Let It Snow

A Marcus Bros. Film








Romantic Comedy: 35mm/Color/Dolby SR/1:85/Flat/2001/90 min.

Distribution Contact:

Artistic License Films

250 West 57th Street, Suite 606

New York, NY 10107

212.265.9124 Fax 212.262.9299


Publicity Contact:

MPRM Public Relations

330 Seventh Ave. Ste. 2200

New York, NY 10001

212.268.3080 Fax 212.268.3105

1999 AFI Los Angeles International Film Fest.
Winner! Best Writer - Kipp Marcus Best Editing - Joe Klotz

Sundance Film Festival 2000


“At once a throwback to the days of Capra and Sturges and a wholly contempo item, Let it Snow is smarter and more appealing than many romantic comedies these days. It’s a good bet the film’s savvy creators, Adam and Kipp Marcus, will soon be touted as a filmmaking team to watch. Let it Snow is a well-crafted, tautly edited, briskly moving ride.”

“Let it Snow is a very funny comedy with the sensibilities of When Harry Met Sally...
A wonderful cast. Bernadette Peters is fantastic. Alice Dylan is a find!
What you’ll see is a great movie.
-KCLA FM Radio

“Charming, a fresh-faced romantic comedy.”

-The Hollywood Reporter


“Kipp Marcus is hilarious!”


“Let It Snow takes you on a joyride with its razor-sharp comedic pace. Adam Marcus’s exuberant cinematic style is a playful departure from angst-heavy Gen X filmmaking. Kipp Marcus melts your heart away with his puppy dog stare. Alice Dylan is a natural talent. Henry Simmons turns in a star performance.”
-Sundance Film Festival

“Kipp Marcus has great charisma and he just pulls us through the film. The Marcus Bros. have crafted a fun film called Let It Snow. The amount of talent in this family is just unfair.”

“An exceptionally entertaining film. Alice Dylan is brilliant as Sarah. When this film is released in your area, and it will be, rush out to see it!”


Let It Snow is a comedy with "issues". When James was 4, Grammy told him the family curse: "We're doomed in love. The men leave and the women go crazy." But on one magical New England snow day, James, now 18, meets Sarah. From the moment he touches her flat head, they are linked for life. Unfortunately, the "family curse" comes true. Four years later our former young lovers are isolated Manhattanites. Sarah sleeps with her beeper. James goes to "open-mike therapy" at a stand-up comedy club.

All James needs is another snow day to get a second chance at first love.
Unfortunately, it's June!

Cast and Credits


Directed by ADAM MARCUS
Written and Produced by KIPP MARCUS
Director of Photography BEN WEINSTEIN
Production Designer MELISSA SCHROCK
Costume Designer BOBBY PEARCE
Line Producer DAVID KRAMER


BERNADETTE PETERS is a performer of unparalleled versatility. Peters has lit up the silver screen in 14 films throughout her distinguished career. She received a Golden Globe Award for her memorable performance in Pennies From Heaven. Her additional film credits include The Longest Yard with Burt Reynolds, Silent Movie with Mel Brooks, The Jerk with Steve Martin, Annie with Carol Burnett, Pink Cadillac with Clint Eastwood, Woody Allen's Alice and Impromptu with Hugh Grant and Mandy Patinkin.
One of Broadway's brightest stars; Peters received both the Tony Award and Drama Desk Award for her critically acclaimed performance in Andrew Lloyd Webber's Song And Dance. She starred in the premiere Broadway productions of Sunday In the Park with George, Into the Woods and The Goodbye Girl. Ms. Peters recently starred on Broadway in the Sold-Out Run of Annie Get Your Gun for which she won her 2nd Tony Award for Best Actress.

LET IT SNOW marks Bernadette Peters first major role in an independent feature film.

KIPP MARCUS starred in the Sundance comedy, Aisle Six (CineBLAST), and then went on to have a major role in New Line Cinema's Jason Goes to Hell. A veteran of Broadway, Kipp has been honored with the Circle Award for Best Actor, as well as nominations for two national Youth and Film Awards for Best Actor. LET IT SNOW marks Kipp’s first starring role in a feature film. He currently has a deal to star in a television series for Warner Bros. inspired by LET IT SNOW.

Introducing ALICE DYLAN

LARRY PINE starred in 1997’s Sunday, winner of Best Picture at the Sundance Film Festival and Official Selection at Cannes. In addition, Mr. Pine starred in Louis Malle’s film, Vanya on 42nd Street.

