of romance. For Cruise, action is character and vice versa, and that belief, along with his highly skilled athleticism, has driven a policy of always doing his own stunts, and often dreaming up his own stunts, no matter how risky. ``It's challenging for me, he notes, ``and I think it's more exciting and entertaining for the audience. It adds something to have the camera right there with Roy the whole time. Plus I really enjoy doing it. To play Roy, Cruise not only had to leap rooftops, outmaneuver bulls on a motorcycle, and land a 727 in a cornfield, he had to balance Roy's laser-focused intensity and survival instincts with the frenzied, uncontrolled energy of a man falling head over heels in love. ``Roy is completely intersected by June, he explains. ``Right away, Roy sees potential in June, and he feels like he has to make sure she is always OK. But she starts out repeatedly rejecting his world. It reminds me of how real relationships work - how you run from them in the beginning sometimes, but then you come to this point where you have to decide if you're going to jump headlong into this adventure. The film's adventurous pace, says Cruise, was set in motion from the get-go by Mangold. ``I've wanted to work with Jim since I saw Walk the Line, Cruise notes. ``I found Jim to have a very keen eye for suspense, a great understanding of romance, and also to be extremely funny. He was everything you hope for in a director when you're crashing planes, leaping rooftops and running from bulls. Just as Cruise could not resist Roy Miller, Cameron Diaz was seduced by the part of June Havens, a seemingly typical, single, working-class woman who goes to Wichita to pick up a carburetor and inexplicably returns home to Boston ...as an endangered fugitive who is thrust into an international incident, who seems to be falling for a wanted spy, and who is suddenly discovering her own untapped power . . . on-the-fly. Diaz, whose comedic skills and deft charm have made her one of today's most sought-after leading ladies, has drawn accolades for a broad range of roles ranging from the comic zaniness of There's Something About Mary to the spirited action of Charlie's Angels to the period drama of Martin Scorsese's Gangs of New York. Knight and Day's June Havens, however, was something different for Diaz -- a whirlwind of suspense and sexy humor that becomes an action-packed portrait of a woman finding the confidence to finally let go and trust her heart. Mangold saw Diaz as a custom fit for the diverse challenges of playing June. ``I honestly can't think of another woman who could have done so much in the role of June. Cameron is unique in that she's glamorous, beautiful, a great actress and, at the same time, is comically gifted and incredibly physically able. Who else could so perfectly capture a girl-next-door swept into a grand adventure, and at the same time be able to handle all the physical demands of this movie? he asks. Konrad adds: ``Cameron lets you see how June turns from an inward approach to life to an outward adventure. You have the chance to see June expanding as a person. Just like June and Roy, Cameron and Tom brought out the best in each other. Diaz found herself relating to June's discombobulated reaction to meeting Roy Miller. ``When Roy and June bump into each other in the airport, they have that moment where you recognize something you've been looking for all your life, she explains. ``At first, when June is flirting with Roy, she thinks she's only dealing with the ordinary dangers of falling for a stranger, but it quickly becomes the life-and-death kind of danger, and she has no idea how much she can handle. As June begins to realize she can handle just about anything thrown at her, her entire world opens up. ``She goes from a woman who doesn't have any idea what her capabilities are, who only ever dreamed of adventure, into someone who realizes that yes, she can drive, she can shoot and she can stay right with Roy, Diaz says. ``What I love about June's journey is that she has been holding back in her life and when she meets Roy, it becomes a now-or-never moment for her to seize the day. Roy unlocks that in her. Meanwhile, Roy is this renegade adventurer who thinks he is always seizing the day, but he has never seized the one thing he really wants and needs: love. They're the perfect foils for each other - and they learn to trust each other even when trust is very hard to come by. Much like Roy and June, Diaz found herself right away in a dynamic rhythm with Cruise. ``Working with Tom is wonderful because he makes everything I do that much better, she says. ``He has so much presence - and so much energy. If you're going to do an action movie, it doesn't get better than to do it with Tom Cruise. I loved building off his ideas, and I loved the way he can go from crashing a plane to falling in love and it all feels so real and exciting. Like Cruise, Diaz was ready and