A deeply disturbing TRUE story…

Winter – 1990. The most notorious serial killers in the history of Canada begin their psychological dance with death

and depravity as an entire country is held captive in fear.

In stunningly acclaimed performances, LAURA PREPON(“That 70’s Show”, “Slackers”, “Come Early Morning”) andMISHA COLLINS (TV’s “24”, “NCSI”) breathe perverse

life into their real life counterparts, Paul Bernardo and KarlaHomolka, dubbed by an anxious press the “Ken and BarbieKillers”. As the gruesome events unfold, and lovely young

girls disappear, the utter lack of remorse from Paul coupledwith his quirky charisma paint a delusional world of normalcy

for Karla. Police frantically search for and eventually put anend to the couple's horrific killing spree and their trial

captivates the entire nation, setting off waves of controversy surrounding the brutal killings.

In the end, this gripping, tension-packed film will haunt youforever - left to ponder the psyches of two individuals in a

tragically demented relationship… because it’s true.

Distribution ByMONTEREY MEDIA INC.

MOVIEBANK and QUANTUM ENTERTAINMENT

PresentIn Association With

MB Partners and Goldmill ProductIons

A Michael Sellers Production

A Joel Bender Film

KARLAStarring

LAURA PREPONMISHA COLLINS

TESS HARPERLEONARD KELLY-YOUNG

ALEX BOYDTONY DENISON

WITHPATRICK BAUCHAU

Casting by PATRICIA ROSE

Production Designer FREDDY NAFF

Director of Photography CHARLES MILLS

Music by TIM JONES

EDITED BY MICHAEL D. SELLERS JOEL BENDER

Written by MICHAEL D. SELLERS JOEL BENDERMANETTE BETH ROSEN

co-executive producers STUART MILLER richard goulding john remark

Executive Producers PAMELA VLASTASMANETTE BETH ROSEN ROBERT KESKEMETY

DON BARTON

Producer MARLON PARRY

Produced by MICHAEL D. SELLERS

Directed by JOEL BENDER

CASTLaura Prepon - Karla HomolkaMisha Collins - Paul Bernardo

Tess Harper - Molly Czehowicz

Leonard Kelly-Young - Dan Czehowicz

Alex Boyd - Nick

Cherilyn Hayres - Tammy Homolka

Kristen Swieconek - Tina McCarthy

Sarah Foret - Kaitlyn Ross

Patrick Bauchau - Dr. Arnold

Tony Denison Det. Burows

Emilie Jacobs - Debbie

Zach DiLiberto - Doug

Brandon Routh - Tim Peters

Dave Michael Beaudrie - Police Officer

Danielle Burgio - Reporter

William Duffy - Det. Porter

Stephen Jared - Constable Nesbit

Ross Patterson - Steve

Diana Gitelman - Becky Wilson

Choppy Guillotte - News Reporter

Angie Hill - Juror

Sawn Hoffman - Det. Steve Kirby

Tanya Lemelle - Victim #3

Anna Pheil - Patricia

Jayme McCabe - Bartender

Rana McAnear - School Girl

Ron Brosh - Cop (unacredited)

LAURA PREPON has been praised for her honestportrayal of Donna on That '70s Show, which marksher network television debut. She's received criticalacclaim for her performance and EntertainmentWeekly calls her a "rising star" and "wonderfullydeadpan." Raised in Watchung, NJ, a short distancefrom New York City, Prepon's desire to act began at ayoung age and she started studying the craft at 15. Shewent on to study theater at the Total Theater Lab inNew York. Prepon has always loved dance and hastrained in ballet. She is also a sports enthusiast and

played tennis on her high school team. In addition, she enjoys gymnastics andriding horses. During her hiatus from That '70s Show, Prepon worked on theindependent feature The Pornographer: A Love Story. Co-starring with MartinDonavan, Kathleen Chalfant and Irene Jacob, the film tells the story of anobsessive relationship between a director and an actress. Another movie sheappears in, Slackers, is a film about that all too common collegiate lifestyle ofslacking; ie, not doing what you're there for. Other members of the cast ofSlackers include : Jason Schwartzman, Devon Sawa, and James King. Anotherof Laura's feature credits include the indy feature Southlander. Opposite Beck,Beth Orton and Hank Williams, Prepon's character "Seven=Five" is a beautiful,young television psychic who ultimately alters the outcome of all the charac-ters' lives. A relative newcomer to the entertainment industry, Prepon portrayedthe lead character on the groundbreaking Internet series They Go On. She alsoappeared in numerous theatrical presentations, including A Woman of Propertyand Ascension Day. She currently divides her time between her family inWatchung, NJ and Los Angeles, CA

MISHA COLLINS was born Misha CollinsKrushnic in 1974 in Massachusetts. Fresh out of schoolhe married his high school sweetheart, and for a timeworked as a White House intern. He also could be heardon National Public Radio, before finally settling on acareer in acting.

