UNIVERSAL PICTURES and IMAGINE ENTERTAINMENT Present
In Association With RELATIVITY MEDIA
A BRIAN GRAZER Production
In Association With SCOTT FREE PRODUCTIONS
A RIDLEY SCOTT Film
RUSSELL CROWE
CATE BLANCHETT
WILLIAM HURT
MARK STRONG
MARK ADDY
OSCAR ISAAC
DANNY HUSTON
KEVIN DURAND
SCOTT GRIMES
MATTHEW MACFADYEN
EILEEN ATKINS
SIMON MCBURNEY
and
MAX VON SYDOW
Executive Producers
CHARLES J.D. SCHLISSEL
MICHAEL COSTIGAN
JIM WHITAKER
RYAN KAVANAUGH
Produced by
BRIAN GRAZER
RIDLEY SCOTT
RUSSELL CROWE
Story by
BRIAN HELGELAND
and
ETHAN REIFF & CYRUS VORIS
Screenplay by
BRIAN HELGELAND
Directed by
RIDLEY SCOTT
–1–
CAST
Soldier Two . . . . . . . . . . . . . . . . . . . . . . . . . . NICKY BELL
Little John’s Wench . . . . . . . . . . . . . . . . . ANDREA WARE
Tom the Pig Man . . . . . . . . . . . . . . . . . . JOHN O’TOOLE
Northerner . . . . . . . . . . . . . . . . . . . . . . RALPH INNESON
French Informant . . . . . . . . . . . . ZURIEL DE PESLOUAN
Distinctive Man . . . . . . . . . . . . . . . . . . . . JAKE CURRAN
French Flagship Captain . . . . . . . . . . . . SAMUEL DUPUY
Justiciar . . . . . . . . . . . . . . . . . . . . . . . . . . . . NICK LUCAS
Cardinal Roger . . . . . . . . . . . . . ALAN CHARLESWORTH
French Boy . . . . . . . . . . . . . . . . . . . LOTHAIRE GERARD
Laughing French Soldier . . . . . . . . . . . . . MAT LAROCHE
Equerry . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS JARED
Feral Children . . . . . . . . . . . . . . . . . JOSEPH HAMILTON
JAMES HAMILTON
JAMES BURROWS
DANNY CLARKE
TOM BLYTH
Robin Longstride . . . . . . . . . . . . . . . . RUSSELL CROWE
Marion Loxley . . . . . . . . . . . . . . . . . . CATE BLANCHETT
Sir Walter Loxley . . . . . . . . . . . . . . . . MAX VON SYDOW
William Marshal . . . . . . . . . . . . . . . . . . . . WILLIAM HURT
Godfrey . . . . . . . . . . . . . . . . . . . . . . . . . . MARK STRONG
Prince John . . . . . . . . . . . . . . . . . . . . . . . . OSCAR ISAAC
King Richard The Lionheart . . . . . . . . . DANNY HUSTON
Eleanor of Aquitaine . . . . . . . . . . . . . . . . EILEEN ATKINS
Friar Tuck . . . . . . . . . . . . . . . . . . . . . . . . . . . MARK ADDY
Sheriff of Nottingham . . . . . . . . MATTHEW MACFADYEN
Little John . . . . . . . . . . . . . . . . . . . . . . . . KEVIN DURAND
Will Scarlet . . . . . . . . . . . . . . . . . . . . . . . SCOTT GRIMES
Allan A’Dayle . . . . . . . . . . . . . . . . . . . . . . . . ALAN DOYLE
Sir Robert Loxley . . . . . . . . . . . . . . . . DOUGLAS HODGE
Isabella of Angoulême . . . . . . . . . . . . . . . LÉA SEYDOUX
King Philip of France . . . . . . . . . . . . JONATHAN ZACCAÏ
Baron Baldwin . . . . . . . . . . . . . . . . . . . . . ROBERT PUGH
Baron Fitzrobert . . . . . . . . . . . . . . . GERARD MCSORLEY
Belvedere . . . . . . . . . . . . . . . . . . . . . . . . . VELIBOR TOPI
Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . CIARAN FLYNN
Father Tancred . . . . . . . . . . . . . . . . . SIMON MCBURNEY
Village Mother . . . . . . . . . . . . . . . . . . . . DENISE GOUGH
Farmer Paul . . . . . . . . . . . . . . . . . . . . . JOHN NICHOLAS
Captain of the Royal Barge . . . . . . . . THOMAS ARNOLD
Royal Equerry . . . . . . . . . . . . . . . . . . . . . . . . PIP CARTER
Stone Mason Longstride . . . . . . . . MARK LEWIS JONES
Jimoen . . . . . . . . . . . . . . . . . . . . . . . . . BRONSON WEBB
Adhemar . . . . . . . . . . . . . . . . . . . . . . DENIS MENOCHET
Church Deacon . . . . . . . . . . . . . . . . . . . JAMIE BEAMISH
Exchequer . . . . . . . . . . . . . . . . . . . . . JOHN ATTERBURY
Sheriff’s Thug . . . . . . . . . . . . . . . . . . . . . . . LUKE EVANS
Gaffer Tom . . . . . . . . . . . . . . . . . . . . . . . . . ROY HOLDER
Baron Baldwin’s Grandson . . . . . . . . . . . . . MARK DAVID
Margaret Walter’s Maid . . . . . . . . . . . . . . RUBY BENTALL
Sentinel . . . . . . . . . . . . . . . . . . . . . . . . . . NED DENNEHY
Slovenly French Cook . . . . . . . . . . . . . . NICOLAS SIMON
Walter’s Cook . . . . . . . . . . . . . . . . . . . . . . . LISA MILLETT
Messenger . . . . . . . . . . . . . . . . . . . . . . STUART MARTIN
Princess Isabel of Gloucester . . . . . . . . . JESSICA RAINE
Ragged Messenger . . . . . . . . . . . . . . . . . . STEVE EVETS
Ruffian . . . . . . . . . . . . . . . . . . . . . . . . . . . . ERIC RULLIAT
King Philip’s Aide . . . . . . . . . . . . . . . ABRAHAM BELAGA
Young Robin . . . . . . . . . . . . . . . . . . . . JACK DOWNHAM
Sentry . . . . . . . . . . . . . . . . . . . . . . . . RICHARD RIDDELL
French Captain . . . . . . . . . . . . . . . . . . DAVID BERTRAND
Groom . . . . . . . . . . . . . . . . . . . . . . . . . ARTHUR DARVILL
Lady-in-Waiting . . . . . . . . . . . . . . . . . . GIANNINA FACIO
Woman at Bog . . . . . . . . . . . . . . . . . . . HANNAH BARRIE
Soldier Boy . . . . . . . . . . . . . . . . . . . . . . . . . . LEE BATTLE
CREW
Directed by . . . . . . . . . . . . . . . . . . . . . . . . RIDLEY SCOTT
Screenplay by . . . . . . . . . . . . . . . . . . BRIAN HELGELAND
Story by . . . . . . . . . . . . . . . . . . . BRIAN HELGELAND and
ETHAN REIFF &
CYRUS VORIS
Produced by . . . . . . . . . . . . . . . . . . . . . . BRIAN GRAZER
RIDLEY SCOTT
RUSSELL CROWE
Executive Producers . . . . . . . CHARLES J.D. SCHLISSEL
MICHAEL COSTIGAN
JIM WHITAKER
RYAN KAVANAUGH
Director of Photography . . . . . . . JOHN MATHIESON BSC
Production Designer . . . . . . . . . . . . . . . . . . ARTHUR MAX
Editor . . . . . . . . . . . . . . . . . . . . . . . . PIETRO SCALIA ACE
Music by . . . . . . . . . . . . . . . . . . . MARC STREITENFELD
Costume Designer . . . . . . . . . . . . . . . . . . . JANTY YATES
Casting by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JINA YAY
Unit Production Manager/Co-Producer . . . . . . . . . . . . . . .
NIKOLAS KORDA
Unit Production Manager . . . CHARLES J.D. SCHLISSEL
First Assistant Director . . . . . . . . . . . . . . . . . MAX KEENE
Second Assistant Director . . . . . . . . . . . . . MATT BAKER
Co-Executive Producer . . . . . . . . MICHAEL ELLENBERG
Associate Producer . . . . . . . . . . . . . . . . . KEITH RODGER
Supervising Art Director . . . . . . . . . . . . . . . . JOHN KING
Set Decorator . . . . . . . . . . . . . . . . . . . . . . SONJA KLAUS
2nd Unit Director/DOP . . . . . . . . . . . . ALEXANDER WITT
Makeup Designer . . . . . . . . . . . . . . . . . . PAUL ENGELEN
Supervising Sound Editors . . . . . . . . . WYLIE STATEMAN
MARK STOECKINGER
–2–
Re-recording Sound Mixers . . . . . . . . . . . PAUL MASSEY
DAVID GIAMMARCO
Visual Effects Supervisor . . . . . . . RICHARD STAMMERS
Visual Effects Producer . . . . . . . . . . . . . . . ALLEN MARIS
Post-Production Supervisor . . . . . . . . . . . TERESA KELLY
Additional Editor . . . . . . . . . . . . . . . . . . . . . . . BILLY RICH
Assistant Costume Designers . . . . . . . ANDREA CRIPPS
SHARON LONG
Master Armourer . . . . . . . . . . . . . . . . SIMON ATHERTON
Property Master . . . . . . . . . . . . . . . . . . . . . TERRY WELLS
Stunt Coordinator/Horse Master . . . . . . . . . STEVE DENT
SFX Supervisor . . . . . . . . . . . . . . . . . . . . TREVOR WOOD
Senior Art Directors . . . . . . . . . . . . . . . RAYMOND CHAN
DAVID ALLDAY
Art Directors . . . . . . . . . . . . . . . . . . . . . . . MARK HOMES
ADAM O’NEILL
MATT ROBINSON
MIKE STALLION
TOM STILL
MARK SWAIN
REMO TOZZI
ALEX CAMERON
ANTHONY CARON-DELION
Assistant Art Director . . . . . . . . . . . . . . . . . . BEN MUNRO
Assistant Art Directors . . . . . . . . . . . . . . . . . . . JIM BARR
TOM BROWN
SARAH STUART
TOM WEAVING
GUY BRADLEY
JORDAN CROCKETT
PATSY JOHNSON
Illustrator . . . . . . . . . . . . . . . . . . . . . . . OLIVER CARROLL
Draughtsmen . . . . . . . . . . . . . . . . . . . . OLIVER GOODIER
ELIZABETH LOACH
ANNUSHKA RUSSELL
JANE HARWOOD
Junior Draughtsman . . . . . . . . . . . CATHERINE WHITING
Storyboard Artist . . . . . . . . . . . . . JONATHAN MILLWARD
Art Department Coordinator . . . . . . . . HEATHER NOBLE
Art Department Assistants . . . . . . . . . . . BETHAN JONES
RICHARD USHER
SOPHIE WORLEY
Senior Art Director . . . . . . . . . . . . . . KAREN WAKEFIELD
Assistant Set Decorator . . . . . . . . . . . . . . . . . JULIE PITT
Production Buyer . . . . . . . . . . . . . . . . GRAHAM BISHOP
Conceptual Artist . . . . . . . . . . . . . . . . . . . . DAN WALKER
Equine Dressing Coordinator . . . . . . . . . . TINA CHARAD
Standby Horse Dressers . . . . . . . . GARY DAWSON, SR.
WARREN PARKINSON
Set Decorating Coordinator . . . . . . . LUCY HOPE-SMITH
Set Decorating Assistant . . . . . . . . . . . LUKE EDWARDS
Graphic Artist . . . . . . . . . . . . . . . . . . . . . . . . JIM STANES
Assistant Graphic Artist . . . . . . . . . . . . . . . LIZ COLBERT
Drapes Master . . . . . . . . . . . . . . . . . . . . . . . . COLIN FOX
Scenic Artist . . . . . . . . . . . . . . . . . . . . . JAMES NEWELL
Prop Maker . . . . . . . . . . . . . . . . . . . . . HUGH FOTTRELL
Supervising Greensman . . . . . . . . . . . . . . BRIAN MASLIN
Assistant Property Master . . . . . . . . . TERRY WELLS, JR.
Chargehand Dressing Propmen . . . . . . . . MARK KIMBER
LAURENCE WELLS
ROBERT SHERWOOD
TERENCE WOOD
Chargehand Standby Propman . . . . . . BILLY EDWARDS
Standby Propmen . . . . . . . . . . . . MARK VENN-MCNEILL
GREG WHITE
Supervising Prop Modeler . . . . . . . . . . . OLIVER HODGE
Head Sculptor . . . . . . . . . . . . . . . . HARRY FRANCHETTI
Supervising Head Sculptor . . . . . ROLAND STEVENSON
Senior Prop Modelers . . . . . . . . . . . . GLENN HADDOCK
PAUL WALLER
“A” Camera Operator . . . . . . . . . . . . . . . PETER TAYLOR
“B” Camera Operator . . . . . . . . . . . . . . . MARTIN HUME
“C” Camera Operator/Steadicam . . . . . PAUL EDWARDS
1st Assistant “A” Camera . . . . . . . . . . . . . . SIMON HUME
1st Assistant “B” Camera . . . . . . . . . . . . JOHN GAMBLE
1st Assistant “C” Camera . . . . . . . . . KEITH MCNAMARA
Assistant “A” Camera . . . . . . . . . . . . . . . . . LEWIS HUME
2nd Assistant “B” Camera . . . . . . . . RUSSELL KENNEDY
2nd Assistant “C” Camera . . . . . . . . . ROSS MCNAMARA
Central Loader . . . . . . . . . . . . . . . . . . . . . LUKE SELWAY
1st Assistant Editor . . . . . . . . . . . . . . . . . ROBERT MEAD
Assistant Editor . . . . . . . . . . . . . . . . . KATHLEEN LATLIP
VFX Editor . . . . . . . . . . . . . . . . . . . . . . . . JODY ROGERS
1st Assistant Editor (U.K.) . . . . . . TOM HARRISON-READ
2nd Assistant Editor (U.K.) . . . . . . LAURENCE JOHNSON
Editorial Production Assistants . . . . . . . . . HOPI ALLARD
PATRICK HAAS
Production Sound Mixers . . . . . . . . . . . . . . TONY DAWE
JOHN MOONEY
Boom Operators . . . . . . . . . . . . . . . . . . . DENISE YARDE
STUART MCCUTCHEON
Sound Assistant . . . . . . . . . . . . . . . . . . . . GARY KELLER
Gaffer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALAN MARTIN
Best Boy . . . . . . . . . . . . . . . . . . . . . . TERRY MONTAGUE
Chargehand Electricians . . . . . . . . . . . . JASON MARTIN
DAVID MOORE
Electricians . . . . . . . . . . . . . . . . . . . . . . . . PAUL CRONIN
JAMES NESBITT
JOHN O’DONOGHUE
COLIN PRICE
PAUL SHARP
ROBERT WALTON
–3–
PHIL READER
PAUL STEWART
Genny Operator . . . . . . . . . . . . . . . . . . ANDREW PURDY
Standby Electrical Rigger . . . . . BRENDAN FITZGERALD
Rigging Gaffer . . . . . . . . . . . . . . . . . . . . . . . LEE MARTIN
HOD Electrical Rigger . . . . . . . . . . MICHAEL REDMOND
Chargehand Riggers . . . . . . . . . . . . . . ROBERT CLARKE
MICHAEL SEYMOUR
Electrical Riggers . . . . . . . . . . . . . . ROBERT FLANAGAN
DANNY MADDEN
ANDREW WATSON
HOD Practical Electrician . . . . . . . . . . . . ROB DOWLING
Practical Electrician . . . . . . . . . . . . . . . . . . . . GWIL RYAN
Key Grip . . . . . . . . . . . . . . . . . . . . . . . . . . GARY HYMNS
Best Boy Grip . . . . . . . . . . . . . . . . . . . . . . . GARY SMITH
Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL HYMNS
ANDY HOPKINS
MALCOLM MCGILCHRIST
Remote Head Technician . . . . . . . RUSSELL O’CONNOR
Crane Operator . . . . . . . . . . . . . . . . . . . . COLIN HAZELL
Standby Carpenter . . . . . . . . . . . . . . . . BARRY SMALLS
Standby Stagehand . . . . . . . . . CLIFFORD RASHBROOK
Standby Rigger . . . . . . . . . . . . . . . . . . . . . . . . IAN ROLFE
Standby Plasterer . . . . . . . . . JOHN GARRY SPRAGGON
Standby Painter . . . . . . . . . . . . . . . . . . . . . PAUL COUCH
SFX Assistant Supervisor . . . . . . . TREVOR NEIGHBOUR
SFX Coordinator . . . . . . . . . . . . . . . . . . . . . NIGEL NIXON
SFX Floor Supervisors . . . . . . . . . . . . . STEFANO PEPIN
SIMON COCKREN
Lead Senior SFX Technician . . . . . . STEPHEN CULLANE
Senior SFX Technicians . . . . . . . . . . . . . . . ANDY BUNCE
PAUL CLANCY
STUART DIGBY
PETER FERN
RODNEY FULLER
TERRY GLASS
DARRELL GUYON
RON HONE
MARK HOWARD
STEVE KNOWLES
JULIAN MARSH
DARREN MAY
JASON MCCAMERON
TIM MITCHELL
STEPHEN ONIONS
GRAHAM POVEY
PAUL TAYLOR
PETER WHITE
SFX Technicians . . . . . . . . . . . . . . . . . . CAIMIN BOURNE
CHRISTOPHER BRENNAN
JAMES FERGUSON
JOSEPH HALFORD
JAROSLAV KOLENIC
TERRY LATHWELL
BRUCE MAYHEW
DAVID MCGEARY
DOMINIC MEWBURN-CROOK
GRANT ROGAN
MATT VEALE
Assistant SFX Technicians . . . . . . . . . . MARK COCKREN
MYRIAM COURNOYER
GEORGE DUNN
HUW MILLAR
CHARLIE PEDERSEN
SFX Modeler . . . . . . . . . . . . . . . . . . RICHARD ST. CLAIR
Military Costume Supervisor . . . . . . . DAVE CROSSMAN
Costume Supervisor . . . . . . . . . . . . . ANNIE CRAWFORD
Costume Coordinator . . . . . . . . . MARTIN MANDEVILLE
Costume Assistants . . . . . . . . . . . . . . . . JAMES PAVLOU
RUPERT STEGGLE
Costumer to Russell Crowe . . . MICHAEL CASTELLANO
Chief Cutter . . . . . . . . . . . . . . . . . . . . . WEI QIANG LIANG
Costume Cutter . . . . . . . . . . . . . . . . . . DOMINIC YOUNG