willing to do her own stunts - from spinning cars to putting up her dukes. ``I love training for fight sequences, she confesses. ``It's a week of getting bruises and cuts and sprains, but it's also a lot of fun. When I went to the Golden Globes(R) this year in the middle of filming Knight and Day, I had lumps up and down my arms and scraped knees. I loved it! Diaz also loved the high spirits of the production - and the fact that she spent much of her time on the set laughing. ``When you do a film where you want the audience to be laughing, and you spend a lot of your time while making it laughing, then you know it's going to be genuine, she sums up. ``Tom and I had such a great time together that I think it can't help but come across in the action, the comedy and how these two characters come together. Indeed it was the chemistry that instantly emerged between Cruise and Diaz that propelled the production with a spirit of joyful risk-taking. Sums up Mangold: ``Tom and Cameron have this incredible vibe together, perhaps because they have such different styles. Tom is all about precision. He's laser-focused and very intense. Cameron is loose and wild and emotional. There's a natural oil-and-vinegar reaction that happens between them and it makes for an incredible cinematic combo. THE SUPPORTING CAST Tom Cruise's Roy is a man with a lot of people after him. From U.S. agents to foreign spies, he is an extremely wanted man - all of which provided an opportunity for Knight and Day's filmmakers to cast a stellar group of actors in the film's additional starring and supporting roles. Chief among those in pursuit of Roy is Fitzgerald, the agency boss who tries to convince June that Roy is a spy-gone-bad. To play Fitzgerald, Mangold chose one of today's most versatile actors: Peter Sarsgaard, fresh off critical acclaim for his portrait of a charming con man in An Education. ``Roles like Fitzgerald can either be cardboard or they can be made to live, notes Mangold. ``Peter had the ability to bring a real spice to a character who is, in a sense, a mirror to Roy Miller - a light mirror or a dark mirror, depending on how you see things. Sarsgaard was attracted to the story's blend of sophistication and playfulness. ``Knight and Day has quite a mix: old-school spy elements, as well as action and comedy, he says. ``I loved the freewheeling lightness. Sarsgaard ultimately found an inspiration for Fitzgerald in an unlikely place: the cartoon skunk Pepe Le Pew, who never gives up the chase no matter how futile. ``Pepe Le Pew has that quality where he just keeps going and going and he never changes modes, and that's Fitzgerald, he says. The role required not just dramatic skill but courage as well - especially to keep up with the enthusiastic fearlessness and risk-taking of Cruise and Diaz. ``The things that only look like they're happening in other movies were actually happening in this movie, Sarsgaard says: ``There wasn't a lot of green screen [necessary to shoot scenes with CGI]. The risks I saw Tom Cruise take during production were often incredible. He and Cameron are both just so confident and they always figure out just the right thing to do in the moment - even if the moment is jumping across a rooftop. Those kinds of pure adrenaline moments were also a draw for another Academy Award nominee: Viola Davis, who garnered honors for her supporting role in Doubt opposite Meryl Streep. Here, she got to flex some muscle and power as CIA Director Isabel George, who oversees U.S. counterespionage efforts, and has her own vendetta against Roy Miller. ``Viola is a terrific actress and it was so important to have somebody with her gravity, weight and authenticity in a tricky role that is all about whether you can really believe what this character is saying, says Cathy Konrad. Like her cast mates, Davis could not resist the screenplay. ``I love big, splashy movies, she says. ``I love watching them and I especially love being a part of them. Knight and Day also interested me because it's such a hybrid, it has everything we all want to see in movies -- from comedy to romance to action -- which gives us as actors a lot to play with. Making this movie was a rush. As Director George, Davis also had the pleasure of being a woman in charge. ``I liked the fact that Isabel is the big authority, because I don't always feel that way in my life, so it was fun to pretend to be that. Director George is also the one person who enters the story and appears to be trustworthy and that's all I'm going to say about that! At the core of Knight and Day's around-the-world pursuit is an international battle to control a game-changing new energy technology designed by a barely post-adolescent inventor. This is Simon Feck, a brilliant über-geek portrayed by Paul Dano whose award-winning roles include Little Miss Sunshine and There Will Be Blood. Dano was instantly attracted to the fun of the project. ``I've never been