Age: 55
male
Josh Lucas (born June 20, 1971) is an American actor. He has starred alongside Jon Voight in Jerry Bruckheimer's Glory Road (2006), Kurt Russell and Richard Dreyfuss in Wolfgang Petersen's Poseidon (2006), Morgan Freeman and Robert Redford in Lasse Hallström's An Unfinished Life (2005), Jamie Bell in David Gordon Green's Undertow (2004), which was also produced by Terrence Malick. Other credits include Ford v Ferrari (2019), The Lincoln Lawyer (2011), Hulk (2003), A Beautiful Mind (2001), Wonderland (2003), The Deep End (2001), American Psycho (2000), Session 9 (2001), and You Can Count on Me (2000). Lucas' theater credits include the recent off-Broadway run of "Spalding Gray: Stories Left to Tell"; Tennessee Williams' "The Glass Menagerie," which appeared on Broadway in 2005; Terrence McNally's "Corpus Christi" at the Manhattan Theater Club; Christopher Shinn's "What Didn't Happen"; and "The Picture of Dorian Gray." Lucas recently completed his second collaboration with documentary filmmaker Ken Burns on "The War" (2007). Lucas' other documentary work includes the upcoming Operation Homecoming: Writing the Wartime Experience (2007), Trumbo (2007), and Resolved (2007). Lucas recently completed his first venture into production with Stolen Lives (2009), in which he plays the single father of a mentally challenged boy. This film is the first project to be produced through Lucas' production company, Two Bridges.
When Pulitzer-winning photojournalist Will Navidson moves his family into a quiet Virginia farmhouse, he hopes for a return to normal life. But soon, an impossible discovery shatters that peace — the house is larger on the inside than it is on the outside. Curiosity turns to obsession as Navidson begins documenting the house’s shifting corridors and endless, cold darkness. The deeper he ventures, the more reality bends: walls breathe, gravity folds, and time dissolves. Parallel to this footage, Johnny Truant, a young man drifting through Los Angeles, stumbles upon the unfinished manuscript of an old, blind scholar named Zampanò — a detailed analysis of Navidson’s impossible film. As Johnny deciphers the text, his own grip on sanity unravels; the house seems to follow him, whispering through every page. Two men, decades apart, become bound by the same labyrinth — one made of brick and shadow, the other of words and fear. Inside both, the same question waits at the end of every corridor: What happens when the space you live in begins to consume you?
