"MAVERICK" PRODUCTION INFORMATION

      The days of America's Old West were extraordinary times,
demanding extraordinary talents from the men and women who
pioneered our frontiers. To survive the challenge of life on the
prairie, each required at least one remarkable skill. Some were
strong. Others were wise. Many were brave.
      One knew never to draw to an inside straight.
      Bret Maverick, charming con man and romantic adventurer, 
was a gambling man with a deeply rooted sense of fair play. A 
debonair drifter, Maverick had a flair for getting into -- and 
out of -- trouble that makes him one of the most colorful 
characters in Western legend.
      Now, MEL GIBSON brings Bret Maverick to life in a romantic
adventure that takes viewers from the smoky recesses of a saloon
poker table to the untamed canyons and prairies of the Wild West
and, eventually, to the embrace of the beautiful, wily Annabelle
Bransford (JODIE FOSTER). All along the way, Maverick encounters 
-- more often than he'd like -the heroic and unflappable lawman,
Marshal Zane Cooper (JAMES GARNER), who seems to have a peculiar
way of anticipating our hero's every move.
      As Maverick decides to pit his talent -- and his bankroll 
-- against the best of the West in a lucrative poker 
championship, the paths of Maverick, Annabelle and Coop become 
more closely intertwined, with the results as unexpected as those 
in a high-stakes game of cards.
      "Maverick," an Icon Production in Association with
Donner/Shuler-Donner Productions, is a Warner Bros. release. The
film is directed by RICHARD DONNER, produced by BRUCE DAVEY and
Donner and written by WILLIAM GOLDMAN. Also starring are GRAHAM
GREENE, JAMES COBURN and ALFRED MOLINA. The coproducer is JIM VAN
WYCK.
      The filmmakers have gathered an outstanding creative team 
for "Maverick," including Academy Award-winning director of 
photography
VILMOS ZSIGMOND ("Close Encounters of the Third Kind"),
Oscar-nominated production designer TOM SANDERS ("Bram Stoker's
Dracula"), Academy Award-nominated film editor STUART BAIRD (the
"Lethal Weapon" series), Emmy-nominated costume designer APRIL
FERRY ("My Name is Bill W.") and Grammy Award-winning composer
RANDY NEWMAN ("The Natural").

About the Production

      Principal photography for "Maverick" began in El Mirage,
California on a dry lake bed in blistering heat. The scene, which
involved Mel Gibson as Maverick, dangling precariously from a
solitary tree in a hangman's noose, was also populated by a clump
of snakes -- both real and animatronic.
      This site, grim as it might appear, has nostalgic
significance to both Gibson and director Richard Donner: it is 
the place where they began one of the most successful box-office
partnerships in history -- the trio of "Lethal Weapon" movies,
which starred Gibson and Danny Glover under Donner's direction. 
And the many local residents who turned out to watch the filming 
of "Maverick" were pleased to see another pairing of Gibson and 
Donner in production.
      Director Donner explains that this time around, it was 
Gibson who came to him with the project. "Mel dropped hints once
in a while about a Western he was developing. Then one day he came
to me with 'Maverick' and I was very honored. I thought this would
be a delightful experience with Mel, which it's turned out to be."
      Gibson began developing the project with his partner at 
Icon Productions, producer Bruce Davey, nearly three years ago, but 
his interest in doing a Western began earlier, while Gibson was 
filming "Hamlet." During their search for an appealing story set in 
the Old West, Davey investigated the rights to the Warner Bros. 
television series "Maverick," which had been a hit during the 1950s 
and '60s.
      "Maverick is an easy-going guy, a pretty cool customer; I
thought that sort of suits Mel," explains Davey. Gibson remembers
watching the re-runs as a child in Australia: "I was five or six
and I really liked it. I liked the theme song, you know, the tall
dark stranger and all that stuff. When Bruce brought it up I
thought it had a lot of wit and a lot of intelligence."
      The partners scored a coup when they attracted acclaimed
screenwriter William Goldman to write the script. Goldman's
reputation for creating crowd-pleasing, larger-than-life 
characters and placing them against the rough-and-tumble backdrop 
of the Old West, as he did so masterfully in "Butch Cassidy and 
the Sundance Kid," made him the perfect choice.
      Goldman's rendering of Bret Maverick, a hero who is not
always the calm and collected character television audiences may
recall, affords Gibson the opportunity to explore another side of
his comedic range. "In broad strokes he's the same -- he gambles
and he's inclined to drink milk and try to talk his way out of a
problem rather than shoot or fight his way out -- but there's 
this hysterical quality he's got that keeps coming up and it's 
kind of fun to explore," says Gibson.
      Goldman's ability to fill his tales with a treasure chest 
of unique and richly textured characters again attracted some of
filmdom's finest actors, including two-time Academy Award-winner
Jodie Foster, who plays the beguiling Annabelle Bransford. Foster
says it is the unpredictability of her being cast in the role 
that she found intriguing, "It was so unlike anything I had ever
done and that's probably the reason why I was attracted to it. I 
was really interested in doing a comedy that was light-hearted and
witty."
