Stephanie Daley - The Movie




16-year-old STEPHANIE DALEY (Amber Tamblyn) is hospitalized unexpectedly during a school fieldtrip while, in a nearby public restroom, a dead newborn is discovered. Faced with charges of murder, Stephanie claims she never knew she was pregnant and that the child was stillborn. Forensic psychologist LYDIE CRANE (Tilda Swinton) is hired to determine the truth behind Stephanies continuing state of denial. Coincidentally, Lydie is herself pregnant and struggles with an impending fear that her marriage and her pregnancy is in jeopardy. Her intuition intensifies with each session with Stephanie and she soon believes that unraveling the teenagers mystery is somehow crucial to her own fate.

Featuring gripping performances by Tilda Swinton and Academy Award-winner Timothy Hutton, STEPHANIE DALEY is anchored by a brave powerhouse performance by Amber Tamblyn. Writer/director Hilary's Brougher's evocative film, winner of Best Screenplay at Sundance Film Festival, weaves two parallel journeys into a sublime masterpiece about the absolute nature of truth.





Why take on this film, this role?
This role for me, was a personal endeavor.  It was the first time I had the opportunity to be inside the mind of such a beautiful and fragile character.  Stephanie is a wonderful example as a small part of the greater story of humanity- which is the struggle and search for self and life.  She is one of my favorite characters to date.

What was the most interesting part of the shoot?
For me personally, every single day I was able to work with Tilda Swinton.  I would say that was a defining experience for me.

Most surprising moment or aspect of the film?
I think how wonderfully everyone has responded to the film, since it's debut at Sundance last year.  It has grown a strong audience and wonderful supporters.  I am not incredibly suprised, as its nature is intended to reach people on a deep level, and I think the film did that quite well.

What about the film or the making of it, will you most remember?
I think, how beautiful the Catskills were, in the Fall.  The way the world seemed to be changing, getting a little colder fragile.Somehow mirroring so many things.  Representing so very much the language of the film.  And my own personal journey.  It was really a miraculous project for me, in many rights..



Tilda Swinton (Executive Producer / Lydie Crane) is the Scottish (and Cambridge-educated) actress who began making films with the English director Derek Jarman in 1985 with Caravaggio. She went on to work with him for eight years and seven more films before his death in 1994, including The Last of England, The Garden, War Requiem and Wittgenstein. In 1990, Swinton won the Coppa Volpe at the Venice Film Festival for her performance in Jarmans film adaptation of Marlowes Edward II. Two years later, she came to wider international recognition and critical acclaim with her extraordinary portrayal of the androgynous and eternal Orlando, directed by Sally Potter.

Since then, Swintons work has included two films with director Lynn Hershman-Leeson, Conceiving Ada and Teknolust; Susan Streitfelds Female Perversions; Tim Roths The War Zone and Robert Lepages Possible Worlds. In 2000, she starred in The Deep End for directors David Siegel and Scott McGeehee, again winning numerous international awards, including a Golden Globe nomination for Best Actress. In 2005, she co-starred in Spike Jonzes Adaptation, David Mackenzies acclaimed bête noire, Young Adam and Mike Mills Thumbsucker. The same year, Swinton reunited with Keanu Reeves in Constantine; co-starred with Bill Murray in Jim Jarmuschs acclaimed drama, Broken Flowers and starred as the White Witch in the blockbuster The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.

Upcoming films for Swinton include director Tony Gilroys Michael Clayton, starring with George Clooney and Tom Wilkinson; David Finchers The Curious Case of Benjamin Button opposite Brad Pitt; Marilyn Mansons Phantasmagoria: The Visions of Lewis Carroll; Erick Zonkas Julia; Béla Tarrs That Man from London, and John Mayburys Come Like Shadows.


Amber Tamblyn (Stephanie) An experienced and stunning actor from an early age, Amber Tamblyn's dedication to her craft is shown in plain light with the multifaceted characters she brings to life. 

Tamblyn recently starred in Sony Pictures The Grudge 2, which opened the box office at number one.  Upcoming films include New Line Cinema's Normal Adolescent Behavior, a dark and funny look at sexual politics among snobby, rich teenagers, and the Warner Bros. comedy Spring Breakdown about a trio of women who venture to a college vacation spot to escape the monotony of working life. She just finished filming the independent thriller Blackout, about a eclectic group of people trapped with a killer in a stalled elevator.
Last year, Tamblyn added author to her list of credits, when her book of poetry Free Stallion was released through Simon & Schuster. 

