The Grudge
Release date: January 30, 2020
Classification: MA15+
Run time: 94 minutes
About THE GRUDGE
Fifteen years have passed since one of America’s most successful producer/directors,
SAM RAIMI (A Simple Plan, Spider-Man, Drag Me to Hell), first introduced American audiences
to The Grudge. Now, the creator of the Evil Dead series is excited to return to one of his favorite
stories in an R-rated version. “When we made the original in 2004,” Raimi says, “horror was still
on the outside, and it was still for the cult audience. But it has now moved into the mainstream.”
The 2004 American film was based on the Japanese horror movie Ju-on: The Grudge,
directed by Takashi Shimizu, which captured (and terrified) horror audiences in Japan. The
movie was so popular in Japan that, a year later, it not only generated a sequel, but interest from
Raimi in having Shimizu bring it to American audiences. “Takashi’s Grudge films were very
successful in Japan,” Raimi relates. “and I’d so loved his series, I wanted the American audience
to see The Grudge.”
Raimi says that the time is right to return to the franchise – especially since he says that
audiences have approached him often over the years asking for R-rated Grudge thrills. “A lot of
fans out there have been asking to see another Grudge film,” he says. “But we didn’t think we
could do one until we had the right voice to tell the story.”
That voice belongs to NICOLAS PESCE (pronounced “Pesh”) who was in middle school
when he first saw the 2004 Grudge film. “At that age, I was a big scaredy cat. Horror movies
freaked me out,” he admits, having been raised on more classic black and white horror. But upon
entering film school, he realized it was horror films that wound him up, not the art films shown in
the classroom. “The fact that a movie can, days later, make you afraid to go to bed is awesome,”
he states.
Pesce brought his very first feature film, Eyes of My Mother, to the Sundance Film
Festival in January 2016. There, Raimi’s producing partner at Ghost House, Rob Tapert and
producer Roy Lee (Godzilla: King of the Monsters), saw the film and took a meeting with the tyro
director. “I was doing the usual round of meetings that you do up there,” Pesce recalls, ending up
in one with Lee. “I was kind of raving about how my I loved the Grudge movies – I didn’t even
know they were trying to do a new one!” Though a previous pass at a script had been written by
screenwriter Jeff Buhler, Lee was particularly taken with Pesce’s understanding of the films being
essentially anthology stories, following different characters in different places. Lee informed him
they were actually looking to make a new film, and asked if he had any ideas. “It’s a tapestry of
stories that are loosely connected, all surrounding this house,” Pesce says. “So we had an
opportunity with this franchise to not remake anything, but rather add a new installment into the
franchise – a new chapter to the canon.”
Signing on to the project the following month, Pesce began developing a story – and,
unlike previous Grudge films, this time armed with an R-rating, which he put to good use. “We
thought it was time to push The Grudge to the next level,” Raimi explains. “The fact that Nick can
make this film with an R rating is a great weapon in the arsenal of a storyteller whose goal is to
terrify the audience. He can portray these vengeful ghosts really harming their victims, and he
can show blood on the screen without fear of it being cut.”
Pesce began piecing together a story drawn from his own life, in particular, growing up in
the New York City suburbs, in a small town called Cross River. “In any small town, there’s
folklore and legends – ‘Oh, you know, I heard that, at that house, this happened’ and ‘Did you
hear about so-and-so’s dad?’ It’s fascinating – you look at idyllic places, and behind closed
doors, it’s a different world. There’s horrifying stuff happening even in the most glamorous of
places.” So he pieced together some of those memories and lore and created his own
mythology.
The first thing Pesce did was place the Grudge story on American shores for the first
time, in a small town named. . . Cross River. “There are some underlying things that make THE
GRUDGE work that are really specific in the setup in the original movies,” explains executive
producer Schuyler Weiss, who produced Pesce’s previous two films. “And if you play within
those rules, then it automatically connects to the movies that have come before. But it also gives
you a lot of freedom, in terms of stories and characters.”
Pesce set the new film in 2004, picking up the timeline from the first American-made film,
and doing something he would do throughout the project: pay homage to the previous Grudge
movies. “In the 2004 film, Yoko is seen taking over for someone, who is never named,” he
explains. “We thought it would be fun if she was taking over for Fiona Landers,” who would then
return to the U.S., now infected with the Grudge. Fiona is indeed seen briefly at the start of the
film, leaving the very house seen in the earlier films in Japan. . . and starting an entirely new
“infection” in America, leaving the Grudged Saeki home and eventually drowning her own
daughter, as Kayako (who sharp-eyed fans can actually spot briefly in that beginning scene) did
to her son, Toshio.
One very important aspect of Pesce’s storytelling, which he brought along from Shimizu’s
original, is his play with time. Though the film begins with Muldoon and Goodman’s discovery of
Lorna Moody’s decaying corpse, the story cuts between the current time and the bits and pieces
of the other stories (the Spencers, the Mathesons and Wilson). “You’re given vignettes that you
don’t fully understand how they connect, truncated stories that, at first, feel divorced from each
other, until you get through the whole movie,” the director explains. “It’s sort of a puzzle movie.
It’s always about figuring out how these things go together – learning hints from other people’s
stories that might give you insight into another storyline.”
Notes Weiss, “It’s a great opportunity to create mystery, particularly since the main
characters are detectives. So they’re trying to solve this crime, and we, the audience, sometimes
learn things in the other stories that the detectives are also trying to find out. And as we go back
and forth, we begin to understand what really happened here.” Adds Raimi, “It’s one of the things
that makes it more of an adult, interesting experience for the audience. It’s really up to them to
pay attention to what’s happening and to put together what happened when, and who murdered
whom. By the end, they’ve solved a puzzle. It’s a challenging and satisfying picture to watch.”
In Shimizu’s original, he introduces each character’s story with a title card with their
name. So in homage to that, Pesce did, as well, but in a more subtle way. “We give you only the
year of each story when it is first seen, but none thereafter. So as you’re watching each piece,
you have to ask yourself, ‘Wait, what was that last chapter? Oh, that was 2004, okay.’ I like
when the audience has to actively participate. Passive movies are fun, but when you have to
work with the movie, if you’re willing to put in the effort, it’s going to be a more rewarding
experience.”
The Grudge takes full advantage of the characters’ issues. For instance, Peter wants to
be a dad so much, that when he arrives at the Grudge house, he’s faced with a young girl whose
nose starts bleeding. “We see his paternal instincts kick in,” Pesce notes. “He’s taking care of a
girl who’s trying to find her parents – and that’s the very thing that leads him into trouble.”
For the most part, the ghosts don’t actually, physically harm people, Weiss points out.
“These ghosts are themselves terrifying. But they don’t do anything to the people. They drive
them to a kind of madness that leads them to do horrible things to themselves and each other.
So the most terrifying menaces in the movie are the people themselves. The most gory, visceral,
shocking moments are the things these characters to do themselves and to each other. That’s
real horror.”
Grudges & Grudgees – Cast & Characters
Those characters wouldn’t hook us in if they weren’t portrayed by the talent that is seen
onscreen in THE GRUDGE. “Horror isn’t just a sidelight of major entertainment anymore,” Raimi
explains. “It’s really moved into the mainstream, and I think the film understands that. And that’s
why we’ve got such great actors to support the story. People that you’d normally find in a
mainstream drama or love story or comedy.” Notes Weiss, “So much of what Nick has written on
the page in this script, these really richly drawn characters, constantly dealing with both real world
problems and battling the Grudge, has attracted phenomenal acting talent. The craft they bring to
these characters makes them feel so lived in. And then what we do to them with the Grudge is so
much more impactful.”
Playing Det. Muldoon is British actress ANDREA RISEBOROUGH (Battle of the Sexes,
Birdman). “It’s through her eyes that we first experience this new Grudge,” says Raimi, “and then
follow her through the course of the film,” as she investigates the murders.
At the heart of the film is a police investigation, so Pesce drew on some of the classic
tropes of the drama, but turned them on their ear. “When we think of cop movies, it’s always
‘buddy cops,’” he explains. “It’s always two guys in the car, bantering. And I thought about the
fact that, often in TV, when a cop is female, they make her a hot cop.”
It was important to Pesce to subvert all of that, “it’s important that Muldoon was never a
bubbly, happy go lucky woman. She’s a homicide detective. And that’s a really tough job. It
weighs on you a lot.” Muldoon’s husband was also a cop, who recently had died of cancer. The
two lived a blue collar life, dealing with the terrible realities police offers face every day. “So she
was already an intense person. Then you throw grief on top of it.”
She pursues the mystery of The Grudge with a great intensity. “It becomes an obsessive
drive. It really became about going down the rabbit hole with her,” something the Grudge took full
advantage of.
Pesce was conscious of keeping 7-year-old actor Zoe Fish comfortable during his scenes
with Riseborough, when Muldoon is going through difficult trauma. “We needed to be careful how
we shot scenes where she’s losing it a little bit more. Even if kids have acted before, you put
them in intense situations and it just feels different. And I never want to terrify a child. So we
needed look out for his wellbeing and keep him comfortable.”
DEMIÁN BICHIR describes his Det.Goodman as “a very lonely person – more so since
his mother passed a few years ago.” Goodman had come to live with his mother and take care of
her, “And he’s essentially left the house the way it was when she was alive,” including all of her
medical equipment and Catholic religious paraphernalia. “His partner attempted to take his own
life, and that alone was very, very heavy. There isn’t a day that goes by without Goodman
thinking about what he went through. He still asks ‘Why?’ All of that has stuck in him. So he’s
marked, in a way. He’s damaged goods.”
He’s a guy who wants more in his life, but has sort of accepted where he is, Pesce notes
of the character. “He’s this chain-smoking, rumbling, gruff-voiced guy, but he does have a heart,
and really does care about people. That gruff exterior is more a coping mechanism for what is
essentially a kind of a depression he’s been in.”
The actor was drawn to Pesce’s script, upon first reading. “It was really well written. I
loved the dialogue and the musicality of it. This is more like a psychological kind of terror. And I
liked doing it because it’s a way of exploring my own fears, facing my own demons.”
His relationship with his new partner is a reluctant one, due to his previous partner
relationship, but Muldoon forces him into it. “We knew we didn’t want it to be like every malefemale partner, where they have to fall in love,” Pesce notes. “They’re not romantic at all.
Goodman actually, I think, gets very small doses of the feel of fatherhood that he always wanted.”
But he is wary of his new partner’s fascination with a case he wishes she’d stay away
from, though the discovery of Lorna’s body forces him to have to deal with it. “Muldoon latches
onto it and wants to see the investigation through,” Weiss explains. “At first, she can’t understand
why Goodman won’t go near the house, but after she goes to visit Wilson, she sees where it all
leads. But by then, it’s too late for her – she’s in it too deep.”
The first person to enter the Reyburn house after the Landers murders there (and the
establishment of the Grudge) is Peter Spencer. Peter and his wife, Nina, have a local real estate
business together, Over The River Real Estate. The two, both in their early 40s, put off becoming
parents, and now that Nina has found herself pregnant, they must face the prospect of
parenthood.
Actor JOHN CHO, often known for comedic roles, was immediately taken with the script
and the story. “These sorts of adult situations, kind of real life horrors, are absent in cinema right
now,” he informs. “This felt like an adult role. And the rest of the cast are grownups. It felt like,
with the help of the genre, we were telling a story that just is not being told in movies today. It felt
fresh, it felt grounded, and I thought it was a subversive way to do it. And I just thought that was
cool.”
He was also fond of the way Pesce built the couple’s story over time. “The way Nick shot
it, we see the aftermath of things. Sometimes we’re not in the horrible moment, but in the
aftermath of it, and we spent a long time working up to it. Sometimes, when you don’t see
something, it is a lot worse than what’s going on in your imagination.”
BETTY GILPIN (GLOW, Masters of Sex) plays Nina. “It’s a really challenging role,” says
Weiss, “because she is a woman wrestling with a very difficult, real world decision, about trying to
have a child and all the stress and anxiety that goes with that, and not being on the same page as
her spouse. And she is ultimately the victim of the Grudge, through her husband. But Betty was
able to make this character so much more than just a victim in the story. You’re really drawn into
her drama. She makes Nina a three-dimensional character, which makes it much more powerful
when the Spencer family tragedy happens.”
Cho agrees. “She makes very truthful, unusual choices, and I just believe her as
someone who’s struggling with motherhood. And it’s tough to play, but she does it well, her
intense, competing desires of wanting to be a mother and not wanting to be a mother. I see the
pain in her, as she’s struggling with the guilt. She’s just great.”
Peter is a character through which Pesce got to pay homage to Shimizu’s original films,
making use of several classic Grudge tropes, as he does throughout the film. “I’m such a fan boy
about The Grudge,” he laughs. “There were certain elements from all the movies which were
important to keep.”
After Peter entered the house for the first time, on their way home from the doctor, that
night he takes a shower, and in a moment of reflection about his very real problems, notices
someone else’s hands coming out of his hair! “That’s a strong image in the early movies,” Pesce
says. “We wanted to find a new way of playing with that here. Here we are with a moment that’s
all about human emotion, and then we hit you with a ghost hand coming out of the hair. So it’s
about finding ways to use those iconic images, but catch you off guard and using them in different
ways.” Says Cho, simply, “That was creepy to shoot.”