Crowd Costume Supervisor . . . . . . . GORDON HARMER
Crowd Wardrobe Mistress . . . . . . . . . . . HELEN JEROME
Crowd Costumier . . . . . . . . . . . . . . . . . . . DANI EVERETT
SFX Costume Makers . . . . . . . . . MATTHEW APPLETON
REBECCA HARTNOLL
IAN JONES
Leather Worker . . . . . . . . . . . . . . HENRY CHRISTOPHER
Milliner . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL JONES
Costume Maker . . . . . . . . . . . . . . . . SUSAN MACKENZIE
Costume Illustrator . . . . . . . . . . . . . . . . . . . LORA REVITT
Head Breakdown Artist . . . . . . . . . . . JOANNA WEAVING
Costume Breakdown Artist . . . . . . . . . . EMMA WALKER
Costume Breakdown Assistants . . . . . . . . . LIV MURTON
JESSICA SCOTT-REED
CAMILLA BARTHOLOMEW
MOHAMED ELFATA
LOUISA SORRENTINO
Junior Breakdown Assistant . . . . . . . . . LAURA RENOUF
Crowd Armourer . . . . . . . . . . . . . PETER CHRISTOPHER
Makeup Artists . . . . . . . . . . . . MELISSA LACKERSTEEN
CLARE RAMSEY
GEMMA RICHARDS
Makeup Artist for Ms. Blanchett . . . REBECCA LAFFORD
Hair Designer . . . . . . . . . . . . . . . . . . KEVIN ALEXANDER
Key Crowd Hair Supervisor . . . . . . . . . . STEPHEN ROSE
Hairdresser . . . . . . . . . . . . . . . . . . . . . . CANDICE BANKS
Hairdresser for Ms. Blanchett . . . . . . . . TRACEY WELLS
Prosthetics Designer . . . . . . . . . . . . . . . . . DAVID WHITE
Prosthetics Coordinator . . . . . . . . . . . . SACHA CARTER
–4–
Prosthetics Technicians . . . . . . . . . . . . . . . MARK JONES
MICHELE JONES
JON MOORE
STEVE SCOTTON
Prosthetics Modelers . . . . . . . . . . . . . . JAMES KERNOT
BENJAMIN BROWN
SEAN KELLY
KATE SMITH
STUART ROWETH
Mold Makers . . . . . . . . . . . . . . . . . . . . . . . . JESSICA LEE
GRAEME MCCRACKEN
Prosthetics Hair Artists . . . . . . . . . . . . . . . . MARIA CORK
DAVID MUNDIN
JUN MATSUURA
JULIE WHITE
Sculptor . . . . . . . . . . . . . . . . . . . . . . . . . . NIGEL BOOTH
Prosthetics Makeup Artist . . . . . . . . ROBIN PRITCHARD
Script Supervisor . . . . . . . . . . . . . . . . . . . . . . . LIZ WEST
Supervising Location Manager . . . . . . . . . . BILL DARBY
Location Managers . . . . . . . . . . . . . . . . TERESA DARBY
TOM CROOKE
STEVE HART
NEIL GRIGSON
Unit Managers . . . . . . . . . . . . . . . . . . . ANDREW COOKE
MALLY CHUNG
CHARLIE SIMPSON
Additional Unit Manager—Wales . . . . . . KEVIN JENKINS
Assistant Location Managers . . . . . . DUNCAN FLOWER
DAVID CAMPBELL-BELL
CHRIS MOORE
Back Lot Manager . . . . . . . . . . . . . . . . MARTIN WALKER
Location Coordinator . . . . . . . . . . . . . . . . AMELIA PRICE
Location Assistants . . . . . . . . . . DUNCAN BROADFOOT
BRUNO CASSONI
CHRIS CRANSTOUN
ROB CAMPBELL-BELL
JAMES BUXTON
NICOLA ESAM
CHARLIE HAYES
Marshall Coordinator . . . . . . . . . . . . . . CHRIS BURGESS
Assistant Location Coordinator . . . HANNAH ANDREWS
Location PAs . . . . . . . . . . . . . . . . . . ALEXANDER DARBY
LUCAS SAUNAL
KIMBERLEY WHITE
EMILY GOBLE
DAMON CRANE
JAMES BAKER
Unit PA . . . . . . . . . . . . . . . . . . . . . . . . CHARLIE POTTER
Financial Controller . . . . . . . . . . . . . . . . . NICOLE FURIA
U.S. Production Accountant . . . . . . . . . . . RICK CASTRO
U.K. Production Accountant . . . . . . . . . SARAH TROWSE
1st Assistant Accountants . . . . . . . . . . . BONNIE HANER
RACHEL WELCH
Payroll Accountants . . . . . . . . . . . . . . . . NICHOLA KERR
CIARAN MORAN
Construction Accountants . . . . . . . . . WILLIAM PHILLIPS
DIARMUID COGHLAN
Post-Production Accountants . . . MISSY EUSTERMANN
JIM HAJICOSTA
Assistant Accountants . . . . . . . . . . . . KAREN BICKNELL
MATTHEW BOVINGTON
KAY DI REZZE
TANYA RUBY
BEN RACKLEY
Accounting Clerks . . . . . . . . . . . . . . . . . . LUCY HOWELL
BEN JOHNSON
Production Manager . . . . . . . . . . . . HERMIONE NINNIM
Key Production Coordinator . . . . . . . . MIRANDA MARKS
Production Coordinator . . . . . . . . . . . JONATHAN SCOTT
Assistant Production Coordinator . . . LEBO MOTJUOADI
Production Secretary . . . . . . . . . . . . . . . . . . GLENN DIOT
Wales Coordinator . . . . . . . . . . ANDREW GWYN DAVIES
Wales Assistant . . . . . . . . . . . . . . . . . HANNAH IRELAND
Script Coordinator . . . . . . . . . . . . CHARLOTTE KEATING
Key Production PA . . . . . . . . . . . . . . . KEVIN BAULCOMB
Production PAs . . . . . . . . . . SAMANTHA FAZACKERLEY
ALEX MOLDEN
MARK SCAMMELL
Assets Coordinator . . . . . . . . . . . . . . . . . . ELMAR DAVID
2nd Assistant Directors . . . . . . . . . . . . DANNY MCGRATH
MICHAEL MICHAEL
DAVID PINKUS
3rd Assistant Directors . . . . . . . . . . . . . . . CLARE GLASS
BARNEY HUGHES
SARAH BRAND
JAMES MCGRADY
Casting Assistant . . . . . . . . . . . . . LUCINDA JOHNSTON
Extras Casting . . . . . . . . . . . . . . . . . . . BETH CLEVELEY
Dialect Coaches . . . . . . . . . . . . . . . JUDITH DICKERSON
ANDREW JACK
Stand-Ins . . . . . . . . . . . . . . . . . . . . . . . . . DAVID OLIVER
COLETTE APPLEBY
PHILIP BALL
JAMES PAYTON
Unit Publicist . . . . . . . . . . . . . . . . . . . . . . . STACY MANN
Stills Photographers . . . . . . . . . . . . . . . DAVID APPLEBY
KERRY BROWN
Horse Department Coordinator . . . . . MEGAN ROBERTS
Video Coordinator . . . . . . . . . . . . . . ANDREW HADDOCK
Video Assistant . . . . . . . . . . . . . . . . . . . LUKE HADDOCK
Executive Assistant to Mr. Scott . . . . . . . . . . DAN GATES
Assistants to Mr. Scott . . . . . . . . . . . . . . . . NANCY RYAN
–5–
AMAL BAGGAR
Special Advisor to Mr. Scott . . . . . . . NEVILLE SHULMAN
Assistant to Mr. Grazer . . . . . . . . . . . . DANIELLE ZLOTO
Assistant to Mr. Schlissel . . . . . . . . . . ROWAN LAIDLAW
Assistant to Mr. Whitaker . . . . . . . . . . . . . . . SARA HAHN
Assistant to Ms. Blanchett . . . . . . . . . JEMMA KEARNEY
Assistant to Mr. Von Sydow . . CATHERINE VON SYDOW
Set PAs . . . . . . . . . . . . . . . . . . . . . . . . . . . TAMARA KING
JAMES RAINER
SAM SMITH
STEWART PETTY
CLARE COLLINGRIDGE
RORY SHAW
Assistant Stunt Coordinator . . . . . . . . . . . . . . ROB INCH
Fight/Sword Coordinators . . . . . . . . . . . . . . . . CC SMIFF
RUDOLF VRBA
Additional Horse Masters . . . . . . . . . . . . . PETER WHITE
NIGEL OLIVER
Armoury Supervisor . . . . . . . . . . . . . . ALAN HAUSMANN
Armoury Coordinator . . . . . . . . . . . . CAROLINE WILSON
Senior Armoury Technicians . . . . STEPHEN CUMMINGS
JOHN NIXON
Armourers . . . . . . . . . . . . . . . . . . . . . . . . DAVID SILLERY
ROY STRATFORD
Archery Instructor . . . . . . . . . . . . . . . STEPHEN RALPHS
Leather Maker . . . . . . . . . . . . . . . . . . . . . . . . . TIM LEWIS
Decor and Lettering Artist . . . . . . . . . . . JULIAN WALKER
Sculptor/Modeler . . . . . . . . . . . . . . . . . . . TOBY SHEARS
Sculptor . . . . . . . . . . . . . . . . . . . . . . . . . DOMINIC WEISZ
Armoury Painter . . . . . . . . . . . . . . . . . ROBERT PALMER
Construction Manager . . . . . . . . . . . . . . LEIGH GILBERT
Assistant Construction Manager . . . . . . . . . MIKE SMITH
Construction Coordinator . . . . . . . . . . . LAURA DAVISON
HOD Carpenter . . . . . . . . . . . . . . . . . . . . . . . WAYNE DAY
HOD Plasterer . . . . . . . . . . . . . . . . . . . DOUGLAS ALLAM
HOD Scenic Painter . . . . . . . . . . . . . . . . . ALAN GOOCH
HOD Riggers . . . . . . . . . . . . . . . . . . . . . STEVE SANSOM
MELVYN SANSOM
HOD Stagehand . . . . . . . . . . . . . . . MICHAEL DRISCOLL
HOD Sculptor . . . . . . . . . . . . . . . . . . . . JOHN BLAKELEY
Sculptor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JODY KING
Senior Supervising Carpenter . . . COLIN WOODBRIDGE
Supervising Carpenters . . . . . . . . . . . . . . . . DAVID BALL
ARTHUR HOLLAND
TOM MCCARTHY
Chargehand Carpenters . . . . . . . . . ANTHONY HOSKINS
ADAM JENNINGS
MARK OVERALL
PHILLIP SMITH
GARY STOPPS
MARK WILLIAMSON
Chargehand Wood Machinist . . . . . . . . . DANIEL WELLS
Supervising Painters . . . . . . . . . . . . . . . . . JOHN CLOKE
GARY GLEESON
DAVID MEEKING
Chargehand Painters . . . . . . . . . . . . . . . . . GLYN EVANS
ROBERT HARPER
RONALD LATTIMORE
DAVID MEARS
Chargehand Painter Laborer . . . . . . . . . . . . DEAN BUDD
Supervising Riggers . . . . . . . . . . . . . . STEPHEN DEVLIN
MARK FOX-POTTEN
STEVE SANSOM, JR.
Chargehand Riggers . . . . . . . . . . . . . . . . . . JOHN FIELD
JAMES WELSH
Supervising Plasterers . . . . . . . . . . . . . . ADRIAN AITKEN
MICHAEL RICCI
PAUL TAPPIN
ROBERT VOYSEY
Chargehand Plasterers . . . . . . . . . . . . . . STEVEN COOK
STEPHEN WATTS
Supervising Plasterer’s Laborer . . . . . . . . . GARY BURNS
Chargehand Plasterer’s Laborer . . . . DAVID SILVERTON
Supervising Stagehands . . . . . . . . . . . . . . ALAN BILLAM
BRIAN GOOCH
Chargehand Stagehands . . . . . . KENNETH LANGRIDGE
MICHAEL WEBB
Marine Coordinators . . . . . . . . . . . . . . . . . . . IAN CREED
DAREN BAILEY
Marine Assistants . . . . . . . . . . . . . . . . . . ANTONIA WISE
JONJO STICKLAND
Transportation Coordinator . . . . . . . . . . . PETER DEVLIN
Transportation Captain . . . . . . . . . . . . . . . DEAN MORAN
Catering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CATERING & CRAFT SERVICE BY CHORLEY BUNCE
Craft Service . . . . . . . . . . . . . . . . . . SAMANTHA BLACK
ALAN FRY
Nurses . . . . . . . . . . . . . . . . . . . . . . . . . . . JEANIE UDALL
ALISON BAGE
NICKY JARVIS
Sports Massage Therapist . . . . . . . . . . . . . ANNA DIBBO
Health & Safety Supervisor . . . . . . . . . . . . DAVID DEANE
Health & Safety Officer . . . . . BARRY MAY-LEYBOURNE
Construction Health & Safety Officer . . . . . . . . . . . . . . . . .
MICHAEL CONRAN
AHA Representative . . . . . . . . . . . . . . . BARBARA CARR
Veterinarian . . . . . . . . . . . . . . . . . . . . . . NICK SNOOKES
Choreographer . . . . . . . . . . . . . . . . . DIANA SCRIVENER
Sound Effects Designer . . . . . . . . . . . . . . ANN SCIBELLI
Supervising Dialogue Editor . . . . . . . MARGIT PFEIFFER
ADR Editors . . . . . . . . . . . . . . . . . . . . KERRY WILLIAMS
CHRIS JARGO
–6–
Foley Supervisor . . . . . . . . . . . . . . . . . . . DROR MOHAR
Sound Effects Editors . . . . . . . . . . . . . . . . HECTOR GIKA
HARRY COHEN
CHRISTOPHER ASSELLS
ALAN RANKIN
BEN WILKENS
Dialogue Editors . . . . . . . . . . . . . . . MICHAEL HERTLEIN
JULIE FEINER
Foley Editor . . . . . . . . . . . . . . . . . . . . . . . CRAIG JAEGER
1st Assistant Editor . . . . . . . . . . . . . . VICTOR RAY ENNIS
Assistant Sound Editor . . . . . . . . . BRANDON SPENCER
Recordist . . . . . . . . . . . . . . . . . . . . . . . . . DANIEL SHARP
Foley Artists . . . . . . . . . . . . . . . . . . . . . . . GARY HECKER
CATHERINE ROSE
Foley Mixer . . . . . . . . . . . . . . . . . . . NERSES GEZALYAN
ADR Mixer . . . . . . . . . . . . . . . . . . . . . . PETER GLEAVES
ADR Voice Casting . . . . . . . . . . . . . . . . . SYNC OR SWIM
CAITLIN MCKENNA
Sound Effects Recordists . . . . . . . . . . . DANIEL R. KERR
CHARLIE CAMPAGNA
BURTIS BILLS
Additional Audio . . . . . . . . . . . . . . . . . . . . TOBY COHEN
MATTHEW E. TAYLOR
MARK ORMANDY
Score Recorded & Mixed by . . . . . . . . . . PETER COBBIN
Music Editors . . . . . . . . . . . . . . . . . . . . . . . . . DEL SPIVA
JOSEPH BONN
Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . BEN FOSTER
Orchestrations . . . . . . . . . . . . . . BENJAMIN WALLFISCH
Music Preparation . . . . . . . . . . . . . . . . . . . DAVE FOSTER
Music Programmer . . . . . . . . . . . SUNNA WEHRMEIJER
Orchestra Contractor . . . . . . . . . . . . ISOBEL GRIFFITHS
Assistant Orchestra Contractor . . . . . . . LUCY WHALLEY
Digital Recordist . . . . . . . . . . . . . . . . . KIRSTY WHALLEY
Additional Recordings . . . . . . . . . . . ANDREW DUDMAN
Recordist . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM OKELL
Additional Engineers . . . . . . . . . . . . . STANLEY GABRIEL
GORDON DAVIDSON
Pre-record Laybacks . . . . . . . . . . . . . . . . . . . . . ALEX LU
Playback Operator . . . . . . . . . . . . . . . . . PETER CLARKE
Music Production Assistant . . . . . . . SVEN FAULCONER
Score Recorded at . . . . . . . . . . ABBEY ROAD STUDIOS
Score Mixed at . . . . . . . . . . . TODD AO WEST LANTANA
Mix Technicians . . . . . . . . . . . . . . . . . . . . GREGG HAYES
CRAIG MANN
Solo Violin . . . . . . . . . . . . . . . . . . . . . . THOMAS BOWES
Solo Cello . . . . . . . . . . . . . . . . . . . . . . . CAROLINE DALE
Flutes & Whistles . . . . . . . . . . . . . . . . . . WILLIAM LYONS
Solo Flute . . . . . . . . . . . . . . . . . . . . . . ELIZA MARSHALL
Ethnic Percussion . . . . . . . . . . . . . . . . . . PAUL CLARVIS
Percussion . . . . . . . . . . . . . . . . . . . . . . . FRANK RICOTTI
GARY KETTEL
GLYN MATTHEWS
Timpani . . . . . . . . . . . . . . . . . . . . . . . . . . . . TRISTAN FRY
Fiddle & Rebec . . . . . . . . . . . . . . . . . . . . . . GILES LEWIN
Lutes . . . . . . . . . . . . . . . . . . . . . . . JACOB HERINGMAN
JAMES AKERS
Uilleann Pipes . . . . . . . . . . . . . . . . . . . . . ROBERT WHITE
TROY DONOCKLEY
Hurdey Gurdy . . . . . . . . . . . . . . . . . . . . . . NIGEL EATON
Choir . . . . . . . . . . . . . . . . . . . . . . . . . . . . METRO VOICES
BACH CHOIR
Solo Vocals . . . . . . . . . . . . . . . . . KATHLEEN MACINNES
Title Animation . . . . . . . . . . . GIANLUIGI TOCCAFONDO
ACME FILMWORKS
Main Titles & Graphics Designed by . . PROLOGUE FILMS
End Titles . . . . . . . . . . . . . . . . . . . . . SCARLET LETTERS
Digital Intermediate Provided by . . . . . . . . . COMPANY 3
Digital Intermediate Colorist . . . . STEPHEN NAKAMURA
Digital Intermediate Producer . . . . . . . . . NICK MONTON
Color Timer . . . . . . . . . . . . . . . . . . . . . . TERRY HAGGAR
Camera Cranes by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CHAPMAN/LEONARD STUDIO EQUIPMENT, INC.
