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THE GOOD GIRL

Introduction
The makers of THE GOOD GIRL put its star, Jennifer Aniston, in a new place. Like a funhouse at a carnival, the experience was often strange, disorienting and sometimes scary, but the end result is a critically acclaimed performance and a thrilling chance to see her in a way we never have before. An independent film in every sense, THE GOOD GIRL attracted a cast that includes John C. Reilly (BOGGlE NIGHTS, MAGNOLIA), Tim Blake Nelson (0 BROTHER, WHERE ART THOU?, CHERISH), Jake Gyllenhaal (OCTOBER SKY, DONNIE DARKO) and Zooey Deschanel (ALMOST FAMOUS).

In great company, and with a role that she related to without knowing precisely why, "I didn't know if it was a personal thing, or if it was my own mother or just women I know," Aniston embarked on a 33-day shoot that was shoehorned around her Thursday and Friday commitment to "Friends." "Miguel is the kindest, most soft-spoken man," Aniston says. "It was weird. There was just something about trusting this man and I put my life in his hands and let him go with it."

THE GOOD GIRL marks the third feature film made by Director Miguel Arteta and Producer Matthew Greenfield and the second pairing of Arteta with White as the screenwriter. Arteta and Greenfield's celebrated feature debut, STAR MAPS, premiered at the 1997 Sundance Film Festival and was released to critical acclaim by Fox Searchlight Pictures. It was followed by CHUCK & BUCK - penned by and starring White - which also premiered and sold at Sundance. THE GOOD GIRL was an official selection of the 2002 Sundance Film Festival, where it was acquired by Fox Searchlight.

Like Arteta and White's previous work, THE GOOD GIRL seeks truth, the crucial element that defines their collective cinematic vision. The team deftly examines the life of outsiders. Arteta explains the central theme of his work. "All the films deal with characters who do not have the tools they need to live a full life and to cope with life properly." However, it is their honest approach to creating characters that gives Justine, like Chuck in CHUCK & BUCK, and Carlos in STAR MAPS, her universal appeal.

White penned THE GOOD GIRL during a "dark spot" in his personal life. He had recently completed the script for CHUCK & BUCK, which at the time seemed to have no foreseeable future. Meanwhile, White's savings had dwindled and, like the character Justine he would soon create, he saw no means for escape. "I wanted to write the film like a prison movie," explains White. "I wanted to capture the feeling that everyone is imprisoned and secretly plotting their escapes," he continues.

White would apply his trademark style as he developed the screenplay. His genuine approach to storytelling would allow him to again defy conventional genres as he created a provocative story that is simultaneously heart-wrenching and humorous, creating what he has coined "a comic ode to depression.. .I like films that walk the delicate line between comedy and pathos," states White. "The fun of writing is to explore that balance, trying to find something entertaining on the surface but something much weightier underneath."

Although White rendered his signature approach to storytelling and character, he delicately balanced the screenplay's darker elements with broader human appeal. Wasteland Texas, a stark metaphor for Justine's emptiness, is juxtaposed with the story's compelling and sexy subject matter. White adroitly pierces the surface of human apathy to expose a virtual abyss of carnal and emotional desire. Again, White journeys to the fringe of society. However, with THE GOOD GIRL he taps the deepest and most universal of human needs companionship, touch and understanding.

White's early work stru

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