      Golden Globe-winner James Garner, who had starred as 
Maverick on the television series, fills the shoes of the honorable
Zane Cooper. While Garner has been approached to make Maverick 
features in the past, none appealed to him like this one. "Now 
we're talking," says Garner, "Bill Goldman wrote a great script. 
And with Donner and Jodie -and Mel -- I'm just tickled to death 
that he's doing it and happy to be doing it with him."
      Along the course of his dusty ride through the West, 
Maverick is swindled, cheated and scammed by friend and foe alike.
The villainous Angel (ALFRED MOLINA) stalks and beats him, his 
friend Chief Joseph (GRAHAM GREENE) tries to back out of a poker 
debt and the egotistical Commodore (JAMES COBURN) suckers him. But
the humor, the action and the adventure in Maverick's blood carry 
him through all of it.
      "There's something in this that reminds me of Oliver 
Hardy," jokes Gibson, "it's the way he says things -- it almost 
gets to the point where he could say 'there's another fine mess
you've gotten us into."'
      Richard Donner is one director who is perfectly ecstatic 
with the fine mess he's found himself in. "I really think I have 
Bob Hope, Bing Crosby and Dorothy Lamour here," chuckles Donner. 
"It's a road picture. It's magical and insane and these three 
wonderful people who have so much talent and humor make it a joy
to come to work."
      Gibson, who is working with Donner for the fourth time,
compares the atmosphere on this set to the craziness on the 
"Lethal Weapon" sets. "The atmosphere and the mood that gets 
created on the set whereby you're allowed the freedom to just 
totally improvise --when you're working with Donner -- anything's
possible."
      Jodie Foster describes Donner's style as "participatory,"
while James Garner likens it to a game of "three-way tennis."
      Donner recalls that the chemistry began immediately. "The
moment we all met we knew it was right. The humor was sharp as
sharks and it started instantly. Jim and Mel compliment each 
other beautifully, and best of all, they give to Jodie. They 
brought her in with humor and they gave her lines and bits that
could have worked for them -- the three of them together is 
just wonderful."

                             Locations

      The physical production schedule mirrors Maverick's own
traveling odyssey. After getting a quick start in El Mirage, the
company moved to the historic locale of Lone Pine, California.
Nestled in the Sierra mountains, Lone Pine and the Alabama Hills
have been the site of more than 250 films since the silent 
Western "The Roundup," starring Fatty Arbuckle, was filmed there
in 1920. Since then, these mountains have supplied the backdrop 
for the Lone Ranger, Roy Rogers, Tom Mix and the 1939 classic,
"Gunga Din."

      Director Donner recalls the first time he saw the area, 
"the local historian took me to a rock and there on this rock was 
a piece of cement and a metal tube. And he said this is where the
strut of the bridge was that Cary Grant was crossing when the
elephant tried to come on behind him in 'Gunga Din,' and my heart
stopped. So we had to shoot there."
      From the rocks and heat of Central California the crew 
moved further north to Oregon and the verdant slopes of the Columbia
River Gorge. Here, the filmmakers found a restored paddlewheel 
tug, around which they built the extravagant facade of the "Lauren
Belle," named for the director's producer wife, Lauren
Shuler-Donner.
      Production designer Tom Sanders likens the Commodore's 
vessel to a period "easy rider." Says Sanders, "We felt it was 
important to do something really spectacular with the exterior 
because we spend a lot of time indoors on the boat. It was 
important to make it more powerful. I thought, '(Jim) Coburn's 
crying out for a Western nightclub."
      In roughly six weeks' time, the small jewel of Portland's
Maritime Museum was transformed. Each morning the crew would 
board the sternwheeler 30 miles east of Portland and head up 
the river in pursuit of an area clear of powerlines and railroad
tracks. One hundred and fifty local extras, dressed in period 
finery, decorated the decks. At lunchtime, a huge barge normally 
used to transport paper products up and down the river would tie 
up to the "Lauren Belle" so the crew could eat its meal without 
having to go back to the dock.
      After five days, the company set sail for Lake Powell,
Arizona and the banks of "Crystal River." With the approval and
guidance of the National Parks Service, Sanders built the largest
set in the history of the park. In order to meet the regulations 
of the park service, each structure was built below the 
traditional high-water mark -- the lake's full capacity level --
so that eventually all evidence of the town will be washed away by 
seasonal waters.
      "It's this magnificent, crazy, off-beat, bizarre, wonderful
town," says Richard Donner. For several weeks, a platoon of
powerboats raced across the deep turquoise waters carrying crew
members to the sandy beaches of Crystal River. A desert rainstorm
blew in unexpectedly one night, turning the fine sand into a 
thick quagmire not even all-terrain vehicles could cross. Taking
advantage of this unusual day off, Mel Gibson decided to gather
some of his fellow cast and crew members, including Jodie Foster
and Alfred Molina, for a game of high-stakes poker. Neither Mel 
nor Jodie was too happy when their assistants came away with the 
big winnings!
