Jimmy Reardon (RIVER PHOENIX, right) with his coy girlfriend, Lisa (MEREDITH SALENGER, left), in "A NIGHT IN THE LIFE OF JIMMY REARDON," a rambunctious comedy from Island Pictures, written and directed by William Richert.

"A Night in the Life of Jimmy Reardon"'s co-producer is RICHARD H. PRINCE, a graduate of the UCLA Film School, who comes to the project with a solid background in film production. He has gained experience as a production manager/assistant director on such pictures as "Risky Business," "Heaven Can Wait," "Uncommon Valour," "The Stuntman," "Personal Best" and most recently "The Bedroom Window." He has also worked with Academy Award-winning writer Robert Towne developing projects for Towne's company, Pt. Fermin Productions.

Prince graduated from the UCLA film school with a B.A. in motion picture/television production in 1974. Three years later, in 1977, he graduated from the UCLA Graduate School of Management with an M.B.A. in Arts Marketing and Management.

A Chicago native, JOHN CONNOR makes his debut as a director of photography on "A Night in the Life of Jimmy Reardon." He was introduced to Bill Richert by noted cinematographer Vilmos Zsigmond, with whom he had worked as an operator on numerous films.

Though Connor has worked with some of the most respected contempory cinematographers -- Haskell Wexler, Conrad Hall, Jordan Cronenweth, Allan Daviau and Don Peterman among others -- he cites Zsigmond as the most influential upon his work. "You don't realise what you're learning when you look through the camera," he says. "Because of Vilmos, I love cross- and back-lighting."

Connor is grateful to Richert for allowing him to experiment with lighting and mood while filming "A Night in the Life of Jimmy Reardon": "He game me my head and he was exceptionally supportive and understanding."

After beginning his career as a still photographer in Chicago, Connor moved into motion picture work via sports, commericals and industrials. Since re-locating to the West Coast some years ago, he has been an operator and second unit cinematographer on "Short Circuit," "The River," "No Small Affair," "Real Genius" and "American Flyers." He was operator for "Top Gun," "E.T.," "Flashdance," "Splash" and "Indiana Jones and the Temple of Doom" among others.

Born and raised in Hollywood, California, and the son of distinguished art director William Newberry, NORMAN NEWBERRY has grown up inside the movie business. He is a graduate in architecture from the University of Notre Dame, with advance study in city planning at U.S.C.

After working as a set designer at Universal, Newberry became an assistant to noted designer Robert Boyle. He continued with Boyle on William Richert's "Winter Kills," "W.C. Fields and Me," "The Best Little Whorehouse in Texas," "Table for Five" and "Staying Alive." Boyle greatly influenced him. "What I learned from Boyle was the importance of creating an environment for the characters, to let art direction amplify the work of the actors," he says.

Newberry became a fully-fledged production designer in 1982 with Peter Bogdanovich's "Mask," followed by "Gotcha," "Fire With Fire," "Out of Bounds" and "A Night in the Life of Jimmy Reardon."

An American who grew up in Paris from the age of four, SUZANNE FENN is a writer and editor who expects to direct films in the near future.

Fenn graduated from the Sorbonne with a major in literature, Latin and philology; she speaks Spanish and French in addition to her native tongue. In the sixties she was an actress before she became a filmmaking political activist as a member of Jean-Luc Godard's "Dziga Vertov" group. Among the politically oriented films she has worked on as an editor are Joris Iven's "The People and Their Guns," Jules Dassin's "The Rehearsal," starring Melina Mercouri, and two Spanish-language films by Helena Solberg Ladd, "Double Day" and "Home of the Brave."

The daughter of painters, Fenn spent five years in Central and South America before re-settling in New York. "I stepped outside society for a while and lived a life of adventure," she explains. She was an editorial consultant on Bill Richert's first feature, "Winter Kills," and on "Gates of Heaven," an acclaimed comic documentary by Errol Morris. She co-edited Louis Malle's "Pretty Baby" and has since been the primary editor on numerous independent films. These include "Broken English," "Two Worlds of Angelita," "Hotel New York" and "Angel River."

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