Another shocker borrowed – and twisted – from Shimizu’s films is a character cowering in
fear in bed, only to get a sense they are not alone – looking under the covers, only to find the
white face of Kayako staring at them, and pulling them in.
In this case, Peter gets in bed, only to feel someone at the foot of the bed pulling the
sheets down. “When the sheets come down,” Pesce says, “you know something is going to
happen. You’re immediately put on edge.” In terms of “scare technology,” he says, “Audiences
are trained to feel things happening in threes. So we’re very consciously not giving it to them on
the three. You shot the foot of the bed once, there’s nothing there, you go back to Peter. We’re
trained to believe that, ‘Okay, we’re gonna go back to the foot of the bed, and it’s going to be
nothing again, and we go back the third time, the ghost will be there.’ We avoid that by having
Fiona standing there the second time, before you have a chance to even register what’s going on,
the ghost just hits you.”
“That was my first day working with TARA WESTWOOD,” who plays Fiona Landers.
“That was quite an introduction.”
For his third story, Pesce wanted something unique not seen in Grudge movies
previously, nor common in the haunted house genre in general. While the typical haunted house
story involves people who find themselves in such a venue, trying desperately to get out, Pesce
created the opposite. “Here, you have an elderly couple who are willingly living in a house they
know is haunted, for sweet, heartfelt reasons,” he explains. William Matheson knows his wife,
Faith’s, time is coming, and after 50 years of a truly loving relationship, he moves them to a place
they know spirits are likely thriving, hoping that, when Faith has passed, she will return regularly
to continue being with her husband. “So often, you have people who are desperately afraid of the
haunted house and trying, with all their might, to get out. But what if you have characters who
want to be there?”
Notes Weiss, “It’s a brilliant character and plot device by Nick, to take this really twisted,
quite creepy logic, but make it so poignant and sweet, that all William wants to do is live in this
haunted house with his wife’s ghost. And you can imagine how that goes. . . “
Faith is played by LIN SHAYE, an actress much beloved in the horror genre, for her work
in the Insidious franchise (a fav of Pesce’s), HBO’s Tales From the Crypt, and even fun roles like
that of Magda in There’s Something About Mary. “Lin is much beloved by horror fans,” Weiss
states. “She knows exactly how to create these fantastically scary scenes, but is also a dramatic
actress of the first class. Her scenes with Frankie Faison, as her husband, she brings this
incredible pathos and depth that she’s able to match with diving right into these really big horror
moments that are just so key to the film.”
“I love character, and I love story,” the actress informs. “I just love all storytelling. And, to
be honest, this is the scariest script I’ve ever read. Every time I read the script, I found myself
breathing very shallowly. It really does grab you. Nick is a really gifted writer – his descriptions of
the experiences that we’re about to enter as characters, and of the interior of the characters, are
so vivid and so powerful. It gives the actor a tremendous amount to work off of. It totally
enriched my feeling of who this character was, who she has become, and what is about to occur
because of the Grudge.”
The story, she notes, is about rage. “This has a really powerful idea that rage destroys
people, and destroys them forever. It’s amplified, of course, in the story, and in a filmic way. But
I love the idea that rage is such a negative experience that changes people’s lives forever.”
Veteran actor FRANKIE FAISON (Silence of the Lambs) portrays Faith’s devoted
husband, William. “Silence of the Lambs is my desert island movie,” Pesce says. “I always found
so interesting, how he plays a guy who is very sympathetic, who can connect with a serial killer,
who can talk to this guy as a person and bring a lot of warmth. We needed someone like that for
William, who could find this warm, loving guy, who feels tired and exhausted, but loves his wife so
much. We had to see that, even at this point, there was love between them, and to know what he
was fighting for – because we don’t get to see it. We don’t get to see them 10 years ago, living
their loving life. We just have to feel the remnants of it. And Frankie can do that, even with just
his eyes.”
“We thought about it – these ghosts inhabit this house, and here, they have people who
aren’t necessarily afraid of them. How did that manifest itself?” the director relates. “Just
because this little girl was killed, who’s to say that she is fully aware of what happened or why?
And I liked the idea that, as a ghost, there’s some aspect of her child’s nature that hasn’t gone
away. And here she is, with a woman who wants to play games with her and hang out. And we
wanted to show that ghosts aren’t always just trying to kill you. But even then, there’s something
creepy about a little girl playing peekaboo – it doesn’t make you feel any better that a ghost wants
to play a game with you.”
The Mathesons, sure of their plans, have attempted to end Faith’s life three times, but
without success. It is now time to call in a professional: Lorna Moody, a so-called “exit guide,”
someone there to advise people on their options for euthanasia, to leave life with dignity in the
face of a terminal illness.
Pesce cast twice-Oscar®-nominated actress JACKI WEAVER, a well-respected
Australian actress, as Lorna. “She’s such an accomplished dramatic actress,” Weiss says. “But
she really got to have some fun with this one. She has some of the movie’s biggest moments –
she’s the one constantly being terrified and tormented, and runs screaming through half a dozen
scenes. And it was just so great to have someone with the dramatic heft and chops of Jacki,
because it makes all of that rage, that horror, so much more real and powerful.”
The most horrifically affected by the Grudge is Goodman’s former partner, Det. Richard
Wilson, whom we first meet when Muldoon goes to visit him in the mental hospital where he now
resides. When he first went to investigate the Landers murders, it was Wilson who bravely
entered the house. Goodman’s gut, luckily for him, was advising him otherwise.
“When he first goes there, he’s convinced that there’s going to be an answer that fits in
this world,” says actor WILLIAM SADLER, who portrays the unfortunate detective. “Little by little,
he starts to see that there’s more going on here – that the house is involved. That there are more
things in heaven and earth than are dreamt of. And it scares him.” Wilson becomes more and
more desperate, trying to piece the unexplainable together, and in doing so, he becomes more
and more unraveled. “He starts to see things that aren’t there – people that are dead start to visit
him, with more and more frequency, and he starts to question his own sanity. The Grudge starts
to have its way with him.”
“It was a huge makeup role for William,” says Pesce, with TOBY LINDALA’s LINDALA
SCHMINKIN FX providing a makeup rig for the injured Wilson, complete with bones and missing
face, and then a version for a year later, when Muldoon encounters him, after he’s had a year to
heal. “The finished product was pretty mindboggling,” he says. “It’s so believable. You can’t
believe that’s your face you’re looking at,” something he says, does actually get to him. “Actors
tend to be pretty sensitive to those things. We take our cue from a pair of glasses or a mustache
or hairstyle. And when you put on this hideous, disfigured thing. . . it’s a hard thing to deal with.
But people are gonna love it.”
The GHOSTS in The Grudge are rooted in the murders in the Reyburn house of the
Landers family, instigated by Fiona Landers, who brought the Grudge back with her from Japan.
Different individuals who enter the house and become affected by the curse themselves tend to
have interactions with different Landers ghosts – and there’s a reason why.
“The Grudge is a curse that manifests itself in different ways, depending on who it’s
manifesting itself to,” Pesce explains. For example, Muldoon is dealing with the grief of losing her
husband – so the ghost that primarily appears to her is that of Fiona’s dead husband, Sam. “And
Peter, he’s all about being a parent, and the child ghost is the one that appears to him.”
TARA WESTWOOD’s Fiona is indeed the victim of not only the Grudge, but her own
terrible family life. “She’s a mother, she’s a wife, in an abusive relationship, mostly emotionally
abused and somewhat physically, and just not in a good emotional place,” the actress explains.
“There’s always been a vulnerability with her, but I think after Melinda came along, there’s been
severe post partum depression and a lot of trauma – and now Fiona’s pregnant again. So it’s
been long boiling. And now she’s stuck emotionally in the trauma of what she did and all that
happened. Nick and I discussed it – she’s just so traumatized, even though she killed her
daughter, it’s not what she wanted to do. So she’s just reaching out – she just needs to be heard
and understood,” even if that’s just screaming at Faith Matheson, inches from her face.
Fiona’s daughter, Melinda, is played by seven year old ZOE FISH, whom Pesce
describes as “wise beyond her years – which the best child actors always are. She’s still a little
kid, and she loves goofing around, but she got what we were doing, in a weird way. She just
loved being scary. She has older brothers that are six or seven years older than her, and there
were days when she would ask, ‘Can I go home in the makeup, so I can scare my brothers?’” he
laughs. Though seeing other cast members in their horror makeup tended to give her the willies.
“Even after she saw Tara getting her makeup put on, if she turned around and was surprised and
saw her there, she would get really, really scared. I’m not trying to terrify a young girl. So we had
to be careful. There were plenty of times where Tara would walk around set with a bag on her
head.”
The ghosts deliver something else that Grudge fans know and love from the previous
films – their “croak” or death rattle. The croak in the Japanese films comes from the sounds that
Kayako makes when she dies, one which, Pesce notes, was made by filmmaker Shimizu himself.
“Even long before he made the Grudge movies, he used to creep up behind his sister while she
was doing her homework and do that sound behind her head! And it would make her lose it.”
Here, Pesce also wanted the ghosts to croak, based on how they die. “But always
knowing that it should be in the same world as the classic croak (which the director actually
borrowed from the original film for a brief moment in the opening, when Kayako appears behind
Fiona while she’s still in Japan). “Sam’s is like a traditional Grudge croak – he fell down the stairs
and his neck is twisted. It’s a little bit more gurgly, because of the blood that’s pooling in his
mouth. Fiona had stabbed herself in the neck, so hers is a throaty groan, but a little wheezy,
because her vocal chords and her throat are punctured. And Melinda is more like a little girl
shriek. So we mixed that with the sound of screams underwater. Because a child screaming is
terrifying.”
Making THE GRUDGE
Nicolas Pesce brought in his Director of Photography ZACK GALLER, who had shot the
director’s second feature, Piercing, in 2016. “When I first got the script,” Galler say, “it was really
exciting, because there are four different story lines that run throughout the film. Each one has a
slightly different visual thread that runs through it. So it was an interesting challenge to have
them each be different, but have them all exist within the same world. And Nick is one of the
most prepared directors I’ve ever worked with. He knows what he wants, and he helps everyone
else do better at their jobs.”
“For me,” says Pesce, “the DP tends to be my main collaborator. Zack’s work is really
beautiful, and I thought he was really talented. But more than anything I appreciated our working
relationship, and how we collaborated with each other. I could say two words, and he knew
exactly what I was going for. We think in a similar way, but also have differences that balance
each other out. Plus, Zack was originally a gaffer, so he has such a great mind for lighting. I tend
to talk poetically and atmospherically about lighting, and he can translate that into practical
lighting.”
For Production Designer, Pesce brought in Canadian designer JEAN-ANDRE
CARRIERE. “We were looking for someone who had shot in Winnipeg before, to know what was
available, and what kind of crew we could hire. And Jean had done some huge, huge movies. So
there was a level of expertise that he came with that was really impressive. And this was a big
undertaking. Just the number of locations and building so much within those spaces was a
challenge he knew how to handle. And we would walk into a location, and Jean’s first idea was
pretty close to my first idea.”
For the looks of each story thread, on a cinematographic level, Muldoon’s fairly stable
world, he notes, “She’s the cop, and hers is the central thread that ties all of these other threads
together. This is the majority of the movie, so we gave it a very particular style,” more grounded
and shot on a dolly or tripod. “The other threads that are shorter, and very specific things happen
within them, so they lend themselves to a little bit more extreme style, and maybe a little deeper
stylization.”
Within the Reyburn house itself, the Matheson’s time in the house is more stark. “They’re
living in the house specifically to commune with the ghosts in a haunted house,” Galler states.
“So that house is darker, dirtier and has more atmosphere in it. And there are more dark
corners.” The Landers family is seen mostly in flashbacks. “Their look is told quickly in bits and
pieces of flashback, so you have to get a lot of information across visually quickly.”
Enacting scares with the camera took full advantage of Galler’s skills, and Pesce’s desire
to create everything practically, in camera, and not rely on visual effects. “For immediate scares,
we have people coming in and out of darkness. But then the really fun thing about picking
camera moves and angles is trying to selectively show the viewer what to be looking at and what
to be feeling, without feeling the camera and taking them out of it. It’s a kind of a sleight of hand.
The viewer doesn’t realize that something’s about to come out from the corner, and then it does.
If you don’t show your hand too soon, it works really well.” Galler would also play tricks on the
audience with framing – misdirection into negative space in the frame. “The viewer knows they’re
in a horror movie, and they’re expecting things to pop up there. So you get to play with, ‘Okay, do
you use that or subvert that?’ We try to keep the viewer just tense.”
As mentioned, almost the entire film was shot on location, with very little stage work –
Carriere instead building his sets within the buildings used, as “studio on location.” “I have this
thing about how, in horror movies, you’ll be in an old rickety farm house that’s tiny, and then you
go upstairs, and suddenly the hallways are 10 feet wide, and you go, ‘Oh – that’s obviously a
set,’” Pesce says. “I wanted to really try to ground it as much in sets that feel like real places,
where real people have been. And with hallways, doors, rooms that seem the accurate size and
not too big.”