      The final two weeks in Arizona were spent on the Navajo
Indian Reservation, where the runaway stagecoach sequence was
filmed. "This is the Western part of this Western," says producer
Bruce Davey. Production designer Sanders explains, "Without
something of scale in these locations, you don't realize how big
those rocks are or how big the cliff is. And we were pretty lucky
to get such clean panoramas."
      Less than 90 miles from the north rim of the Grand Canyon,
Mel Gibson dangled from a small ledge high above the Colorado
River. Says Richard Donner, "With Mel, if you set a shot and have
to walk away, when you come back he's doing what the stuntmen are
doing. And you want to kill him."
      Gibson asserts that none of it was scary; rather, it was
"invigorating and absolutely safe. "
      The cast and crew wound up their location filming in the
Yosemite Valley, where the National Park Service was again key to
filming. "I think we're entering a new era with the parks and 
we're building up trust again," says production designer Sanders. 
The filmmakers were allowed to erect an Indian village on park 
property during the height of the fall season. In return, the 
movie company cleared out an area of non-native vegetation that
the park service did not want. Over the years film companies have
been seen as big-spending, marauding hooligans, giving little 
thought to the condition of the nation's preserved lands. Producer
Bruce Davey explains how the filmmakers worked to change that 
perception: "We approached the Park Service with a plan of how 
we would protect their property and with a code of behavior for 
our crew. The crew was asked to act with respect so as not to 
jeopardize opportunities for future film companies."
      Back indoors at the Warner Bros. soundstages in Burbank, 
any feelings of confinement were dispelled the moment one stepped 
foot on the raked floor of the "Lauren Belle." Its imaginative design
matched the scale of the outdoor locales to which all had become
accustomed.
      As the Commodore, played by James Coburn, strutted proudly
about his grand vessel, the additional players brought in to fill
the gaming tables included such familiar Western stars as DOUG
McCLURE, ROBERT FULLER, BERT REMSEN and DENVER PYLE.
      The room buzzed with tales of "remember when" and fond
memories of times past. Alfred Molina summarizes the effect: 
"It's like a walking lesson in the history of American Westerns. 
Every face I see is a face that I recognize from a TV show or a 
Western movie -it's extraordinary."
      Director Richard Donner came up with the idea to bridge the
gap between generations and found that no one he called turned 
down his invitation to join the cast.

                Stunts. Large and Small

      A Western of this scope would not be complete without a
runaway stagecoach for our hero to save. Stunt Coordinator Mic
Rodgers says the stunt is much like the dangerous team-to-team
transfer done in John Ford's classic "Stagecoach." But, he adds,
"In order to make it suit Maverick's character, some twists were
added. Normally he would come out of the coach and go up on top
then jump from team to team. But Maverick is more happy-go-lucky
and he really doesn't want to get into any trouble, so he has to
get there reluctantly by hitting a bump and slipping and falling
between the wheels of the coach before getting to the top and 
doing the transfers. No one's ever done it that way before."
      The complete stunt is actually a combination of two 
separate feats that many have tried and few have succeeded in doing.
The story of this particular runaway stagecoach would not be 
complete without its dramatic history. Many years ago a stuntman
named Terry Leonard working on "The Legend of the Lone Ranger" was
shot from the lead horse of a six-horse rig. Instead of falling 
off the back, he was to have fallen between the running horses. 
One of the horses stepped on him and knocked him loose from his 
hand hold; both of Leonard's hips were broken when the wheels of
the stagecoach ran over him. So when Terry Leonard was hired to 
direct this stunt sequence, he understandably had some concerns.
      "When you do horse work, it's a whole other arena of
expertise. Rigging is crucial and because we've departed from 
that so much in the last few years, there aren't a whole lot of guys
around that have that kind of knowledge. You're not only thinking
for yourself, you're trying to outsmart the animal."
      Convinced that every element had been thought out as
carefully as possible, Leonard and Rodgers went ahead with the
stunt. It did not go exactly as planned. Rodgers explains, "It's
tremendous bad luck to catch both horses out of stride. One may
stumble, the other one picks him up. When I jumped from the swing
team to the leaders, the left lead horse put his nose in the dirt
for about 30 feet. I was just waiting for the coach to land on 
me, for all of them to wad up underneath me. The only thing that 
kept them up was the four horses behind them, pushing them."
     Luck being with him on the day of the stunt, Rodgers walked
safely away and joined an elite group of stuntmen, including the
legendary Yakima Canutt, who can claim this feat in their
repertoire.
     In addition to the big action on the screen, Gibson 
practiced the smaller-scale feats that embodied Bret Maverick. 
He worked with quick-draw gun specialist Phil Spangenberger on 
gun-handling basics and fancy maneuvers. "Our goal is for Mel to 
look like a man who has traveled and lives in this era," says 
Spangenberger. "Mel is the kind of guy who really wants to get 
it right and I think he did a wonderful job with it."
