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About The Production
Time isn't always on our side. It seems to move inexorably ahead through all kinds of tragedies and missed opportunities and terrible secrets without any room for going back and changing your choices. But what if it didn't have to be that way?

For John Sullivan in Frequency the rules have changed. After years of anger at the past, he finally has a chance to do something about it. In the middle of an intense solar storm, John Sullivan has found a rip in the space/time fabric and tapped into a parallel universe in which his deceased father has not yet died. Now John has the chance to save the father he never knew beyond childhood and create the future that might have been. It is a chance he cannot pass up, but one that will visit another terror on his family, a terror that must be fought on both sides of the time barrier.

With Frequency, Gregory Hoblit dips into cutting-edge science fiction to produce a deeply moving and exciting thriller about a father and son who use the paradoxes of time to chase a killer and come closer to one another. Hoblit, who previously directed the critically acclaimed suspense thriller Primal Fear, wanted to create a scientifically plausible yet palpably emotional story that explores the ways in which past, present and future interplay with one another in a man's life.

New Line presents Frequency starring Dennis Quaid, Jim Caviezel, Andre Braugher, Elizabeth Mitchell, and Noah Emmerich. The film is directed by multiple Emmy®, Golden Globe and Directors Guild of America Award-winner Gregory Hoblit from a debut screenplay by music industry executive Toby Emmerich. The producers are Hawk Koch, Gregory Hoblit, Bill Carraro and Toby Emmerich.

The tautly complex and deeply felt script for Frequency emerged from an unexpected place: inside the ranks of New Line Cinema´s executives, from the pen of President of Music Toby Emmerich. Emmerich had always been fascinated by the classic time travel tales of H.G. Wells and Jules Verne but wanted to take the age-old, imagination-firing concept of journeying through history in an entirely new direction - into the heart of a quintessentially American family.

"I have always loved time travel stories," states Emmerich, "but I often wondered if you could have a time travel story in which only information can travel back and forth through time, as opposed to people." Frequency presents the scientifically supported idea that time and information are not a single flowing river but a series of tributaries that have the ability to intersect, as 1969 and 1999 do for Frank and John Sullivan.

But Emmerich was not just interested in the clever implications of being able to communicate with the past; he was interested in how such a phenomenon might affect the building of relationships, the suspense of a sports game, the manipulation of the stock market, or the outcome of a heinous crime. Emmerich explains his intentions: "The notion of intersecting time was the guiding principle behind Frequency, but to that base I added several equally important other layers: my love of stories about fathers and son, cops and fireman, baseball and New York City."

Once Emmerich developed his multi-dimensional ideas for Frequency, he made a bold move. While his fellow executives were readying themselves for the Cannes Film Festival, Emmerich took a few weeks vacation, a "vacation" in which he holed himself up in a room for twelve hours a day, emerging at last from his own time compression with his first screenplay.

The fast-paced script drew the attention of veteran producer Hawk Koch, who saw it as a sophisticated look at the notion of second chances. "For me it really got to the core of the idea that there are so many issues and emotions between people, especially fathers and sons, that never really have a cha

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