The house at 44 Reyburn Dr. is actually two houses – one portraying the exterior and
another where interiors were shot and the sets were constructed, both in the Wellington Crescent
suburb of Winnipeg, just about a mile from downtown.
As with the cinematography, the look of the interior (and some of the exterior) changed,
depending on which family and which story is being filmed. And with the film’s timeline broken up
and shuffled around, Weiss says, “We know which story we’re in by the look of the house.”
At the very beginning, when Fiona Landers returns from Japan, we see the house of an
upper middle class family. “It’s warm and sort of romantic,” Pesce says. “They lead a nice life.”
And why shouldn’t it be a nice place? “A lot of times in horror movies, there’s these rundown
farm houses that are haunted. You know, a haunting can happen anywhere.”
But as we see the Landers house that Peter Spencer is selling, we begin to notice
something different. “They’re the perfect family,” Weiss informs, “but underneath the surface,
there’s deep, deep trouble. So the house needs to reflect that. It’s beautifully furnished, and yet
everything is a little bit unsettling. There’s something oppressive about the house, and that’s
something that really comes out beautifully in the scenes where Peter is walking around the
house, searching for the Landers. We feel this house closing in on him. It’s pristine, and yet
somehow it’s sucking him deeper and deeper into darker and darker recesses of the house.”
A year later, the Mathesons occupy the Reyburn house. And it’s sparsely furnished.
“They’re an older couple, it’s very hastily done,” Weiss explains. “They buy this haunted house
so that she can die there, and there they can enact their plan. So the house feels creepy in a
different way.” The house is so perfectly an older couple’s house: mismatched furniture going
back decades of life. “There’s pill bottles, ointments, all the detritus of an elderly person’s home.
It’s something Jean Carriere captured perfectly.”
By the time Muldoon arrives to find Faith, months after she has killed her husband, it –
and she – are “fully Grudged,” as Weiss says. “She lives in the house for maybe six more
months, with really only the Grudge keeping her, sustaining her. And the house just comes apart
around her. When Detective Muldoon arrives at the house she’s trying to investigate, she finds a
true house of horrors. It’s the Matheson house, but just decayed and decrepit, and Faith
Matheson decayed and decrepit herself, just shuffling around this endless rat run in this rotten,
horrible, terrifying house.”
“That’s the final stage of the house,” Pesce says. “Everything has just gone to rot. And
just showing the huge progression from this happy family home, that turns into this house of
horrors. It’s disgusting, with bugs scrawling on corpses, and this woman covered in her own
feces and blood. It’s just horrifying.”
Filming went smoothly, but there were times when issues came up that required a real
expert to assist in problem solving. Lucky for Pesce, that expert was his boss. “Sam Raimi is a
legend,” the director states, “and is so talented in this genre. There’s something very
mathematical about horror movies. There are certain ways you achieve the biological response
in the audience – even from someone who doesn’t even like horror movies, that you can still
scare, if you do it right. And Sam is really dialed in to how to achieve that. So to be able to have
someone like Sam there to help was just an incredible asset. I was very fortunate.”
In one simple scene, for instance, Muldoon’s son, Burke, walks across the room to her at
night and passes through a shadow – from which Melinda emerges. “And, since we were doing
everything practically, when we shot it, it was, like, ‘Oh – I see you guys switching in the
darkness. This isn’t gonna work.’” So Raimi made the simple suggestion of making another part
of the room a little brighter, enough so that the shadow area looked darker. “’Your attention will
be over here. We’re going to distract you with those moments over here.’ And then, all of a
sudden, when it’s all put together, it all works. So on that day, having Sam next to me at the
camera and talking through possibilities and tricks, and things that I had never thought of, I would
remember, ‘Oh – he’s done this 40 times!’”
Much of the horror that Nicolas Pesce envisioned when writing the script was also
brought to life via the hands of special effects makeup and gore wizard TOBY LINDALA (The XFiles) and his team at Lindala Schminkin FX in Vancouver. “Toby was incredible,” the director
says emphatically. “I went into this knowing I wanted to do all the makeup effects practically, no
visual effects. Not only do I just love that stuff, but I also think it simply looks better on camera.
And I get such a kick out of that whole process and bringing these really bizarre, messed up
images to life.”
Says Lindala, “It was a huge challenge, and so exciting, the prospect of having the
chance to create things that will hopefully becoming new iconic images and experiences in the
Grudge canon for fans.”
The approach, per Pesce, as with the entire film, was to keep things based in realism, but
heightened. “The whole look of the movie is heightened – everything is a little bit more stylized,”
he says. “And that’s right up Toby’s alley, where it’s all based in real anatomy. We just make it a
little bit more theatrical.” For his research, Lindala notes, “We’ve attended autopsies and looked
at all the pictures you shouldn’t look at. But we looked at them for textures and colors, as
reference. And Nick just loved to shout out, ‘More blood! More blood!’ There’s no such thing as
too much blood for Nick.”
For the ghosts, as mentioned, Lindala did away with the pale-faced Japanese ghostly
image. “It’s been done to death, and it’s been wonderful, but we needed to find something really
new for the look of these ghosts.” Lindala Shiminkin illustrator Lance Web created as many as 50
different design approaches, reflecting the characters’ stories, as well. “Remember, the ghosts
themselves are not strictly scary – they’re victims, too. And there’s not a single ‘ghost look.’
Each of them is slightly different. We play their mode of death as part of their ghostly character.”
It was actually originally considered to present the ghosts over three stages, using
fascinating – and quite gory – practical, animatronic masks built by Lindala and his team, with the
looks getting more and more disturbing, the deeper our living friends go down the rabbit hole.
“Initially, we were going to go way further,” Pesce notes. “But, ultimately, I wanted to pull it back
into the world of The Sixth Sense, where they are just more grounded. They just feel like people
– which I think is much scarier.”
Pesce instilled two other chilling features of the ghosts – having ghosts appear simply
walking across in the background, without the character even noticing them. “They do slightly
strange or disturbing things,” Weiss explains. “but sometimes when the character’s back is
turned.” When Peter Spencer first comes to the Reyburn house and encounters Melinda, “she
just seems like a normal little girl who just never talks and doesn’t seem quite right. But when his
back is turned, her mouth erupts with water that is reminiscent of her drowning,” or “sludge
water,” as Lindala calls it.
One of Lindala’s proudest moments is when Faith heaves herself over a stairwell railing
and makes a splat six stories below. For that, Lindala and team built a photorealistic dummy of
Lin Shaye, complete with a head filled with sacs of movie blood and guts made from sausage
casings filled with Selenium mixed with Metamucil. (“It looks like uncooked chicken,” he states
proudly.)
“As scary as the ghosts are, we wanted the most impactful and shocking moments in the
movie to be the things the human characters did to themselves and each other, driven by the
Grudge and by the ghosts,” says Weiss. “And this is the most extreme and show stopping
example. It’s epic and gruesome, and really required every department that works on a movie set
to make it come off as well as it did.”
ABOUT THE CAST
An immensely talented actress with a true gift for transformation, ANDREA RISEBOROUGH
(Det. Muldoon) continues to captivate audiences and earn critical acclaim with each role.
Upcoming, Riseborough will be seen in Stefano Sollima’s “Zerozerozero,” Amazon’s true-crime
series focusing on the cocaine drug trade. The show, which begins streaming in 2020, premiered
two episodes at the 2019 Venice Film Festival. Later, Riseborough will be seen in Lone Scherfig’s
The Kindness of Strangers opposite Zoe Kazan and Bill Nighy, which opened the 2019 Berlin
Film Festival.
She is currently in production on Stuart Ford and Glendon Palmer’s Geechee for AGC Studios,
and has completed photography on a variety of additional upcoming projects including Brandon
Cronenberg’s thriller Possessor, Zeina Durra’s drama Luxor, and Louis Wain opposite Benedict
Cumberbatch and Claire Foy.
Most recently, Riseborough starred in Nancy, which premiered in competition at the 2018
Sundance Film Festival and was awarded the prestigious Waldo Salt Screenwriting Award. The
film was also nominated for two Film Independent Spirit Awards in the categories of Best
Supporting Female (J. Smith Cameron) and Best First Screenplay (Christina Choe). Riseborough
earned momentous critical praise for her performance in the title role opposite Steve Buscemi,
Ann Dowd and John Leguizamo in the film, which she also produced under her production
banner, Mother Sucker.
Prior, she starred in Armando Iannucci’s The Death of Stalin, which premiered to rave reviews at
the 2017 Toronto International Film Festival and the 2018 Sundance Film Festival. It was later
released by IFC in March 2018. Riseborough’s performance garnered a 2017 British Independent
Film Award nomination and, more recently, the film was ranked as one of the Top Ten
Independent Films of 2018 by the National Board of Review. Additionally, she starred in Mandy
and Burden, both of which premiered at the 2018 Sundance Film Festival. Mandy previously
appeared in the Director’s Fortnight at the 2017 Cannes Film Festival.
Previously, Riseborough starred in Jonathan Dayton and Valerie Faris’ Battle of the Sexes
alongside Emma Stone and Steve Carell, which tells the true story of the 1973 tennis match
between Billie Jean King and Bobby Riggs. Earlier, she starred in Alejandro González Iñárritu’s
Birdman or (The Unexpected Virtue of Ignorance), which won four Academy Awards®, including
Best Picture, and the Screen Actors Guild Award for Outstanding Performance by a Cast in a
Motion Picture.
Riseborough’s additional film credits include Tom Ford’s Nocturnal Animals; Mark Romanek’s
Never Let Me Go; Nigel Cole’s Made in Dagenham; Rowan Joffe’s Brighton Rock; Madonna’s
W.E., as Wallis Simpson; Amit Gupta’s Resistance; Henry Alex Rubin’s Disconnect; Joseph
Kosinski’s Oblivion, opposite Tom Cruise; Eran Creevy’s Welcome to the Punch; Corinna
McFarlane’s The Silent Storm; the Duffer Brothers’ Hidden; and James Marsh’s Shadow Dancer,
opposite Clive Owen, for which Riseborough won the British Independent Film Award (BIFA), the
Evening Standard British Film Award, and the London Critics’ Circle Film Award for Best Actress.
On the small screen, she appeared in Paramount Network’s six-part limited series “Waco”
alongside Taylor Kitsch, Michael Shannon and John Leguizamo. The series is based on the true
story of the 51-day standoff that began when the FBI and ATF seized religious leader David
Koresh's Branch Davidian compound in Waco, Texas in the spring of 1993. Riseborough also
recently starred in an episode of the fourth season of Netflix’s critically-acclaimed drama “Black
Mirror.”
Prior, she starred in Hulu’s four-part mini-series “National Treasure” alongside Robbie Coltrane
and Julie Waters and written by BAFTA®-winning writer Jack Thorne, Netflix’s drama “Bloodline,”
Julian Jarrold’s TV movie “The Witness for the Prosecution,” based on Agatha Christie’s play of
the same name and “Party Animals,” which marked Riseborough’s first leading role in a television
series.
Growing up in the U.K. seaside resort of Whitley Bay, she wrote and created her own worlds. At
the age of nine, her drama teacher recommended her for an audition at the People’s Theatre
(home of the Royal Shakespeare Company in Newcastle), and she appeared in her first public
production there. While still attending the Royal Academy of the Dramatic Arts (RADA), she
began taking external acting roles in telefilms and theatre productions. After leaving RADA, she
starred the Oppenheimer Award-winning play “A Brief History of Helen of Troy” at the Soho
Theatre, directed by Gordon Anderson, and was nominated as Best Newcomer at the 2005
Theatre Goers’ Choice Awards. Riseborough’s first feature film role was in Roger Michell’s Venus
(2006), starring her good friend Jodie Whittaker and Peter O’Toole.
She starred for six months at the National Theatre, in Deborah Gearing’s “Burn,” Enda Walsh’s
“Chatroom,” and Mark Ravenhill’s “Citizenship,” all directed by Anna Mackmin. She was honored
with the Ian Charleson Award for her performance in Peter Hall’s Royal Shakespeare Company
staging of “Measure for Measure.”
Mike Leigh offered her a place in the company of his film Happy-Go-Lucky. She made the movie
and then starred at the Royal Court Theatre in Bruce Norris’ “The Pain and the Itch,” for which
she was nominated as Best Supporting Actress at the 2007 Theatre Goers’ Choice Awards.
Later, she starred in Dorota Maslowska’s “A Couple of Poor, Polish-Speaking Romanians” at The
Soho Theatre; and in the Donmar Warehouse production of “Ivanov” opposite Kenneth Branagh
and Tom Hiddleston. She made her U.S. stage debut in Alexi Kaye Campbell’s “The Pride,”
directed by Joe Mantello.
Following, Riseborough starred as Margaret Thatcher in the telefilm “Margaret Thatcher – The
Long Walk to Finchley,” directed by Niall McCormick, for which she received a BAFTA Award
nomination; starred in the short film Love You More, directed by Sam Taylor-Johnson and written
by Patrick Marber; starred in Avie Luthra’s independent feature Mad Sad & Bad, and played the
lead role in the miniseries “The Devil’s Whore,” about the 17th-Century English Civil War, directed
by Marc Munden.