in this kind of film before so for me it was very exciting, especially to have the chance to do action sequences with Tom Cruise, says Dano, ``all while playing a brilliant young scientist who has invented something that is a magnet for every spy agency and bad guy in the world. There's a lot of comedy to Simon Feck and it was fun to play a boy genius. Also joining the cast is top Spanish star Jordi Mollà (Blow, Bad Boys II) who takes on the role of the nefarious weapons kingpin Antonio Quintana. He, too, fell in love with the script. ``It's a fantastic ensemble of very appealing concepts and styles all in one movie, he says. As for his character, Mollà sums his many devious sides up as ``a classy, dangerous, sexy, charming, intense, dark, funny guy who wants one thing: power. He says the key, though, was never to take Quintana over the top. ``Jim Mangold always wanted to keep it real, and this is the most difficult thing, he says. ``Jim is always trying to get the best out of his actors and out of the moment. Rounding out the supporting cast of Knight and Day are rising actress Maggie Grace (Lost) as June's betrothed sister April; and Marc Blucas (Buffy The Vampire Slayer) as June's firefighter former boyfriend Rodney, who unexpectedly finds himself in competition with a super-spy. ABOUT THE PRODUCTION From the minute June and Roy encounter each other in Kansas, the pace of Knight and Day begins to accelerate, until they are on a ceaseless, death-defying journey around the world, making stops in Boston, New York, the Alps, Austria, Spain and the tropical Caribbean. For the filmmakers, this meant an ambitious production on every level. Shooting in five different countries while forging a wide variety of original stunts and intricately choreographed set pieces, the production of Knight and Day, much like its characters, had to hit the ground running. ``In the beginning it was like sitting in front of a giant chess board and puzzling over all these different scenarios, admits Cathy Konrad. ``The exhilarating part was having the chance to create as you go. As they dove in, Mangold put the film's visual emphasis on the real - favoring in-camera action over CGI, the latter being employed primarily to enhance the live feeling of the scenes. ``What we wanted to do was to create a seamless look that feels like you're always in the middle of the action, Mangold explains. ``We wanted the audience to always feel like they are with June, because she is the one who is like us, has led an ordinary existence and is suddenly on the wild ride of a lifetime. The film is about a fantasy made real, if you will, and that was the tone. In order to move with maximum speed and creativity, Mangold and Konrad surrounded themselves with the devoted team of cinematic craftsmen with whom they shot the hit Western, 3:10 to Yuma. The team includes cinematographer Phedon Papamichael, who collaborated closely with Mangold on Knight and Day, choosing a hands-on, immediate camera style to draw the audience deeper and deeper into the film's labyrinth of humor, heat and peril. ``Phedon and I wanted the film to have a classic simplicity, comments Mangold. ``We wanted it to be beautiful and glamorous and feel like a whirlwind trip around the world - to bring out the rich tones of Jamaica, the baked, warm sun of Spain, the icy landscapes of the Alps and Austria and the hometown feel of Boston. It gives the film a feeling of wish-fulfillment for the audience, of going to places you've never seen, and feeling like you're really there. That was a very important component of the film. ``I've never really done a picture like this before, admits Papamichael. ``It's not a pure action movie and it's not entirely a romantic comedy, and I think if you could call it any genre, you'd call it cool, inventive fun. For me, it was irresistible because there's so much potential for combining beauty with visual excitement, especially the way it constantly transitions from one country to another - one minute someone passes out in Jamaica, the next they're in jeopardy on a train in the Alps. As a cinematographer it was a tremendous challenge to pull this off, but it was equally tremendous fun to play with so many different looks and styles that all had to fit together. He continues: ``There's sustained visual energy, because the characters never stop moving, never stop running. They're on the maximum ride of their lives and that's the feeling on screen. Flying in the face of many dark, grainy recent thrillers, Mangold and Papamichael chose grace over grit as an overall visual concept. ``We wanted everything to be almost sparkling and color-saturated - it's a look that showcases Tom, Cameron and our beautiful locations, says Papamichael. The rapport between Cruise and Diaz also gave Papamichael a lot to work with visually. ``Their chemistry is simply magical, he says. ``It's not something you can create - it's already there and we