     Once on the set, Gibson found he had a gun-twirling cohort 
in James Garner. "Working with Jim is a lot of fun," says Gibson.
"We've just been horsing around ever since we started." The two
could be seen around the set sharing tricks and spinning guns in
and out of their holsters.
     A fan of sleight-of-hand tricks, Gibson found manipulating
cards to be more difficult than twirling six-shooters. "It's hard
to work a deck of cards," says Gibson, "guns are easier. They're
more like juggling." The game of poker, however, did not seem to
create the same difficulties for Gibson -- or the rest of the 
cast, for that matter. On any given day games of five-card draw 
and seven-card stud were in full swing during lighting setups. 
Both Gibson and Jodie Foster became proficient at the patented 
James Garner one-handed shuffle.
     Gibson explains how it's done: "Holding the deck in one 
hand, you squeeze the cards out from the middle of the deck with
your thumb and little finger and then place them on the top of the
deck."
                           
                      Costumes

     While Maverick is a period Western, at its core it is a
comedy. So while attention to period detail is given 
consideration, it is not upheld to the letter. That fact is no 
more evident than in the costume design. "We're not trying to 
document the West, we're out here just trying to have some fun," 
reminds Donner.
      Before costume designer April Ferry even got started on the
wardrobe for Mel Gibson, she got a bit of inspiration from James
Garner, who brought her his original costume from the series. 
"Mr. Garner was going to donate his costume to the Gene Autry 
Western Museum and he brought it to me before he sent it," 
recalls Ferry. "I didn't copy it but it certainly was a big 
influence."
      Jim Garner remembers that the costume was pulled together
from the Warner Bros. wardrobe stock. "I think the vest was Gary
Cooper's in 'Saratoga Trunk,' the coat and the pants were Errol
Flynn's and I think the shirt was Monty Wooley's from 'The Man 
Who Came To Dinner."'
      Gibson's wardrobe, however, was created specifically with 
him in mind. "Mel's look is dashing and handsome," says Ferry. "I
really tried to make it a combination of the original Maverick 
and what I thought Mel would look wonderful in."
      Jodie Foster has done countless period films in her career
and finds it curious the way a costume can help her get into a
character. "It's funny how you can just put some clothes on and
then suddenly you become whoever the person is." She remembers 
that Mel Gibson spotted her on the set one day in jeans and tennis
shoes. "He was taken aback, because he had forgotten that this is
who I really am." The look for Foster is blatantly feminine. Says
Ferry, "Annabelle is dressed to the nines all the time; she's 
meant to stand out in a crowd."
      While Gibson's Maverick is dragged behind a stagecoach and
Foster's Annabelle is busy turning heads, Jim Garner's Coop 
manages always to keep his nose -- and his clothes-clean. "Zane 
Cooper is immaculate-looking," explains designer Ferry. "Even 
with all the dirt, we try to keep him always looking elegant." 
In order to accomplish this on dusty locations, the wardrobe 
department was always armed with blowers to dust off Garner's 
hat, boots and clothing.
      Everybody knows that no Western would be complete without 
its own idiosyncratic music. In attracting wry songwriter/composer
Randy Newman to create the movie's score, the filmmakers scored
their first movie coup, and songs on the film's soundtrack by 
Clint Black, Confederate Railroad, John Michael Montgomery and Tracy
Lawrence further enriched the mix. In addition, many of today's
best-known country recording stars make cameo appearances in the
movie, including Clint Black, Carlene Carter, Vince and Janis 
Gill, Waylon Jennings, Hal Ketchum, Kathy Mattea and Restless Heart.
      But the film concludes with another, even more entertaining
interlude: Gibson and Garner joined in a bathtub duet of 'Amazing
Grace. ' "It's amazing, all right," laughs Gibson about his debut
on-screen musical performance.
      "We set out to make entertainment, to tell a story that 
uses the special skills of an extraordinary group of people," 
concludes Donner. "I think even we've been surprised by what an 
enjoyable experience it's been. Now we hope we can share that 
with our audiences."
      Warner Bros. Presents An Icon Production In Association 
With Donner/ShulerDonner Productions: Mel Gibson, Jodie Foster and 
James Garner in A Richard Donner Film: "Maverick," starring Graham
Greene, James Coburn and Alfred Molina. The co-producer is Jim 
Van Wyck; the editor is Stuard Baird, A.C.E.; and the production is
designed by Tom Sanders. The director of photography is Vilmos
Zsigmond, A.S.C. and the music is by Randy Newman. The film is
written by William Goldman, based on Maverick created by Roy
Huggins. It is produced by Bruce Davey and Richard Donner and
directed by Richard Donner. "Maverick" is distributed by Warner
Bros., A Time Warner Entertainment Company.

About the Cast

      MEL GIBSON (Maverick) most recently stepped behind the 
camera to make his directorial debut with the critically praised 
film, "The Man Without A Face," in which he also starred.