DEMIÁN BICHIR (Det. Goodman) was born in Mexico City in a family dedicated to the theater.
His father, Alejandro Bichir, is a theater director and his mother, Maricúz Najera, and his brothers,
Odiseo and Bruno Bichir, are actors. The first time Demián stepped on stage was at the age of
three at the Palace of Fine Arts in Mexico City. He belonged to the National Theatre Company for
seven years. During that period, he starred in a dozen works of universal repertoire, such as Valle
Inclan's “Luces de Bohemia,” Shakespeare's “Richard III” and "A Midsummer Night's Dream,” and
Eugene O'Neill's “Ah, Wilderness!," his first starring role.
His film work brings together more than 20 titles shot in Mexico and in countries such as Spain,
Ireland, Argentina, Colombia, Bolivia, New Zealand and Australia. His starring roles include Jorge
Fons' Rojo Amanecer, Fernando Sariñana's Hasta Morir, for which he was awarded the Ariel for
Best Actor, and Todo el poder, Javier Patrón's Fuera del Cielo, Juan Carlos Valdivia's American
Visa, Agustin Diaz Yanes' Don't Tempt Me, Ian Power's The Runway, and Antonio Serrano's Sex,
Shame and Tears and Hidalgo: The Untold Story. His most recent film in Mexico is Jorge Michel
Grou's 7:19.
In the United States, he is known for the Showtime series “Weeds” and FX's “The Bridge,” as well
as Steven Soderbergh's Che, Oliver Stone's Savages, and Quentin Tarantino's The Hateful Eight.
Bichir was recognized for his acclaimed performance as Carlos Galindo in the 2011 drama A
Better Life, which garnered him nominations for the Independent Spirit Award, Screen Actors
Guild Award, and the Academy Award® for Best Actor.
He was most recently seen as the lead in Corin Hardy’s The Nun for Warner Bros. and as the
lead of “Grand Hotel” on ABC. He also recently appeared in Ridley Scott's Alien: Covenant.
Circus Tale & A Love Song is his first film as writer and director, and premiered at the Morelia
International Film Festival, also screening at the The Denver International Film Festival as the
opening film at the Huelva Iberoamerican Film Festival.
Bichir will next be seen in Godzilla Vs. Kong for Legendary and in Doug Liman’s Chaos Walking
for Lionsgate opposite Daisy Ridley and Tom Holland.
He recently wrapped production on the Robin Wright-directed Indie Land, and is set to star
alongside George Clooney and Felicity Jones in in Good Morning Midnight at Netflix, which
Clooney will also direct.
One of our most dynamic actors, JOHN CHO (Peter) continues to deliver compelling
performances in both film and television.
Next, Cho can heard alongside Jackie Chan and Constance Wu in the upcoming animated
feature Wish Dragon from Sony Pictures Animation, set to release in 2020.
Cho will next shoot Netflix’s live-action series “Cowboy Bebop,” in which he will star as Spike
Spiegel, an impossibly cool bounty hunter. The new series is based on the original Japanese
animated series, which became a worldwide phenomenon in 1997. The series, directed by
Schinichiro Watanabe, also stars Mustafa Shakir, Daniella Pineda, and Alex Hassell. Filming will
commence later next year for a 2021 release. Cho was most recently seen on CBS All Access’
reboot of “The Twilight Zone,” in which he starred opposite of Allison Tolman and Jacob Tremblay
for one episode, “The Wunderkind.” Cho previously lent his voice to the father in the Oscar®
nominated Mirai.
Cho was last seen on the big screen in Aneesh Chaganty’s film Searching, which garnered him
an Independent Spirit Award nomination for Best Male Lead. Named one of the National Board of
Review’s top 10 independent films of 2018, Searching is a tense, emotional thriller told via
technology devices that we use every day. The film premiered at the 2018 Sundance Film
Festival, winning two awards as a number of outlets singled out Cho’s performance as one of the
best of the festival.
Cho was also recently seen starring in Kogonada’s Columbus, opposite Haley Lu Richardson.
The film was nominated for four Gotham Awards and three Independent Spirit Awards, including
Best First Feature.
Cho first came into the spotlight in the 1999 hit comedy American Pie and the sequel, American
Reunion. He starred as Harold Lee opposite Kal Penn in the cult comedies Harold & Kumar Go to
White Castle, Harold & Kumar Escape from Guantanamo Bay, and A Very Harold & Kumar 3D
Christmas. Cho went on to star in the iconic role of Lieutenant Hikaru Sulu in the motion picture
reboots of the legendary Star Trek franchise, appearing in Star Trek and Star Trek Into Darkness
for J.J. Abrams and Star Trek Beyond, directed by Justin Lin.
Additional film credits include the recent Hollywood-set noir Gemini opposite Lola Kirke and Zoe
Kravitz; The Oath, written and directed by Ike Barinholtz; Seth Gordon’s Identity Thief, opposite
Melissa McCarthy and Jason Bateman; Ryan Eggold’s Literally, Right Before Aaron; Len
Wiseman’s remake of the classic Total Recall; Mora Stephens’ Zipper; Paul Weitz’ Grandma and
American Dreamz; Justin Lin’s Better Luck Tomorrow; Ho Yim’s Pavilion of Women; Steven
Soderbergh’s Solaris; and the Best Picture Oscar® winner, American Beauty.
On television, Cho was previously seen in the leading role in FOX’s latest season of “The
Exorcist.” Additional television credits include the ABC comedy “Selfie,” opposite Karen Gillan;
FOX’s “Sleepy Hollow,” NBC’s comedy “Go On,” ABC's drama series “Flash Forward,” the Weitz
Bros.’ “Off Centre,” and FOX’s “Kitchen Confidential.”
Born in Seoul, Korea, and raised in Los Angeles, California, Cho began acting while studying
English Literature at the University of California, Berkeley. He toured the country with his first
show, “The Woman Warrior,” an adaptation of the renowned memoir by Maxine Kingston. Other
stage roles include Laertes in the Singapore Repertory Theater's production of “Hamlet” and a
variety of shows for East West Players.
In television, film and theater, BETTY GILPIN (Nina) has established herself as one of the
industry’s most exciting actresses.
Gilpin is perhaps best known for her critically-acclaimed performance in Netflix’s hit series “Glow”.
Created by Liz Flahive and Carly Mensch, and executive produced by Jenji Kohan, “Glow” stars
Gilpin as Debbie ‘Liberty Bell’ Eagan opposite Alison Brie and Marc Maron. Based on the 1980’s
professional wrestling league, the series delves into the personal and professional lives of a
group of women who perform in a promotional wrestling organization called the ‘Gorgeous Ladies
of Wrestling.’ Gilpin was nominated for a 2018 and 2019 Primetime Emmy Award and Critics
Choice Award for Best Supporting Actress in a Comedy Series, and was also nominated for a
SAG Award for Outstanding Performance by an Ensemble in a Comedy Series for Seasons 1 and
2. “Glow” was renewed for a fourth and final season, which will begin production early next year.
She also completed production on the intriguing Universal Pictures/Blumhouse Productions
horror film, The Hunt, which she stars in opposite Hilary Swank.
Next Spring, Gilpin will be seen in the Netflix original film Coffee and Kareem opposite Taraji P.
Henson and Ed Helms. The story centers on a police officer from Detroit who reluctantly teams
up with his girlfriend's 11-year-old son to clear his name and take down the city's most ruthless
criminal.
She recently completed production on the highly anticipated film The Tomorrow War opposite
Chris Pratt, which Paramount Pictures will release next Christmas 2020. Chris McKay directs the
film, which follows a man who is drafted to fight in a future war where the fate of humanity relies
on his ability to confront his past.
Other film credits include Stuber, Isn’t It Romantic, and Ghost Town.
On the small screen, Gilpin was praised for her performance as Doctor Carrie Roman in
Showtime's Golden Globe-nominated television series “Nurse Jackie.” Additional television
credits include “American Gods,” “Masters of Sex,” “Elementary,” “The Good Wife,” “Fringe,” “Law
& Order: SVU,” and the Civil War based PBS miniseries, “Mercy West.”
On stage in 2008, Gilpin made her off-Broadway debut in the Spring in Second Stage’s
productions of “Good Boys and True” by Roberto Aguirre-Sacasa and returned to the stage in the
Fall in “Boys Life” by Howard Korder. At the Williamstown Theatre Festival in 2009, Gilpin costarred in the world premiere of Noah Haidle’s “What is the Cause of Thunder?,” a two-character
play with Wendie Malick. Gilpin then took the stage in 2010 at the Roundabout Theatre
Company’s production of “The Language Archive” and, in 2011, the Manhattan Theatre Club’s
productions of “That Face” and “We Live Here.”
Additionally, in 2011, Gilpin appeared in Lucas Kavner’s “Fish Eye” with the Colt Coeur theatre
company in New York. In the following year, Gilpin created the role of Elizabeth in the premiere of
Sam Shepard’s “Heartless” (2012) at the Signature Theatre in New York.
Other notable theater roles include Rattlestick Theater’s production of Lucy Thurber’s “Where
We’re Born” (2013), Lila Neugerbauer’s production, “An Intervention” (2014) by playwright Mike
Bartlett, which premiered at the Williamstown Theatre Festival, the world premiere of Halley
Feiffer's “I’m Gonna Pray For You So Hard” (2015) at Atlantic Theater Company and in Bess
Wohl’s “Barcelona” (2016) at the Geffen Playhouse in Los Angeles.
Born and raised in New York, Gilpin received her Bachelor of Arts degree at Fordham College at
Lincoln Center.
Born and raised in Detroit, Michigan, LIN SHAYE (Faith) loved storytelling so much, even as a
child she knew that she was destined to act. She performed in plays at the University of Michigan
where she was an art history major, but missing the theater so much, was accepted into
Columbia University’s Master of Fine Arts program in acting, from which she graduated. While in
New York, she also studied with Uta Hagen, Stella Adler, and Lee Strasberg.
After graduation, she worked with the best and brightest in New York theater, including the
infamous Joseph Papp. Some of the highlights include “Tartuffe” at the New York Shakespeare
Festival, and “The Taking of Miss Janie” at Lincoln Center (which won the Drama Critics Award).
Shaye made her film debut in New York in Hester Street, where she portrayed a Polish prostitute,
to her mother’s chagrin. Shortly thereafter, she flew to Los Angeles after hearing that Jack
Nicholson was interested in meeting her for a role. She was cast in his film Goin’ South.
Upon her move to Los Angeles, her love of theater inspired her and twelve other actors to put
together a theater company called the Los Angeles Theater Unit, which lasted for a decade and
earned many awards. Her most memorable performance was in the original play “Better Days,”
which earned her a Drama-Logue Award for Best Actress.
Shaye has become undoubtedly one of the industry’s greatest chameleons. The Farrelly Brothers
cast her in a series of memorable characters, beginning with their 1994 hit comedy Dumb and
Dumber, on to the infamous landlady in Kingpin opposite Woody Harrelson, and then as Magda,
the sun-withered neighbor of Cameron Diaz, in their hit There’s Something About Mary.
Shaye was also unforgettable as the KISS-hating mom in Detroit Rock City and as Sonia and as
the tough German/Swedish coach in Boat Trip with Cuba Gooding, Jr. In a dramatic change of
pace, she received critical acclaim in "The Hillside Strangler" as the alcoholic mother opposite
Nick Turturro and C. Thomas Howell.
The horror genre also found Shaye, starting with the cult favorite Critters, and then onto Wes
Craven’s A Nightmare on Elm Street, which paved the way for more in the genre. She worked on
a trio of movies with director Tim Sullivan: 2001 Maniacs, starring opposite Robert Englund, its
sequel, 2001 Maniacs: Field of Screams, and Chillerama. Shaye also starred in the thriller
Snakes on a Plane opposite Samuel L. Jackson, and the independent films The Signal, starring
Laurence Fishburne, Jack Goes Home, Abattoir, Buster's Mal Heart and The Midnight Man,
reuniting with Robert England..
In 2010 she found herself in the blockbuster hit Insidious directed by James Wan, which led to
Insidious Chapter 2, Insidious: Chapter 3, and the blockbuster hit Insidious: The Last Key, in
which she now had become according to Wan, “the name of the franchise.”
Shaye currently is receiving rave reviews for her role of Joyce in Tommy Stovall's Room for Rent,
on which she also serves as co-producer. She next stars in Dreamkatcher with Henry Thomas
and Radha Mitchell.
Shaye has a solid resume in television as well, with guest appearances that include "American
Gothic" and "Still the King" on CMT. She will next have a recurring role in Showtime’s “Penny
Dreadful” series.
She resides in Los Angeles and is a lifetime member of The Actors Studio.
JACKI WEAVER (Lorna) is an Australian theater, film and television actress well known in her home
country for more than 50 years. She is best known outside Australia for her performance in David
Michôd’s Animal Kingdom (2010), for which she was nominated for the 2011 Academy Award® for Best
Supporting Actress. She also received a National Board of Review Award, her third Australian Film
Institute Award and a Golden Globe nomination for Best Supporting Actress in a Drama.