She is best known for two unforgettable seasons as "Joan of Arcadia," the highly lauded CBS family drama that earned her a 2004 Emmy nomination for "Outstanding Lead Actress in a Drama Series" as well an "Outstanding Drama Series" nomination for the show.  The series' first season earned Tamblyn a 2003 Golden Globe nomination for "Best Dramatic Actress in a Drama Series" and picked up the 2003 People's Choice Award for "Best New Series."

Tamblyn previous theatrical film credits include the Warner Bros. summer hit The Sisterhood of the Traveling Pants by writer-director Ken Kwapis.  Tamblyn also appeared in the DreamWorks smash pic The Ring,directed by Gore Verbinski.  She opens the film with a chilling sequence in which her character is murdered by the ghost of an evil girl. 

Tamblyn gained the most notoriety on the small screen with her portrayal of Emily Quartermaine on ABC's "General Hospital."  What was originally only going to be a few months work turned into a seven-year stint on the show as she won viewer's hearts, the critics acclaim, and two consecutive Hollywood Reporter Young Star Awards for Best Young Actress in a Daytime Series.  Her stellar work on General Hospital earned her a multitude of roles for television.  Tamblyn was in the starring role for the premiere episode of UPN's series, "The Twilight Zone."  Other television guest-starring roles included "Buffy the Vampire Slayer," "Boston Public," "CSI: Miami" and "Without a Trace."  She also did a short series film for Showtime called "Ten Minutes Older: The Trumpet."

She credits her father, veteran actor Russ Tamblyn, as the guiding light for her continuing success. Tamblyn currently resides in Los Angeles. 

Timothy Hutton (Paul) After winning an Academy Award, Golden Globe and Los Angeles Film Critic's award for his performance in Robert Redford's Ordinary People, Hutton went on to star in numerous films, including Taps, Daniel, Falcon & The Snowman, Made in Heaven, Q & A, Generals Daughter, French Kiss, Beautiful Girls, Sunshine State, Kinsey.  With Taps, Hutton received his second Golden Globe Award nomination. Hutton was seen in Columbia Pictures' Secret Window, based on the novella by Stephen King. Directed by David Koepp with Johnny Depp and John Turturro also starring.  He starred in the Last Holiday opposite Queen Latifah January 2006.

As a member of New York's Circle Repertory Company, Hutton originated the lead role in the Broadway Production of Craig Lucas' Prelude to a Kiss and starred in Babylon Gardens with Mary Louise Parker.  In addition, Hutton appeared in the Los Angeles stage production of The Oldest Living Graduate, opposite Henry Fonda, which was later broadcast live on NBC.  Hutton also directed Nicole Burdette's Busted for the New York-based theatre company, Naked Angels.

On television, Hutton produced and starred in Showtime's Mr & Mrs Loving, written and directed by Oscar-nominated Richard Friedenberg (A River Runs Through It), starred as the title character in the acclaimed Aldrich Ames: Traitor Within, also for Showtime, and the docudrama WWIII for the Fox Network.  After starring in A&E's highly successful Nero Wolfe: The Golden Spiders, the network went back to Hutton, who agreed to executive produce, direct and star in several additional Nero Wolfe adaptations.  These highly acclaimed films premiered in Spring 2001 on A&E, with a repertoire of actors who co-star with Hutton and Maury Chaykin, and ran for two years.

Working behind the camera, Hutton has directed a number of music videos, including Drive by the Cars, Not Enough Love by Don Henley, and the Neil Young Concert Film Freedom, as well as an episode of Steven Spielberg's Amazing Stories, entitled Grandpa's Ghost, from a story he wrote.

Hutton's feature film directorial debut, Digging to China, premiered at the '98 Sundance Film Festival to standing ovations.  This off-beat coming-of-age story starred Kevin Bacon and Mary Stuart Masterson, and introduced 10-year old Evan Rachel Wood; the film was in limited release in fall '98.

Most recently, Hutton starred in the NBC show Kidnapped. His current and upcoming film roles include: Robert DeNiros The Good Shepherd with Matt Damon and Angelina Jolie, Off the Black with Nick Nolte, Lymelife with Alec Baldwin, New Line Cinemas The Last Mimzy, When a Man Falls in the Forest with Sharon Stone.


Melissa Leo (Miri) Audiences worldwide took notice of Melissa Leo for her fine portrayal of Rachel in Tommy Lee Jones directorial debut The Three Burials of Melquiades Estrada, which won numerous awards in 2005 at Cannes, and other film festivals. Recently completed shooting are Stephanies Image, and The Fast and the Furious: Tokyo Drift, co-starring Lucas Black. Films due out for release soon are I Believe in America, Wim Wenders production The House is Burning, Black Irish, co-starring Brendan Gleeson and Mr. Woodcock, co-starring Billy Bob Thornton and Susan Sarandon. Also, the political thriller Confess, and Henry Jagloms Hollywood Dreams. Among Leos many other film credits are: Patch, Runaway, Hide and Seek, and Barry Strugatz s From Other Worlds. In one of director Alejandro Gonzalez Inarritus first American dramas 21 Grams, Melissa portrayed Marianne Jordan, Benicio Del Toros suffering, yet supportive wife to much critical acclaim.