Misha’s acting career began with several small roles infilms such as “Liberty Heights”, and “Girl Interrupted”,and in TV series such as ER, and Charmed. His careerstarted to heat up when he landed a recurring role as a

villain in the first season of the hit TV series “24”.

Collins breakout role, and the one he describes as the most challenging and traumatic of his career thus far, was playing the notorious Canadian serialkiller Paul Bernardo in the disturbing true story “Karla.” Misha, who claims hehas never hit anyone in his entire life, said he had trouble sleeping as a result ofthe film and his portrayal of the brutal and sadistic Paul Bernardo. Misha wasalso caught off guard by the vindictive and accusatory reaction of the Canadian media towards the film and himself for taking part, and although hecan understand their pain and anger, he states he is not ashamed of his role inthe film.

TESS HARPER held in high regard for her abilitiesby Hollywood, Tess Harper made a big impression inher very first feature film role as Robert Duvall's muchyounger wife in "Tender Mercies" (1982). She earnedan Oscar® nomination for Best Supporting Actress forher work as Chickie, the cousin and nosy neighbor, in"Crimes of the Heart" (1986).

Harper performed in children's theatre and dinner theatre, as well as in TV commercials, in Texas beforebeing cast in "Tender Mercies". She followed that with

the unfortunate "Amityville 3-D", a horror film about poltergeists, and a smallrole in Mike Nichols' "Silkwood" (both 1983). After "Crimes of the Heart",Harper was Warren Beatty's ignored sweetheart in the now legendary "Ishtar"(1987) and reteamed with "Crimes" co-star Jessica Lange as the blustery,screaming Rita in Sam Shepard's directorial debut, "Far North" (1988). Morerecently, Harper played the mother of a son trying to keep his parents togetherin "The Turning" (1992) and Jay Thomas' straying wife in "Dirty Laundry"(1996).

BRANDON ROUTH was on born October 9, 1979and was a former male fashion model. He grew up inIowa, before moving to Los Angeles to pursue an actingcareer, subsequently appearing on several televisionseries throughout the early 2000s. Routh's later prime-time credits include guest roles on Cold Case, Will &Grace and the short-lived series, Oliver Beene. Duringthis time, he worked as a bartender at a popular bowlingalley in Hollywood, Lucky Strike Lanes, and shared anapartment with his sister. In 2004, he was cast in the titlerole in the 2006 film, Superman Returns.

How does one go about researching a role like Karla Homolka (Paul Bernardo) ? The character of Paul Bernardo was easy to learn about in the sense that his crimes, personal history and testimony were all very well documented in the media and in courttranscripts. However, on a personal level, delving into the mind of a psychopathickiller/rapist was not easy.

Other actors like Charlize Theron in “Monster” and Mark Harmon as Ted Bundyhave mentioned that it was difficult to get back into the every day ways of life afterfilming a character such as this. What sort of impact was this for you?When we started the shoot, I thought, “I’ve pulled the wool over the director’s eyes,they’ve cast me to play this murderous, sexual predator, and I really didn’t know how Iwas going to pull it off.” This character was as far from my own personality as I canget, I’m known as a peace-keeper, I’ve literally never been in a fist fight, and we hadscenes to shoot where I had to beat these women senseless. I really thought I wouldn’tbe able to pull it off. What shocked me was how fully I was able to go to those places, tofeel, real violent rage. I was so consumed by the character of Paul Bernardo that I actually got to the point of feeling exhilarated in scenes where I was strangling youngwomen. It was so horrifying to find these things in the fabric of my own psychology thatduring the filming of Karla I had a hard time sleeping, and when I did get to sleep, I dreamt that I was Paul Bernardo. The character literally infected me. I was thinking histhoughts when I came home. I was pretty unpleasant to be around during that time.Luckily, when we finished shooting, I was able to shed Paul and go back to myself; atleast I like to think I’ve shed him.

Did you have any concerns at the time you began the project about playing a noto-rious role such as this? In retrospect, do you see yourself making different careerchoices because of the stories impact on you?I didn’t really have any concerns about making the movie while we were filming. I felt alot of other films, like “Monster” and “Bundy” had set a precedent of films about real-life serial killers being widely accepted and even winning academy awards. It wasn’tuntil we finished post-production and the film was accepted into the Montreal WorldFilm Festival that we saw what a public uproar the film’s subject matter caused inCanada. The festival organizers ultimately bowed to pressure from their sponsors andpulled the film from the lineup, which subsequently tarnished the festivals reputationbecause they came out looking like corporate pawns. But the film was ultimatelyreleased in Canada and did quite well. I think it’s basically a freedom of speech issue;this isn’t a Clockwork Orange world where we sit people down in front of disturbingmovies, prop their eyelids open and making them watch—everyone has a choice as towhat they want to view and they are free to choose not to watch movies about serialmurderers, but I don’t think anyone has the right to tell others what not to watch. I mean,I didn’t watch Saw 3 because I know a movie like that’s going to make for a restlessnight of sleep and isn’t going to teach me anything. Karla, on the other hand, is a movieabout real people, in our time, who committed atrocious crimes while living under a veilof normalcy. I think a film like that has the potential to teach us things about ourselves.