Subsequently, Weaver received an Oscar® nomination for Best Supporting Actress in David O. Russell’s
Silver Linings Playbook, co-starring alongside Jennifer Lawrence, Bradley Cooper and Robert De Niro. It
was the first film since 1981’s Reds to score Oscar® nominations in all four acting categories.
Weaver stars in the Epix’s noir drama series “Perpetual Grace, LTD” opposite Ben Kingsley. Also on the
television side, Weaver heads the cast of “Bloom,” a six-part sci-fi series for Australian streaming platform
Stan produced by Sony Pictures Television’s Playmaker. Weaver has also recently been seen in the
second season of the raucous television comedy Blunt Talk, in which she starred with Sir Patrick Stewart.
On the film side, Weaver recently headed the cast of Poms, a comedy about a group of women forming a
cheerleading squad at their retirement community, alongside Diane Keaton. Weaver also starred in Bird
Box alongside Sandra Bullock and John Malkovich. Her other recent credits include the New Regency
thriller Widows opposite Viola Davis, Liam Neeson and Colin Farrell, directed by Steve McQueen; The
Polka King opposite Jack Black; the neo-noir feature Out of Blue from Carol Morley; and the romantic
drama Irreplaceable You. Weaver can also be seen in the New Line Cinema Feature Life of the Party
playing Melissa McCarthy’s mother. Additionally, Weaver recently wrapped the independent feature
Elsewhere alongside Parker Posey and Beau Bridges. Next, she is set to star in the independent feature
Stage Mother opposite Lucy Liu as well as the adaptation of the best-seller Penguin Bloom alongside
Naomi Watts and Andrew Lincoln.
Also on the film horizon, Weaver recently starred in Small Crimes directed by E.L. Katz; the futuristic love
story Equals, opposite Kristen Stewart and Nicholas Hault; the crime drama The Voices, co-starring Anna
Kendrick and Ryan Reynolds; the drama Six Dance Lessons in Six Weeks, co-starring Gena Rowlands
and Julian Sands; and Haunt, an indie horror film. Weaver’s extensive film credits also include two films
for director James Franco: the comedy The Disaster Artist and Zeroville, based on Steve Erickson's 2007
novel. Weaver plays Franco's mentor, rounding out the cast of Will Ferrell, Seth Rogen, Megan Fox,
Danny McBride, Dave Franco, and Craig Robinson. She has also starred in Woody Allen's film Magic in
the Moonlight with Colin Firth and Emma Stone.
Weaver made her Hollywood debut with the comedy The Five-Year Engagement, alongside Emily Blunt
and Jason Segel. She then went on to co-star in Park Chan-Wook’s English language debut Stoker,
alongside fellow Australian actors Nicole Kidman and Mia Wasikowska. Weaver’s film debut came with
1971’s Stork, for which she won her first Australian Film Institute Award. In the 1970s, Weaver gained a
sex symbol reputation thanks to her sizzling performances in the likes of Alvin Purple (1973). Other
notable films during this time include Peter Weir’s Picnic at Hanging Rock (1975), often seen as one of
Australia’s greatest films, and Caddie (1976), for which she won her second Australian Film Institute
Award.
Weaver's extensive television experience includes two situation comedy series written especially for her,
“Trial by Marriage” and “House Rules.” She has starred in more than 100 plays in Australian theatre. She
starred in iconic plays “A Streetcar Named Desire,” “Last of the Red Hot Lovers,” “Death of a Salesman”
and most recently, a Sydney stage production of Anton Chekhov’s “Uncle Vanya,” alongside Cate
Blanchett. The production received so much praise that the cast reprised their roles for a run at the
Kennedy Center in Washington D.C. and then again for the 2012 Lincoln Center Festival in New York
City.
Weaver resides in Los Angeles, California and Sydney, Australia.
ABOUT THE FILMMAKERS
NICOLAS PESCE’S (Director/Writer) directorial debut feature film, The Eyes of My Mother,
premiered at the 2016 Sundance Film Festival in the NEXT section. One of the most critically
acclaimed horror films of 2016, The Eyes of My Mother was released theatrically in the U.S. by
Magnolia Pictures.
Pesce’s second feature, Piercing based on the Ryu Murakami novel by the same title premiered
at 2017’s Sundance Film Festival in the “Midnight” section, and stars Christopher Abbott, Mia
Wasikowska, Maria Dizzia, and Marin Ireland. Piercing was picked up for distribution by Universal
and was released in January 2019. In 2013, Pesce developed an animated series starring
Malcolm MacDowell, J.K. Simmons, and Colin Quinn.
Pesce is a graduate of New York University’s Tisch School of the Arts and is based in Los
Angeles.
JEFF BUHLER (Story by) is one of the top genre writers working today. Recently he developed
and served as showrunner for the groundbreaking SYFY/Netflix limited series Nightflyers based
on the classic George RR Martin novella.
Following his work in television, Buhler has seen a string of horror features released this year
including indie thriller The Prodigy based on an original idea by Buhler starring Taylor Shilling and
Jackson Robert Scott for Orion Pictures; the hit Stephen King reboot Pet Sematary starring Jason
Clarke, John Lithgow and Amy Seimetz for Paramount Pictures ($112 million worldwide grosses);
and Jacob’s Ladder starring Michael Ealy, Nicole Behare and Jesse Williams.
His 2008 breakthrough was the cult classic Midnight Meat Train based on the Clive Barker short
story, followed by his directing debut Insanitarium starring Olivia Munn and Peter Stormare.
Upcoming projects include The Incident at Fort Bragg for Lionsgate, Best New Horror based on
the short story by Joe Hill for producer Gary Sanchez; and upcoming directing vehicle Black River
a supernatural thriller based on an idea by Buhler and his original script.
SAM RAIMI (Producer) has directed one the industry’s most successful film franchises ever—the
blockbuster Spider-Man trilogy, which has grossed $2.5 billion at the global box office. All three
films reside in the industry’s Top 25 highest grossing titles of all time.
In addition to the franchise’s commercial success, Spider-Man (2002) won that year’s People’s
Choice Award as Favorite Motion Picture, earned a pair of Oscar® nominations (for VFX and
sound) and also collected two Grammy nominations (for Best Score and Chad Kroeger’s song
“Hero”). The sequel (2004) won the Academy Award® for Best Visual Effects (with two more
nominations, Best Sound and Sound Editing) and two BAFTA nominations (for VFX and sound),
among dozens of other honors.
Most recently, Raimi is known for directing Oz the Great and the Powerful, a prequel to one of
Hollywood’s most beloved stories. Grossing nearly a quarter of a billion dollars in worldwide box
office, Oz has also been elected for awards across the board, including a nomination at the
People’s Choice Award for Favorite Family Movie, and winning Film Music at the BMI Film & TV
Awards.
Apart from creating one of Hollywood’s landmark film series, Raimi’s eclectic resume includes the
gothic thriller The Gift, starring Cate Blanchett, Hilary Swank, Keanu Reeves, Greg Kinnear and
Giovanni Ribisi; the acclaimed suspense thriller A Simple Plan, which starred Bill Paxton, Billy
Bob Thorton and Bridget Fonda (for which Thornton earned an Academy Award® nomination for
Best Supporting Actor and Scott B. Smith landed a nomination for Best Adapted Screenplay); his
baseball homage, For Love of the Game with Kevin Costner and Kelly Preston; the western The
Quick and the Dead, starring Leonardo DiCaprio, Sharon Stone, Russell Crowe and Gene
Hackman; and the supernatural thriller, Drag Me to Hell with Alison Lohman and Justin Long.
Raimi began his career in his native Michigan after directing his own Super 8 movies as a
teenager. He left his studies at Michigan State University to form Renaissance Pictures with
future producer Rob Tapert and their longtime friend, actor Bruce Campbell, with whom he made
his very first film, Within the Woods, a short horror film they used to raise money to make a
feature. That resulting horror classic, The Evil Dead (1982), financed and produced with
investments from local business people and doctors, became a hit at the 1982 Cannes Film
Festival and spawned a sequel, Evil Dead 2: Dead By Dawn (1987), which, like the original,
showcased Raimi’s inventive, imaginative direction and offbeat humor.
Raimi next turned to the fantasy genre, writing and directing the comic book-inspired Darkman
(1990), starring Liam Neeson and Frances McDormand, then followed with 1993’s Army of
Darkness, a comic sword and sorcery fantasy starring Bruce Campbell.
The mid-’90s also found Raimi producing two telefilms (with friend and partner Tapert) that would
become the genesis of a pair of highly popular syndicated series—“Hercules: The Legendary
Journeys” (on which he served as executive producer during the program’s four-year run) and the
successful companion series, “Xena: Warrior Princess” which aired from 1995-2001. His
television work also includes executive producing the CBS series “American Gothic.”
Raimi continued his collaboration with Tapert in his production company Ghost House Pictures,
which produced such films as The Messengers and The Possession along with 2016’s smash hit
Don’t Breathe.
On the TV side, Raimi directed the pilot episode of the critically acclaimed television series “Ash
vs Evil Dead” in 2015. The show ran for three seasons and was produced by Raimi alongside
Rob Tapert under the Renaissance Pictures banner. He also produced the upcoming “50 States
of Fright” for QUIBI.
Raimi’s work has been a favorite on the film festival circuit, with the filmmaker winning a Best
Director honor for Darkman at the 1990 Sitges-Catalonian Festival in Spain; the Critics Award for
Army of Darkness at the 1992 Fantasporto Festival in Portugal; the Golden Raven, also for Army
of Darkness, at the 1992 Brussels International Festival; and a Grand Prize nomination for the
same title at the Avoriaz Fantastic Film Festival in France. Raimi himself has also won the Saturn
Award twice Spider-Man 2, along with a George Pal Memorial Award from the Academy of
Science Fiction, Horror and Fantasy.
In 2019, Raimi produced the critically acclaimed Crawl.
The longstanding producing partner of acclaimed director Sam Raimi, ROB TAPERT (Producer)
has produced films which have grossed over a billion dollars worldwide including Don’t Breathe,
The Grudge and The Evil Dead franchise. His television credits include the pop culture
phenomenons “Spartacus,” “Xena: Warrior Princess,” “Ash Vs. Evil Dead” and “Hercules: The
Legendary Journeys” which played in more than 150 markets worldwide. His live production
credits include “Pleasuredome: The Musical,” which sold 57,000 tickets in its 3 month Auckland
run.
TAKA ICHISE (Producer), producer of such internationally acclaimed horror films as Ring, Dark
Water and The Grudge, has been instrumental in establishing the worldwide Japanese film trend,
having sold English-language remake rights for five films to date. Since 1984, the genre king,
now known as a “Horror King,” has produced 70 feature films.
Ichise first found recognition as a producer with To Sleep So As To Dream (Yumemiruyouni
Nemuritai), a fantasy thriller which won accolades at both the New York and Venice Film
Festivals. In 1987, he produced a sci-fi film Tokyo the Last Megalopolis (Teito Monogatari),
which earned high marks both at the Japanese box-office and on video sales. A joint-venture film
between Japan and Hong Kong quickly followed; a sci-fi action film The Peacock King (孔雀王子)
which again scored at the Japanese box-office and on video sales.
In 1997, Ichise produced the acclaimed horror masterpiece Ring, directed by Hideo Nakata. Ring
became one of the top grossing films at the Japanese box office, also establishing a new boxoffice record for Japanese films in Hong Kong and Taiwan. Ring won Best Film and Best Visual
Effects at Sitges Film Festival in 1999 among several international film festival awards. Its sequel
Ring 2, also directed by Nakata, surpassed expectations and grossed even bigger, doubling the
box-office of the first installment.
Dreamworks produced an English-language remake of Ring, directed by Gore Verbinski and
starring Naomi Watts. The Ring debuted at number one at the box office in 2002, ultimately
earning $129 million in the U.S. and $249 million worldwide. Dreamworks’ American sequel, The
Ring 2, had original Ring director Hideo Nakata to helm with Naomi Watts again attached to star.
The film was released in 2005 and again took the first place at the U.S. box office.
Demonstrating his versatility, Ichise has also produced a number of Asian films including the
1998 Hong Kong romantic thriller Moonlight Express (星月童話) starring Leslie Cheung, the 2001
release of the Hong Kong romantic thriller Bullets of Love (不死情謎) directed by Andrew Lau,
and the 100% Korean-financed drama Last Scene which was directed by Hideo Nakata and
released in 2002.
The martial arts fantasy The Princess Blade (Shurayukihime) followed, with action sequences
directed by Donnie Yen. The film screened at the Berlin Film Festival in 2002 and received
critical acclaim upon its release in the U.S.
One of the biggest international successes of horror thrillers to this date, Ju-on and Ju-on 2 were
based on the cult classic video series also produced by Ichise. Mandate Pictures and Ghost
House Pictures picked up the English language remake rights with Ichise and Sam Raimi
producing. Takashi Shimizu, who directed both Japanese versions, helmed The Grudge remake
in his English-language debut. Starring Sarah Michelle Gellar, the film was widely released by
Columbia Pictures in the U.S. in 2004. The film ruled the U.S. box office and collected an
impressive $110 million in the U.S. market alone, and $187 million worldwide. The same
producing team reunited with Shimizu for The Grudge 2. It was released during Halloween in
2006 and it ruled the U.S. box office again.