Leo is best remembered for her starring role as Detective Kay Howard on the award-winning NBC series Homicide: Life On The Street. She reprised the role in the TV Movie Homicide: The Movie. She was nominated for a daytime Emmy Award as Linda Warner on ABCs All My Children. She can soon be seen in the upcoming TV movie American Gun, co-starring Marcia Gay Harden.

In 2005 Melissa shined as Sophie in her debut at The Vineyard Theatre in The Argument, co-starring Jay OSanders. In Neil LaButes play The Distance From Here, the ensemble cast directed by Michael Grief won the Drama Desk Award in 2003-2004. She performed in the New York City production of Eve Enslers The Vagina Monologues, as well as with the national tour. She also created the role of Gloria in the world premiere staging of Tennessee Williams Will Mr. Meriwether Return From Memphis?


Dennis OHare (Frank) won the 2005 Drama Desk Award for Lead Actor in a Musical and was nominated for an Outer Critics Circle Award for his performance in Sweet Charity. Previously, he was nominated for a Tony Award for his performance in the Roundabout's revival of Assassins and won the Tony Award, Drama Desk Award, Outer Critics Circle Award and Clarence Derwent Award for Take Me Out. His other Broadway appearances include the revivals of Major Barbara and Cabaret, both for the Roundabout and the Lincoln Center production of Racing Demon.

Off-Broadway, O'Hare received the Obie Award and Lucille Lortel Award for Take Me Out. His other Off-Broadway credits include Vienna Lustahaus Revisited (NYTW), Helen (NYSF), 10 Unknowns (LCT), The Devils (NYTW), Silence, Cunning, Exile, Wyzeck (NYSF), The Arabian Nights (MTC), Lonely Planet (Circle Rep), and Hauptmann, for which he received a Drama Desk Award nomination. Regionally, he has been seen in Macbeth (Hartford Stage), Romeo & Juliet (Center Stage), Revelers, The Clearing (NYS&F), Wonderful Tennessee (McCarter), Paddywack (Long Wharf), Waiting for Godot, Dancing at Lughnasa (Goodman/Arena Stage), Haputmann (Jeff Award), Voice of the Prairie (Wisdom Bridge - Jeff Award), The Iceman Cometh (Goodman), Caucasian Chalk Circle and That the Butler Saw(Court). London appearances include Never the Sinner (Playhouse) and Take Me Out (Donmar Warehouse). On television, in addition to numerous episodic appearances, O'Hare has been seen in the remake of Once Upon a Mattressfor Disney and in the Hallmark Hall of Fame television movie St. Maybe. O'Hare's film roles include Derailed, Heights, 21 Grams, Garden State, The Anniversary Party, Hamlet, and Sweet & Lowdown. He will be seen in the forthcoming films Angel, Rocket Science, Awake and Michael Clayton.


Jim Gaffigan (Joe) has appeared in more than two dozen feature films ranging from big budget hits (Three Kings, Road Trip) to Indies (Final, Igby Goes Down, Entropy). Recent films include The Great New Wonderful, starring with Maggie Gyllenhaal, Edie Falco, and Tony Shalhoub, The Living Wake and M. Night Shyamalans, Lady in the Water. 

On the small screen, Jim created his own sitcom for CBS entitled Welcome to New York, co-starred with Ellen DeGeneres on her CBS sitcom The Ellen Show, and has had recurring roles both on FOX's That 70s Show and NBC's Ed. Jim is currently working on the TNT pilot, Talk to Me.

A successful comedian, Gaffigan starred in his own hour comedy special, Beyond the Pale, on Comedy Central. His cutting edge, clever, quiet style has earned him an unprecedented number of appearances on both CBS Late Show With David Letterman and NBCs Late Night With Conan OBrien.


Halley Feiffer (Rhana) recently appeared in Noah Baumbachs critically acclaimed film The Squid and the Whale, and Kenneth Lonergans You Can Count on Me.




Hilary Brougher grew up in Upstate New York (not far from where Stephanie Daley was filmed) and started making Super-8 movies at age 14. She studied film at the School of Visual Arts in New York City and after graduating, worked in film production in NY for several years. In 1997 Hilary wrote and directed her first feature The Sticky Fingers of Time, produced by Good Machine. The film premiered at the 1997 Venice International Film Festival, and went on to the Rotterdam International Film Festival, The Toronto International Film Festival, as well as many others, and was released in 1997.