      Born in New York, Gibson moved to Australia when he was 12
years old. There he studied at the National Institute of Dramatic
Arts in Sydney. Gibson's career began with his performance as the
hero of George Miller's "Mad Max," a role which catapulted him to
international stardom. His next two films, "Tim" and Peter Weir's
"Gallipoli," each earned him Best Actor Awards from the 
Australian Film Institute.
      In 1984, Gibson made his American film debut, opposite 
Sissy Spacek, in "The River," and immediately thereafter starred 
with Diane Keaton in "Mrs. Soffel" for Australian director Gillian
Armstrong.
      1987 marked the start of one of Hollywood's most successful
film series when Gibson starred as Martin Riggs in "Lethal 
Weapon," one of the year's surprise hits, and a film which has 
spawned two hit sequels. In between production of those three 
films, Gibson starred with Kurt Russell and Michelle Pfeiffer in
"Tequila Sunrise," Goldie Hawn in "Bird on a Wire," and Robert 
Downey, Jr. in the action-adventure "Air America."
      Gibson formed Icon Productions with longtime friend and
business partner Bruce Davey during production of Franco
Zeffirelli's "Hamlet," which Icon produced. Gibson's performance 
in the title role drew wide critical acclaim and earned him the
prestigious William Shakespeare Award from the Folger Theatre in
Washington, D.C.
      Gibson's other credits include a wide range of performances
in films such as the romantic adventure "Forever Young," "The
Bounty" with Sir Anthony Hopkins, "The Year of Living 
Dangerously," which reunited him with director Peter Weir, and 
George Miller's post-apocalyptic action-adventures, "The Road 
Warrior" and "Mad Max Beyond Thunderdome".
      Gibson will next direct and star in the period action piece
"Braveheart," based on the life of Scottish patriot Sir William
Wallace.
      JODIE FOSTER (Annabelle), an accomplished director and
actress, gave stunning performances as a rape survivor in "The
Accused" in 1988 and as Special Agent Clance Starling in the 1991
hit thriller "The Silence of the Lambs," which earned her two
Academy Awards for Best Actress.
      She made her motion picture directorial debut with the 
highly acclaimed "Little Man Tate," in which she also starred. 
She most recently starred opposite Richard Gere in "Sommersby. "
      Foster began her career at age three, appearing in a
television commercial as "The Coppertone Girl," and made her 
first feature, "Napoleon and Samantha," when she was eight years
old. But it was her role in "Alice Doesn't Live Here Anymore" in
1975 which brought her to the audiences' eyes, and her powerful
portrayal of a streetwise teenager in Martin Scorsese's "Taxi 
Driver" in 1976 that won her widespread critical praise and 
attention. She received her first Oscar nomination and awards 
from the National Society of Film Critics and the Los Angeles 
Film Critics for her role in "Taxi Driver." She also became the
only American actress to win two separate awards in the same year 
from the British Academy of Film and Television Arts. That same 
year, Alan Parker's "Bugsy Malone" earned her an Italian Comedy 
Award.
     Foster's other motion picture credits include "Tom Sawyer,"
Disney's "Freaky Friday," "Foxes," "The Hotel New Hampshire,"
Claude Chabrol's "The Blood of Others," for which the 
multi-lingual Foster looped all of her own dialogue in French;
"Siesta," "Stealing Home," "Five Corners" and Woody Allen's 
stylized black-and-white comedy "Shadows and Fog."
     Foster is currently producing and starring in "Nell," the
first feature film from her own Egg Pictures, directed by Michael
Apted and also starring Liam Neeson and Natasha Richardson.
     JAMES GARNER (Zane Cooper) first achieved widespread notice 
as the star of the 1950s hit television series "Maverick" and later
starred in the equally successful series "The Rockford Files."
     A recent Golden Globe winner for his work in the HBO 
telefilm "Barbarians at the Gate," Garner has previously earned Emmy
and Golden Globe nominations for his work in the acclaimed telefilms
"Heartsounds," "Promise," "My Name Is Bill W." & "Decoration 
Day." 
     Born in Oklahoma, Garner moved to Hollywood when he was a
teenager, but living in Tinseltown did not whet his appetite for 
a career in acting. Garner held numerous odd jobs before being
inducted into the army and serving for 14 months of combat as an
infantryman in Korea.
     Upon his return, he looked up an old friend who had become a
producer in Garner's absence. The friend, Paul Gregory, gave 
Garner his first acting job in his stage production of "The Caine 
Mutiny Court Martial."
     Garner received critical notice for an early performance the
hit film "Sayonara" starring Marlon Brando and later received an
Oscar nomination for his work in the film "Murphy's Romance." He
includes among his other big-screen credits "The Great Escape,"
"The Children's Hour," "Grand Prix," "The Americanization of
Emily," "Skin Game," "Support Your Local Sheriff" and
"Victor/Victoria."
     GRAHAM GREENE (Joseph) drew widespread attention from 
critics and audiences alike for his charming performance as 
Kieking Bird in l991's "Dances With Wolves," for which he 
received an Academy Award nomination for Best Supporting Actor.