Disney-partner Pandemonium picked up the remake rights for Ichise’s multiaward-winning horror
film Dark Water (Honogurai Mizu No Soko Kara). The American remake of the same title was
directed by Walter Salles, starred Jennifer Connolly and was released in 2005 by Buena Vista.
As a unique global filmmaker, Ichise continues to surprise the international audience with fresh,
intriguing, and well-crafted films. His recent works include Shutter, an English-language remake
of a Thai horror film by New Regency, Goemon directed by a Japanese visionary director Kazuaki
Kiriya, a Japanese-remake of Hollywood’s classic Ghost: In Your Arms Again (Ghost: Mouichido
Dakisimetai), as well as the first authentic Taiwanese horror feature film The Bride.
Ichise’s recent producing works include Meteor Garden (流星花園 2018), a Chinese drama series
adaptation of a Japanese comic book “Hana Yori Dango” (“Boys Over Flowers”), and Netflix
Japan original series “JU-ON: The Grudge”.
NATHAN KAHANE (Executive Producer)
Prior to joining Lionsgate in October 2017, ERIN WESTERMAN (Executive Producer) was head
of creative development at Good Universe, where she worked on hit films such as The Disaster
Artist, Neighbors 2, Always Be My Maybe, and Don't Breathe. She also spent 5 years as a
production executive at Walt Disney Studios where she oversaw production on such hit films
as Cinderella directed by Kenneth Branagh, and Into The Woods, directed by Rob Marshall,
among many others.
At Lionsgate, as MPG President of Production, Westerman oversees the creative production
team and has helped develop and execute Lionsgate's refocused film production strategy,
targeting titles and filmmakers in the horror, action, faith, family and comedy sectors. Most
recently that includes films such as Rian Johnson's genre redefining Knives Out, starring Daniel
Craig, Chris Evans, and Jamie Lee Curtis, and Bombshell directed by Jay Roach from Bron
Studios starring Charlize Theron, Nicole Kidman and Margot Robbie. She was also instrumental
in bringing the Point Grey partnership (Seth Rogen/Evan Goldberg/James Weaver) and Megamix
(Jonathan Levine) producing deal to the studio.
While working as the director of development at Good Universe, BRADY FUJIKAWA (Executive
Producer) managed the development and production of a diverse slate of feature films including
the hit comedy Good Boys for Universal, which was directed by Gene Stupnitsky and starred
Jacob Tremblay. Fujikawa served as an associate producer on Good Universe’s hit comedy
Blockers, which was directed by Kay Cannon, and co-produced the romantic comedy Always Be
My Maybe for Netflix, which was directed by Nahnatchka Kahn and starred Ali Wong and Randall
Park.
Fujikawa joined Lionsgate in Summer 2018 after the purchase of Good Universe, and is currently
developing a slate of films including the action comedy The Unbearable Weight Of Massive
Talent starring Nicolas Cage, the suspense thriller Departure, written by Billy Ray and to be
directed by Babak Anvari, and the action comedy Shotgun Wedding starring Ryan Reynolds.
Previously, Fujikawa served as a studio executive at Legendary Entertainment, where he helped
build and oversee such films as Steven DeKnight’s Pacific Rim: Uprising, Duncan Jones’ Warcraft
and the found footage horror film As Above, So Below, directed by John Erick Dowdle.
ANDREW PFEFFER (Executive Producer) has had a wide-ranging career in the entertainment industry
as a producer, executive and attorney, with experience and expertise in virtually all areas, including
production, distribution/marketing, financing, legal and business.
He began his career as an attorney representing a broad range of entertainment- related clients
including major studios, independent film and television companies, talent, producers, banks,
investors and others.
Thereafter, Pfeffer was appointed Assistant United States Attorney for the Central District of
California, and spent three years handling a wide variety of important federal criminal
prosecutions, principally so-called “white collar” crimes, including securities fraud, mail fraud and
tax fraud. Over a three- year period, he successfully prosecuted over fifty major cases for the
United States.
Returning to private law practice, Pfeffer was involved in raising substantial tax advantaged
investment financing for (among other ventures) the production and distribution of motion
pictures, and became President and Chief Operating Officer of American Communications
Industries, Inc. and its American Cinema subsidiary, a major independent producer and
distributor of theatrical motion pictures worldwide. Over the course of his three-year tenure,
during which he had hands-on responsibility for all production and distribution operations,
American Cinema raised public financing in both the United States and the United Kingdom and
produced and distributed over a dozen motion pictures, including Good Guys Wear Black, A
Force of One and The Octagon, three highly successful films starring martial arts star Chuck
Norris. In 1980, Pfeffer executive produced The Entity (starring Barbara Hershey), Tough Enough
(starring Dennis Quaid) and I, The Jury (starring Armand Assante), all of which were distributed
by 20th Century Fox.
Concurrently, Pfeffer co-founded the Aerobics and Fitness Association of America, an
international membership association of fitness instructors, which today boasts tens of thousands
of members throughout the world and a host of activities including certification and training
seminars, conventions, video tapes, books and manuals, merchandise and “American Fitness,”
one of the industry’s most respected monthly fitness magazines.
After another stint in private law practice, Pfeffer became President of Empire Entertainment, an
independent producer/distributor of “high concept” films. A few years later, in 1989, he became
President of Production and also Chief Operating Officer of Epic Productions, Inc., a major
independent motion picture company which, over a three year period, produced and distributed in
excess of twenty motion pictures, including Men at Work (starring Charlie Sheen and Emilio
Estevez), Bad Influence (starring Rob Lowe and James Spader), Triumph of the Spirit (starring
Willem Dafoe, James Olmos and Robert Loggia), Wild Orchid, starring Mickey Rourke, Waiting
for the Light (starring Shirley Maclaine) and, in partnership with Michael Douglas’ Stone Group
Pictures, Hard Promises (starring Sissy Spacek), Stone Cold (starring Brian Bosworth) and
Double Impact (starring Jean-Claude Van Damme) all of which were distributed domestically
through Columbia, and Firebirds (starring Nicholas Cage and Tommy Lee Jones), released
through Disney. Once again, Pfeffer had overall responsibility for production and domestic
distribution and marketing operations and, in addition, took over the on2 location production of
Wild Orchid and Stone Cold in Brazil and Arkansas, respectively, when the productions proved
troubled.
Pfeffer was a co-founder of Signature Entertainment Group, which during the period 1993-1994
financed and produced a number of highly successful motion pictures, including Hard Target,
Time Cop, Sudden Death and the Quest (all starring Jean-Claude Van Damme), Men of War
(starring Dolph Lundgren) (which Pfeffer produced in Thailand), and a host of smaller films. In
1994 he executive produced The Wild Side (starring Christopher Walken, Joan Chen and Anne
Heche) for Nu Image and August Entertainment.
In 1995, Pfeffer co-executive (and line) produced The Winner (directed by Alex Cox and starring
Rebecca De Mornay and Billy Bob Thornton) and supervised the production of Loved (starring
William Hurt and Robin Wright).
In 1997 Pfeffer formed Pfilmco and completed production of two films, Thick as Thieves (starring
Alec Baldwin, Rebecca De Mornay and Andre Braugher), which was premiered the 1998
Sundance Film Festival and was distributed domestically by October Films, and The Big Brass
Ring (based on Orson Welles’ final screenplay and starring William Hurt and Nigel Hawthorne),
which was selected as the closing film at the 1999 Los Angeles Independent Film Festival. Also in
1999 he produced Beat, starring Courtney Love and Kiefer Sutherland, in Mexico, which also
premiered at Sundance. In August, 2000, Mr. Pfeffer produced Cuba LIbre (Dreaming of Julia
(starring Harvey Keitel, Iben Hjejle and Gael Garcia-Bernal) in the Dominican Republic, and in
December of the same year produced the critically-praised The Man From Elysian Fields (starring
Andy Garcia, Mick Jagger, Olivia Williams, James Coburn, Julianna Margulies and Anjelica
Huston). The Man From Elysian Fields premiered at the Sundance Film Festival and was
released domestically by Samuel Goldwyn Company. The same year, he produced Say Nothing
in Toronto with William Baldwin and Nastassja Kinski for HBO.
In 2004, Pfeffer executive (and line) produced Santa’s Slay in Edmonton and Running Scared,
starring Paul Walker and directed by Wayne Kramer (The Cooler), in Prague and Newark, both
for Bret Ratner’s Rat Entertainment and Media 8 Entertainment. Running Scared was distributed
domestically by New Line. In 2005 he line produced The Messengers, starring Kristin Stewart and
directed by the Hong Kong-based Oxide and Danny Pang, for Sony, Mandate Entertainment and
Sam Raimi’s Ghosthouse Pictures, in Regina, Saskatchewan.
The following year, 2006, he spent 6 months in Bangkok executive (and line) producing Bangkok
Dangerous, starring Nic Cage and also directed by the Pang brothers, for Initial Entertainment
Group and Lions Gate, and in early 2007 he prepped Mirrors, starring Kiefer Sutherland, in
Bucharest for New Regency. During the first half of 2008, he produced 3 sequels (to Grudge,
Boogeyman & Messengers) back-to-back in Bulgaria for Mandate/Ghosthouse/Sony and, later
that same year, was back in Sofia to executive/line produce Burst, once again for
Mandate/Ghosthouse. In 2009 he was sent by International Film Guarantors to complete
production of The Experiment, a show starring Adrian Brody and Forrest Whittaker which was
threatening to go off the rails in Iowa.
In 2013 he produced Everly, starring Salma Hayek, in Belgrade, Serbia, and Executive Produced
No Escape (The Coup), starring Owen Wilson, Pierce Brosnan and Lake Bell, in Chiang Mai,
Thailand. Both films were picked up for US distribution by The Weinstein Company, with Everly
being released in January, 2015, and No Escape going out wide in the summer of the same year.
In July of 2015, he completed The Forest, starring Natalie Dormer and Taylor Kinney, for Lava
Bear Pictures and Universal Focus. Filmed in Serbia and Japan, The Forest enjoyed a broad US
theatrical release by Universal in January of 2016.
In 2017 he Executive and line produced Extinction, starring Michael Pena and Lizzy Caplan, for
Good Universe, Mandeville and Universal in Belgrade and followed that with I Am Not A Bird
(Lost Girls & Love Hotels) starring Alexandra Daddario and Carice Van Houten in Tokyo and
Kyoto, Japan.
Pfeffer is a graduate of Cornell University and holds a law degree (cum laude) from
Columbia University Law School. His hobbies are varied and include music, bicycling,
motorcycling and sail and power boating. Between shows he has coached the interscholastic
Mock Trial team at Harvard Westlake School in Los Angeles and at San Marcos high school in
Santa Barbara. He resides with his wife and a variety of animals on a small ranch in Carpinteria,
California.
ROY LEE (Executive Producer) is a film and television producer.
DOUG DAVISON (Executive Producer)
JOHN POWERS MIDDLETON (Executive Producer) is an American film and television producer.
He began his film career as an executive producer for Oldboy (2013) before executive producing
the A&E television series, “Bates Motel” (2013), and co-producing The Lego Movie (2014).
Middleton's production company, The Affleck/Middleton Project, produced the film Manchester by
the Sea (2016), which was nominated for six Oscars®, including Best Picture. The film won
Oscars® for Best Original Screenplay and Best Actor. He was an executive producer on The
Disaster Artist (2017), which was nominated for one Oscar® and two Golden Globes, including
Best Picture in a Musical or Comedy. The film won for Best Actor. Middleton's films to date have
grossed over $1.5 billion and garnered over 505 award nominations.
SCHUYLER WEISS (Executive Producer)
JEAN A. CARRIERE (Production Designer), a native of Montreal, has worked in the film and media
industry for more than thirty-three years as a Set Designer, Art Director and as a Production Designer
since the turn of the Century. Founder and President of D-Vision Productions, he has applied his
expertise to over fifty films.
Carrière’s production design credits include Dreamland (2019), Run (2018), Siberia (2017), Brick
Mansions (2013), The Tall Man (2010), Enter the Void (2008) and Martyrs (2007) among others. Never
one to retreat from a challenge, Jean continues to enjoy the creative task of set designing and rendering
dynamic sets to serve the story.
Also not being one to stand still, Jean has worked throughout the world, building a very strong, capable,
creative and loyal stream of contacts. As he states so animatedly, “The key part of the art of filmmaking
lies in the strength of one’s team and in the end we are only as good as our crew”.
Foremost, he thrives in assisting the director in bringing his vision to life and onto the screen.
PATTI HENDERSON (Costume Designer) has recently designed the costumes for Nobody, starring Bob
Odenkirk for Universal Pictures, Flag Day, starring Sean Penn, Josh Brolin and Regina King, A Dog’s
Journey, starring Dennis Quaid and Betty Gilpin, Siberia, starring Keanu Reeves and Reasonable Doubt,
the Netflix feature starring Samuel L. Jackson and Dominic Cooper.