Had you heard of Karla Homolka (Paul Barnardo) before you read the script?I had only a faint memory of news stories about Paul and Karla. I read the script and Ithought it was pretty disturbing. But then again, I read lots of scripts about awful thingslike war movies and horror films, so the format of the screenplay is something that automatically numbs me a little bit—I can always think, “oh well, it’s just a movie”. Butwhen I read archived news articles about Paul and Karla, the reality of the story and thereal horror of it came to life for me, these were real people, this really happened. That’swhat makes the story so compelling.

INTERVIEW WITH MISHA COLLINS

MICHAEL SELLERS is a Magna Cum Laude graduate of the University of Delaware with a MastersDegree in Film from New York University. He spent tenyears in the Central Intelligence Agency in active duty onWarsaw, Ethiopia, Moscow, and the Philippines aftergraduate school. Throughout his time in the CIA Michaeldabbled in music and writing, recording and releasing analbum of original music and producing several Filipinoartists for the local market, as well as one international

album by acclaimed Philippine artist Freddie Aguilar. Emboldened by his ventureinto music producing and growing restless with his career with the CIA, Michael leftthe CIA and re-launched his career as a writer and filmmaker.

Michael’s first step on the journey back to film-making was to create Pacwood Films,a Philippine based production company, under which label he produced threedomestic Philippine movies—Umiyak Pati Langit (Tears of Heaven, 1991), Class of’92 (1992), and Anak Ng Dagat (Son of the Sea, 1992). Michael’s first Hollywoodco-production was 1992’s Rage. In 1993 Michael followed this with another international co-production, Fortunes of War starring Martin Sheen, MichaelIronsides, and Haing Ngorr After Fortunes of War, Michael wrote and produced several documentaries including Rising Above the Storm, a film about the departureof the U.S. Navy from Subic. Michael formed a joint venture with ABS-CBNBroadcasting, the top Philippine media conglomerate, for whom he wrote and produced Goodbye America (1997), a story about the last days of the US Navy inSubic Bay and the effect of America’s overpowering influence on local cultures suchas the Philippines where the American presence was ubiquitous. Goodbye Americastarred Michael York, James Brolin, Alexis Arquette, Rae Dawn Chong, and CorinNemec. For international sales, Michael formed a new Los Angeles based company,Quantum Entertainment, with partner Pamela Vlastas, and under Quantum successfully licensed Goodbye America in over 80 countries around the world. Hefollowed this with Legacy in 1999 starring David Hasselhoff and Rod Steiger, andDoomsdayer in 2000, starring Udo Kier, Brigitte Nielsen, and Joe Lara.

Michael began spending more time in Los Angeles, where he executive producedQuicksand (2000) starring Michael Dudikoff, Control (2000) starring Sean Young,and Silence (2001) starring Kristy Swanson. In December of 2001 he cut back hisfilm executive work and resumed writing, first completing The American, the storyof a CIA officer in Afghanistan in the weeks after 9/11, which he optioned to a majorstudio. He then wrote Vlad, a historical horror-adventure film that he then directed,filming on location in Romania with a cast that included Billy Zane, Brad Dourif, andFrancesco Quinn. Vlad won the Director’s Choice Award at the Fort Meyers FilmFestival and swept the top honors at the Cine-Macabre Awards in Atlanta. Michaelfollowed up Vlad by co-writing and producing Karla, a true crime drama based onthe court transcripts from the murder trials of Canada’s most infamous serial killers,Paul Bernardo and Karla Homolka. Karla (http://www.karlathemovie.net), whichstarred Laura Prepon, Misha Collins, and Tess Harper, was released by montereymedia in January of 2007.

You did research a great deal about the legal ramifications of telling this story, andwere in close communication with representatives of the victims’ families. Couldyou discuss that process a bit and what the outcome was of your discussions? From the beginning, Tim Danson—the attorney who represents the victims’ families—said that the families respected our right to make the movie and would only oppose it ifthe film contained depictions of their daughters which could reasonably be construed aseither disrespectful or pornographic. Tim defined pornographic as nudity or simulatedsex on screen by the actresses portraying the victims. We never intended to includeeither of those elements in the film, so there was really no problem. When we finishedthe edit, I took a copy to Toronto and showed it to Tim, and they concurred that it wasnot pornographic and they would not oppose the release of the film.