JUDITH MALINA was last seen in The Addams Family, Awakenings, Household Saints & Dog Day Afternoon.

HENRY SIMMONS can currently be seen starring as detective 'Baldwin Jones,' on the Emmy Award winning NYPD Blue from Steven Bochco Productions. He is also in the independent film On the QT, opposite James Earl Jones. Simmons also spent two years on the daytime drama Another World.
People magazine has included Simmons in this years "Most Beautiful People in the World" issue and "The World's Most Eligible Bachelors" issue. Henry just finished starring with Gary Sinise in The Gentleman's Game.

MIRIAM SHOR most recently starred in the film version of Hedwig and the Angry Inch for New Line Cinema. Her other film credits include Bedazzled where she co-starred with Brendan Fraser and the independent features Entropy and Flushed. Miriam was seen as Cheryl in the ABC series Then Came You

James Ellis - Kipp Marcus
James at 4 - Kristopher Scott Feidel
Elise Ellis - Bernadette Peters
Lenny Ellis - Michael Ornstein
Grammy - Judith Malina
Strange Foreign Man - Jean-Pierre Lamy
Jesus - Wilfredo Medina
Sven - Anders Hasselblad
Muhammed - Freeman
James at 10 - Jordan Siwek
Sarah Milson - Alice Dylan
Mitch Jennings - Henry Simmons
Betsy Clotworthy - Season Oglesby
Jean-Claude - Jordi Caballero
Wendell Milson - Larry Pine
Patricia Milson - Debra Sullivan
Fascist French Chef - Adam Marcus
Aspiring Chef - Lou Carbonneau
Jenny - Sandra Prosper
Beth - Miriam Shor
Bursar - Ann Arvia
Psycho Boss - David Deblinger
Bride - Kelly Saxon
Groom - Ken Krugman
Kitty-Cat Freak - Joel Robertson
Crying Woman - Christina Ladysh
Small Man - Rob Campbell
Regan - Krista Smith
ILy - Missi Pyle
Eve - Isabel Ruiz De La Prada
Carl- Ned Eisenberg
Peter - Peter Giles
Lonely Guy - Bill Migliore
Happy Successful Guy - Stephen Colbert
Sharon - Joanna Bloomer
Sneakered Businesswoman - Mary Birdsong
Fredo Andolini - Joseph Siravo
Pat - Deborah Langdon
Beverly - Susan Lamy
Store Owner - Nadya Ginsburg

About the Filmmakers

THE MARCUS BROS. were destined to be in the arts. Their great-grandfather was in Vaudeville, their grandmother and mother are both singers, their father is an abstract painter, one uncle was a filmmaker and the other is an actor. In middle school and high school the Marcus Bros produced, directed and acted in over 50 theatrical productions, but once they made their first short film they never looked back.
At NYU Film School The Marcus Bros. wrote, produced and directed So you like this girl?. The movie won Best Picture, Best Cinematography and a special Acting Ensemble Award created in honor of the Marcus Bros Film at NYU's Tisch School for the Arts Film Festival. Adam Marcus then went on to direct New Line Cinema's Jason Goes to Hell, the #1 horror film of that year which Kipp co-starred in. Adam also wrote the feature Virgin for Paramount. Meanwhile, Kipp won the Young Playwrights of New England award for Best Play.

Kipp wrote, produced and starred in and Adam directed the indie film LET IT SNOW (a.k.a. Snow Days) which was an Official Selection at the 2000 Sundance Film Festival. For writing the screenplay, Kipp received Best Writer at AFI's Los Angeles International Film Festival sponsored by the Writer's Guild of America where it also won Best Editing. LET IT SNOW marks the Marcus Bros. first independent feature and will be distributed in over 20 countries worldwide. Currently the Bros. are under contract at Warner Bros. Television to create, produce, direct & star in a television series inspired by their film LET IT SNOW with the Executive Producer of Friends, Kevin Bright They also have a deal at Ron Howard's Imagine Entertainment to create a drama for television as well. This summer they will be shooting a feature film thriller called Gravity that Adam will direct and Kipp will star in

About the Production

"The entire time I was writing the screenplay for Let It Snow I had a poster on my wall of a famous French photograph by Edouard Boubat called "Florence Sous La Neige, Paris 1955". This black-and-white photo of a Parisian boy catching snow on his tongue as a blizzard swirls around him has always held great significance for me. I have had this photo since I was a boy and since, as depicted in the film, our home really was "the international house of dating" it had double significance. On the one hand, the photo captured for me that boyhood moment of freedom from responsibility that takes place on a snow day when school is cancelled and you can go sledding on a garbage can lid and fall for the 'girl next door'. On the other hand, looking at it as an adult, there is the nostalgia for that freedom.