     Greene's career spans work in film, television and the 
stage. Some of his most notable credits include Miramax's 
"Benefit of the Doubt," "Thunderheart" with Val Kilmer, HBO's 
"The Last of His Tribe" and a recurring guest starring role on 
CBS's Emmy award-winning series "Northern Exposure." Greene can 
also be seen in the Rob Reiner film, "North. "
     JAMES COBURN (The Commodore) has proven himself to be one of
Hollywood's most versatile actors. From sinister gangster to 
comic spy, Coburn's film credits include "The Magnificent Seven,"
"The Great Escape," "Charade," "The Americanization of Emily," "The
President's Analyst" and the spy spoofs "Our Man Flint" and "In
Like Flint."
     Born in Nebraska, Coburn first began acting at Los Angeles
City College where he shared the stage with such legends as 
Vincent Price. During a series of moves between Los Angeles and 
New York, he appeared in television commercials and dramas including 
"Studio One" and "General Electric Theatre" before making his motion
picture debut opposite Randolph Scott in "Ride Lonesome."
     Coburn was most recently seen as Whoopi Goldberg's nemesis 
in "Sister Act II." His other credits include "Young Guns II," 
"Hudson Hawk," with Jeff Fahey in "Hit List" for Showtime and Larry
Gelbart's "Mastergate." Coburn recently co-starred with Nicholas
Cage and Michael Biehn in Christopher Coppola's "Deadfall."
     ALFRED MOLINA (Angel) may be best known to American 
audiences as the thrifty husband, Mellersh, in director Mike Newell's
"Enchanted April." The English-born actor has been performing on
the British stage since 1978 in such productions as "Night of the
Iguana" and "Speed-the-Plow" at the National Theatre, and in the
role of Petruchio in The Royal Shakespeare Company production of
"Taming of the Shrew."
     Molina's film credits include supporting roles in Steven
Spielberg's action-adventure "Raiders of the Lost Ark," Richard
Donner's "Ladyhawke," "Not Without My Daughter" starring Sally
Field, director Stephen Frears' art-house hit, "Prick Up Your 
Ears" and the upcoming drama "The Perez Family."
      "Maverick" is filled with the familiar faces of Western 
heros who visited our living rooms each week on series such as 
"Wagon Train," "Laramie" and "The Virginian." Included in cameo 
roles are ROBERT FULLER, who spent years as a series regular on 
"Laramie" and "Wagon Train" and also appeared in "Death Valley 
Days," "The Big Valley" and "The Lawman"; DOUG McCLURE, who spent
nine seasons on the television classic, "The Virginian" and spent
several seasons with the cast of "Overland Trail" and "The Men 
From Shiloh"; character actor BERT REMSEN, a regular on "Dallas"
whose film credits include "Brewster McCloud," "McCabe and Mrs.
Miller," "Inside Moves" and "Dick Tracy"; READ MORGAN. who has 
appeared in over 100 television episodes and co-starred opposite
Henry Fonda in "The Deputy"; WILLIAM SMITH, most recognizable 
from his roles in "Seven Brides for Seven Brothers," "Laredo," 
"The Rockford Files" and "Wildside"; CAL BARTLETT, who has 
appeared in such series as "Bonanza," "The Virginian," "Barnaby
Jones" and "Little House on the Prairie," as well as in the film
"Paint Your Wagon"; DENVER PYLE, whose innumerable credits include
stints on "The Dukes of Hazzard" and "The Life and Times of Grizzly
Adams"; DENNIS FIMPLE, who portrayed Bo, the ranch hand on TV's 
"Matt Houston"; and WILL HUTCHINS, the star of Warner Bros.' 
television Western "Sugarfoot," which aired from 1957-60.
      Contributing to the soundtrack and the cast are some of the
finest performers the country music world has to offer.
      Singer/songwriter CLINT BLACK (Beauregard) makes his 
feature film debut as an actor in "Maverick." Black's first three
albums have launched him into the vanguard of the new country music
movement and sold over six million copies in the process. All 
five singles from his debut album reached number-one, earning Black 
the Country Music Association's Horizon Award in 1989 and its Top 
Male Vocalist Award the following year.
      One of country music's brightest stars, VINCE GILL makes a
cameo appearance as a riverboat gambler. A premier singer and
instrumentalist, Gill is the proud owner of four Grammy Awards 
and eleven Country Music Association Awards. He is joined in 
"Maverick"by his wife, JANIS GILL, a member of the popular duo 
Sweethearts of the Rodeo.
     Country legend WAYLON JENNINGS runs into the long arm of the
law in "Maverick" when he stumbles into Marshal Zane Cooper. One 
of country music's truly innovative stylists, Jennings' career
stretches from the mid-50s, when he was a protege of Buddy Holly,
through four decades. The combination of his "chicken-pickin"'
Telecaster guitar style and his rough-edged, soulful vocals has
shaped attitudes and launched major trends in Country music. Over
the years, Jennings has teamed with Willie Nelson, Jessi Colter 
and Tompall Glasser to become "The Outlaws" and more recently has
joined Nelson, Johnny Cash and Kris Kristofferson to form The
Highwaymen. Jennings' contributions to country music have been
recognized with two Grammy Awards and four Country Music
Association Awards.