Second Unit
Production Manager . . . . . . . . . . . . . . SIOBHAN LYONS
Production Coordinator . . . . . . . . . . . . . . . NION HAZELL
Production PA . . . . . . . . . . . . . . . . . . . . . . . AMY COATS
1st Assistant Director . . . . . . . . . . ROBERT P. GRAYSON
2nd Assistant Director . . . . . . . . . . . . . . . . . WILL DODDS
3rd Assistant Director . . . . . . . . . . . . . . . . TOM BROWNE
Set PAs . . . . . . . . . . . . . . . . . . . . . . . NICOLE CHAPMAN
JAESUNG OH
Camera Operators . . . . . . . . . . . . . . . GARY SPRATLING
CLIVE JACKSON
st
1 Assistant “A” Camera . . . . . . . . . . . . . . JEM RAYNER
1st Assistant “B” Camera . . . . . . . . . RENE ADEFARASIN
1st Assistant “C” Camera . . . . . . . . . . . . KENNY GROOM
2nd Assistant “A” Camera . . . . . . . . . . . . . . . BEN PLANT
2nd Assistant “B” Camera . . . . . . . . TOBIAS MARSHALL
2nd Assistant “C” Camera . . . . . . FRANCESCO FERRARI
Central Loader . . . . . . . . . . . . . . . . . . . . . . PHILL HARDY
Script Supervisor . . . . . . . . . . . . . . . . JOANNA BECKETT
Costume Supervisor . . . . . . . . . . . . . . . . MIKE SKOREPA
Costume Assistant . . . . . . MELLISA LAYTON-SKOREPA
Gaffer . . . . . . . . . . . . . . . . . . . . . . . . . . . TONY WILCOCK
Best Boy . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDY BELL
Key Grip . . . . . . . . . . . . . . . . . . . . . . . . MALCOLM HUSE
Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM PHILLIPS
TONY ROWLAND
Standby Carpenter . . . . . . . . . . . . . . . . RICHARD JONES
Standby Painter . . . . . . . . . . . . . . . . . JESSE HAMMOND
–7–
Standby Rigger . . . . . . . . . . . . . . WOLFGANG WALTHER
Standby Stagehand . . . . . . . . . . . . . . . . . . JAMES MUIR
Chargehand Standby Propman . . TRISTAN CARLISLE-KITZ
Standby Propmen . . . . . . . . . . . . . . . . . . . MAT BERGEL
SCOTT KEERY
Boom Operator . . . . . . . . . . . . . STUART MCCUTCHEON
Video Operator . . . . . . . . . . . . . . . . . . . ADRIAN SPANNA
Video Assistant . . . . . . . . . . . . . . . . . . JONATHAN AMES
Stunt Dept Coordinator . . . . . . . . . MATTHEW SAMPSON
Stunt Doubles . . . . . . . . . . . . . . . . . . . . . STUART CLARK
PETE MILES
ROWLEY IRLAM
DANIEL NAPROUS
BEAN PEEL
DOMINIC PREECE
VLADIMIR FURDIK
ALES KOSNAR
Stunt Performers . . . . . . . . . . . . . . . . . . . . . LUCY ALLEN
DAVID ANDERS
CARLO ANTONIONI
MUNRO ARMSTRONG
NINA ARMSTRONG
GARY ARTHURS
LLOYD BASS
ANDY BENNETT
RICHARD BRADSHAW
ANDY BUTCHER
MICHAEL BYRCH
BRUCE CAIN
NICK CHOPPING
TONY CHRISTIAN
JONATHAN COHEN
BEN COOKE
GABE CRONNELLY
GRAEME CROWTHER
NICHOLAS DAINES
MATT DA SILVA
BILL DAVEY
RAY DE HAAN
BOBBIE DENT
JOHN DENT
KELLY DENT
WILLIAM DENT
VALTER DI FRANCESCO
BEN DIMMOCK
LEVAN DORAN
JAMIE EDGELL
JAMES EMBREE
DANIEL EWENS
BRADLEY FARMER
DAVE FISHER
SARAH FRANZEL
STUART FRIFT
PEDRO GARCIA GARCIA
DAVID GARRICK
CALLUM GREEN
DANIEL GREEN
HARRISON GREEN
JIMMY GREEN
ALVARO QUIROGA GUADILLA
BOBBY HOLLAND HANTON
LYNDON STUART HELLEWELL
FRANK HENSON
NICK HOBBS
DAVE HOLLAND
GARY HOPTROUGH
PAUL HOWELL
PETER HRIC
ROB HUNT
ROMAN JANKOVIC
FILIP KADLEC
IAN KAY
VINCENT KEANE
PAUL KENNINGTON
CHRISTIAN KNIGHT
ROBERT KREJCIK
MIKE LAMBERT
STEPHANE LELIEVRE
PAUL VINCENT LOWE
TONY LUCKEN
CHRIS MANGER
GLENN MARKS
KAI MARTIN
TINA MASKELL
NICK MCKINLESS
LEE MILLHAM
SIAN MILNE
RORY MULROE
DAVID NEWTON
RAY NICHOLAS
JAKE SONNY NICKELS
JIMMY O’DEE
MARTIN PEMBERTON
ANDY PILGRIM
MIKE POTTER
ADAM RICHARDS
CURTIS RIVERS
JOSE ANTONIO ONA SANCHEZ
STANISLAV SATKO
MARCUS SHAKESHEFF
MATT SHERREN
TONY SMART
–8–
BRIAN SMITH
HELEN STEINWAY-BAILEY
MATT STIRLING
RYAN STUART
ROY TAYLOR
JACK THATCHER
ARRAN TOPHAM
MAREK TOTH
TONY VAN SILVA
ANDY WAREHAM
REG WAYMENT
BILL WESTON
PAUL WESTON
MAXINE WHITTAKER
MARTIN WILDE
LEONARD WOODCOCK
BEN WRIGHT
EUGENIO ALONSO YENES
STEEN YOUNG
ADR Voices . . . . . . . . . . . . . . . . . . . . . . RAJIA BAROUDI
FRANK BRUYENBROEK
EDITA BRYCHTA
HELENE CARDONA
KAT CRESSIDA
JEAN-LOUIS DARVILLE
NEIL DICKSON
ROBIN ATKIN DOWNES
ALASTAIR DUNCAN
GARY HECKER
JULIEN HERON
GREG ELLIS
PETER LAVIN
CAITLIN MCKENNA
XAVIER J. NATHAN
MOIRA QUIRK
DARREN RICHARDSON
JEAN-MICHEL RICHAUD
ALAN SHEARMAN
PHILLIPE SIMON
BRUNO STEPHANE
ERIC STONE
JULIAN STONE
JEAN-PAUL VIGNON
MATTHEW WOLF
VFX Coordinators . . . . . . . . . . . BASTIAN HOPFGARTEN
AMY SPANNER
Assistant VFX Coordinator . . . . . . . . . . . . . . BEN MARKS
VFX Data Wranglers . . . . . . . . . . . . . . MIKE WOODHEAD
ALEX COLLINGS
VFX PA . . . . . . . . . . . . . . . . . . . . . VICTORIA ALBANESE
Visual Effects by . . . . . . . . . . . . . . . . . . . . . . . . . . . . MPC
VFX Producer . . . . . . . . . . . . . . . . . . . . . FIONA FOSTER
Digital Effects Supervisor . . . . . . . . . JESSICA NORMAN
CG Supervisor . . . . . . . . . . . . . . . . . . . . . . . MAX WOOD
VFX Production Managers . . . . . . . . KATHERINE SMITH
KRISTY WILSON
VFX Coordinators . . . . . . . . . . . . . . . . . . TOBY LANGLEY
MICHELLE TEEFEY-LEE
VFX Editor . . . . . . . . . . . . . . . . . . . . . CHRIS COUPLAND
Modeling Lead . . . . . . . . . . . . . . . . . . . LISA GONZALEZ
Texturing Lead . . . . . . . . . . . . . . . . . . . . . . ALWYN HUNT
Asset Artists . . . . . . . . . . . . . . . . . . . CESAR EIJI NUNES
SALLY WILSON
Layout Lead . . . . . . . . . . . . . . . . . . . . . . . DAN COPPING
Layout Artists . . . . . . . . . . . . . . . . . . . . . . . . OLI CLARKE
JASON KOTEY
DAFYDD MORRIS
SANDRA MURTA
Lead Crowd TDs . . . . . . . . . . . . . . . . MARCO CARBONI
ADAM DAVIS
Crowd TDs . . . . . . . . . . . . . . . . . . . . . . CHRIS BENDING
TOM CARRICK
FRANCESC IZQUIERDO
ALAN STANZIONE
KABELAN THEIVENDRAN
JOERN WEISSPFENNIG
BRUNO XIBERRAS
Crowd/Layout Department Coordinator . . . . . . . . . . . . . .
TIM POUNDS-CORNISH
Animators . . . . . . . . . . . . . . . . . . . . . . . KRISTINA KREBS
SOUMYASHREE MOHAPATRA
Lead FX TD . . . . . . . . . . . . . . . . . . . . . . . . ROB HOPPER
FX TDs . . . . . . . . . . . . . . . . . . . . . . . . . NICOLA DANESE
JENS MARTENSSEN
MARIA EUGENIA OCANTOS
MAYEC RANCEL
Digital Environments Lead . . . . . . . . . . . . . VLAD HOLST
Environment Artists . . . . . . . . . . . . ZORAN ARIZANOVIC
EGLANTINE BOINET
ARNAUD HAVART
DARK HOFFMAN
TIM HOLLEYMAN
HENRIK HOLMBERG
LEE MATTHEWS
MIKLOS MESTERHAZY
Lead Lighting TD . . . . . . . JONATHAN ATTENBOROUGH
Lead Shader Writer . . . . . . . . . . . . . . MOHAMED SOBHY
Lighting TDs . . . . . . . . . . . . . . . . . . . . DARREN BYFORD
RHYS CLARINGBULL
SYLVIA KRATZSCH
ANDREAS LOOSE
CARINA OHLUND
–9–
CYNTHIA RAHI
MARK TOSCANO
NEIL WEST
CHRISTOPHER WILSON
Lighting & Environment Coordinator . . . . . . . . . . . . . . . . .
ROSS JOHNSON
Lead Compositors . . . . . . . . . . . . ARUNDI ASREGADOO
AXEL BONAMI
HENRY BADGETT
RICHARD LITTLE
Compositors . . . . . . . . . . . . . . . . . . . . . . . . PAOLO ACRI
LINDSAY ADAMS
VLADISLAV AKHTYRSKIY
PAVAN BALAGAM
SAM BASSETT
MARKUS BERGQVIST
IZET BUCO
TOMMASO CORONA
PETER FARKAS
MARCO FIORANI PARENZI
BRADLEY FLOYD
HENNING GLABBART
HENRY JEFFERSON
OLIVIER JEZEQUEL
KEITH JONES
YANN LAROCHETTE
LAURENCE LOK
VAIBHAV MARATHE
LEO NEELANDS
MARTIN RIEDEL
GIANFRANCO SGURA
MARTIN SIMCOCK
GIUSEPPE TAGLIAVINI
BEN WARNER
BLAKE WINDER
Compositing Coordinator . . . . . . . . . . . . CRAIG SKERRY
Head of Paint & Rotoscope . . . CHRISTINE TROIANELLO
Paint & Rotoscope Artists . . . . . . . . . . . RYAN HADFIELD
SOPHIE MARFLEET
ANTONIO MEAZZINI
SCOTT PATTON
DONNA POYNTON
Paint & Roto Prod Coordinator . . . . . . . . LORNA DUMBA
Lead Matchmove TDs . . . . . . . . . . . . . . JIGESH GAJJAR
OWEN JONES
JONATHAN MILLER
Matchmove TDs . . . . . . . . . . . . . . . . . . . . MARC JONES
XAVIER GOUBIN
Rotoscope Animator . . . . . . . . . . . . . . . . . JULIAN BURT
Matchmove Prod Coordinator . . . . . . . . CHRIS JESTICO
R&D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TOM MELSON
Visual Effects by . . HAMMERHEAD PRODUCTIONS, INC.
Visual Effects Supervisor . . . . . . . MICHAEL T. KENNEDY
Visual Effects Producer . . . . . . . . . . . . . . . LES HUNTER
Visual Effects Artists . . . . . . . . . . . . . . . . . . DAN LEVITAN
ROBERT CRIBBETT
JON DOYLE
DANIEL MELLITZ
LINDA TREMBLAY
ALIZA CORSON CHAMEIDES
GILBERT GONZALES
SHIRA MANDEL
JUSTIN JONES
DERICK DRESSEL
JOEL MERRITT
SEUNGYONG LEE
MINHEE LEE
Matte Painter . . . . . . . . . . . . . . . . . . . . REBECCA MARIE
VFX Executive Producer . . . . . . . . . . . . . . . DAN CHUBA
VFX Coordinator . . . . . . . . . . . . . . . . . . . . KELLY KENAN
Technical Support . . . . . . . . . . . . . . . . . ISAAC LIPSTADT
Visual Effects by . . . . . . . . . . . . . . . . . . . . PRIME FOCUS
VFX Supervisor . . . . . . . . . . . . . . . . . JOHN LOCKWOOD
VFX Supervisor . . . . . . . . . . . . . . . . . . . . STEVE STREET
VFX Producer . . . . . . . . . . . . . . . STANDISH MILLENNAS
Senior 3D Artist . . . . . . . . . . . . . . . . . WILL BROADBENT
3D Artist . . . . . . . . . . . . . . . . . . . . . . . . LENKA ZUCKOVA
Supervising Compositor . . . . . . . . . . . . . . KEITH DEVLIN
Compositors . . . . . . . . . . . . . . . . . . . . . KATE BURGESS
BRUNO FERNANDES
PEDRO LARA
SHERIN MAHBOOB
DAVID SJODIN
PATRICK WONG
Visual Effects by . . . . . . . . . . . . . . . INVISIBLE EFFECTS
Visual Effects Supervisor . . . . . . . . . . . . DICK EDWARDS
Visual Effects by . . . . . . . . . . . . . . . . . . . . . . . . LOLA VFX
Visual Effects Supervisor . . . . . . . . . . EDSON WILLIAMS
Visual Effects Associate Producer . . . . . . . . . . . . . . . . . . .
RYAN ZUTTERMEISTER
Visual Effects Artists . . . . . . . . . . . . . . . . . DAVID LEVINE
SPENCER ARMAJO
RICHARD HIRST
– 10 –
SOUNDTRACK ON BACK LOT MUSIC AND
VARÈSE SARABANDE
“LESSONS FROM THE EMPTY GLASS”
Written by Chris W. Nebesniak
“ROW ME BULLY BOYS ROW”
Written by Alan Doyle
Performed by Alan Doyle
COPYRIGHT © 2010 UNIVERSAL STUDIOS
All Rights Reserved.
Animated Universal Studios Logo
© 1997 Universal Studios
“SADNESS, SADNESS”
Performed by Alan Doyle
Universal Studios is the author of this motion picture
for purposes of the Berne Convention and all national
laws giving effect thereto.
“LARGE WOMAN”
Written and Performed by Alan Doyle
IN ASSOCIATION WITH DENTSU INC.
THE CHARACTERS AND EVENTS DEPICTED
IN THIS PHOTOPLAY ARE FICTITIOUS. ANY
SIMILARITY TO ACTUAL PERSONS, LIVING OR
DEAD, IS PURELY COINCIDENTAL.
Special Thanks to
Pembrokeshire County Council
AMERICAN HUMANE MONITORED THE ANIMAL
ACTION. NO ANIMALS WERE HARMED ®.
(AHAD 01803)
THIS MOTION PICTURE IS PROTECTED UNDER
THE LAWS OF THE UNITED STATES AND OTHER
COUNTRIES. UNAUTHORIZED DUPLICATION,
DISTRIBUTION OR EXHIBITION MAY RESULT IN CIVIL
LIABILITY AND CRIMINAL PROSECUTION.
THIS MOTION PICTURE USED SUSTAINABILITY
STRATEGIES TO REDUCE ITS CARBON EMISSIONS
AND ENVIRONMENTAL IMPACT. (Logo)
ROBIN HOOD
NO. 45987
Credits as of March 22, 2010.
MOTION PICTURE ASSOCIATION OF AMERICA
– 11 –
RUSSELL CROWE is the legendary Robin Hood.
Academy Award® winner RUSSELL CROWE
reunites with his blockbuster Gladiator director, filmmaking legend RIDLEY SCOTT, for the epic actionadventure Robin Hood. Joining with Oscar®-winning
producer BRIAN GRAZER (A Beautiful Mind,
American Gangster) and Oscar®-winning screenwriter BRIAN HELGELAND (L.A. Confidential,
Green Zone), they tell the story of the legendary
figure known by generations as “Robin Hood,” whose
exploits have endured in popular mythology and
ignited the imagination of those who share his spirit
of adventure and righteousness.