Her second feature Stephanie Daley was developed through the Sundance Institute Writers and Filmmakers Labs. The film premiered at the 2006 Sundance Film Festival in 2006 where it won the Waldo Salt Award for Screenwriting. Hilary was also named one of Varietys `10 Directors to Watch in 2006.

Hilary currently lives with her husband and two children in New York City.

Sean Costello (Producer) is an established executive with a strong background in finance and strategic development. Costello worked as a producer on a number of short films, including Letter from Home and Brother, for the critically acclaimed Playhouse West. Costello has also spent a significant period of time working as a Strategy Consultant to many of the nations largest entertainment companies, such as Vivendi/ Universal and Walt Disney Studios.

Lynette Howell (Producer) was born and raised in Liverpool, England. In 2001 Howell moved to Los Angeles to head the theatrical division of production company East of Doheny, where she was involved in such West End and Broadway projects as The Full Monty, The Sweet Smell of Success and Big River. She also helped create the Los Angeles childrens theatre company The Pickering Street Players.

In 2004 Howell left East of Doheny to found Silverwood Films with entrepreneur Doug Dey. Howell produced the feature film Half Nelson by filmmakers Ryan Fleck and Anna Boden, starring Ryan Gosling. Silverwood Films will also be producing the much-anticipated Broadway musical The First Wives Club based on the award winning book and movie.

Samara Koffler (Producer) Before founding RedBone Films, Ms. Koffler ran Harrison Fords production company for eight years; managing his development slate, as well as serving as a liaison to all press relations, media requests, agents, managers, directors and producers.

During her time with Mr. Ford, Koffler Associated Produced K 19: The Widow Maker, as well as working on the following productions: Six Days, Seven Nights directed by Ivan Reitman starring Anne Heche; What Lies Beneath directed by Robert Zemeckis starring Michelle Pfeiffer; Random Hearts directed by Sydney Pollack starring Kristin Scott Thomas; Air Force One directed by Wolfgang Peterson starring Gary Oldman and Glenn Close; Devils Own directed by Alan Pakula starring Brad Pitt.

Jen Roskind (Producer) has worked in film and television for over 11 years. Before founding RedBone Films, Roskind Associate Produced Glenn Gordon Carons (creator of Medium and Moonlighting) CBS TV show Fling, Co-Produced the documentary Sunday Driver for Rockstar Games and Production Managed David Finchers Panic Room.

Roskind has also worked in production on the following films: Sydney Pollacks Random Hearts starring Harrison Ford and Kristin Scott Thomas; Betty Thomas 28 Days starring Sandra Bullock; Martin Brests Meet Joe Black starring Brad Pitt and Anthony Hopkins; Woody Allens Sweet And Low Down starring Sean Penn; Sam Weismans The Out Of Towners starring Steve Martin and Goldie Hawn; Griffin Dunnes Addicted To Love starring Matthew Broderick and Meg Ryan; and Betty Thomas Private Parts starring Howard Stern.

Doug Dey (Executive Producer) is a New York Native who attended the New York School of Music before going on to found many diverse and highly successful businesses. A lifelong patron and participant in the arts, he founded Silverwood Films in 2004 with Lynette Howell, as a means to produce high-quality film and stage productions which maintain the artistic integrity of the works.

Dey has executive produced the hit film Half Nelson directed by Ryan Fleck and starring Ryan Gosling. Stephanie Daley is his second movie as Executive Producer. Dey is also producing the Broadway version of the hit movie The First Wives Club.



Best Director - Milan International Film Festival 2007 - Hilary Brougher
Best Screenplay - Sundance 2006 Waldo Salt Screenwriting Award  - Hilary Brougher
Best Director - Jackson Hole Film Festival 2006 - Hilary Brougher
Best Actress - Locarno International Film Festival 2006 Leopard Award - Amber Tamblyn 
Best Supporting Actress - Independent Spirit Award Nominee Amber Tamblyn
Best Cinematography - Woodstock Film Festival Haskel Wexler award to David Morrison



The relationship that emerges between the two (characters) in their parallel lives makes for AN INTERESTING, GRIPPING AND, ULTIMATELY, DEVASTATING STORY. The REVELATION in this movie is Amber Tamblyn who gives the role an EXTRAORDINARY POWER AND DIMENSION."
A.O. Scott, New York Times

Roger Ebert, Chicago Sun Times

Amber Tamblyn and Tilda Swinton will take your breath away in Hilary Broughers "Stephanie Daley," a gripping film about two souls torn apart by the events of the past. Tamblyn is sensational as the title character. Cinematic greatness.
Chelsea Bain, Boston Herald

"Stephanie Daley" announces (Amber Tamblyn's) a young actress to watch. And if she keeps playing with moviemakers like this, we'll eventually be watching her collect an Oscar.