just tried to capture it to the max. Tasked with shooting dozens of intricately plotted stunts that unfold in real and often crowded locations, Papamichael devoted months and months to planning every shot - but then let all of his best laid plans fall prey to spontaneity as Mangold and the actors changed it up. ``Everything was pre-conceived but we didn't want to lock ourselves in, he explains. ``We always wanted to have the space to take advantage of those amazing things that happen in the moment, to react to Tom and Cameron's subtle changes on the fly. Jim is very flexible in that way. He has a great ability to focus on the actors while managing all the technical aspects of such a complex picture. Although he has many favorite scenes, Papamichael says that his favorite took place on the notoriously tangled roads of Boston, as June finds herself in a hair-raising, high-speed car chase, which culminates in a foot-chase through four lanes of roaring freeway. ``Boston is a high-traffic city and we were shooting in major tunnels and on popular highways dealing with a real urban environment where you don't have full control, he recalls. ``The key was to shoot it in pieces and then carefully orchestrate all of these elements into one seamless whole. It was very exciting. For production designer Andrew Menzies, the global whirlwind of Knight and Day was also the stuff design dreams are made of. ``When I read the script, I was thrilled by the idea of melding together all these spectacular locations as the story builds to a crescendo, he says. Menzies started out with the idea of a perpetually intensifying color palette. ``We begin in gray, monochromatic, working-class Boston, which is June's reality and then as the suspense and romance start to build so do the colors, until we're in all these vibrant, glamorous European countries. Then, suddenly, you're going from an Old World alpine train to a modern hotel in Salzburg to a Spanish villa to a primitive island. Those were wonderful challenges, he says. Menzies and Mangold decided from the beginning that, unlike on 3:10 to Yuma, they would use largely practical locations in order to give Knight and Day even more immediacy and texture. ``This meant doing a lot scouting to look for beautiful places that could give us different options for shooting, notes Menzies. ``Luckily, in places like Salzburg and Seville; wherever you point the camera, there's endless texture, tone and character. The production designer worked closely with Konrad, who often focuses on design elements. ``Jim is really honed in on the characters, and Cathy helps serve as his creative eye when it comes to the photography and design, so we collaborated a lot, he explains. Costume designer Arianne Phillips, in her fifth collaboration with Mangold, was equally exhilarated with the task that faced her: designing for two of Hollywood's most charismatic stars. ``I was so excited to work with Tom and Cameron in a story with a lot of costumes, she says. ``Their personalities were inspiring to me in terms of thinking about the overall look. She continues: ``Tom Cruise is such an American movie icon, and that American quality really set the tone, inspiring us to embrace a lot of American designers and design ideas in the film. I also looked back at cool American stars like Steve McQueen and Paul Newman. We didn't want to repeat a look that Tom has done before, but to create something fresh and new. Her first meeting with Cruise was a creative free-for-all. ``He came in with tons of ideas about how Roy should be warm and welcoming, not the cold and off-putting traditional secret agent type, she recalls. ``We talked about using great American designers. For Cameron Diaz's June, Phillips had her hands full of constant costume changes. ``The inspiration for June was that she is always on the run, and constantly wearing clothes that were given to her or found in the moment, including the maid-of-honor dress that she's wearing when things take a dramatic turn, says the designer. ``Her clothes became part of the comedy and fun of the story. Phillips' work was also influenced by the film's ever-changing geography. ``Each different city in the film helps to inform the color and silhouette of the main character's clothes, she notes. ``It was a great chance to play with all kinds of international fashion. Says Konrad of Phillips: ``Arianne tells stories through clothes. She's got such a keen eye and a great way with fit and movement and her work further accentuates our characters. As the production moved from one change of costume and location to the next, it not only kept the artistic crew on their toes, it also kept the actors moving as quickly as their characters. ``I've been making movies for 15 years and I've never jumped from location to location like this, muses Diaz. ``The chance to put these amazing places on screen, and to give the story that kind of scope, is a thrill. A