In 13th century England, Robin and his band of
marauders confront corruption in a local village and
challenge the crown to alter the balance of power
between the king and all of his subjects. And whether
outlaw or hero, one man from humble beginnings will
become an eternal symbol of freedom for his people.
Robin Hood chronicles the life of an expert
archer, previously interested only in self-preservation,
from his service in King Richard I’s army against the
French. Upon Richard’s death, Robin travels to
Nottingham, a town suffering from the corruption of a
despotic sheriff and crippling taxation, where he falls
– 12 –
for the spirited widow Lady Marion (Oscar® winner
Cate Blanchett of The Aviator, Elizabeth), a woman
skeptical of the identity and motivations of this
crusader from the forest. Hoping to earn the hand of
Maid Marion and salvage the village, Robin assembles a gang whose lethal mercenary skills are
matched only by its appetite for life.
With their country weakened from decades of
war, embattled from the ineffective rule of the new
king and vulnerable to insurgencies from within and
threats from afar, Robin and his men heed a call to
ever greater adventure. This unlikeliest of heroes and
his allies set off to protect their country from slipping
Nottingham and SCOTT GRIMES (Crimson Tide,
Mystery, Alaska), KEVIN DURAND (Legion, X-Men
Origins: Wolverine) and newcomer ALAN DOYLE as
Robin’s Merry Men—Will Scarlet, Little John and
Allan A’Dayle, respectively.
Filmed on location in England and Wales, Robin
Hood spans the years from the death of King Richard I
in 1199 to the signing of the Magna Carta in 1215. It is
produced by Scott, Grazer and Crowe, from a story by
Helgeland and ETHAN REIFF & CYRUS VORIS (television’s Sleeper Cell) and a screenplay by Helgeland.
The celebrated behind-the-scenes team is led by a
crew of longtime Ridley Scott collaborators,
into bloody civil war and return glory to England
once more.
Crowe and Blanchett lead a cast of accomplished
performers, including Academy Award® winner
WILLIAM HURT (The Good Shepherd, A History of
Violence) as Sir William Marshal, MARK STRONG
(Sherlock Holmes, Kick-Ass) as Sir Godfrey, MARK
ADDY (The Full Monty, A Knight’s Tale) as Friar
Tuck, OSCAR ISAAC (Body of Lies, Che) as Prince
John and DANNY HUSTON (X-Men Origins:
Wolverine, Children of
Men) as King Richard
The Lionheart, as well
as legendary performers DAME EILEEN
ATKINS (Last Chance
Harvey, Cold Mountain)
as Queen Eleanor of
Aquitaine and MAX
VON SYDOW (Shutter
Island, The Exorcist) as
Sir Walter Loxley.
They are joined by
rising stars MATTHEW
MACFADYEN (Frost/
Nixon, Pride & Prejudice) as the Sheriff of
including cinematographer JOHN MATHIESON
(Gladiator, The Phantom of the Opera), BAFTAwinning production designer ARTHUR MAX (Body
of Lies, Gladiator), Oscar®-winning costume
designer JANTY YATES (Body of Lies, Gladiator),
two-time Oscar®-winning editor PIETRO SCALIA
(Body of Lies, JFK) and composer MARC STREITENFELD (American Gangster, Body of Lies).
CHARLES J.D. SCHLISSEL (Body of Lies,
Matchstick Men), MICHAEL COSTIGAN (Body of Lies,
Robin Longstride leads his men in battle.
– 13 –
King Richard’s ship returns home.
American Gangster), JIM WHITAKER (Changeling, American Gangster) and RYAN KAVANAUGH
(The Hangover, The Wolfman) serve as the film’s
executive producers.
ABOUT THE
PRODUCTION
Myth and Legend:
Discovering Robin Hood
A Brief History of the Hero
The daring tales of Robin Hood have been a part
of English literature for decades. As put succinctly by
scholar J.C. Holt: “There are a quiverful of possible
Robin Hoods. Even the likeliest is just a shot in the
gloaming.” Yet this archetypal story has survived and
been passed down through generations, morphing as
each era adds to the evolving canon. “What began as
an oral legend,” reflects Holt, “ended up as a script.”
The stories of Robin are among the oldest in
England’s oral histories, stretching far back into the
medieval period of the 9 th century with tales of
“Robin the Be-header” and finding literary form with
surviving 15th - and 16th -century ballads such as A
Gest of Robyn Hode, Robin Hood and the Curtal
Friar and Robin and the Monk. As far as we know,
however, there’s no one actual Robin to whom we can
look as the single authentic figure. From suggestions
that the surname Robehod was often applied to a man
after he became an outlaw, to the conjecture that
“Robin Hood” was a stock pseudonym used by thieves,
theories abound and the legend endures.
The hero has also found a rich legacy on screen.
Robin has been featured in upwards of 30 notable
film and television productions, ranging from a 1913
Ivanhoe adaptation, through the films of Douglas
Fairbanks (Robin Hood, 1922), Errol Flynn (The
Adventures of Robin Hood, 1938), Sean Connery and
Audrey Hepburn (Robin and Marian, 1976) and
Kevin Costner (Robin Hood: Prince of Thieves,
1991), as well as popular television serials such as the
BBC’s Patrick Troughton series Robin Hood (1953),
Robin of Sherwood (1984) and the more recent Robin
Hood (2006).
For all his popularity, however, Robin’s on-screen
tale rarely evolves, with filmmakers invariably
peddling familiar tales such as those of the evil
Sheriff of Nottingham, the malicious Guy of
Gisburne and the iconic damsel in distress, Maid
Marion. Inevitably, Robin has been portrayed as
– 14 –
either a dispossessed nobleman or, more likely, a
gallant rogue with arms akimbo who serves comeuppance to the rich and gives blissfully to the poor.
Crafting an Origin Story
During the filming of American Gangster with
Sir Ridley Scott, producer Brian Grazer approached
Russell Crowe about starring in a new Robin Hood.
Grazer looked forward to reteaming with the
performer, with whom he had already enjoyed two
successful collaborations—on A Beautiful Mind, for
which Crowe earned an Oscar® nod, and Cinderella
Man. For this telling, the men were interested on a
the barons, and how England was controlled at the
time,” Grazer continues. “By the end of the movie,
you also know who Robin is. The end of our movie is
the beginning of all the dozens or so other films that
have been made.”
Grazer found the Australian actor keenly interested in reworking the legend. He admitted an interest
in the outlaw that stretched back several decades. “I
was very enthusiastic,” Crowe says. “Robin Hood has
always been in the back of my mind since I was a
child. I was a big fan of the various incarnations I saw
when I was growing up. There’s a universal connection that everyone makes to Robin Hood, which is at
unique take on the age-old legend: an origin story the core of the story: there might be somebody out
that explains how a common archer in King there who cares enough to redress the imbalance.
Richard’s army transformed into the legend we know There’s an empowerment quality about Robin to
as Robin Hood. Set against the backdrop of the which people respond.”
Crusades, this action-adventure would give historical
Crowe’s agreement, however, came with a caveat.
framework to the later exploits that had been covered “I said I’d do Robin Hood, but only if it were a fresh
in many other versions of the tale.
take,” he adds. “It is one of the longest-surviving
Grazer came aboard to develop and produce the
stories in the English language. That requires due
project through Universal Pictures and the company
respect. I took the attitude that if you’re going to revihe shares with Academy
Award®
winner
Ron
Howard, Imagine Entertainment. “Movies about heroes
inspire me,” states the
producer. “The story of
Robin Hood particularly
appealed to me because it is
about a man who has
nothing but the right cause
in his mind, and the skill and
resoluteness to pursue it.
“With our film, we
explain who the Sheriff of
Nottingham, Maid Marion
and her father-in-law are,
the dynamics of the north(L to R) Godfrey (MARK STRONG) plots as the newly crowned King John (OSCAR ISAAC) speaks with
ern part of England and
William Marshal (WILLIAM HURT).
– 15 –
winner, Gladiator, the film that reset
audiences’ expectations of the historical epic. To date, their collaboration
has also resulted in A Good Year,
American Gangster and Body of
Lies. When Crowe and Grazer
pitched the idea to the director, he
responded enthusiastically.
Scott is a longtime student of
history, and his last period thriller,
Kingdom of Heaven, had focused on
the fall of Jerusalem 12 years before
King Richard I met his untimely death.
“I love period films,” offers Scott. “I
started with The Duellists, and then
(L to R) Little John (KEVIN DURAND), Will Scarlet (SCOTT GRIMES), Robin and Allan A’Dayle
I’ve done the Roman epic and now I’ve
(ALAN DOYLE) ride through London.
gone back to medieval times again.”
With Scott on board, Robin Hood gathered
talize Robin Hood, it has to be done on the basis that
momentum. The filmmakers shared a common
whatever you thought you knew about the legend was
vision: they chose to explore how a humble man
an understandable mistake. It has to be different from
could become a champion of the people, and they
what has come before. Take Robin and Little John, for
sought to answer that question by telling his story
example, who don’t get on when they first meet. When
within a specific historical context. Elaborates
we first meet them, they have a disagreement. But
that doesn’t take place on a log over a creek with a Grazer: “We wanted to embrace the political and
historical facts of the era: England was bankrupt,
staff fight, which has been done to death. What we’ve
threatened both by civil war and by France, and in the
done is to redefine the times and shift the timeline.”
Crowe and Grazer turned their attention to their hands of an inept king in John. Against that backdrop,
we could explore an origin story of how Robin Hood
only choice to helm the film: Ridley Scott. “It needed
a director who could handle tremendous scope,” notes came to be.”
To fulfill Scott, Grazer and Crowe’s vision, the
Grazer, “someone who embraces authenticity, who is
interested in the milieu, the time and the political and men turned to screenwriter Brian Helgeland, who had
been awarded an Oscar® for his previous collaborahistorical events that were occurring. Ridley is captition with Crowe, L.A. Confidential. After he received
vated by all those things. If we were going to make
this film, it had to be the Gladiator version of Robin a call from Scott to craft the script, Helgeland knew
that what would interest him most was the chance to
Hood. I wanted to understand how brutal that time
“humanize the legend.”
was and have it visually expressed in the most
The writer explains: “Ridley wanted to tell the
exciting and thrilling kind of action-adventure. Only
man-before-the-myth version of Robin Hood.
Ridley can do that.”
Scott and Crowe have a partnership that dates Everyone knows the myth, and obviously that is an
back to their wildly successful multiple Oscar® exaggeration of the real events. This myth is rooted in
– 16 –
the downtrodden and the idea that whenever the
powers that be need to be checked, a man will rise up
and look after the common people. Especially in
English history, it’s been an outlaw that has filled that
position. What Ridley wanted to do was imagine what
the real events might have been from which the Robin
Hood legend sprung.”
Helgeland’s first partnership with Scott would
prove a powerful experience. Helgeland remarks:
“When there are catapults and phalanxes of guys
trying to set castle gates on fire and men are
concerned with God—what he is and for what
reason he has led them into battle—Ridley’s on
After he lands on its shore, Robin discovers a nation
crippled by poverty and robbed of its men by
Richard’s reckless bid to fund his wars. The specter of
French invasion looms on the horizon, and Richard’s
incompetent brother is content to let his people suffer
while he fills his coffers.
It was important to the team to show how demolished the English economy was and how bleak the
country had become. They wanted to present how
Robin’s arrival coincides with John’s heavy taxation:
citizens were being targeted to pay beyond their
means and given little in food, clothing and shelter.
Robin’s defiance of the ruling class equals not just
ground that he finds intellectually stimulating. The
stealing grain and giving back to the people of
film benefits from it.”
Nottingham, but also inspiring his countrymen to take
In the script, from a story by Helgeland, Ethan
charge of their destiny.
Reiff & Cyrus Voris, we are introduced to archer
Scott reflects: “Everyone talks about Robin Hood
Robin Longstride as an infantryman in the ranks of
robbing from the rich and giving to the poor, but we
King Richard’s army as it returns from the Third
felt it was relevant to choose a point in medieval folkCrusade in the Holy Land. Richard—in a bid to
lore when the environment is on the edge of starvareclaim monies paid to the French king who held
tion and neglected by the crown. The hierarchy is the
him hostage as he returned from his Crusade—is
enemy, and the everyman who will come against them
laying siege to a French castle. As history records, is Robin Hood. Within that idea, we have not
during the siege Richard
suffered a neck wound
from an arrow and died
soon after. This shattered
his mother, Eleanor, and
resulted in the crown being
passed along to his younger
brother Prince John.
Beginning his story
with the moment of
Richard’s death, Helgeland
imagined Robin, who has
suffered a restless childhood overseas, seizing an
opportunity to return to his
native England for the first
Robin and Marion (CATE BLANCHETT) survey Peper Harow.
time since he was five.
– 17 –
Godfrey leads his men on a bloody mission fueled by greed.
forgotten the expectation and the romanticism of the
legend. Is there humor in this? Yes. Is there a lot of
action? Yes.”
Key to Helgeland’s tale is the birth of the Magna
Carta, the great charter signed at Runnymede in 1215
after the uprising by the English barons against King
John. In many ways, this moment defines the birth of
England, freeing its Anglo-Saxon population from the
harsh rule of the Norman kings. “There’s a place for
the Magna Carta in our film,” states Grazer, “not only
as a historical event, but also as a cinematic point.”
Supplements Crowe: “We have a situation where
the man who basically invented taxation is the same
King John who signed the first version of the Magna
Carta. We have a period between 1199 and 1215, and it
felt like that was the ideal breeding ground for revolution…or the birth of a revolutionary figure. As much
of the film is predating the Magna Carta, then it’s
possibly the birth of a nation as well—the birth of
England and everything that is great about it.”
Establishing a backstory for Robin was fundamental to understanding why he would become champion of his people. In the tale, Robin discovers that
his father was stonemason Thomas Longstride, a
well-known public speaker and the principal author of
what was to become the Forest
Charter (Carta de Foresta). This
precedent to the Magna Carta
provided rights, privileges and
protection for the common man
against the aristocracy. Richard’s
predecessor, Henry II, saw Longstride’s political stance as treasonable and had him murdered in
front of his young son.
To prepare for this role,
Crowe read more than 30 books
about Robin Hood and the late
12th and early 13th centuries.
“Robin is a witness to that death
at the age of five,” explains Crowe. “He is then left in
a monastery with the Templar Knights in France. His
guardians [Loxley and Marshal] go off to the
Crusade, but several years later when they come back,
he’s not there. He’s had a very hard time, been treated
badly, and he’s gone with the one piece of equipment
that he was left with, his father’s cuirass. You can
imagine a small child dragging around a fully grown
man’s chest-plate armor.”
When we are introduced to Robin during
Richard’s siege in France, he has no knowledge of life
before his father was killed. “He’s suppressed the
memory of watching his father die,” says Crowe. “In
his mind, his mother and father just got rid of him and
stopped loving him. That’s what has been on his mind
for 35 to 40 years.
“But now he’s close to England again,” Crowe
continues. “Here’s a guy who’s traveled across Europe
and all through the Middle East. He’s seen a variety of
different ways that people live, and when he gets back
to England he’s surprised that this seems to be the
most suppressive place. We follow a man on a journey
of self-discovery. Along the way he begins to
remember his past, and his quest solidifies. He realizes fate has overtaken him, and he has joined in
– 18 –
something much larger than he thought it was. In the
process of finding out who he is, he takes up his
father’s work where he left off.”
With the producers, director, star and screenplay
set, it was time to cast the supporting players of the
production, beginning with the fairest maiden in all
of Nottingham.
Lambs and Lions:
Casting the Action-Adventure
Maidens & Matriarchs
Cate Blanchett’s joining of the production owes
for their production. “Cate Blanchett has a very definitive part in this overall story and context,” he says.
“It’s a perfect, if you like, marriage of two characters.”
Blanchett discusses her decision to join the
production. “Because Russell and Ridley have such a
long history together of making films that go straight
to the heart of the matter, it was a very exciting
combination for me,” she says. As well, the Oscar®
winner was drawn to the legend’s enduring appeal.
“The power of the forest is at the heart of the Robin
Hood myth. We’re so saturated with the power of the
state, and the power of the church. As an antidote, the
rule of nature is really enticing.”
much to the humble postage stamp. In early 2009,
The classically trained Blanchett had no qualms
Crowe attended a function in Sydney with Blanchett,
with a new telling of the age-old story and
celebrating the fact that the actors’ likenesses were to
welcomed an origin tale. “It’s constantly being reinbe etched onto Australian postage stamps. As they sat vented,” she offers. “There’s no single truth to the
on stage together, Crowe looked at Blanchett and real- Robin Hood myth. Even in Shakespeare when he
ized that she should be his Marion.
mentions it in As You Like It—‘like the old Robin
The actor recounts: “Her demeanor, everything Hood of England.’ It’s a myth, and each age retells
about her…I was kicking myself. Why hadn’t I thought those myths because it’s searching to have that story
of it before? Cate is a magnificent actress. She has reflect something about the society in which they
resilience and a resonance. She’s tough, strong and
are living. There are certain archetypes that it deals
single-minded. Every decision she makes is about truth.
with, such as the band of Merry Men. It’s a timeless
She has complete control over
her emotional responses, so
she can make the smallest
gesture a gigantic statement.”
During the evening’s celebration, Crowe asked the
crowd if they thought that he
and Blanchett should make a
film together. “A thousand
people loudly supported the
idea,” he remembers. “Her
eyes were shining, so she
obviously thought it was a
great idea too.”
Scott agreed that Blanchett
Isabella of Angoulême (LÉA SEYDOUX) embraces Prince John.
would make the ideal Marion
– 19 –
Aerial view of the 13th century Tower of London.
narrative construction, and each age puts its stamp
on an archetypal story like this.”
With Blanchett on board, the filmmakers developed the “Petruchio and Kate” relationship that
evolves after Robin’s return to England brings him to
Lady Marion’s home of Peper Harow in Nottingham.