Ms. Brougher creates a remarkably intimate portrait of vivid personalities, solitary souls, ambiguous relationships, troubled marriages and small-town America. "Stephanie Daley" is beautifully made. Ms. Tamblyn, best known until now for her work on the TV series "Joan of Arcadia," is simply breathtaking, and heartbreaking, as a girl-child estranged from her pregnant self.
Joe Morgenstern, Wall Street Journal

This delicate and involving character study is defined by the EXCELLENT acting from Amber Tamblyn.

To see Tamblyn's work here, to see her character almost simultaneously embody pain, terror, anguish, embarrassment, regret and just about any emotion you can think of, is to watch the kind of acting the medium exists to provide.

Tamblyn, Swinton bring grace, strength to `Stephanie Daley. 'Tilda Swinton and Amber Tamblyn register sheer marvels of screen acting, and writer-director Hilary Brougher knows just how to film their every elusive, empathetic and anxious expression. There's a warm grace to Swinton's performance that's new to the usually severe Scottish actress' body of work, and Lydie's angst and peculiar epiphanies are all the more affecting for it.There is great mystery and tension throughout "Stephanie Daley," yet we still come away understanding the characters in a bone-deep way.
Bob Strauss, Los Angeles Daily News

Hilary Brougher's "Stephanie Daley" is a major American film announcing the arrival of an independent director who deserves all the hype.
Andrew O'Hehir,

GRIPPING. Knockout lead performances by Tilda Swinton and Amber Tamblyn.
[Tamblyn] is a quiet revelation in a role that is like a high-wire act performed over the chasm between childhood innocence and adult responsibility.
Scott Foundas, Daily Variety

What is most riveting is the relationship between Stephanie and Lydie. Tamblyn is extraordinary in her quietly fragile performance. Swinton, one of the best actresses working today, is complex, intelligent and low-key.
USA Today

A crystal sharp pairing of highly-tuned actresses delving into an unthinkable, ripped-from-the-headlines act."
Thelma Adams, Film & DVD Critic, Us Weekly

A potent, provocative drama with exceptional performances.
Leonard Maltin, Entertainment Tonight.

The real star is director Hilary Brougher. It takes real bravery to make a film like this. This film is that good.


SPELLBINDING. DEEPLY AFFECTING.A remarkably intimate portrait of vivid personalities, solitary souls, ambiguous relationships, troubled marriages. Stephanie Daley is beautifully made. Amber Tamblyn (is) simply breathtaking, and heartbreaking.
Joe Morgenstern, Wall Street Journal Film Critic, on KCRW

Swinton and Tamblyn give solid performances, never showy or sentimental but honest to their characters' fragility. The moment of truth for both, when Stephanie reveals her memory of what happened in that toilet stall, is one that causes each woman accepts her individual responsibility. Hutton brings a sense of ambivalence and vulnerability to Paul without making him a cad.
Kirk Honeycutt, Hollywood Reporter

The performances - by Swinton and Tamblyn, but also by Timothy Hutton as the therapist's architect husband - take you right inside the characters' stressed hearts and minds. This is first-rate stuff.

Jack Mathews, NY Daily News

It's a startlingly assured portrayal of a heartbreakingly insecure young girl who, though accused of an awful act, seems far more acted upon by everyone around her.

Gene Seymour, Newsday

"TERRIFIC performances by Amber Tamblyn and Tilda Swinton."
David Ansen, Newsweek

Stephanie Daley stands out for Amber Tamblyn's unbelievable performance in the title role. From the happy, innocent good-girl before the incident to the intense birth scene to the sullen, angry teenager after, Tamblyn is nothing short of amazing. She's one to keep an eye on.
Heather Huntington, ReelzChannel

Director Hilary Brougher wins big points for having the guts to make "Stephanie Daley." Tilda Swinton [is] an actress of almost preternatural resources. The psychological shadings are complex and often troubling but also drawn with an extremely subtle touch. Ms. Swinton, whose lanky elegance is matched by the seismographic sensitivity of her face, inhabits her character's thoughts so richly that they can be read without dialogue or much action. The climactic flashback is jarring, yet rendered with skillful narrative choices that take us inside Stephanie's psyche rather than merely illustrate her predicament. It's a great performance, and a film whose ultimate spirit of compassion will stay with audiences for some time.
Steve Dollar, The New York Sun