     At Waylon Jennings' side in the film is KATHY MATTEA, one of
country music's most successful female vocalists. A prolific
talent, Mattea has recorded 10 albums since her debut in 1984,
earning four Country Music Association Awards and one Grammy.
      Outlaw HAL KETCHUM makes a clean getaway after robbing the
Crystal River bank. Ketchum began his music career playing drums 
in a rhythm & blues band when he was just 15. Later he honed his
skills in Texas, playing acoustic sets in every sort of club from
folk to rock to honky-tonk. The result is a unique style -- music
with drive and texture.
      The granddaughter of Mother Maybelle Carter, daughter of 
June Carter Cash and stepdaughter of Johnny Cash, CARLENE CARTER is 
the reigning heir of country's legendary Carter family. In "Maverick"
she makes a turn as an appealing barmaid. Enchanting both the 
music industry and the record buying public with her country album 
debut in 1990, Carter received a Grammy Award nomination that year for
her first solo effort.
      RESTLESS HEART provides the festive music for the grand
arrival of Maverick and Annabelle aboard the "Lauren Belle." With
its innovative harmonies and accomplished musicianship, Restless
Heart has been a leading force among contemporary country groups
and has garnered seven number-one records, three gold albums, 
along with four Grammy and seven Country Music Association award
nominations.

About the Filmmakers

      BRUCE DAVEY's (Producer) long association with Mel Gibson
began when he began to supervise the actor's business affairs in
Australia. In 1988, Davey moved to the United States to form Icon
Productions with Gibson and has since produced four films for the
company including Gibson's directorial debut, "The Man Without a
Face."
      A native of Sydney, Australia, Davey received his degree as
a Chartered Accountant (the Australian equivalent of a certified
public accountant) and joined a practice serving various members 
of the entertainment industry. Davey later set up his own firm and
acquired Mel Gibson and several other prominent Australian
entertainment figures as clients.
      Since leaving the accounting field and moving to the United
States, Davey has produced "Hamlet" directed by Franco 
Zeffirelli; the romantic-adventure "Forever Young"; Mel Gibson's 
directorial debut, "The Man Without a Face"; and the teen comedy
"Airborne,"all under Icon Production's banner. He will next 
produce "Immortal Beloved," which tells the story of Ludwig Van 
Beethoven's bittersweet relationship with his young nephew. The 
project is scheduled to go before cameras this spring the Czech 
Republic. Davey will also produce, with Alan Ladd, Jr., Gibson's 
next directorial and starring effort, "Braveheart. "
      Director/producer RICHARD DONNER is again united with the
star of his "Lethal Weapon" trilogy, Mel Gibson.
      A business and theatre arts major at New York University,
Donner sought a career in acting. But after completing a role in
Martin Ritt's television production of W. Somerset Maugham's "Of
Human Bondage," Donner was encouraged by the director to forget
about acting and concentrate on directing, and was offered a job 
as Ritt's assistant. 
      Donner directed several distinguished plays for live
television in New York, before moving to Los Angeles where he
directed commercial, industrial films and documentaries. He
eventually moved into television, directing such classics as "The
Twilight Zone," "The Fugitive," "The Man From U.N.C.L.E.," "The
Wild, Wild West," "The F.B.I." and "Cannon," as well as the 
pilots of "Kojak," "Bronk" and Steve McQueen in "Wanted: Dead or 
Alive."
      Donner entered the film world with a bang with his 
direction of the psychological horror classic, "The Omen." He 
followed that film with another classic, "Superman." His impressive
list of film credits include "Inside Moves," "The Toy," "Ladyhawke,"
"The Goonies," which he also produced with Steven Speilberg, 
"Scrooged" and "Radio Flyer." In 1987, Warner Bros. released the 
first in what would become a smash hit series for both Donner and 
Gibson, "Lethal Weapon." The surprise hit was followed by "Lethal 
Weapon 2" (which outgrossed the first film), and most recently, 
"Lethal Weapon 3."
      Donner shares executive producer duties with Joel Silver,
David Giler, Walter Hill and Robert Zemeckis on the highly rated
HBO anthology series "Tales From the Crypt," to which he 
sometimes lends a directorial hand.
      WILLIAM GOLDMAN (Writer) has long been a Hollywood icon,
penning such screen classics as "A Bridge Too Far," "The Great
Waldo Pepper," "Marathon Man" and "The Princess Bride." He is
certainly no novice to the movie Western either, having received 
an Academy Award in 1969 for "Butch Cassidy and The Sundance Kid." 
He was honored again in 1976 for "All the President's Men" starring
Robert Redford and Al Pacino.