According to Crowe, they agreed that Robin and
Marion should be “of a kind.” He explains: “The
Marion relationship has certain Shakespearean
elements to it. It’s very much The Taming of the
Shrew. Robin and Marion don’t get on at all when
they first meet, but there is a latent kindness to both
these people. They are similar creatures who have
been looking for some sign of that intuitive kindness
in other people all their lives.”
As the script evolved, so did the role of Marion. In
stark contrast to a number of the character’s previous
cinematic incarnations, in this telling of the story, she
is no weak and feeble maiden waiting for men to
control her destiny. Helgeland explains how Marion
developed: “There was a law that if a noblewoman’s
husband died and she didn’t have a son, the estate
would revert back to the crown. If Marion doesn’t
produce an heir or gain a husband, she’s going to lose
her land. So Robin and Marion’s relationship, rather
than start as love at first sight, which is a typical
Robin Hood device, is much more a mutual convenience between the two of them. In the process, they
become closer and the attraction builds from its
mercantile start.”
“Ridley has created and set up a world where all
the men have been called to war by King Richard, and
where Marion has therefore become the lady of the
manor,” Blanchett adds. “She’s presiding over a
village that has no men, and so she’s having to take on
the role—a bit like in the Second World War—where
women had to move into industry and do things that
they wouldn’t otherwise have done.”
Joining the cast as Eleanor of Aquitaine, widow of
Henry II, as well as Richard and John’s aging mother
and one of the fiercest women to help rule the
Western world, was Dame Eileen Atkins. From
Gosford Park to Cold Mountain, the multi-award
winner has often moved audiences with her powerful
performances.
Atkins offers a bit of backstory to her character:
“It’s sad that Eleanor clearly doesn’t love John.
There’s no doubt he’s right when he says, ‘You only
cared ever about my brother.’ Nevertheless, the throne
is the throne, and he’s going to get it. She cares
passionately about ruling and keeping the lands that
they have. She’s fought so hard to extend England
– 20 –
halfway across France, and she doesn’t want to lose it
all. In considering the huge picture, which she’s
thinking in terms of gaining land, she doesn’t think
quite enough about how the peasants are getting on.
But she has a lot of wisdom, and she’s certainly a
great manipulator.”
One of the puppets on her strings is Isabella of
Angoulême, played by young French actress LÉA
SEYDOUX of Inglourious Basterds. We are introduced to Isabella, whom Eleanor initially despises, as
Prince John’s not-so-secret lover. Isabella ultimately
marries the future ruler of England and quickly realizes that the only way of guaranteeing her time on the
irrepressible sense of humor. It’s been a great benefit to
me and to Ridley, and no doubt the movie, that we’ve
had guys like this playing these roles.”
Crowe notes that each of the men brings a talent to
their parts that mirrors their on-screen characters.
“Scott’s an incredible singer,” he commends. Kevin
has the coordination of a ballet dancer, yet the physicality of an ice hockey player; he is 6 feet 7 and 235
pounds. He also has a great singing voice. Then
there’s Alan, who has never acted. He’s a folk singer
from Newfoundland, and he knows how to play the
lute. I said to Ridley, ‘If you’re going to have a guy
playing the troubadour, let’s have a guy who knows
throne is to serve as a mouthpiece for her mother-inlaw…as Eleanor secrets her strategy for John.
how to play the lute. That way, if you don’t like a
particular tune, you can change it then and there.’ He
also has a wonderful singing voice. That’s a key
element with the Merry Men.”
No Robin Hood tale would be complete without
the iconic Friar Tuck, a plump man of the cloth who
prefers his mead and ladies to the dry pulpit that
comes with being the local abbot. Played by The Full
Monty’s Mark Addy, Tuck meets Robin and his band
when they are on their way to Peper Harow to deliver
Merriest of Men
Concomitant to the legend of Robin Hood is the
story of his Merry Men, here a band of fellows disillusioned with life under the newly anointed King
John. Fellow yeomen in Richard’s war, they accompany Robin back to England after the death of
Richard allows them to escape the conflicts.
Portraying the troupe
are Kevin Durand as
Robin’s right hand and
muscle, Little John; Scott
Grimes as the youngest of
the gang, Will Scarlet; and
acting newcomer Alan
Doyle as minstrel Allan
A’Dayle. Says Crowe: “The
core thing with these guys
is that they are all athletes,
and they all have a physical
side to what they do in
the film. Added to that,
they are all intelligent, so
they can learn new skills
Robin receives counsel from Sir Walter Loxley (MAX VON SYDOW).
quickly. They also have an
– 21 –
“These two men left
young Robin in the care of
somebody else for three
years when they went to
war, and they come back
and he’s not there,” offers
Crowe. “Their assumption
is that he’s dead. So, for
the previous 35 to 40
years, there wouldn’t be a
24-hour period in their
lives where they didn’t feel
some pang of that guilt.
It’s an interesting journey
for both William Marshal
Robin and Little John lead their men into the battle against French invaders.
and for Walter Loxley to
have that guilt overhang their lives. In fact, when Sir
the news of Sir Robert Loxley’s (played by
DOUGLAS HODGE) sudden death to Sir Walter. A Walter hears the name Robin Longstride again, his
beekeeper and reluctant servant of the crown, Tuck all first thought is that somebody is coming to kill
him…that there’s going to be a revenge enacted
too readily becomes part of Robin’s band of usurpers.
because of his failure.”
As it transpires, Longstride meets both men
Noblemen and Villains
again, with Sir Walter helping Robin come to terms
Alongside Robin, Marion and the Merry Men, the
with both his tortured past and aspirational future.
film features a clutch of fascinating characters, not
the least of whom is Sir William Marshal, played by “It’s an interesting relationship,” says Crowe. “Robin
remembers nothing from that moment that his father
William Hurt, and Sir Walter Loxley, portrayed by
was killed, except a residual love. He knows he was
Max Von Sydow. These gentlemen grew up as friends
loved, but he never understood why it changed, and
and colleagues of Thomas Longstride (MARK
LEWIS JONES), the author of the Forest Charter and Sir Walter uses basic psychology to reach inside him
the executed father of a then five-year-old Robin and say, ‘The things that you need to know are actually inside you.’”
(JACK DOWNHAM).
Hurt was quite pleased at his chance to play the
To protect him from danger, Marshal and Loxley
take Longstride’s son away from England. They leave epic hero who was a powerful consort to Queen
the young Robin in a French monastery while they Eleanor of Aquitaine and King Richard I. “Sir
William Marshal is an amazing character from
join the Third Crusade, and they earnestly plan to
history,” says the Oscar® winner. “In this particular
return for him. Later, Marshal will take his position
as a leading minister in Richard The Lionheart’s one, he’s a facilitator. He tries to maintain respect for
the throne and, at the same time, facilitate change
royal court, while Loxley will return to his
within the system. He has a philosophy that is
Nottingham estate and eventually become Marion’s
intensely humane and fair-minded. But he’s also
father-in-law.
– 22 –
completely loyal to the throne, as in the need for
people to have a leader. He combines these two things
in a wonderfully diplomatic way.”
While his old friend Sir Walter Loxley rejoices in
Robin’s return, he also grieves for his son, Marion’s
husband Robert Loxley, who meets his death in
France in the wake of Richard’s demise. With her
husband gone, Marion and Sir Walter form a close
bond. “She has become his caretaker, and he is her
mentor and surrogate father,” explains Blanchett.
“Very few actors could carry off the soothsayer in the
way that Max does. Playing opposite him was a privilege; his body of work is just astonishing. It’s a very
after his sibling is killed. Isaac explains a bit about
the ruler: “We meet him as Prince John, and he’s
quite hedonistic, a libertine. Nothing is expected of
him, so he gladly says, ‘Fine, if you don’t expect
anything from me, I’ll give you nothing,’ and he
spends his time in bed with his French mistress. Then
he finds out that Richard has died, and now it’s his
turn to be king—his turn to prove everyone, particularly his mother, wrong. He’s full of fear and doubt,
but he thinks he can be a better king. The problem is
that he has a lot of anger and a maniacal ego; he
believes through sheer will and intellect he can make
England great.”
poignant touchstone relationship for me in the film.”
Matthew Macfadyen, who shot to international
While many believe Robin’s primary nemesis to acclaim after his portrayal of Mr. Darcy in Pride &
be the Sheriff of Nottingham, the writers crafted
Prejudice, stars as the archetypal villain, the Sheriff
another villain in King John’s oldest friend, Sir
of Nottingham. Explains Maid Marion herself,
Godfrey, played by Mark Strong. Godfrey, the man Blanchett, of his character and performance: “What I
responsible for Robert Loxley’s death, uses his influ- find so interesting about this version of the Sheriff of
ence in the newly anointed court of King John to Nottingham is that it’s the weak who are often the
betray England to King Philip of France most evil, because they’re the most compromised.
(JONATHAN ZACCAÏ). “What is fascinating about
There’s a moment, and it’s brilliantly played by
Godfrey is the fact that he exists on so many levels,” Matthew, where he suddenly says, ‘I’m British! No,
says Strong. “He’s a friend
of John’s, so you realize
early on that he’s close to
the seat of power. You also
realize he’s a traitor. Every
good morality tale has a
good and a bad guy.
Godfrey’s job in this, in
broad strokes, is to be
Robin’s nemesis, and the
man we love to hate.”
Cast as the royal sons of
Eleanor were Danny Huston
as King Richard the Lionheart and Oscar Isaac as
Richard’s younger brother
Robin and his countrymen fight the French onslaught.
John, who takes the throne
– 23 –
actual reconstructed environments in England and the
Dordogne in France, as well as
some Iberian villages in the
Pyrénées that stand virtually as
they did in the Middle Ages.
Scott and Max also referred to
the paintings of both the younger
and elder Pieter Bruegel, which
gave them the tone of dire hardship
they were after. While not quite of
the period, this art provided a great
deal of insight about life in this
Marion realizes her feelings for Robin are growing stronger.
I’m French!’ and he’s prepared to go over to
whichever side. It’s the weak people from whom you
have the most to fear.”
Forests and Keeps:
Shooting on Location
Principal photography on Scott’s latest epic began in
April 2009. Producer Grazer commends that the
director quickly earned his on-set epithet. “We called
him ‘The General,’” he offers. “Ridley Scott is that kind
of charging-forward general of our generation in filmmaking. There was once John Ford, and there have been
others, but certainly Ridley is a gladiator himself.”
Rebuilding the 13th Century
One of Scott’s longtime partners, production
designer Arthur Max, was charged with the Herculean
task of building medieval England—re-creating as
accurately as possible life in the villages and towns,
as well as the grandeur of the castles from the period.
The production designer was tasked with giving
Scott the experience of what it was like to live in
England during this era. The two men drew on a
wealth of resource material from museums, libraries,
era; they adapted the look for
Robin Hood. “He wanted to see the
bleakness and the impoverishment of the Anglo-Saxon
population in all its glory,” sums Max.
One of the most important sites was the setting for
Nottingham Village, the place where Robin comes to
return Sir Loxley’s sword to his father. Built near
Guildford in Surrey, the set was ensconced on a
private estate with ancient oaks, rolling fields and
stunning topography. The land also offered a pine
forest, a stream and a bog, and thus a wealth of
shooting options for Scott. “Our primary requirement
was a beautiful landscape,” says Max. “Finding the
location was a great piece of luck.”
“We built the entire Nottingham Village, which is
more than 50 buildings,” explains the designer, “most
of them thatched and timber and made from wattle, a
form of mud construction.” The buildings he describes were built around a town square, with a grain
store, a tavern, a tithe barn and a church—as well as
houses and hovels of all shapes and sizes—stretching
out beyond the town center.
Max tasked his men and women to build a mill
with a working water wheel, in addition to some
ruined gates that would serve as a continuity link to
another location about a 20-minute drive away.
Sticklers for accuracy, they planted (and grew over
– 24 –
many months) an orchard. Max explains that for the
purposes of the story, they “burned it down in the end.
Not entirely, but quite a few buildings. The rest was
enhanced with CGI. We had to be very, very careful
because most of the buildings were set within the oak
trees, which were precious, but we managed to do
controlled burns there.”
Fire was a terrifying scourge in medieval times,
and with Godfrey’s men pillaging and razing villages
at will, the filmmakers had to engage in plenty of
controlled burning to capture what was in the script.
Much of this was done in Bourne Woods, near
Farnham in Surrey—a commercial forestry that
an actual French castle, roughly in the area where the
Chalouse Castle existed,” he explains. “We decided it
was better to build it on a location near the studio
because the landscape there is magnificent. Many
castles from that period are now surrounded by towns,
so we decided we wanted a castle that was isolated in
a landscape. Hence, we decided to build it and extend
it with CGI.”
Extending it some 65 feet to the top of its tower on
the crest of a hill, the French castle was built using
traditional scaffolding and plaster. Moldings from
existing English castles of the period were used to
fashion the stonework. The team brought in an engineer
allowed the crew to build sprawling sets.
In Robin Hood, Bourne Woods served as host to
the northern villages of Barnsdale (often acknowledged as one of the origins of the legend of Robin
Hood), York and Peterborough. These are the same
villages that King John’s supposed men and
henchmen, under the leadership of the duplicitous
Godfrey, destroy for the crime of unpaid taxes.
Bourne Woods also hosted the French castle.
Max was pleased to construct the French castle
and the outlying English camp for the film’s opening
sequences in the same location. “That was based on
to ensure not only that the structure would be stable in
the wind, but also to guarantee the hillside wouldn’t
collapse under the weight of the massive structure.
Shepperton Studios housed sets required to replicate key portions of London and, most notably, the
Tower of London, at the end of the 12th and the beginning of the 13th centuries. An overgrown, flat field
before the design team arrived, Shepperton’s back lot
was transformed into an impressive medieval London
in a matter of a few months. “We began by doing a lot
of grading and ground prep, creating topography,”
Max explains. “We dug a moat and created road
Robin takes his army to war against King Philip’s fleet.
– 25 –
Scott, Max and the team had
observed when they had scouted
existing British castles.
Also built at Shepperton was
the interior of Peper Harow, seat
of the Loxley family. This space
was modeled on a manor farm of
the early 13th century that had
been seen in Shropshire by the
scouts. That team fell in love with
the Great Hall, detail, character
and the patina of age it showed.
Practical reasons prohibited
Robin charges into battle.
networks.” To make the Tower of London more
imposing, it was raised at least four feet higher than
the rest of the site.
Another portion of the Tower of London, the
Royal Dock, was built at Virginia Water in Surrey.
Max and his team created an actual jetty, as well as
the Royal Barge that brings Robin and his men, after
many years away from their home, bearing Richard’s
crown to Eleanor.
“Our Tower set is based on the last surviving
remnant of the Tower of London. I believe it’s called
the Barbican Gate, which is of our period,” Max
offers. “Its stonework is taken from Carnarvon Castle
in Wales, which is probably the most intact castle in
Britain. There’s very little left of the Tower of
London, so we decided to re-create fragments that
were accurate and then extend them with CGI.”
The interior of the Tower, built on sound stages at
Shepperton, was every bit as impressive as its exterior,
with the same staggering depth of detail seen
throughout the picture. A composite set, it included an
enormous corridor that leads to a giant throne room,
off of which could be found the massive bedroom
chambers for Prince John and Queen Eleanor. The sets
were modeled in proportion and shape from rooms
them from actually filming in
Shropshire, so Scott’s crew built
it on a sound stage at Shepperton. The spaces that
Lady Marion and Sir Walter inhabit—including the
Great Hall, bedrooms, kitchens and tack rooms—
were all crafted from scratch. Max’s team grafted this
interior onto Oxenford Farm, an exterior manor farm
near Surrey. To complete the look, they added onto
the existing structure several barn buildings, a fortified gate, multiple hovels and another water wheel.
Thus, Peper Harow was reborn.
The cast was in awe of the efforts of their production designer and his massive team of artisans.
Blanchett sums their feelings: “Arthur is truly
wonderful and is really committed to preserving these
crafts in England. He’s very passionate about the loss
of skill sets. I marvel at the level of care that he has
employed in the creation of all of the buildings in the
Nottingham village set.”
Creating the Battle Sequences
Re-creating the world of the latter Middle Ages
would prove quite an ambitious task for all involved in
the Robin Hood team. To the director who has spent
decades making films, however, nothing seemed impossible—not even shooting with the masterful cinematographer John Mathieson on one of Britain’s most
– 26 –
sprawling and exposed beaches…in some of the
harshest weather conditions the British Isles can muster.
Working every day with anywhere between five
and a dozen cameras allowed Scott and DP Mathieson
to film scenes with full coverage in minimal takes; it
truly enabled the director to generate the remarkable
energy he brings to his storytelling. With multiple
camera setups, Scott also consciously avoided tiring
the actors, crucial on a film in which they faced
immense physical challenges. Knowing that they
would often be wearing heavy, uncomfortable
costumes and shooting in cold and wet weather conditions, Scott decided that every shot had to count.
Naturally, the experience was not without its challenges, and the production faced a good deal of difficulty trying to land an invading French army off the
windswept Pembrokeshire coast. The surge was so high
during the first days of photography, and the team faced
enormous swells on the way out to sea that the most
seasoned of sailors buckled with motion sickness. That
necessitated building a portable dock in the nearby
Pembroke to get the shots necessary.
Lensing in this uncontrollable environment for
nearly two weeks in weather conditions that ranged
from unexpected blasts of heat to torrential rain, the
crew fought its own battle with the tide coming in at
Offers Blanchett, who watched the director at work
approximately a meter a minute. This required them to
for the first time on Robin Hood: “Ridley loves the keep relocating 1,500 people and 150 vehicles up a
adrenaline and the energy of shooting the way he does. beach that is half a mile long.
He wants to capture that the first time, so we didn’t
For the actors playing Robin’s Merry Men, however,
rehearse a lot. He prefers to rehearse on film, and with
the epic battle sequence was worth all the hardship.
so many cameras, he knows he can then cherry-pick “What we did in Wales, I was scared out of my mind
his way through it. He is astonishing to watch.”
every single day there,” laughs Scott Grimes, who plays
Halfway through the shoot, the production relothe flame-haired Will Scarlet. “We had more than 100
cated to Wales and to Freshwater Beach in West
horses riding side by side, galloping down the beach,
Pembrokeshire to shoot the epic battle scenes as the
and we had no idea where the cameras were. It felt like
French, under the command of King Philip, seek to
we were in the war. The whole shoot was incredible.”
invade English soil and
reclaim the land. It was a vast
undertaking that marked the
climactic scenes of the film,
and the filmmakers assembled more than 1,500 cast and
crew to pull it off.