Amber Tamblyn delivers a revelatory performance. [in] a bold, if deeply disquieting, depiction of pregnancy that dares question our culture's insistent myths about motherhood. Tamblyn's portrayal of Stephanie Daley is softly devastating
Ken Fox


"RIVETING performances by Tilda Swinton and the EXCEPTIONAL Amber Tamblyn."
Lisa Schwarzbaum, Entertainment Weekly

"Performances of REMARKABLE depth [by] Amber Tamblyn and Tilda Swinton."
Howard Karren, Premiere Magazine

Hilary Brougher's second feature is all movie, but more intriguing is how it tells a distinctly (sometimes wrenching) feminine tale without making it only relative to Oprah watchers and talk-show bingers. Simply by casting the spooky, wonderfully matched Swinton and Tamblyn, both excellent, the movie is already allowed a higher ground, as both actresses' natural charisma lies in their unpredictable natures.

Jason Clark, Slant Magazine

There's a rawness to Stephanie Daley that we rarely see in American film it paints slick composition and beautiful, bleeding color on the kind of story about sex and faith that no one has told well since before Lars Von Trier decided to tackle American imperialism with Brechtian critique.
Karina Longworth,

Stephanie Daley is part mystery, part psychological drama, and, towards the end, a harrowing thriller of unexpected intensity... complex, ingenious and intelligently woven. Of all the images that remain from the film, it is the solitary anguish of Stephanie, her hand over her face to muffle a scream, that will haunt you for days afterwards.
Chris Docker, Eye For Film

Hillary Brougher refrains from sensationalizing and instead paints a devastatingly realistic portrayal of a potentially monstrous act... invoking a topic highly publicized by the media, yet rarely explored with such depth and sensitivity.
Kaylee Hultgren, venuszine

Swinton is quite possibly the most interesting actress in movies right now.... Tamblyn will be remembered for being as unnerving as a person can be without shouting you into a stupor. She chills you quietly.

Dave White,

This lacerating drama from writer-director Hilary Brougher shines a piercing light onto some of the hidden terrors of women.

Owen Gleiberman,

ARRESTING - The questions that Brougher raises, unobtrusively, about our stance on faith, pregnancy, sex education, relationships, and denial, paired with the salient performances of Swinton and Tamblyn result in a film that is not only unforgettable, but truly important.
Mollory Rice, Nylon Magazine

The movie has a depth that will stir the consciousness of audiences. It is a deeply dramatic film that delves into this disturbing subject with wonderful performances and a gripping script.
Francine Brokaw, MovieWeb

A tight, suspenseful drama, beautifully constructed, Grade A-
Mike Buzzelli, Campus Circle

"Stephanie Daley" transcends...Tamblyn was nominated for an Independent Spirit Award for her performance in the film and, thankfully, several months later, it's a performance the public can finally witness. The film's real big discovery, though, is Brougher, whose heartfelt, novelistic storytelling style is a fresh, welcome addition.
Aaron Fullerton, Daily Trojan

Veteran thespian Tilda Swinton and up-and-coming young actress Amber Tamblyn turn in a couple of gut-wrenching performances in Stephanie Daley, an intriguing and difficult take on the gamut of emotions involved in the extremely personal experience of pregnancy. As seeming foils that actually parallel each other in agonizing ways, Swinton and Tamblyn solidly anchor Stephanie Daley from its complex beginning to end. Similar to her turn in last years Thumbsucker, Swinton is at once understated and powerful as a woman coming to terms with her unfulfilled needs. Tamblyn, meanwhile, plays her role with such conviction and force that her performance has a visceral effect on audiences.
Francesca Dinglasan, Boxoffice Magazine

Amber Tamblyn gives a quietly wrenching performance... a penetrating, stunningly unaffected performance that should be remembered, come award season.

Tim Knight,

Strong performances and rich characters make Broughter's second feature film a gem.

Harry Chotiner

A quiet yet mysterious tale that doesn't give easy answers to its difficult questions, but still manages to be completely satisfying on its road to discovery.
Capone, Ain't it Cool News



Summer, 1996. First thoughts.
HB: Finishing my first feature,The Sticky Fingers of Time". I write two pages of notes about a teenager unsure if shes pregnant, looking superstitously for signs and trying to convince herself everything is ok.... I like the sound of the name Stephanie Daley.

HB: Another script I have been developing for the last two years just isnt working out. I decide to write something more naturalistic. I begin thinking again about Stephanie Daley and start researching concealed/surprise pregnancies & cases in which young women are accused of infanticide.