Notable period costuming projects include the dramatic mini-series “Keep Your Head Up Kid: The Don
Cherry Story,” “The Capture of the Green River Killer” and “Madship” for which she received Gemini and
Canadian Screen Award nominations for Achievement in Period Costume Design. Henderson is the
curator and collector of one of the best high-end period clothing collections in Canada.
Henderson has worked with many distinguished filmmakers such as Sean Penn, Josh Brolin, Regina
King, Miles Teller, Bob Odenkirk, RZA, Keanu Reeves, Samuel L. Jackson, Dennis Quaid, Patrick
Swayze, Sam Neill, John Cho, Elijah Wood, Michael Fassbender and Philip Seymour Hoffman to name a
few.
Full project information is available on IMDb.com under Patricia J. Henderson.
GARDNER GOULD (Editor) came up in NY and LA cutting rooms under editors Tim Squyres (Life of Pi),
and Michael Berenbaum (Before Night Falls). Gould earned his first feature editing credit on Don’t
Breathe (dir. Fede Alvarez; prod. Sam Raimi), grossing over $157M. He followed this taut editorial debut
with the lush and exploratory Perfect (dir. Eddie Alvarez; e.p. Steven Soderbergh), which premiered at
SXSW 2018. The same year, drama/scifi/thriller Hotel Artemis allowed Gould work a contained ensemble
cast into a chest-sweating boil. He's now cutting The Georgetown Project (dir. M.A. Fortin & Joshua John
Miller) for Miramax. He also enjoys a creative partnership with Tiffanie Hsu editing Wonderland (2017),
Sutures (2014), and her upcoming feature. He edits for the Sundance Directors Lab. He is repped by
Allison Irvin at WME.
“Academy Award®” and “Oscar®” are the registered trademarks and service marks of the
Academy of Motion Picture Arts and Sciences.
###
Sam Raimi and Stage 6 Films present
In association with Ghost House Pictures
A Nicolas Pesce Film
“THE GRUDGE”
Andrea Risborough
Demián Bishir
John Cho
Betty Gilpin
William Sadler
Frankie Faison
Tara Westwood
Dave Brown
with Lin Shaye
and Jacki Weaver
Casting by
Stephanie Holbrook, CSA
Carmen Kotyk
Co-Producers
Kelli Konop
Romel Adam
Music by
The Newton Brothers
Costume Designer
Patricia J. Henderson
Edited by
Gardner Gould
Ken Blackwell, ACE
Production Designer
Jean-André Carrière
Director of Photography
Zachary Galler
Executive Producers
Roy Lee
Doug Davison
John Powers Middleton
Schuyler Weiss
Executive Producers
Nathan Kahane
Erin Westerman
Brady Fujikawa
Andrew Pfeffer
Based on the film “Ju-On: The Grudge”
Written and Directed by Takashi Shimizu
Story by
Nicholas Pesce and Jeff Buhler
Screenplay by
Nicholas Pesce
Directed by
Nicolas Pesce
Co-Producer RHONDA BAKER
Unit Production Manager EVE STEWART
First Assistant Director RONALDO NACIONALES
Second Assistant Directors MICHELLE FITZPATRICK
CHRIS SLATER JOHNSON
Additional Editor JEFF BETANCOURT
CAST
Fiona Landers TARA WESTWOOD
Kayako Ghost JUNKO BAILEY
Sam Landers DAVE BROWN
Melinda Landers ZOE FISH
Detective Muldoon ANDREA RISEBOROUGH
Burke JOHN HANSEN
Goodman DEMIAN BICHIR
Detective Greco JOEL MARSH GARLAND
Officer Michaels BRADLEY SAWATZKY
Frank the Dog DUKE & BRUNO
Faith Matheson LIN SHAYE
Peter Spencer JOHN CHO
Nina Spencer BETTY GILPIN
Amnio Nurse STEPHANIE SY
Dr. Maher STEPHEN RATZLAFF
Woman Neighbor MARINA STEPHENSON-KERR
Lorna Moody JACKI WEAVER
William Matheson FRANKIE FAISON
Detective Wilson WILLIAM SADLER
Orderly MARIA GRANT
Agent Cole NANCY SOREL
Agent Horne RAY STRACHAN
Agent Palmer ADAM BROOKS
Psychiatric Hospital Orderly ERNESTO GRIFFITH
Nurse TRACY PENNER
Stunt Coordinator RICK SKENE
Muldoon, Lorna & Melinda Stunt Double KRISTEN SAWATZKY
Muldoon, Melinda & Kayako Ghost Stunt Double KRYSTLE SNOW
Goodman Stunt Double SEAN SKENE
Peter Stunt Double BJ VEROT
Sam Landers Stunt Double RICHARD DEAN THOMAS
Detective Wilson Stunt Double JAKE KENNERD
Stunt Orderly #1 ROBERT BORGES
Stunt Orderly #2 DARREN ROSS
Fiona Ghost Double SAMANTHA HALAS
Fiona Ghost Stunt Double TECLA SCATLIFF
Additional Stunts DANIEL SKENE
SEAN SKENE
CHUCK ROBINSON
Stunt Riggers ROBERT BORGES
SAM ROBINSON
SEAN SKENE
BRENT POPLAWSKI
JAKE KENNERD
Stand Ins PAMELA IVETA
TREVOR RUSSELL
CREW
Script Supervisor DANIELLE DEPEYRE
Set Decorator SARA MCCUDDEN
Assistant Decorator C. SUMMER HOLMES
Lead Dresser LINDSEY BART
Dressers REMI VERFAILLIE
JEAN DUARTE DE SILVA
DESTINY ODWAY
JD ORMOND
On Set Dresser SKYE ROLICK
Buyer/ Draftsperson HEATHER ARABSKY
FTM Intern MORGAN TRAA
Key Greens CORY TICKNOR
Lead Greens MACKENZIE FEDORUK
Art Director LOUIS-RENÉ LANDRY
Assistant Art Director BRENT DONALD BELL
Art Department Coordinator ASUKA SUGIYAMA
Graphic Artist SCOTT HADALLER
Art Department Clearances LAURA SOUTER
Storyboard Artist GEORGE FREEMAN
Sound Mixer EDGAR OZOLINS
Boom Operator DALLAS POMEDLI
Cable Puller JOEL MIERAU
A-Camera Operator / Steadicam JUNICHI HOSOI
First Assistant A-Camera CASEY HARRISON
Second Assistant A-Camera AARON MALLIN
B-Camera Operator PAUL SUDERMAN
First Assistant B-Camera JEFF HAMMERBACK
Second Assistant B-Camera IZAK MALLIN
Digital Imagine Technician RYAN WUCKERT
Motion Picture Video Coordinator DOUG EDE
Stills Photographer ALLEN FRASER
Camera Trainee SIMON SCHROEDER
Gaffer ANDREW GORDON
Best Boy AARON MERASTY
Lead Lamp Operator BLAINE KOMATICH
Lamp Operators KRIS BERCIER
AMI BUHLER
Generator Operator LORNE BAILEY
Rigging Gaffer AJ ANDERSON
Rigging Best Boy DEREK PEDERSSON
Rigging Lamp Operator JONATHAN KENNEDY
Key Grip DAVID DINEL
Best Boy Grip PAUL TREMBLAY
Lead Grip DENIS BOIS
Grips MARTIN LANDRY
CALVIN WOOD
Dolly Grip PATRICK LIMA
B-Camera Dolly Grip ROB THOMPSON
Key Rigging Grip DANIEL ROBIDOUX
Best Boy Rigging Grip ALEXANDRE BOUCHARD
Property Master JASON GIBBS
Assistant Prop Master ASHLEY TOEWS
Props Crew SOLMUND MACPHERSON
Firearm Safety Coordinator DAVE BROWN
Assistant On-Screen Playback Operator CHAD EVANS
Special Effects Coordinator TONY KENNY
Special Effects Coordinator JR KENNY
Special Effects Rigging Key JASON WILKINS
Special Effects Foreman DAVID MACRAE
Special Effects Assistants NICK HOOK
ROB LAURIE
Construction Coordinator CHRIS SOL
Head Carpenter DAVID POTTER
Scenic Carpenters BRUCE COOK
CLARENCE GIESBRECHT
MICHAEL JURKOW
WARREN 'RED' LYTLE
CARY SIDDORN
MARK SOL
Scenic Carpenter/ On-Set Carpenter JAMES SMITH
Lead Metal Fabricator SCOTT HOPPER
Assistant Costume Designer PIETER JONGBLOED
Set Supervisor SANDY SOKE
Truck Costumer LAUREN MARTIN
Costume Coordinator RACHEL POKLITAR
Dye Artist GRANT MACDONALD
Costumer ELEANOR THIESSEN
Costume Trainee TESS FURTADO
Hair Stylist ROBERTA GALE
First Assistant Hair NINA MCARTHUR
Makeup Department Head BRANDI BOULET
First Make Up Assistant NINA KVATERNIK
Make Up Effects by LINDALA SCHMINKEN FX
Make Up Effects Designer & Puppeteer TOBY LINDALA
Make Up Effects Coordinator SANDY LINDALA
Make Up Effects Project Coordinator BEN CARRUTH
Makeup Effects Artists & Puppeteers MATTHEW AEBIG
VINCENT YOSHIDA
Make Up Effects Artists CHRISTOPHER CLARK
ERIN PETERS
AARON MERKE
Locations Manager NEAL BAKSH
Assistant Location Managers BRANDY HAGBORG
BEN BOXALL
DELF GRAVERT
Key Location Production Assistant ROB ROUSSEAU
Location Production Assistants CHRIS SIGURDSON
SAM MORALES
Key Scenic Artist PAUL ZACHARIAS
Paint Foreman JESSE MURRAY
Scenic Painters OLIVER CHARD
ELLEN FRIESEN
JULIE SLESSOR
ALEX 'BIG AL' STEARNS
Production Accountant TIMOTHY CLARKIN
First Assistant Accounts Payable PETER HAGEMAN
First Assistant Payroll MIKE HURLEY
Second Assistant Petty Cash LAURA ENNS
Accounting Clerk ALEX KROPLA
Post Production Accounting TREVANNA POST, INC.