The team undertook an
ambitious series of sequences,
with nine standard cameras, a
steadicam, a Wescam and a
helicopter contributing to
Scott and Mathieson’s vision.
“In Australia we’d say, ‘That’s
bigger than Ben-Hur,’” laughs
CATE BLANCHETT as Marion, RUSSELL CROWE as Robin Longstride and director/producer RIDLEY SCOTT
Crowe, “and that’s how it felt.”
on the set of Robin Hood.
– 27 –
body I could find—my own men
included. I felt the bloodlust.”
Readying
the Soldiers:
Physical Training
Already a master horseman, Crowe
embraced the physical challenges of
production by undergoing a grueling
workout regimen and becoming an
accomplished archer, quite skilled with
the difficult longbow. Following in the
steps of Robin Hood, he became proficient at shooting the very challenging
weapon while wearing heavy chain mail. As well, he
trained for three months in Australia and would hunt in
the forest barefoot. “You’ve got to make the thing that’s
part of your character part of you,” Crowe advises. “If
you’re going to fire a bow and arrow, then you need to
learn how to do it because the circumstances are never
going to be perfect.”
A stickler for detail, the actor spent many months in
training, soon learning that shooting Robin’s arrows was
much more difficult than it initially seemed. “You’re
going to have to fire at a certain mark, in a certain place,
and you’re going to be firing while you’re running, while
it’s raining,” Crowe offers. “There was an extended period
where I was firing 200 arrows a day.” That is roughly
equivalent to what an Olympic archer would do in preparation for a competition. “It’s just what you do,” he
adds. “It’s the quiet contemplation and the work before
there’s film in the camera that creates the character.”
Helgeland reflects on the efforts that Crowe made to
achieve realism for his character. “Russell took the same
attitude he brought to L.A. Confidential to Robin Hood;
he wanted to be as true to the period as he possibly
could. For example, he wanted his bow to be as close to
the bows that were actually used back then. And he
wanted to know how to use it.”
Director/producer RIDLEY SCOTT and producer BRIAN GRAZER on set of the epic action-adventure.
Little John himself, Kevin Durand, agrees.
“Trying to explain what I did that day to a friend on
the phone, or to my fiancée on Skype, was wild. She’d
tell me, ‘I went to the gym and to work. What did you
do today?’ I’d reply, ‘I rode at the front of a 130-horse
cavalry across the beach in Wales. Then, I attacked a
bunch of Frenchmen and killed about 17 of them
before lunch.’ How do you explain that? That’s been
this entire movie. It’s been amazing.”
The actor who portrays the murderous Godfrey
also had his share of showmanship on the battlefield.
After he betrays his childhood friend King John and
defects to the French side, Godfrey must face off
against Robin in the final battle.
Mark Strong recounts how he almost got too into
character: “As I wheeled my horse around, in front of
me were dozens of horsemen galloping toward me
through these kneeling Frenchmen. Out of that, I had
to pick out the two who I was due to fight and slash
one around the head and take one around the chest as
they fell off their horses. It was incredibly exhilarating. So much so that when I’d done that bit, that
was all we’d rehearsed. But, of course, the cameras
were still rolling and I decided to turn my horse
around and join the melee and start whacking every-
– 28 –
Like her fellow star, Blanchett was inspired to get
back in the saddle. A seasoned horsewoman after her
years shooting the Elizabeth sagas, she was up for the
challenge. The performer recalls: “Ridley said, ‘You
can do this if you’re game for it.’ He set the challenge.
If someone says, ‘Are you game for it?’you’re not going
to say, ‘Well, no…I’m not.’ I do like riding a horse, and
they’re film horses so they were pretty well trained. It
was a thrill.”
Still, the performer knew there would be days ahead
she’d rethink her promise to the director. “There is a
sequence where Marion gets all dressed up in chain
mail and rides off into battle. We had these feral kids on
specific diet and did cardio and lifting every day. Then,
we worked with the bows and arrows; my big thing was
becoming a master with the staff. I felt like a badass
when I carried that thing.”
Tunics and Mail:
Dressing the Cast
Facing challenges every bit as demanding as those
confronting production designer Max was another of
Scott’s frequent collaborators, Academy Award®winning costume designer Janty Yates. “There’s a
shorthand between Ridley and I now that is great,”
wild ponies and some of the ponies were really difficult
she says, “and with every film I do with him I learn
to get on. None of them had saddles; it was wild. My more about his genius, his vision and his creativity.”
very first day on set was a night shoot where I was
Yates’ work underscores Scott’s authentic take on
shooting a flaming arrow.”
the Robin Hood story, turning the conventional, rather
A veteran of action films including Tristan + Isolde lyrical image of the icon on its head, and instead
and Stardust, Strong felt quite comfortable with sword emphasizing the hero as a man at war. Crowe is seen at
and shield in hand. But he still needed to spend a good first as a bowman in Richard’s army, wearing leather
amount of time training to learn how to ride at speed trousers and a lamellar breastplate adorning his chest.
while swinging a very heavy weapon. This gave him, and This piece is understood to be a family heirloom,
the rest of the cast and crew, much respect for what
which bears the symbols of the Forest Charter.
soldiers in the Middle Ages must have had to do to battle.
“When he takes the guise of Loxley,” explains Yates,
“You begin to realize how phenomenally difficult “he’s resplendent in Loxley’s chain mail, crest, tabard
wearing the chain mail and the armor must have been,”
and cloak. When he gets to Nottingham, we actually had
the actor offers. “These guys must have
been barely able to move or have had
some kind of superhuman strength. Or
fights consisted of a few blows until
somebody went down and couldn’t get
up and then they got a sword through
the visor and it was all over.”
Durand describes the boot camp
that Scott set up so that the actors could
get in peak condition and train with the
dozens of expert stuntmen and stuntwomen: “We did a training camp in
Australia, and it was basically just
Director/producer RIDLEY SCOTT and RUSSELL CROWE as Robin Longstride on set.
getting really fit. We were all on a
– 29 –
a free reign because he could have raided Loxley’s
cupboards and he could have put on anything. But
Russell wears blue very well, and we’ve got a great,
skirted tunic that he wears in grey and blue suede. We
thought that in those days people didn’t really change
their clothes very much, so that became his civilian
wear for most of the time.”
The costumes proved to be both functional, as well
as authentic, as Mark Strong recalls: “Every detail has
been meticulously observed, and the authenticity helps.
The chain mail actually protected you, should somebody accidentally get one of the moves wrong and clout
you with a sword. The weight of it ensured you under-
because we do have that great separation between the
peasantry and the royals.”
Returning with Scott to the same period as an earlier
collaborative effort between the two, Yates explains:
“This is the same time frame as Kingdom of Heaven,
more or less, but we only did military costumes for that
film, with the exception of a few royals. Here, we have
a greater range of characters to cover, and we have
worked more with the shapes from that period.”
Simple t-shaped garments, while true to the period,
are not hugely flattering on screen, relates Yates. “We
have cheated there quite a bit. While we have kept everything as close as possible to the period, we have tried to
stood quite how strong the men were, and so helped you
carry yourself as a knight would have at the time.”
From the long scarves and flowing outfits created
for Lady Marion by Yates, Blanchett was quite
impressed with her designer. “It’s the second time I’ve
had the pleasure of working with Janty. Her detail and
restraint are exquisite. She is simultaneously able to be
faithful to an era whilst making you feel you are seeing
the clothes and silhouettes for the first time.”
The astounding attention to detail in the costumes is
equally as important as the set dressing, and its importance should not be underestimated. Remarks Yates:
“The painterly textured quality Ridley demands gives
the film an added dimension, and the costumes
contribute greatly to creating that texture.”
The designer began the process of designing Robin
Hood’s costumes in Italy, where she bought “a million
miles of fabric”—from leathers to linens and silk. She
says: “Ridley has always loved silks that can actually
bounce the light, or that reflect the light. We use those
enormously in our costumes, more for the royals, obviously. But he also is passionate about the earthiness of
linens and likes Matka silk, which is the very rough,
gnarly silk that looks like it’s been handwoven in the
Afghan hills. He loves texture—anything that looks as
if it is 100 years old and gives atmosphere. The one
juxtaposes the other, which is perfect for this film
accentuate the shape of each actor, as well as the character that they’re portraying. They really should look like
they’re wearing sacks, because that is what they wore
then, but we’ve flattered them.”
****
Universal Pictures and Imagine Entertainment
present, in association with Relativity Media—a Brian
Grazer Production—in association with Scott Free
Productions—A Ridley Scott Film: Russell Crowe,
Cate Blanchett in Robin Hood, starring William Hurt,
Mark Strong, Mark Addy, Oscar Isaac, Danny Huston,
Eileen Atkins and Max Von Sydow. The music is by
Marc Streitenfeld, and the costume designer is Janty
Yates. The action-adventure’s editor is Pietro Scalia,
ACE, and the production designer is Arthur Max. The
film’s director of photography is John Mathieson,
BSC, and the executive producers are Charles J.D.
Schlissel, Michael Costigan, Jim Whitaker, Ryan
Kavanaugh. Robin Hood is produced by Brian Grazer,
Ridley Scott, Russell Crowe. The action-adventure’s
story is by Brian Helgeland and Ethan Reiff & Cyrus
Voris, and its screenplay is by Brian Helgeland. The film
is directed by Ridley Scott. © 2010 Universal Studios.
www.robinhoodthemovie.com
– 30 –
ABOUT THE
CAST
Academy Award® winner RUSSELL CROWE
(Robin Longstride/Produced
by) is considered one of the
finest actors of his generation.
Originally from New Zealand,
he started making waves in
the Australian film industry
with his performance in the
controversial film Romper
Stomper—for which he
became critically acclaimed
around the world. He has received three consecutive
Academy Award® Best Actor nominations for his
performances in The Insider (1999), Gladiator (2000)
and A Beautiful Mind (2001)—taking home the
Oscar® for his performance in Gladiator.
In addition to winning the Best Actor Oscar® for
his performance as Maximus, the Roman generalturned-gladiator, in Ridley Scott’s Gladiator, he
earned Best Actor honors from several critics organizations, including the Broadcast Film Critics
Association, and he received Best Actor nominations
from the Hollywood Foreign Press Association, the
Screen Actors Guild and BAFTA.
In Ron Howard’s A Beautiful Mind, Crowe’s
masterful portrayal of Nobel Prize-winning John
Forbes Nash, Jr., earned him his third Academy
Award® nomination and garnered him Best Actor
awards from the Golden Globes, Broadcast Film
Critics Association, Screen Actors Guild, BAFTA and
other critics groups.
Crowe received his first Academy Award® nomination for his work in Michael Mann’s nonfiction
drama The Insider, as tobacco company whistleblower Jeffrey Wigand. He also earned Best Actor
awards from the Los Angeles Film Critics Association,
Broadcast Film Critics Association, National Society
of Film Critics and the National Board of Review, and
nominations for a Golden Globe Award, a BAFTA and
a Screen Actors Guild Award.
Recently, Crowe appeared in Universal’s State of
Play, along with Rachel McAdams and Ben Affleck;
in Ridley Scott’s drama Body of Lies, for Warner
Bros., which also starred Leonardo DiCaprio; in
Lionsgate’s 3:10 to Yuma, opposite Christian Bale; and
reteamed with director Ridley Scott for Universal’s
American Gangster, with Denzel Washington.
Before his award-winning acclaim, Crowe made
his mark on Hollywood in Curtis Hanson’s crime
drama L.A. Confidential, as vice cop Bud White. His
other film credits include Ron Howard’s Cinderella
Man, in which he starred as Jim Braddock; A Good
Year, directed by Ridley Scott and based on the book
by Peter Mayle; Jay Roach’s Mystery, Alaska; Taylor
Hackford’s Proof of Life; and Virtuosity, opposite
Denzel Washington.
He made his American film debut in the Western
The Quick and the Dead, with Gene Hackman and
Sharon Stone. Additional film credits include
Heaven’s Burning, Breaking Up, Rough Magic, The
Sum of Us, For the Moment, Love in Limbo, The Silver
Brumby, based on the classic Australian children’s
novel, The Efficiency Expert and Prisoners of the Sun.
Born in New Zealand, Crowe was raised in
Australia where he has also been honored for his
work on the screen. He was recognized for three
consecutive years by the Australian Film Institute
(AFI), beginning in 1991, when he was nominated for
Best Actor for The Crossing. The following year, he
won the Best Supporting Actor award for Proof. Also
in 1992, he received Best Actor awards from the AFI
and the Australian Film Critics for his performance in
Romper Stomper. In 1993, the Seattle International
Film Festival named Crowe Best Actor for his work in
both Romper Stomper and Hammers Over the Anvil.
Crowe currently resides in Australia.
– 31 –
Since graduating from Australia’s National Institute of Dramatic Art (NIDA),
C AT E B L A N C H E T T
(Marion) has worked extensively in the theater with
Company B, a loose ensemble
of actors including Geoffrey
Rush, Gillian Jones and
Richard Roxburgh, based at
Belvoir Street under the
direction of Neil Armfield.
Her roles included Miranda (in The Tempest), Ophelia
(in Hamlet, for which she was nominated for a Green
Shekhar Kapur, for which she received a Golden
Globe Award for Best Actress in a Drama and a
BAFTA for Best Performance by an Actress in a
Leading Role, as well as Best Actress awards from the
Chicago Film Critics Association, the London Critics’
Circle, the Toronto Film Critics Association, the
Online Film Critics Society, the Variety Critics and
the U.K. Empire Awards. She also received a Best
Actress nomination from the Screen Actors Guild and
the Academy of Motion Picture Arts and Sciences®.
In 1999, Blanchett appeared with John Cusack in
Pushing Tin, a black comedy about air traffic
controllers, directed by Mike Newell; An Ideal
Room Award), Nina (in The Seagull) and Rose (in
The Blind Giant Is Dancing).
For the Sydney Theatre Company (STC), she
appeared in Caryl Churchill’s Top Girls, David Mamet’s
Oleanna (for which she was awarded the Sydney
Theatre Critics Award for Best Actress), Michael Gow’s
Sweet Phoebe (also for the Croyden Warehouse,
London) and Timothy Daly’s Kafka Dances (also for the
Griffin Theatre Company, for which she received the
Critics’ Circle Award for Best Newcomer).
At the Almeida Theatre on London’s West End in
1999, Blanchett played Susan Traherne in David
Hare’s Plenty.
Her television credits include lead roles in
Bordertown and Heartland, both for the Australian
Broadcasting Corporation.
Her film roles include Susan Macarthy in Bruce
Beresford’s Paradise Road; Lizzie in Thank God He
Met Lizzie, an antiromantic comedy directed by
Cherie Nowlan, for which Blanchett was awarded both
the Australian Film Institute (AFI) and the Sydney
Film Critics awards for Best Supporting Actress; and
Lucinda in Oscar and Lucinda, opposite Ralph
Fiennes and directed by Gillian Armstrong, a role that
earned her an AFI nomination for Best Actress.
In 1998, Blanchett portrayed Queen Elizabeth I in
the critically acclaimed Elizabeth, directed by
Husband, directed by Oliver Parker; and The Talented
Mr. Ripley, directed by Anthony Minghella, for which
she received a BAFTA nomination for Best
Performance by an Actress in a Supporting Role.
Blanchett also starred in The Gift, directed by Sam
Raimi, and in Sally Potter’s The Man Who Cried,
which premiered at the Venice Film Festival and for
which she was awarded Best Supporting Actress by
the National Board of Review and the Florida Film
Critics Circle.
In 200l, Blanchett appeared with Bruce Willis and
Billy Bob Thornton in Bandits, directed by Barry
Levinson, for which she received a Golden Globe
Award nomination and a Screen Actors Guild nomination for Best Supporting Actress. Blanchett also
appeared alongside Kevin Spacey in The Shipping
News, directed by Lasse Hallström and based on the
1994 Pulitzer Prize-winning novel by Annie Proulx.
She was also seen as Galadriel, Queen of the Elves, in
The Lord of the Rings: The Fellowship of the Ring, the
first installment of Peter Jackson’s trilogy based on
J.R.R. Tolkien’s fantasy novels. Blanchett was
honored by the National Board of Review as the 2001
Best Supporting Actress for her outstanding
supporting performances in Bandits, The Lord of the
Rings: The Fellowship of the Ring and The Shipping
News. She reprised her role as Galadriel in 2002 for
– 32 –
the second installment of the trilogy, The Lord of the
Rings: The Two Towers, and the final installment, The
Lord of the Rings: The Return of the King.
In 2002, Blanchett was also seen in the title role in
Charlotte Gray, directed by Gillian Armstrong and
based on Sebastian Faulks’ bestselling novel.
Blanchett also appeared opposite Giovanni Ribisi in
Heaven, directed by Tom Tykwer, which premiered at
the Berlin International Film Festival, where the film
was awarded the Golden Berlin Bear Award.
In 2003, Blanchett was seen in Veronica Guerin,
the fact-based story of the Irish journalist who was
slain in her homeland in 1996 by drug dealers,
several critics organizations and received a nomination
from the Hollywood Foreign Press Association.
In 2006, Blanchett was seen opposite Brad Pitt in
Babel, directed by Alejandro González Iñárritu. The
film received a Golden Globe Award and was nominated for numerous awards including an Academy
Award® and a Screen Actors Guild Award for
Outstanding Performance by a Cast in a Motion
Picture. Blanchett was also seen co-starring with
George Clooney in The Good German, directed by
Steven Soderbergh. For her role opposite Judi Dench
in Notes on a Scandal, Blanchett received nominations for a Golden Globe, a Screen Actors Guild
directed by Joel Schumacher. Her performance
earned her a Golden Globe nomination in the category of Best Performance by an Actress in a Motion
Picture—Drama and a nomination from the
Washington, D.C. Area Film Critics Association for
Best Actress. In the same year, she also starred in The
Missing, opposite Tommy Lee Jones, for director
Ron Howard.