The boy in that photo was an inspiration during the insanity that one must go through to make an indie in the current climate. Let It Snow is about second chances and recapturing a moment well after it's gone. Can the hero of our story have as an adult, what the boy in Boubat's photo had so naturally and effortlessly as a boy? Is there such a thing as an'adult snow day? That becomes both the comedy and sense of drama for the film.

- Kipp Marcus (Writer/Producer/Lead Actor)

"The miracle that is Bernadette Peters!"

I wanted Ms. Peters for the part of my mom as soon as I finished writing the script, but being a hyper-low-budget indie, my brother Adam and I never thought we would have a chance at nabbing her. We tried the traditional method of giving the script to her agent in the hopes that money would not be that important in this case or more specifically that the merits of the script would somehow outweigh the downside of the salary we could offer. Much to our amazement and utter despair, her agents declined to pass the script on to Bernadette citing "She's booked through next year". Translation: Buh bye.

What's an independent filmmaker to do? As the writer/producer, I did what any good ole fashioned desperate and starving filmmaker would do… I panicked. Then I started playing the Kevin Bacon game: Who do I know who has worked with Bernadette, eaten with Bernadette, done yoga with…?
You get the point. The cut to the chase: I knew a guy who had heard a reading of Let It Snow and was a fan. He had worked with Bernadette and gave me her fax number saying 'I trust you to use your judgement.'
Note to reader: Never tell an indie filmmaker to use their judgement. So, in my "judgement" it seemed totally reasonable to fax her the entire script. 120 pages to be exact. I later learned that as my script rolled out of her fax, and I do mean rolled. Note 2: Bernadette has an ancient fax machine(1994, I believe). She was sprawled out on the floor uncoiling and reading the script as if it were the "Dead Sea Scrolls". The miracle is that she called me the next day and told me that she wanted to meet me. I was invited to her apartment to talk about the project. I went to her penthouse with a tremendous amount of anxiety and was welcomed by a huge dog who ran up to me and began humping my leg. As the dog was mauling me my eyes darted to the hallway walls covered in Broadway and movie posters. It was then that I heard the voice of the woman that I knew only from childhood movies like The Jerk and Pennies From Heaven. 'My dog likes you, that's a good sign' she exclaimed with glee.

It is safe to say that Ms. Peters was one of my first crushes which of course was giving me all sorts of Freudian and Oedipal complexes in my current situation i.e. dog humping leg and accepting that the very hot and incredibly talented Bernadette Peters, who I fantasized about as a kid, was now going to play my mother. It was all just a little bit weird. Oh, and if this wasn't complicated enough, she is more beautiful in person, was wearing a silk robe and was dewy, fresh out of a shower. I kept feeling like John Cusack in Bullets Over Broadway 'Don't speak. Don't speak.' Anyway, she yanked the dog off my leg and we went in and discussed the project.

Instead of being given the third degree, Bernadette spent the time in a poised and studious research mode. We talked about my family, independent film and the difference between being Jewish and Italian of which we both agreed, there is none.

The long and short: Ms. Peters guaranteed me she would do the film, took me to her roof garden, plucked a green apple from her apple tree, handed it to me and sent me on my way. We started rehearsal with Bernadette later that week.

Incidentally, I still have the apple. It sits in my freezer for luck. Looks like a shrunken head.

As told by Kipp Marcus (Writer/ Producer/Lead Actor)

The Almighty Film Stock Deal!
From the very beginning my brother Adam and I were convinced we had to shoot in 35 mm. Aesthetically, we just wanted that clean and poppy look. The only problem is the monstrous upfront cost for shooting 35. It can run you anywhere from $45,000-$80,000. There was no way we could afford those numbers. I went to Los Angeles in search of money. I visited with a studio head who I had a strong friendship with and had one of those lunches where you realize the thing you're about to ask for isn't the thing you need to ask for. It was then I realized my mission. The question seemed so simple:
"What do you do with all your leftover film when you finish a feature that you are working on?" I asked naively.
Like any exec in the top post at a major studio, his answer was political and to the point.