      Since 1966 when Goldman wrote his first screenplay for 
Warner Bros., "Harper," Goldman has had more than 20 of his works 
produced by major film studios. His list of fine credits include "The
Stepford Wives," "Magic," Rob Reiner's award-winning thriller,
"Misery," "Year of the Comet," "Angel City" and "Indecent
Proposal." He is also the author of an autobiographical guide to
screenwriting called Adventures in the Screen Trade.
      JIM VAN WYCK (Co-Producer) also serves as first assistant
director of "Maverick." This is the fourth film on which he has
worked with Richard Donner.
      Van Wyck graduated from the University of Oregon and went 
on to play triple-A baseball in Tacoma, Washington before entering 
the film industry via the Director's Guild of America training 
program. Since then Van Wyck has held the dual roles of 
co-producer/first A.D. on the Warner Bros. summer hit "Free Willy,"
"The Babe" and "Radio Flyer." He served as associate producer/first 
A.D. on "Dick Tracy," "Mermaids," "Funny Farm," "Three Fugitives," 
"Punchline," "Surrender," "Outrageous Fortune" and "Murphy's Romance," 
starring James Garner.
      Hungarian-born cinematographer VILMOS ZSIGMOND (Director of
Photography) received four Academy Awards, for his work on Robert
Altman's "McCabe and Mrs. Miller," Mark Rydell's "Cinderella
Liberty," Steven Spielberg's "The Sugarland Express" and Peter
Fonda's "The Hired Hand."
      The acclaimed cinematographer has also received the British
Academy Award for Spielberg's "Close Encounters of the Third 
Kind" as well as Oscar nominations for Rydell's "The River" and 
Michael Cimino's "The Deer Hunter."
      Zsigmond recently re-teamed with Rydell for "Intersection,"
starring Richard Gere and Sharon Stone. He has made over 25 films
in his distinguished career, including Jack Nicholson's 
directorial debut, "The Two Jakes"; Roland Joffe's "Fat Man & 
Little Boy," starring Paul Newman; "The Witches of Eastwick"; 
"The Rose"; "The Long Goodbye"; "Winter Kills"; and "Deliverance."
      TOM SANDERS (Production Designer) made his debut as a
production designer on Francis Ford Coppola's "Bram Stoker's
Dracula," for which he was honored with an Academy Award
nomination. Previously, Sanders served as art director on a 
number of motion pictures, including Steven Spielberg's "Hook," 
"Days of Thunder," "Naked Tango" and "Revenge. "
      "Maverick" marks the sixth collaboration between Richard
Donner and film editor STUART BAIRD. Baird's first project with
Donner was "The Omen," and their association has continued 
through the films "Ladyhawke," "Lethal Weapon," "Lethal Weapon 
2" and "Superman," for which the editor received an Academy Award
nomination. Baird's other feature credits include "Altered 
States," "Revolution," "Gorillas In The Mist" starring Sigourney 
Weaver, the film version of the rock opera "Tommy," "Die Hard 2: 
Die Harder" and "The Last Boy Scout," both starring Bruce Willis, 
and "Demolition Man."
      APRIL FERRY (Costume Designer) has designed the wardrobe 
for more than 20 motion pictures. Her work was most recently seen
in the Warner Bros. summer hit movie "Free Willy."
      In 1989, Ferry was recognized with a nomination for an Emmy
for her work on the Hallmark Hall of Fame special "My Name is 
Bill W." She designed costumes for another critically acclaimed 
Hallmark Hall of Fame special, "Decoration Day."
      Her many feature film credits include Lawrence Kasdan's 
"TheBig Chill," "Unlawful Entry," "The Babe," Richard Donner's 
"Radio Flyer," "Immediate Family" starring Glenn Close and James 
Woods, "Three Fugitives," "Planes, Trains & Automobiles," 
"Beethoven's 2nd" and "Mask."
      Composer/Songwriter RANDY NEWMAN is best known for his
whimsical and usually very ironic lyrics on songs like "Short
People" and "I Love LA." Born into the quintessential musical
family--both his uncles, Alfred and Lionel, were film
scorers-Newman himself was a writer for a Los Angeles music
publishing company by the age of 17. Thus, it seemsnatural that
after a flourishing pop music career, which began with a 
recording contract in 1967, Newman would turn his attention to 
motion picture orchestrations. His forays into film scoring have 
received accolades for nearly every feature film project in which
he has been involved. His music in the film "Ragtime" garnered an 
Academy Award nomination for Best Original score as well as Best 
Original Song for "One More Hour." He followed up with a Grammy 
Award for the instrumentals in "The Natural" starring Robert Redford
and again was nominated for an Oscar.
      Newman's charming rendition of "I Love To See You Smile" in
the hit film "Parenthood" for director Ron Howard is one of his
most appealing turns to date. The song brought an Academy Award
nomination as well as Golden Globe and Grammy nods.
      Newman's strength lies in his ability to capture the grace
and nostalgia of a period as he did so confidently for Barry
Levinson in the director's autobiographical film, "Avalon." The
composer was again nominated for an Academy Award for Best 
Original Score.
      Newman's other film credits include "Awakenings" and
"Overboard."