What was the point-of-view from which you wanted to present the film?Point of view in this film is interesting, and challenging. On the one hand, it’s Karla’sstory. We meet her at the beginning as she is about to undergo an extended psychiatricevaluation in the fall of 2000, eight years into her 12-year prison term. We see all of theevents in the past—everything from the early scenes with Paul through the crimes andeventually a little bit of the trial—from her point of view. But that point of view isrepeatedly challenged by the psychiatrist who is interviewing her. He doesn’t “buy into”her story, but rather tries to peel away the layers of the onion, exposing Karla’s attemptsat “spin”, forcing Karla to acknowledge things that she doesn’t want to acknowledge.

What problems – logistical, legal, ethical – did you encounter in commencing production?Logistically... the story is so much about this kind of hermetically sealed world in whichthese two people live. Legally, there were a number of issues. The most significant one,and the one that affects the story the most, is that we could not depict anyone in theHomolka family other than Karla, a convicted felon, and Tammy, who is deceased. Thatposed problems but we worked through it, without, I think, compromising the story.Ethically, it was a matter of constantly remembering, and reminding everyone on theshow... this really happened. We felt that this imposed a very strict burden on us to beaccurate. Just try to tell the truth as we understood it.

Among the aspects that seem to have transfixed the media and the public with thiscase are how ordinary, attractive and wholesome Karla Homolka and PaulBernardo seemed. How did you approach casting these “couple-next-door” killers?In a way, it would have been much easier to cast a “killer couple” who were in someway overtly creepy. Finding people to play that kind of role is relatively easy. But wehad to find actors who could be convincing—as Paul and Karla were—as “regular, normal” people, and who could also be convincing as the killers that they ultimatelybecame. I had known Misha Collins from his previous work and asked him to read forthe part – which he did, along with hundreds of others. In the end, he was the hands-down choice purely based on the merit of his audition. Laura Prepon was another story.I don’t think any of us would have thought of red-headed Donna from “That 70’s Show”as the choice for Karla – but her manager saw the script and sent it to her, and she likedit and came in to read for it. As soon as she came in and we talked, then read a little bit,I knew we had our Karla. She had a tremendous grasp of the character and an ability tobring out all sides of Karla.

A CONVERSATION WITHKARLA

PRODUCER MICHAEL D. SELLERS

566 St. Charles Drive Thousand Oaks, CA 91360

Phone: 805-494-7199Fax: 805-496-6061

www.montereymedia.com

ABOUT THE COMPANY

monterey media inc. a uniquely independent motion picture studio

monterey media inc., incorporated in 1979, it is a privately owned entertainmentindustry company specializing in the creation, acquisition, distribution and sale of motion pictures and other programming.

monterey media is actively engaged in all areas of domestic media, including theatrical distribution playing theatres, film festivals, and other distinctive venues, and is presently increasing its release slate with a continued measured growth strategy. The Company creates unique and distinctive strategies tailored to each project. By way of example, in 2005,the Company established a joint venture for the creation of a special theatrical event in conjunction with AMC Theatres to launch the motion picture “Indigo”: A one day, 603 NorthAmerica venue showing grossed over $1,190,000 at the box office. Recently in theatricalrelease was the enchanting “The Blue Butterfly” starring Academy Award® Winner WilliamHurt; followed by “Nobelity”, from Award winning writer/director Turk Pipkin (which EsquireMagazine called a “remarkable), with a Gala Premiere benefiting Amnesty Int’l. on Earth Day.Currently in a very successful tri-coastal strategy “PEEL: The Peru Project” is being heraldedas “reminiscent of Bruce Brown’s Endless Summer” and “Endless Summeresque”. This springmarks the entry into the true crime genre with the infamous film “Karla” commonly referred toas the true story of the “Ken and Barbie killer” murders which opened its major market theatrical launch including Minneapolis, Houston and Seattle..

Feature films upcoming in 2007 include the theatrical launch of the poignant and compelling“Steel Toes” starring Academy Award® nominated David Strathairn, and the family film “Eyeof the Dolphin”.

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Known for its unique marketing, monterey media is actively engaged in creating notable viraloutreach campaigns for its motion picture releases while simultaneously contributing to organizations who have become monterey’s strategic marketing partners. These include suchdistinguished organizations as the Make-A-Wish Foundation, Amnesty International, SurfriderFoundation, Children’s Cancer Research Fund, KIDS FIRST!® Film and Video Festival,ACLU, Habitat for Humanity, and the Children’s Health Environmental Coalition.

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