"I have no idea, but let's make a call, shall we and find out." He called a guy in post who explained how it works. The leftover film gets sold to film emporiums for cheap and then they hike the price up and sell it to poor boobs like my brother and I. I jerked out, "Don't do that, just give it to me."

It was like some tourretic impulse thrashed over me as I continued, 'Create a scholarship, give the film to first time filmmakers, that has to be much more valuable than the few bucks you get from emporiums.' Why not? He couldn't think of a reason and because of some cosmic loophole in the bureaucracy, I all of a sudden had an unprecedented deal with one of the four biggest movie studios in the world. It was insane. I spoke with post-production and ordered the film we needed and flew home a true champion. I arrived back at my Hell's Kitchen apartment in Manhattan and got the call that the film was going to arrive the next day. I put aside an area in the corner of the living room that would be for our precious film stock and waited. The next day came and my buzzer sounded. I ran down to meet the friendly Fed Ex man and give him help bringing up the film. It was then that the friendly Fed Ex man told me the entire truck's shipment was for me. I thought he was joking, but he began to unload dolly after dolly with the precious cargo. As all the boxes entered the building, my landlord suspected I was dealing drugs or doing something illegal. The boxes took up the entire living room. From floor to ceiling. My cinematographer called later that day and told me the bad news. He had been investigating whether the film could be kept in my apartment for the months before the shoot and the scientist at Kodak said "Yeah, if you can keep the temperature in the apartment below 50 degrees."

I panicked and opened all the windows in the apartment to save the film from spoiling. I slapped a thermometer on the wall and the film was safe. Or so I thought. This particular winter would be the warmest of the Century. El Nino hit, as weathermen like to call it and the temperature skyrocketed in February to 70 degrees. Plan B. I dragged the boxes into the bedroom and built a tent for the film next to the air conditioner which I turned on to full blast in the middle of winter. My electricity bill was astounding.

The weather finally shifted to normal and the temperature did finally come back down to freezing and so I opened the windows making my apartment bitter cold. My favorite moment was when Adam and I auditioned frozen actors in our living room. All of our teeth chattering from the cold as we tried to hold a video camera steady enough to film the auditions.
The film did keep until we shot Let It Snow.

By Kipp Marcus (Writer/Producer/Lead Actor)


Festivals and Awards

Sundance Film Festival

AFI's Los Angeles International Film Festival(Official Competition)
(WINNER: Best Writer & Best Editing)

Deauville Film Festival (Official Competition)

London's Raindance

Fort Lauderdale International Film Festival

Avignon New York Film Festival

Filmmaker's Statement

"Snow in a can"

"Let It Snow had an incredibly demanding script that required 52 locations in 3 states(NY, CT, NH), 42 acting roles and had to capture winter in all its glory and a burgeoning springtime. This all had to be accomplished on a shoestring budget in 22 days." Said director Adam Marcus.
"Everyone on this film compromised financially to do the film," Adam continued, "because they all believe they are taking part in something special." The particular challenges of shooting a film called Let It Snow in a winter that HAD NO SNOW and then shooting the rest of the film in the heat of summer was not lost on the film's writer/producer/star, Kipp Marcus: "Let me put it this way, imagine shooting a film called Let It Snow in an El Nino winter that refuses to snow. I watched the Weather Channel every day waiting to locate an impending snow storm where we could shoot the prologue of the movie. Finally, I received word that a storm was headed to North Conway, New Hampshire. On a few hours notice we mobilized a skeleton film crew, arranged for Adam(the director) to fly in from Los Angeles and scheduled the three day shoot."
To the dismay of the entire crew, the storm was less than spectacular, a combination of rain and mush, not at all in sync with the script as written. Kipp remembers, "I went to check the Weather Channel and found that a blizzard was expected for the following day. I needed to make a decision whether or not to delay or try to use what we all referred to as 'snow in a can' which was a tank of fake snow that looked awful. For me it was a no-brainer. All I had to do was remember the famous French photo by Boubat to know that I must wait for the storm."
"It actually started snowing at 5 p.m. that same afternoon", said Kipp, "and did not stop until we completed shooting the next afternoon. We shot the pivotal scene where our lovers meet, in a blizzard; there was a blanket of snow everywhere. It was amazing. The crew joked that the Marcus Bros. must have a deal with God."

Recounted by The Marcus Bros. 1/15/01