In early 2004, Blanchett appeared in the United
Artists film Coffee and Cigarettes, for director Jim
Jarmusch, in which she played two roles—herself and
her cousin. Her performances earned her a Best
Supporting Female nomination for the 2005 Film
Independent Spirit Awards.
In July 2004, Blanchett returned to the Sydney
Theatre Company to play the title role in Andrew
Upton’s adaptation of Hedda Gabler. The play was a
critical success earning her the prestigious Helpmann
Award for Best Female Actor in a Play. She also
starred in her first Australian film in several years,
Little Fish, directed by Rowan Woods, for which the
Australian Film Institute named her Best Actress.
Blanchett received an Academy Award® for her
portrayal of Katherine Hepburn in The Aviator, directed
by Martin Scorsese. She was also honored with a
BAFTA and a Screen Actors Guild Award for her role in
the 2004 release. Additionally, she was recognized by
Award and an Academy Award®.
Also in 2006, Blanchett and her husband, Andrew
Upton, were named co-directors of the Sydney
Theatre Company.
In 2007, Blanchett reprised her role as Queen
Elizabeth I in Universal Pictures’ Elizabeth: The
Golden Age, directed by Shekhar Kapur. She was
recognized with several Best Actress award nominations by organizations including the Broadcast Film
Critics Association, the Screen Actors Guild, BAFTA
and the Academy of Motion Picture Arts and
Sciences®. Blanchett is one of only five actors in the
history of the Oscars® to receive a nomination for
portraying the same role in two different films. In the
same year, Blanchett co-starred with Christian Bale,
Richard Gere and Heath Ledger in Todd Haynes’ I’m
Not There, for which she was awarded Best Actress at
the Venice International Film Festival. Additionally,
she received a Golden Globe for Best Performance by
an Actress in a Supporting Role in a Motion Picture, a
Film Independent Spirit Award for Best Supporting
Female and nominations by the Broadcast Film
Critics Association Awards, BAFTA, the Screen
Actors Guild and the Academy of Motion Picture Arts
and Sciences®. She was also recognized with the
Modern Master Award at the Santa Barbara
International Film Festival.
– 33 –
In 2008, Blanchett was seen alongside Harrison Ford
and Shia LaBeouf in the fourth installment of the
Indiana Jones franchise, Indiana Jones and the Kingdom
of the Crystal Skull, directed by Steven Spielberg.
Shortly thereafter, Blanchett starred as Daisy in
Paramount Pictures’ Academy Award®-nominated film
The Curious Case of Benjamin Button, directed by David
Fincher. The film, based on the short story by F. Scott
Fitzgerald, tells the life story of a man, portrayed by Brad
Pitt, who is born as an elderly man and ages in reverse.
For a three-month run in late 2009, Blanchett
performed on-stage as Blanche Dubois in A Streetcar
Named Desire at the Kennedy Center in Washington,
in the dramatic thriller Vantage Point, opposite
Dennis Quaid and Forest Whitaker.
In 2007, Hurt appeared in Into the Wild, opposite
Sean Penn. The cast, which included Emile Hirsch
and Marcia Gay Harden, was nominated for
Outstanding Performance by a Cast in a Motion
Picture by the Screen Actors Guild. He was also seen
opposite Kevin Costner in the psychological thriller
Mr. Brooks, directed by Bruce Evans.
In 2006, Hurt was seen in The Good Shepherd,
written by Eric Roth and directed by Robert DeNiro.
The film starred Matt Damon, DeNiro and Angelina
Jolie and followed the history of the CIA over a span
D.C. and at the Brooklyn Academy of Music. The
Sydney Theatre Company production, directed by Liv
Ullman, was first staged in September in Sydney before
playing to sold-out audiences in the United States.
This spring, Blanchett will begin production on
Hanna, opposite Saoirse Ronan and Eric Bana. Focus
Features will release the Joe Wright-directed thriller
in 2011.
of 40 years, told through the eyes of Edward Wilson,
one of the CIA’s founding officers.
In 2005, Hurt appeared in A History of Violence,
directed by David Cronenberg. Hurt received an
Oscar® nomination and Best Supporting Actor accolades from the Los Angeles Film Critics Association
and the New York Film Critics Circle. The film
screened at both the Cannes Film Festival and the
Toronto International Film Festival. Hurt also starred
in James Marsh’s film The King, with Gael García
Bernal; Beautiful Ohio, directed by Chad Lowe; and
the independent comedy Noise, opposite Tim Robbins
and Bridget Moynahan. The same year, he was seen in
Syriana, directed by Stephen Gaghan and starring
George Clooney, Matt Damon and Amanda Peet.
In 2004, Hurt was seen in M. Night Shyamalan’s
thriller The Village, opposite Joaquin Phoenix and
Sigourney Weaver, as well as the independent film
The Blue Butterfly, in which Hurt starred in the film
as a famous entomologist who takes a terminally ill
boy into the rainforest to grant his dying wish. The
film was screened at the 2004 Tribeca Film Festival
and was released in Canada and Japan.
In 2002, Hurt appeared in Disney’s Tuck
Everlasting, which premiered at the Toronto International Film Festival, and had a cameo appearance in
Changing Lanes, starring Samuel L. Jackson.
WILLIAM HURT (Sir William Marshal) was
trained at Tufts University
and Juilliard and has been
nominated for four Academy
Awards®. He recently received Emmy and Golden
Globe nominations for his
recurring role on FX’s awardwinning series Damages.
Hurt was recently seen in
the four-part miniseries Moby
Dick, based on Herman Melville’s 1851 novel. He was
also recently seen opposite Maria Bellow in The
Yellow Handkerchief, which screened at the Sundance
Film Festival in 2009 and was released in March 2010.
In 2008, Hurt appeared opposite Edward Norton
in Universal Pictures/Marvel Studios’ The Incredible
Hulk, and portrayed the President of the United States
– 34 –
In 2001, Hurt starred in the independent film Rare
Birds, which screened at the Toronto International Film
Festival. He was also in a supporting role in Steven
Spielberg’s A.I. Artificial Intelligence.
In 2000, Hurt delivered a memorable performance in Sunshine, opposite Ralph Fiennes. Directed
by István Szabó, Sunshine received three Genie
Awards, including one for Best Motion Picture.
In 1980, Hurt appeared in his first film, Altered
States. He received a Best Actor Oscar® nomination
for Broadcast News and Children of a Lesser God.
For Kiss of the Spider Woman, he was honored with
an Academy Award®, as well as Best Actor awards
“The Polar Express” and “The Boy Who Drew Cats,”
and narrated the documentaries Searching for
America: The Odyssey of John Dos Passos, A.
Einstein—How I See the World and the English
version of Elie Wiesel’s To Speak the Unspeakable.
In 1988, Hurt was awarded the first Spencer Tracy
Award from UCLA.
from the British Academy and the Cannes Film
Festival. Among his other film credits are Body Heat,
The Big Chill, Eyewitness, Gorky Park, Alice, I Love
You to Death, The Accidental Tourist, The Doctor,
The Plague, The Simian Line, Trial By Jury, Second
Best, Smoke, Confidences à un inconnu, Jane Eyre,
Michael, Dark City, The Proposition, Neverwas, The
Big Brass Ring and One True Thing.
Hurt’s other television credits include the TNT
special event series Nightmares and Dreamscapes,
based on the stories of Stephen King; the Hallmark
Channel’s miniseries Frankenstein, opposite Donald
Sutherland; CBS’s The Flamingo Rising; the title
role in the CBS miniseries Master Spy: The Robert
Hanssen Story; SyFy’s Dune and Showtime’s
Varian’s War.
Hurt spent the early years of his career on the
stage between drama school, summer stock, regional
repertory and off-Broadway, appearing in more than
50 productions including Henry V, Fifth of July,
Hamlet, Uncle Vanya, Richard II, Hurlyburly (for
which he was nominated for a Tony Award), My Life
(winning an Obie Award for Best Actor), A
Midsummer Night’s Dream and Good.
For radio, Hurt read Paul Theroux’s “The Great
Railway Bazaar” for BBC’s Radio 4 and “The
Shipping News” by Annie Proulx. He has recorded
also seen as Frank D’Amico
in Kick-Ass, directed by
Matthew Vaughn. His other
recent
credits
include
RocknRolla, also directed by
Ritchie, with an ensemble
cast that included Gerard Butler, Tom Wilkinson and
Thandie Newton; Good, a drama set in Germany
during the rise of the Nazi party, in which he starred
with Viggo Mortensen; The Young Victoria, opposite
Emily Blunt; and with William Hurt in Pete Travis’
apartheid drama, Endgame.
Strong also starred in Ridley Scott’s Body of Lies,
for which he received outstanding reviews as well as
the London Critics Circle Film Award for Best
Supporting Actor. Strong’s previous film credits
include Miss Pettigrew Lives for a Day, with Frances
McDormand; the fantasy feature Stardust, with
Robert DeNiro and Michelle Pfeiffer; Danny Boyle’s
sci-fi thriller Sunshine; Kevin Reynolds’ Tristan +
Isolde; Stephen Gaghan’s Syriana; Roman Polanski’s
Oliver Twist; Guy Ritchie’s Revolver; It’s All About
Love; Heartlands; the British film Fever Pitch; and
Angela Pope’s Captives.
Born in London, Strong first pursued a law degree
in Germany before returning home to study English
and drama at Royal Holloway, University of London.
MARK STRONG (Sir Godfrey) was most
recently seen as Lord
Blackwood, opposite Robert
Downey, Jr., in Guy Ritchie’s
Sherlock Holmes. He was
– 35 –
He then attended the Bristol Old Vic, which led to an
eight-year apprenticeship on the English stage.
Dividing his early years between the theater and television, he had his first big break when he won the role
of Tosker Cox in the 1994 BBC2 multi-awardwinning miniseries Our Friends in the North.
Strong has since become a familiar face on British
television, earning a BAFTA TV Award nomination
for Best Actor and winning a Broadcast Press Guild
Award for his role in the 2004 BBC2 production The
Long Firm. In 1993, he appeared as then-Inspector
Larry Hall in ITV’s Prime Suspect 3 and, 10 years
later, reprised the role of Detective Chief
MARK ADDY (Friar Tuck) studied at the Royal
Academy of Dramatic Art in
London and he began his
career on television, appearing in award-winning comedies such as The Thin Blue
Line. He has since gone on to
work on the U.S. hit television series Still Standing and
Anand Tucker’s critically
acclaimed Red Riding: 1983.
In 1997, he starred in The Full Monty, which led
to a BAFTA nomination and a Screen Actors Guild
Superintendent Larry Hall in Prime Suspect 6: The
Last Witness. His many additional television credits
include Sharpe’s Mission; ITV’s presentation of Jane
Austen’s “Emma”; the BBC films Trust and Fields of
Gold; Channel 4’s Falling Apart; the PBS miniseries
Anna Karenina; Low Winter Sun; and the Pete Travisdirected projects The Jury and Henry VIII.
An accomplished stage actor, Strong has appeared
in London’s West End in such plays as Arthur Miller’s
Death of a Salesman; Patrick Marber’s Closer; Kevin
Spacey’s production of Eugene O’Neill’s The Iceman
Cometh; David Mamet’s Speed-the-Plow; and the
Sam Mendes-directed productions of Chekhov’s
Uncle Vanya and Shakespeare’s Twelfth Night, for
which he earned an Olivier Award nomination for
Best Supporting Actor. His stage work also includes
The Treatment and The Thickness of Skin at the Royal
Court Theatre; the Royal National Theatre productions of Richard III, King Lear, Napoli milionaria,
Fuente Ovejuna, Murmuring Judges and Johnny on
the Spot; and numerous repertory theater productions.
Award. He also starred in The Flintstones in Viva
Rock Vegas, alongside Michael Keaton in Jack Frost,
with Chris Rock in Down to Earth and with Heath
Ledger in The Order and A Knight’s Tale.
His upcoming films include Barney’s Version, in
which he stars opposite Dustin Hoffman and Paul
Giamatti, and Gurinder Chadha’s comedy It’s a
Wonderful Afterlife, with Sally Hawkins. Addy also
recently started working with Sean Bean on the HBO
series Game of Thrones.
Classically trained with an internationally diverse
heritage, OSCAR ISAAC
(Prince John) is poised to take
Hollywood by storm. He
recently finished shooting the
lead in the Warner Bros.
feature Sucker Punch, for director Zack Snyder (Watchmen,
300). The Alice in Wonderland-like tale centers on a girl
who is wrongfully institutionalized and retreats into an alternate reality. The film costars Abbie Cornish, Emily Browning, Vanessa
Hudgens, Carla Gugino and Jon Hamm.
In Agora, directed by Academy Award® winner
Alejandro Amenábar, Isaac stars opposite Academy
– 36 –
Award® winner Rachel Weisz. It is a tale of unrequited
love set against the backdrop of ancient Egypt and
questions the relationship between science and religion. Isaac also stars as Nobel Peace Prize winner José
Ramos-Horta in Balibo. It is based on the true story
about the young revolutionary leader who befriended
Roger East, an Australian journalist investigating the
suspicious deaths of five of his fellow countrymen.
His first starring role was as Shiv, opposite Paddy
Considine and Radha Mitchell, in the critically lauded
Pu-239 from HBO Films. The film is a dark comedy
about the selling radioactive materials on the black
market in post communist Moscow. It was directed by
playwright Nilo Cruz, directed by Michael Grief at the
Manhattan Theatre Club. Isaac was last seen in MCC
Theater’s American premiere of Mick Gordon and A.C.
Graylings’ Grace, with Lynn Redgrave.
His other theater credits include Arrivals/
Departures, When It’s Cocktail Time in Cuba and
Spinning Into Butter. While a student at Juilliard,
Isaac played the title role in Macbeth. He also cowrote and performed his own music in the show
American Occupation, and was seen in The Marriage
of Figaro, The Birds, Three Sisters and many others.
He also attended master classes with such actors as
Sir Ian McKellen, Fiona Shaw, Simon Russell Beale,
Scott Z. Burns, premiered at the Toronto International
Film Festival in 2006 and aired on HBO in 2007.
Isaac next wowed audiences with his performance as
Joseph in New Line Cinema’s Christmas drama The
Nativity Story, which chronicled the arduous journey
of Mary and Joseph and the history-defining birth of
Jesus. It was the first film ever to premiere at the
Vatican. The film was directed by Catherine
Hardwicke and co-starred Academy Award® nominees Keisha Castle-Hughes and Shohreh Aghdashloo.
Isaac co-starred in the Warner Bros. film Body of
Lies, directed by Ridley Scott, opposite Academy
Award® nominee Leonardo DiCaprio and Academy
Award® winner Russell Crowe. He was also seen in
Steven Soderbergh’s Che: Part One, with Benicio Del
Toro. Other film credits include Vadim Perelman’s
The Life Before Her Eyes, opposite Uma Thurman
and Evan Rachel Wood.
He has guest-starred on NBC’s Law & Order:
Criminal Intent.
In the theater, Isaac garnered superb reviews playing
the title role in Romeo and Juliet with Lauren Ambrose,
directed by Michael Greif, and in the musical revival of
Two Gentlemen of Verona, adapted by John Guare and
Mel Shapiro. Both productions were for New York’s
Public Theater’s Shakespeare in the Park program. He
starred in Beauty of the Father by Pulitzer Prize-winning
Brenda Blethyn and Alfred Molina and was the recipient of the prestigious Princess Grace Award in 2004.
Isaac also writes and performs music with his
band. He was raised in Miami and currently resides in
New York.
Award-winning actor DANNY HUSTON (King
Richard), known for his versatility and dramatic screen
presence, is following in his
family’s footsteps, cultivating
a storied career both in front of
and behind the camera.
This year, Huston starred
in Warner Bros.’ thriller Edge
of Darkness, alongside Mel
Gibson, as a suspicious businessman involved in a corporate conspiracy. The film,
produced by Academy Award® winner Graham King,
is based on the BBC miniseries of the same name.
Huston recently completed principal photography
on Robert Redford’s The Conspirator, opposite James
McAvoy, Robin Wright Penn and Kevin Kline, and
Barry Levinson’s You Don’t Know Jack, a biopic
based on the life of Dr. Jack Kevorkian for HBO. He
took on the role of Geoffrey Feiger, Kevorkian’s
lawyer, opposite Al Pacino.
– 37 –
He will also be seen in Sngmoo Lee’s soon-to-bereleased The Warrior’s Way, a fantasy-action film also
starring Kate Bosworth and Geoffrey Rush.
Known as a writer, director and producer, Huston
gave his breakthrough acting performance in the
independent film Ivansxtc. Huston was nominated for
Best Male Performance at the Independent Spirit
Awards in 2003, for his portrayal of Hollywood talent
agent Ivan Beckman. Huston has worked nonstop as
an actor ever since.
Soon after, Huston appeared in Martin Scorsese’s
The Aviator, alongside Leonardo DiCaprio and Alec
Baldwin, for which the ensemble cast was nominated
Huston was born in Rome and raised in Ireland
and London. He currently lives in Los Angeles with
his daughter, Stella.
for a 2004 Screen Actors Guild Award. In 2006, Huston
received the Golden Satellite Award for Best Supporting
Actor for his performance as Sandy Woodrow in
Fernando Meirelles’The Constant Gardener. That same
year, Huston starred in the critically acclaimed
Australian Western The Proposition, directed by John
Hillcoat, alongside Guy Pearce and Emily Watson. The
film premiered at the Sundance Film Festival.
Huston also starred in the British independent
feature Fade to Black, in which he played Orson
Welles alongside Christopher Walken and Paz Vega,
directed by Oliver Parker. He has collaborated several
times with British directors Mike Figgis and Bernard
Rose, most recently with Rose on The Kreutzer
Sonata, which premiered at the 2008 Edinburgh
International Film Festival.