Key Post Accountant MALISSA HALLENBECK
Assistant Post Accountant VERONIQUE BOUEDO
Production Coordinator PAM SIMONS
Assistant Production Coordinator BOESEYA PETRA
Office Production Assistants JENNA ANDERSON
AGNIJA OZOLINA
US Casting Assistant JULINA BABER
CAN Casting Assistant ADAM HURTIG
Extras Casting KARI RIEGER
Extras Casting Assistant LEAH ERUM
Third Assistant Director KYLE WONG
Trainee Assistant Directors DAVID FRANCESCHETTI
CLARK LINDELL
Transportation Coordinator ERNIE BUCK
Transportation Captain COREY WALKER
Head Driver MARK DANN
Cast Drivers RYAN KULBABA
WAYNE STATKEWICH
GREG SULLIVAN
GREG MARLOW
Crew Drivers ISAAC FRIESEN
TIM VINCENT
Honeywagon Drivers GLEN KERR
JEFF ZAPORZAN
JIM MCNULTY
Picture Vehicle Coordinator JONATHAN LANE
Picture Vehicle Assistant RICHARD KUBARA
Security Coordinator WAYNE GLESBY
Watchpersons DON BROWN
MATT LEWIS
ROCKWELL REIMER
BRENT YORKE
Key First Aid CINDY HARRISON
First Assistant First Aid JODY THORBURN
Set Medic GERRY DESJARDINS
Animal Coordinator FLO KRISKO
Head Animal Trainer COURTNEY VOTH
Animal Trainer MELANIE KREKER
Catering by EVOLVE CATERING
Head Chef CORBY PEARCE
Chef CARL SCOTT
Sous Chefs KEVIN COX
SARAH GOODMAN
Assistant Chef CHRIS LESANY
Tutor JOCELYN FOURNIER-GAWRYLUK
Unit Publicist ROSEANNA SCHICK
ADDITIONAL PHOTOGRAPHY
Second Assistant Director PUNEET CHAWLA
Stunt Rigger TRISTAN CARLUCCI
Script Supervisor CONNIE WACHSMANN
Set Decorator DESTINY ODWAY
Lead Set Dresser GREG WARKENTIN
Set Dresser OLIVIA MADEIRES
On Set Dresser WILLIAM KONRAD
Key Greens ELIZABETH CAMERON
Lead Greens MATTHEW SAWATSKY
Art Director BRUCE COOK
Assistant Art Director JANICE LAFLAIR
Graphic Artist PHIL DUPAS
Art Department Clearances MARYAM DECTER
Sound Mixer BROCK CAPELL
Boom Operator ERIC NEUFELD
Cable Puller SHELDON WILLIAMSON
Director of Photography C. KIM MILES, CSC, MYSC
First Assistant A-Camera DOUG LAVENDER
Second Assistant A-Camera DAN ROBINSON
B-Camera Operator CASEY HARRISON
First Assistant B-Camera DANIEL QUESNEL
Digital Imaging Technician RYAN MCGREGOR
Camera Trainee JACOB OKOT
Best Boy Electric DARREN SINCLAIR
Board Operator BLAINE KOMATICH
Lamp Operators LAURENCE MARDON
CATHY HERBERT
Rigging Best Boy ROBERT CORTES
Rigging Lamp Operators TONY BELLIVEAU
ASTOR FENOGLIO
LEE HRAPPSTED
Best Boy Grip DENIS BOIS
Lead Grip JASPEN FRYZA
Dolly Grip PATRICE LAPOINTE
B-Camera Dolly Grip SEAN GILLIES
Best Boy Rigging Grip EMILE ROBIDOUX
Rigging Grip GABRIEL BOUDREAU
Armourer CHAD GIESBRECHT
Special Effects Coordinator JASON WILKINS
Special Effects Foreman ROB LAURIE
Special Effects First Assistant NICK HOOK
Construction Coordinator RUSSEL NORMAND
Head Carpenter CARY GRANT SIDDORN
Scenic Carpenters CLARENCE 'KEEN' FLAMAND
ANDREW MAREK
SCOTT HOPPER
On Set Carpenter RON CONGER
Costume Designer SANDRA SOKE
Assistant Costume Designer JONATHAN LUK
Set Supervisor SAM MEDD
Truck Costumer AMANDA ISAAK
Seamster GREG BLAGOEV
Location Manager CARY DAVIES
Assistant Location Manager G. THOMAS ARNOLD
Key Location PA RAYMOND LEVESQUE
Location PAs RICHARD ALTMAN
THOMAS DONNELLY
KEN ZAPORZAN
Key Scenic Artist JESSE MURRAY
Paint Foreman MARY ESTHER GRIFFITH
Scenic Painter ANDREA STEINGRIMSDOTTIR
Production Accountant PHIL DOERKSEN
First Assistant Payroll RICK LOFTSON
Second Assistant Accounts Payable KARI KLASSEN
Accounting Clerk MARIANNE WALSH
Production Coordinator BARBARA STEFANIAK
Production Assistant BRANDON NACIONALES
Third Assistant Director MARC GENEROSO
Additional Third Assistant Director TWYLLA VERWYMEREN
Set Production Assistant ETHAN BILLARD-DOOLEY
Transportation Captain JASON KANE
Cast Driver MICHELLE PIRLOT
Crew Drivers KRIS SORENSON
ROBERT DION
Honeywagon Driver PATRICK DOYLE
Security Watchperson TONY BRAGA
Catering EVOLVE CATERING
Chef ROUAN ROBB
Sous Chef CHRIS LESANY
Key First Aid RAVEN CARRIERE
First Assistant First Aid SARAH GOODMAN
Acting Coach ADAM HURTIG
Tutor KELLY OTTO
EVP of Business and Legal Affairs DAN FREEDMAN
Chief Financial Officer JEREMY NEEDELMAN
Production Coordinator GU CORY MYLER
Legal Coordinator AMIR FATOLLAHI
Assistants to Mr. Kahane TUCKER COWAN
TYLER VOSS
Assistants to Ms. Westerman JOANNE BYON
SCOTT O'BRIEN
Assistant to Mr. Fujikawa VICTORIA BURCHINOW
Assistant to Ms. Konop CASEY MCDONOUGH
Assistant to Mr. Raimi FELIPE MACHADO
Assistant to Mr. Adam JOSE CANAS
Assistants to Mr. Pesce MYRON TATARYN
ASHLEY HYRA
Assistant to Producers PATRICK GRATTON
Assistant to Ms. Riseborough ANNA HILDERMAN
Assistant to Mr. Bichir MARIA (FLO) GOR
POST PRODUCTION
Post Production Supervisor RENEE MINASIAN
1st Assistant Editors BROOKS LARSEN
ERIC BRODEUR
Assistant Editor ROBERT LEE
2nd Assistand Editor STEPHEN FORNER
Post PA KIP WALBERG
Dailies Provided by URBAN PRAIRIE POST PRODUCTION
Studio Manager HELENA FLEGER
Studio Coordinator JESSICA BRANSCOMBE
Pictures Operations Supervisor OREN EDENSON
Picture Operations Technician CARSON MAUTHE
Dailies Technicians BRANDON PRETTY
LUKE WHITMORE
Digital Intermediate Provided by
FOTOKEM CREATIVE SERVICES
Digital Intermediate Colorist KOSTAS THEODOSIOU
Digital Intermediate Editor BOB FREDRICKSON
Senior Digital Intermediate Producer SUSAN ALEXANDER
Digital Intermediate Producer JOSE PARRA
Digital Intermediate Engineers ALEX OREMAN
MICHAEL VAN FLEET
General Manager TOM VICE
Sound Services Provided by
FORMOSA GROUP
Supervising Sound Editor BRYAN PARKER
Sound Designer JEFF PITTS
Dialog Editors ANGELINA FAULKNER
PAUL BERCOVITCH
MICHAEL BAIRD
RON ENG
SUSAN DUDEK
Sound Effects Editors MICHAEL BAIRD
JOSHUA ADENIJI
Assistant Sound Editor PERNELL L. SALINAS
ADR Mixers CHRIS NAVARRO, CAS
JEFFREY ROY
MICHAEL MILLER
Foley Editors IGOR YASHIN
ILIA POPEL
Foley Artist BOGDAN ZAVARZIN
Foley Mixer RUSTAM GIMADIYEV
Re-recording Mixers JASON DOTTS
GABE SERRANO
Sound Effects Librarian CHARLIE CAMPAGNA
Audio Engineer DONNIE LITTLE
Music Editors BEN ZALES
NICHOLAS FITZGERALD
ANDREW SILVER
ADR Group Casting by FABIANA ARRASTIA
FAB LOOPERS
ADR/Loop Group
FABIANA ARRASTIA DANA LYN BARON JOHN ERIC BENTLEY
SUSAN BOYAJIAN TODD COLLINS MATT CORBOY
REBECCA FLINN JOEY NABER ASHLEY PELDON
MARGIE STRICKLAND SHANE SWEET MARCELO TUBERT
Visual Effects Management by
TEMPRIMENTAL FILMS, INC. LOS ANGELES
VFX Producer/Supervisor RAOUL YORKE BOLOGNINI
VFX On Set Supervisor ANDREW DEGRYSE
VFX Production Manager JOSEPH PAYO
VFX Head of Production CHRISTINE MCDERMOTT
Visual Effects by
BLUETRAIN STUDIOS
VFX Supervisor / Lead VFX Artist ANDREW DEGRYSE
VFX Coordinator JESSICA HAWKINS
VFX Artists ANDREW ROSHKA
CHRIS ROGOSKI
LORNE KWECHANSKY
Compositor PETAR TSONEV
3D Modeler FRANCO CARLESIMO
3D Matchmove Artist MATTHEW BROESKA
VFX Tracking Supervisors JARROD AVALOS
JOEL SEVILLA
VFX Tracking Coordinator SIERRA SIU
Matchmove Lead KALVIN KINGDON
Matchmove Artists HYUNGWOO WILLIAM KIM
DARÍO CEVALLOS
Visual Effects by
METAPHYX
VFX Supervisor LUCA SAVIOTTI
VFX Producer VIRGINIA CEFALY
Digital Compositors MARTA MICELI
MATTIA MARCHEGIANO
ORIANA PIOLI QUERO
MARIA FRANCESCA SPUTORE
SARA TOMARCHIO
GAIA TRADICO
3D Artist FRANCESCO CRICENTI
Concept Artist GIORDANO SAVIOTTI
Visual Effects by
SKULLEY VFX
VFX Supervisor CULLEY BUNKER
VFX Producer KIMBERLY CHURCH
Compositing Supervisor TSUYOSHI KOBAYASHI
Compositors RAMON HAMILTON
IAN JOHNSTON
STEPHEN OLMOS
Visual Effects by
ALCHEMY 24
VFX Supervisor SIMON BEAUPRÉ
VFX Producer MARIE-CLAUDE LAFONTAINE
Lookdev Artist MAXIME LAPOINTE
VFX Editor MAXIME DESFORGES
I/O FABIEN LABBÉ
VFX Executive Supervisor JEAN-FRANÇOIS (JAFAZ) FERLAND
VFX Executive Producer MARC-ANTOINE ROUSSEAU
Additional Visual Effects Artists
2D Technical Lead SATISH REKAPALLI
Team Lead Compositing JOHN THOMAS STALIN
ANTONY. T
Compositors
P. VENKATESH WILSON PREMANAND V BHALESHWAR
MADDHU RAMESH BABU SATISH KUMAR V CHAITANYA
SRINIVAS PENDYALA ARVIND M SABARI RAJ
SARAVANA KUMAR M SUMITHAN P SELVARASU
Team Lead Matte Paint S. SHANKARAKUMAR
Matte Paint Artists MATHESWARAN R
SURENDRAN
ARUL MEENAKSHI
NAVYA
ARUN S R
SYAM
SAMIKSHA
Paint Supervisor K. SRIMURUGAN
Paint Leads G RAJA
SENTHIL KUMAR M
Paint Artists
ABIN ABRAHAM GEORGE SURESH KEERTHI LOKESH KUMAR
MAHENDIRA MANO PREM KUMAR S YADHUKRISHNAA K
VIGNESH J VIGNESH R THILAC RAJ
KUSHBUNISSA KANDHAN SAVARAPU NARESH
RISHI KUMAR SUNDARARAJAN
Roto Supervisor BHARANIDHARAN
Roto Leads RAJESH KUMAR K
R. JAYAKUMAR
V. KALAIARASU
Roto Artists
CHINS JOSEPH T. SAMUEL STEPHEN SANTHANA KUMAR
JAGADEESHWARAN NAVEEN R SUGUMAR V
SURESH R J.LOKESH ABHAYDEV
ARUN MOHAN BENJAMIN MELBIN VARGESE
VIVIAN CHRISTSON VINOTH P VISHNU PRIYA
YUVARANI SASIKUMAR E
Main and End Titles Designed and Produced by
FILMOGRAPH
Title Designer AARON BECKER
Title Executive Producer SETH KLEINBERG
Title Producer TROY JAMES MILLER
Additional Design JOSEPH AHN
HSIEN LUN SU
Additional Animation TAKAYUKI SATO
SONGS
"DEVIL'S DAUGHTER"
Performed by Laura St. Jude
Written by Laura St. Jude
Courtesy of Bleed101
"TOO MANY TIMES"
Performed by Peter Sivo Band
Written by Peter Sivo
Courtesy of Fervor Records
“WE GET WHAT WE DESERVE”
Performed by The Newton Brothers featuring Dead Sara
Written by John Andrew Grush, Taylor Newton Stewart, Emily Armstrong, Siouxsie Medley, and Sean Friday
Courtesy of Tenebris Records
Dead Sara appears courtesy of Warner Records
Production Services Provided by GRUDGE NORTH PRODUCTIONS INC.
AUTUMN PRODUCTIONS INC.
Rights & Clearances Provided by ENTERTAINMENT CLEARANCES, INC.
LAURA SEVIER
NICOLE STONE
Business Affairs Services CINEPOINTE ADVISORS
GABRIELLA LUDLOW
ELIZABETH HUNTER
Tax Incentive Consulting Services ENTERTAINMENT PARTNERS CANADA
Completion Guarantee Provided by FILM FINANCES, INC.
Lighting and Grip Production Equipment and Technical Services Provided by WILLIAM F. WHITES INTERNATIONAL
Insurance Provided by GALLAGHER ENTERTAINMENT
A DIVISION OF ARTHUR J GALLAGHER RISK
MANAGEMENT SERVICES, INC.
Music Clearances by MATT LILLEY
Stock Footage Provided by GETTY IMAGES
BENJAMIN PARROT / FILM SUPPLY
AMAZING FACTORY / FILM SUPPLY
Images and Footage Under License from SHUTTERSTOCK.COM
Stock Images Provided by STEVE VIDLER / ALAMY STOCK PHOTO
VECTEEZY
DREAMSTIME
Pyramid courtesy of Sony Pictures Television
Dawson's Creek courtesy of Sony Pictures Television
Stephen King's Kingdom Hospital clips courtesy of ABC Studios/ Sony Pictures Television
The Lone Ranger courtesy of Classic Images
48 HRS courtesy of Paramount Pictures
© 2020 GRUDGE REBOOT, LLC
All Rights Reserved.
Grudge Reboot, LLC is the author of this film
(motion picture) for the purpose of copyright and other laws.
SPECIAL THANKS
KENNY BOYCE
HILLARY HOLMES
MONIQUE PERRO
JING PITTS
CAROLE VIVIER
CITY OF WINNIPEG
MANITOBA FILM & MUSIC
American Humane monitored the animal action. No animals were harmed®. (AHD 08974)
With the participation of the Canadian Film or Video Production Services Tax Credit.
With the financial participation of the Government of Manitoba-Manitoba Film and Video Production Tax Credit.
The characters and incidents portrayed and the names herein are fictitious, and any similarity to the name, character or history of any person is
entirely
coincidental and unintentional.
This motion picture photoplay is protected pursuant to the provisions of the laws of the United States of America and other countries. Any
unauthorized
duplication and/or distribution of this photoplay may result in civil liability and criminal prosecution.
No. 52323