I am very intrigued by the challenge of a story about characters that live one reality to the world, and another inside and how to communicate that duality. Feels like this is a worthwhile movie to make.
Lydie Crane enters the story as Ive been exploring Stephs story, Ive been watching the dramas of my own peers grown ups becoming parents for the first time. Fascinated by the parallels, I see pregnancy not just as a biological state but a rite of passage in itself a psychological transition like adolescence. The script is now in two discreet chunks. Part 1 is Stephanies story (includes meetings with Lydie) Part 2 is Lydies story.

Fall, 2001
HB: The Sundance Institute accepts the script into the Writing Lab. Im elated. Ive tried to get in the last 4 years with other scripts. Michelle Satter and Lynn Auerbach begin convincing me the 2-part structure isnt working and that script must be intercut. I resist then try it once again. Turns out they are right. Now its at least on the right track. The big problem is keeping momentum during transitions between the 2 lines avoiding redundancy and making the two arcs of Lydie and Steph into ONE.

January, 2001  Hilary attends the Sundance Writers Lab for 5 days in Utah.
HB: We climb out of the van at the Sundance resort and are surrounded by tall mountains, crisp white snow and the crazy sweet smell of pine. All the fellows are a bit terrified. We meet twice a day with different advisors. The meetings are intense and each very different. One advisor (who I admired very much and still do) doesnt like the script and finds the whole thing implausible. Im crushed but still breathing. But then another one likes it just as it is... What begins to emerge from all this a tough skin, and a much deeper understanding of my script as seen through many keen eyes. Theres also an emerging sense of community. Writing isnt easy for any of us not even the veteran advisors. A few strong common notes emerge as do a number of ways to approach the problems. I become aware of the different strategies writers use and see that its a matter of customizing to ones own process. I start consciously assembling my own tool box. Something Ive never done before.

After the lab, we all go home and work through ALL the notes.

June, 2001 Hilary attends the Sundance directing lab for 4 weeks. 
HB: The directors lab is a much more social extraverted experience. If the writers lab asks you to look IN at what youre doing, the directing lab is really concerned with HOW youre working with other people your crew, actors, sets... Its all about process. Were given grim grey set flat in the hope that we stop trying to make it too polished. Its fast working and every moment quite public. Every choice gently observed by the advisors... its harrowing at first but then soon, we stop feeling precious about it, and just feel as we feel. We are being pushed to open up and take risks. Self-consciousness gives way to real break-throughs. Its kind of an astonishing thing when do we EVER just get to focus on how we do things (in a medium where every on set moment has a price tag). The directing fellows all leave tired, intensely grateful and anxious its ending. We wish we could shoot our films tomorrow. It will take awhile for all of us.

Spring, 2002
HB: Yikes. Ive just had twins... Hands full. Still looking for a producer theres interest but no real movement. It becomes clear I need to find someone with lots of energy who will take the initiative.

Summer, 2002
The Sundance Institute stages a reading in NYC.

Fall, 2002
Lynn at the Sundance Institute introduces Hilary to RedBone films a Los Angeles based company founded by Jen Roskind, Samara Koffler, Sean Costello. Hilary meets with Jen in NY and a few months later, RedBone begins working together in earnest. They bring on Dickson-Arbusto Casting (Joy and Nicole).

Fall, 2004
RedBone has secured a commitment for a portion of the budget. Tilda Swinton reads the script on the recommendation of her Agent. Hilary and Tilda meet for coffee in NYC. Tilda comes on as Executive Producer, and will play Lydie Crane. Graham Taylor at Endeavor actively helps us.

HB: Tilda is gracious and deeply intelligent. She is also the mother of twins older than my own. I ask advice.

December, 2004
The script reaches Amber Tamblyn (thanks to casting directors, Joy and Nicole). Hilary and Amber meet in LA.

HB: Im immediately struck by 1) yes she looks young enough! 2) Amber is funny, grounded and very, very brave. A 21 yr old girl who writes poetry as fierce as hers can do this...Amber says yes!

April, 2005 
At Jen Roskinds suggestion, Hilary visits the towns of Tannersville, Hunter and Catskill, NY in Greene County (NY). The Catskill Mountain Arts Foundation has been welcoming and has some ideas about location/office space... There are ski slopes!

HB: I was born in Catskill and know the mountains from growing up quite near and hiking as a teenager. I am excited about working in a place that I have history, yet where theres a lot of room left for discovery. I love the Catskills and the idea of filming in them.

July, 2005 
RedBone Films is joined by Silverwood Films. Silverwoods Lynette Howell and Douglas Dey come on as producers. We have financing. We have a finite window in which to shoot (September) before our actors become unavailable. Prep begins immediately.

HB: I am helping my mother at her house in Upstate NY. Its good to be in the country. The phone is quiet, and Im very aware well soon be out of time in terms of actor availability, and that if things dont come together now, they may never do so. I make my peace with that possibility. Then the call comes. Were on. The final piece of the puzzle!

