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- script. Bart Freundlich, who directed the accla
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- imed independent dramas “The Myth of
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- Fingerprints” and “World Traveler,” then came aboard to direct.
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- Faithful to the basic storyline of the original film, CATCH THAT KID focuses on
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- 12-
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- year-old Maddy (Kristen Stewart), whose father (Sam Robards), an ex
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- -
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- moun
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- tain
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- climber and now the owner of a go
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- -cart track, becomes incapacitated with a spine injury
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- and needs costly surgery. To secure money for an operation for her critically ill father,
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- Maddy lures her two male friends
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- –
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- computer whiz Austin (Corbin Bleu) an
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- d
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- mechanically
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- -
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- minded Gus (Max Thieriot)
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- –
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- to rob an impregnable safe designed by her
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- mother (Jennifer Beals). With Maddy as mastermind, the three young friends use their
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- formidable skills to fulfill their impossible mission.
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- Bart Freundlich was attrac
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- ted to the emotional center of the story. “At its heart
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- CATCH THAT KID is about what kids will do for their parents
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- –
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- that they’ll do anything
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- to be close to them and save them,” he says. “It’s a kind of morality tale, because they do
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- this thing that’s c
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- learly illegal, but they do it for all the right reasons. They take exactly
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- what they need and no more. We were very careful about telling that part of the story.”
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- “Maddy is kind of like a Robin Hood, stealing from a rich bank for the benefit of
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- her dad,” says producer Andrew Lazar. “The way that kids’ minds work, they don’t think
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- of the ramifications,” adds co
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- -screenwriter Michael Brandt. “They just think that if they
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- get the money and get Maddy’s father the operation, everything’s going to be fine.
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- They
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- don’t care about the money itself; they only want to save Maddy’s father.”
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- “And along the way, they have to face attack dogs, a security guard who’s half
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- out of his mind, a wall they have to climb to get up to the safe, and everything that could
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- possi
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- bly go wrong,” adds co
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- -screenwriter Derek Haas. “And to throw one final wrench
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- into it, they have to take their two year old brother along for the ride.”
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- Oddly enough, Freundlich’s “indie sensibility” was an asset to CATCH THAT
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- KID, a big studio film with
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- plenty of action and scale. “Having done two dramatic films,
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- Bart was able to bring more out of the characters and their relationships,” says Saccani.
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- In classic heist adventures, it takes highly
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- -trained specialists to pull off the task at
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- hand. But in C
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- ATCH THAT KID, the perpetrators aren’t even old enough to drive.
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- “Our young heroes use all of the things that people trust and love about kids to dupe
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- grownups into giving them information they need,” says Freundlich. “They divide up the