July-August, 2005 
Prep begins in earnest in NY. Joy Dickson and Nicole Arbusto (our casting directors) who we have been working with us for over a year and a half, fly into NY for final casting of the supporting ensemble. Terry Leonard comes on as Co-Producer and the office comes to life... with the hiring of keys, and last minute research re: military law, forensic procedures etc. Tim Hutton comes on having been introduced to the script by his agent at Endeavor. We have the first of many, many meetings about the deer which is to be our big special FX moment. Upstate scouting is on-going.

HB: I am introduced to an amazing pool of NY actors and crew. The work is largely logistical but many key creative decisions are made in this time... The discussions we have about hiring crew are aesthetic decisions in themselves. During auditions, I see the script on its feet... and characters literally take shape as Costume Designers Kurt and Bart begin fitting cast and making pregnancy prosthetics!

August, 2005 The office transitions to Tannersville, NY. 
HB: On the way Upstate, we pick up D.P. David Morrison at the airport. Tilda and Amber come in just a little over a week prior to shooting. We do some scene analysis, we analyze the characters with a psycho-therapist who helps us think about the staging of the psych office scenes. We are constantly looking at locations the film is almost entirely on real locations only Lydies office is a set built into the back of the Catskill Mountain Arts Foundation building in Hunter (now I believe its a store!)

September 7, 2005 First day of principal photography.
HB: We are shooting the scenes in which Lydie visits her friend Jane. Its a good day. The house belongs to Mary & Charlene who we come to consider the guardian angels of our production in many ways. The first shot we take is Tilda driving her Jeep up the hill. Its a tricky, older car full of characte r- and a bumpy steep hill. Its this wonderful complete moment unto itself and were off.
In the coming weeks, the crew falls into a healthy familial rhythm. Things look beautiful.
Note: for more on the work of D.P. David Morrison see Cinematography Notes.

Sept. 28, 2005 
We shoot the bathroom scene and are stunned silent by it.

October 6, 2005 
Last Day of principal photography. We shoot Lydies roadside scene at a construction site by the Condos we are staying at... We shoot all night Tilda a trooper, working in cold mud. We finish just at dawn. It begins to rain... It rains for four days straight. Weve finished in the nick of time. Then, back to NYC.

October November, 2005 
Hilary joins editor Keith Reamer. We slug the winter scenes with title cards (our plan is to return Upstate early December) and submit to Sundance with what weve got. Once we have it submitted we try to forget about it and stick to the task of editing.

December 1, 2005
We get into Sundance! We edit and work furiously toward our winter shoot. We pray for snow and check the almanacs.

December 2,3,4 .Winter Photography Catskill & Hunter, NY.
It snows the night before we come and then... melts by morning. We shoot the exterior courthouse scenes, and Fall/Winter night exteriors. Then we shoot on top of Hunter Mountain which is fortunately MAKING snow. Half a day on the mountain top is the most exhausting, exhilarating thing Ive ever done. The morning after when were all done and heading home of course it snows!!! Most of the crew has disbanded, but John, our first AC meets David and I at Hunter. We ride the ski-lift and shoot what will be the first images of the film, the credit sequence. Then its done.

December 5-15, 2005
We race to picture lock with a few small test screenings scheduled. The film runs 110 mins. As a result of the screening notes, we bravely cut away 20 minutes of screen time... and lock at 90 mins. The Sound design team (Tom Paul/The Cottage) is working away and composer, David Mansfield is beginning the score. Volker Durre at Adams Morioka designs the credits.

December 28, 2005 
David Morrison and Hilary color time at RIOT! in Los Angeles with extraordinary timer Siggy Ferst. We cant believe how good it looks. We finish early.

Thanks to a grant through the Sundance Institute, we will have a HD to 35mm blow-up from PAC Title in Los Angeles. We see test footage. It looks wonderful.

Jan 6-12, 2005 
David Mansfield finishes recording the score.

Samara Koffler, Tom Paul and Hilary mix for four days on nine hours sleep at Tom Pauls cottage an hour north of NY. We bond. We hallucinate, then return to the City do the mix master.

January 13, 2005
David, Jen and Samara check the answer print in Los Angeles.

January 18, 2006
We arrive in Park City. The producers carry the print from LA. We are winded by the sheer force and concentration of the festival and nervous.

HB: This is the first time I will see the print and it will be in the company of the audience... The producers, and much of the cast and crew are here. I am keenly aware that soon team Steph Daleys work is largely (not entirely) done... and Ill miss working with everyone terribly because they have become like family... so we focus on being together one last time, and its beautiful.