Huston’s other film credits include Birth, directed
by Jonathan Glazer; Silver City, directed by John
Sayles; Marie Antoinette, directed by Sofia Coppola;
The Number 23, directed by Joel Schumacher; The
Kingdom, directed by Peter Berg; How to Lose
Friends & Alienate People, directed by Robert Weide;
and 30 Days of Night, directed by David Slade. He
recently portrayed Samuel Adams in the awardwinning HBO miniseries John Adams. Last summer,
he starred as villainous Col. William Stryker in the
Fox blockbuster X-Men Origins: Wolverine.
followed including two years
with the Royal Shakespeare
Company (RSC) at Stratford-Upon-Avon. She went on
to work at the Old Vic, where her roles included the
Queen in Richard II, Miranda in The Tempest and Viola
in Twelfth Night, in 1962.
In the contemporary theater, Atkins’ credits include
Semi-Detached, with Laurence Olivier; Exit the King,
with Alec Guinness; and The Restoration of Arnold
Middleton. She won the 1965 Evening Standard Theatre
Award for Best Actress for her performance as Childie
in The Killing of Sister George, and made her New York
debut in this play. She returned to New York in 1967 to
appear in The Promise.
In 1968, she appeared at Chichester Festival
Theatre in The Cocktail Party, which subsequently
transferred to the West End, and at The Royal Court
Theatre Upstairs in Peter Gill’s The Sleepers Den.
Atkins won a Variety Club Award for her role as
Elizabeth in Robert Bolt’s Vivat! Vivat Regina! at
Chichester Festival Theatre in 1970 and later at the
Piccadilly Theatre, a performance she repeated in
New York.
Her other London theater credits include the title
roles in Suzanna Andler at the Aldwych Theatre, St.
Joan at the Old Vic and Medea at the Young Vic. She
played Nell in Passion Play for the RSC at the
Dame EILEEN ATKINS (Eleanor of Aquitaine)
was born in London and was a
student at the Guildhall School
of Music & Drama. She made
her first appearance in London
as Jaquenetta in Love’s Labour’s
Lost for Robert Atkins at the
Open Air Theatre, Regent’s
Park. Seasons in repertory
– 38 –
Aldwych, presented an evening of T.S. Eliot’s poetry
at the Lyric Theatre and appeared in Exclusive at the
Playhouse Theatre, directed by Michael Rudman.
At the National Theatre, Atkins played Hesione in
John Schlesinger’s acclaimed production of Heartbreak
House and leading roles in productions of Cymbeline
and in Harold Pinter’s Mountain Language. She
received an Olivier Award for Best Supporting Actress
in Peter Hall’s production of The Winter’s Tale and was
nominated for an Olivier Award for Best Supporting
Actress for her performance as Hannah Jelkes in
Tennessee Williams’ The Night of the Iguana, directed
by Richard Eyre at the Lyttelton Theatre.
role of Prin at the Manhattan Theatre Club. Her last
appearance on the New York stage was starring in
Indiscretions (aka Les parents terribles), directed by
Sean Mathias at the Ethel Barrymore Theatre.
She appeared in Edward Albee’s A Delicate
Balance with Maggie Smith at the Haymarket,
directed by Anthony Page, and played The Woman in
the RSC’s The Unexpected Man with Michael
Gambon, for which she won an Olivier Award for
Best Actress. Atkins went on to enjoy success with
this role on Broadway.
Atkins’ television credits include leading roles in
The Three Sisters, The Heiress, Olive and The Letter,
She played Gunhild Borkman opposite Paul
Scofield and Vanessa Redgrave, in a hugely
successful production of John Gabriel Borkman—
again directed by Richard Eyre.
In 1989, Atkins received great critical acclaim
when she appeared as Virginia Woolf in her onewoman show A Room of One’s Own at the Lamb’s
Theatre in New York, where she received the Drama
Desk Award for Best Solo Performance and a special
citation in a practically unanimous vote from the New
York Drama Critics’ Circle. Atkins then took the show
on a short nationwide tour of the USA, including a
season at the Westwood Center in Los Angeles. She
also re-created the role for PBS in a version filmed on
location at Girton College, Cambridge, the venue of
Virginia Woolf’s original lecture. Most recently, she
revived the play at the Hampstead Theatre.
In 1992, Atkins premiered her own play, Vita and
Virginia, at the Chichester Festival Theatre—as Virginia
Woolf opposite Penelope Wilton’s Vita Sackville-West.
The show played a season at the Ambassadors Theatre
in the West End at the end of 1993.
She has appeared many times on the American
stage where her credits include As You Like It in
Stratford, Connecticut; The Duchess of Malfi at the
Mark Taper Forum in Los Angeles; Mary Barnes at
the Long Wharf Theatre in Connecticut; and the title
and the title roles in Major Barbara, The Duchess of
Malfi, Electra, The Lady From the Sea and The Jean
Rhys Woman.
She played John Osborne’s mother in A Better
Class of Person, Mrs. Morel in the BBC Television
adaptation of Sons and Lovers, Stella Kirby in Eden
End and Tamara in the BBC Television Shakespeare
production of Titus Andronicus, and she appeared in
Smiley’s People, The Burston Rebellion and Breaking
Up for BBC TV. She co-starred with Lee Remick and
Dirk Bogarde in the BBC film The Vision.
In 1991, she portrayed Mrs. Pankhurst in the In My
Defence series before starring opposite Brian Cox in
The Lost Language of Cranes, a Screen Two film written
by Sean Mathias and directed by Nigel Finch. In 1993,
she played Mrs. Maitland in The Maitlands, directed by
Lindsay Posner and produced by Simon Curtis for the
BBC Performance series. She played the role of Judith
Starkadder in Stella Gibbons’ Cold Comfort Farm,
directed by John Schlesinger for the BBC. She starred
as Jane Murdstone in Peter Medak’s David Copperfield
and played the role of Emily in Women Talking Dirty.
She also appeared in the BBC’s The Sleeper. Atkins
starred in Bertie & Elizabeth for Carlton Television and
The Lives of Animals for BBC4.
Her recent film credits include Last Chance
Harvey. Other credits include The Dresser, Equus
– 39 –
and the role of Mrs. Bentley in Let Him Have It,
directed by Peter Medak. She appears opposite Jack
Nicholson in the Mike Nichols feature film Wolf; in
Jack & Sarah, for director Tim Sullivan; The
Avengers, directed by Jeremiah Chechik; Stephen
Daldry’s The Hours; and the role of Mrs. Croft in
Robert Altman’s award-winning Gosford Park.
In 2002, Atkins filmed What a Girl Wants,
directed by Dennie Gordon, and Anthony Minghella’s
Cold Mountain. She also appeared in the BBC drama
Love Again as Philip Larkin’s mother, Eva.
In 2003, Atkins appeared with Corin Redgrave at
the National Theatre in Honour, directed by Roger
Canadian-born KEVIN DURAND (Little John)
has developed a versatile
background, beginning in
comedy and Broadway, then
transitioning into television
and film, illustrating his
ability to captivate a wide
range of audiences.
In 2009, Durand was
nominated for a Saturn Award
for his recurring character,
Martin Keamy, on the popular series Lost. Durand
was also a series regular on Touching Evil and the
Michell, for which she won the Olivier Award for
Best Actress. She appeared on Broadway in William
Nicholson’s The Retreat From Moscow, for which she
received a Tony Award nomination.
In 2004, Atkins’ film credits included Mira Nair’s
Vanity Fair, Robert Towne’s Ask the Dust, The Queen of
Sheba’s Pearls, written and directed by Colin Nutley, and
The Feast of the Goat, directed by Luis Llosa.
In 2005, Atkins appeared as Meg in Harold
Pinter’s play The Birthday Party at the Duchess
Theatre, London, directed by Lindsay Posner, and
shot the independent film Scenes of a Sexual Nature,
directed by Ed Blum.
The year 2006 saw Atkins play Sister Aloysius in
Doubt, directed by Doug Hughes, which enjoyed a
successful run on Broadway at the Walter Kerr
Theater. She also appeared on television in Waking
the Dead and Marple: Towards Zero.
In 2007, Atkins appeared at the Almeida Theatre
as Bridget in There Came Gypsy Riding by Frank
McGuinness, directed by Michael Attenborough;
filmed Evening, starring Meryl Streep and directed
by Lajos Koltai; and starred in Cranford and Ballet
Shoes for the BBC.
James Cameron hit series Dark Angel.
Recently, Durand was seen in Legion, with Dennis
Quaid and Paul Bettany, and the box-office smash
X-Men Origins: Wolverine, alongside Hugh Jackman.
Before his film career, Durand was voted one of
Canada’s funniest new comedians. In addition, he
originated the role of Injun Joe in The Adventures of
Tom Sawyer on Broadway.
Durand is best known for his roles in James
Mangold’s 3:10 to Yuma, with Russell Crowe and
Christian Bale; Joe Carnahan’s Smokin’ Aces, opposite Ben Affleck and Jeremy Piven; and Walt
Becker’s Wild Hogs, with John Travolta, Tim Allen
and Martin Lawrence.
Durand’s other credits include The Butterfly Effect,
opposite Ashton Kutcher; Jay Roach’s Mystery, Alaska,
with Russell Crowe; Columbia Pictures’ Winged
Creatures, opposite Forest Whitaker and Dakota
Fanning; and Vertigo Entertainment’s The Echo.
He currently resides in Los Angeles.
– 40 –
SCOTT GRIMES (Will Scarlet) is familiar to television audiences as Dr. Archie
Morris, the stringent chief resident on the hit drama ER. Once
a recurring actor, Grimes
joined the cast in the 12th
season as a series regular. He is
also well known for his role as
Sgt. Donald Malarkey in the
critically acclaimed Band of
Brothers, the World War II
miniseries. His voice is recognizable to animation fans
from his series regular gig as Steve Smith on FOX’s
Even as a young child in the small Newfoundland
fishing village of Petty Harbour, ALAN DOYLE (Allan
A’Dayle) was holding up a sign
that said “Look at Me.”
Petty Harbour is a small
fishing village, located deep
amidst the rugged shoreline of
Canada’s most isolated province. Known worldwide for its
stunning beauty and unique
dialect, Newfoundland is a place that holds tight to its
traditional culture. When Doyle was a boy, his home
American Dad.
Born in Lowell, Massachusetts, Grimes launched
his entertainment career in 1980 as a child in the Tony
Award-winning Broadway musical Nine. He performed
with Bob Hope, The Carpenters and Merv Griffin, to
name a few, and his music has been heard on the Golden
Globe Award-winning show Party of Five.
Before he became an actor, Grimes considered a
career as a professional hockey player, and he
continues to play in celebrity charity events.
His recently completed film Who’s Your Monkey?
won the audience award at the CineVegas Film
Festival. He also starred in the blockbuster feature
film Crimson Tide, as well as the 1999 feel-good
feature Mystery, Alaska.
In addition, Grimes was regular on Party of Five
for the run of the series and has had numerous gueststarring roles on television.
Away from the set, Grimes regularly plays charity
gigs with Band From TV, which also includes Hugh
Laurie, James Denton and Adrian Pasdar, among others.
village was small and close-knit, with only one small
winding road connecting it to the world. The Atlantic
Ocean was the town’s front yard and playground.
Even then, Doyle yearned to make his place in the
world. Although he was inclined to be the leader in
anything he did, there was no place for a singer or
guitar player in the school band, so he learned drums,
all the better to make the maximum impact. Like
many Canadian boys, hockey was his other passion,
and only the vital and dangerous role of the goalie
appealed to him. It was also in Petty Harbour where
he had his first brush with Hollywood when, during
his childhood, the small town surprisingly became the
set for two infamous “whale” movies: the Jaws
knockoff, Orca, and the made-for-television A While
for the Killing.
Just a teenager when he left home and moved to
Newfoundland’s capitol, St. John’s, Doyle pursued a BA
in English and religion at Memorial University and
honed his musical skills as a solo artist in dozens of
pub matinees. It was in the city’s infamous dockside
music pubs that he developed the thick skin and iron
larynx needed to go with his natural talent. In 1993,
he joined forces with fellow musicians Sean McCann
and Bob Hallett, and together they started Great Big
Sea, in hopes of fusing Newfoundland traditional
music with their own pop sensibilities.
– 41 –
Doyle assumed the role of lead singer, and the
bandmates began to assault the music business from
their unlikely Newfoundland home base. Some 17
years later, the band continues to astonish crowds
around the world with their energy, musical skill and
inability to take themselves too seriously. A major
band in Canada for a generation, their nine albums
and two DVD releases have been declared Gold or
Platinum. In the United States, they are considered a
major concert attraction, and play sold out theaters
and hockey arenas across the continent.
In his spare time, Doyle is much in demand as a
producer, arranger and general musical catalyst,
Among the 11 Bergman films in which Von Sydow has
starred are the classics The Seventh Seal, The Magician,
The Virgin Spring, Through a Glass Darkly, Hour of the
Wolf and Shame, and he appeared in several other Swedish
films including The Emigrants and The New Land.
Von Sydow made his film debut in the Swedish
film Only a Mother in 1949, and he appeared for the
first time in a Hollywood film, playing Christ in George
Stevens’ epic The Greatest Story Ever Told.
He also appeared in such U.S. hits as Hawaii,
William Friedkin’s The Exorcist, John Huston’s The
Kremlin Letter, Sydney Pollack’s Three Days of the
Condor, Woody Allen’s Hannah and Her Sisters and
having produced albums for actor Russell Crowe and
Juno Award winners The Irish Descendants, among
others, and furnished soundtracks for the movie
Young Triffie’s Been Made Away With, the television
series Hatching, Matching & Dispatching and for a
bestselling Nintendo DS video game. Doyle’s voice
has been introduced to many new ears during the past
television season, as Great Big Sea’s song “Oh Yeah”
has served as the them to the CBS hit detective drama
Republic of Doyle.
Doyle lives in downtown St. John’s with his wife
and son. Great Big Sea’s tenth release, “Safe Upon the
Shore” will be released everywhere in July 2010.
David Lynch’s Dune, as well as Pelle the Conqueror
(for which he received an Academy Award® nomination
for Best Actor), Death Watch, Voyage of the Damned
and many, many others.
Von Sydow was also seen in Scott Hicks’ Snow
Falling on Cedars, Steven Spielberg’s Minority Report,
Paul Marcus’ Heidi and Eric-Emmanuel Schmitt’s
Oscar and the Pink Lady. He was recently seen in
Martin Scorsese’s Shutter Island.
Von Sydow was born in Lund, Sweden, but has been a
French citizen since 2003. He attended the Acting Academy
at the Royal Dramatic Theatre in Stockholm, Sweden, from
1948 to 1951 and, in 1957, appeared on stage in Henrik
Ibsen’s Peer Gynt. Among his other appearances (82 all
together) are Swedish productions of Luigi Pirandello’s
Henry IV, Tennessee Williams’ Cat on a Hot Tin Roof,
Jean Anouilh’s Waltz of the Toreadors, Molière’s The
Misanthrope, Jean-Paul Sartre’s The Condemned of Altona,
Ibsen’s The Wild Duck and many others.
He appeared on Broadway in Night of the Tribades
and Duet for One and at London’s Old Vic in Shakespeare’s The Tempest in the role of Prospero, which he
had played in Sweden.
In 1984, Max directed the film Katinka, based on
Herman Bang’s novel “Along The Highway.”
Von Sydow currently lives in Paris with his wife,
Catherine, a filmmaker.
The legendary actor MAX VON SYDOW (Sir
Walter Loxley), who has
received innumerable honors
from the international film
community and has been in
films for 60 years, is known
for his extraordinary collaboration with the great Swedish
filmmaker, the late Ingmar
Bergman. In 2007, Von Sydow
received worldwide acclaim
for his performance as a grieving father in Julian
Schnabel’s film The Diving Bell and the Butterfly.
– 42 –
ABOUT THE
FILMMAKERS
RIDLEY SCOTT (Directed by/Produced by) has
been honored with three
Academy Award® nominations for Best Director. He
earned his latest Oscar®
nomination in 2002 for his
work on Black Hawk Down,
for which he also received a
Directors Guild of America
(DGA) Award nomination.
The year before, Scott
received Oscar®, Golden Globe, BAFTA and DGA
award nominations for Best Director for the epic
Gladiator. The film also won the Oscar®, Golden
Globe and BAFTA awards for Best Picture, in addition to being named Best Picture by numerous critics
groups. Scott earned his first Academy Award® nomination, as well as his first DGA Award nomination,
for his work on the groundbreaking 1991 drama
Thelma & Louise, starring Susan Sarandon and
Geena Davis, who were both Oscar®-nominated for
their performances in the film.
Scott garnered another Golden Globe Award
nomination for Best Director for the true-life drama
American Gangster, starring Denzel Washington and
Russell Crowe. Scott also received a BAFTA nomination for Best Film as a producer on the film. He
recently directed and produced Body of Lies, also starring Russell Crowe and Leonardo DiCaprio; A Good
Year, starring Russell Crowe and Albert Finney; the
epic Kingdom of Heaven, with an ensemble cast led by
Orlando Bloom and Jeremy Irons; and Matchstick
Men, starring Nicolas Cage and Sam Rockwell.
A graduate of London’s prestigious Royal Academy
of Art, Scott later began his directing career at the
BBC, working on some of the network’s popular tele-
vision programs, as well as commercials. After three
years, he formed his own company, RSA, which soon
became one of the most successful commercial
production houses in Europe, later adding offices in
New York and Los Angeles. RSA still maintains a
high profile in the global marketplace, representing
many noted directors in the film and commercial
arenas. Over the years, Scott has directed more than
3,000 commercials, most notably the provocative
Share the Fantasy ad for Chanel No. 5 and his
Orwellian Apple Computer spot, which aired only
once, during the 1984 Super Bowl, but remains an
advertising benchmark. The latter was recently hailed
by Advertising Age as the best commercial of the last
50 years. Scott’s commercial work has also collected
awards at several film festivals, including the Venice
and Cannes film festivals.
In 1977, Scott made his feature film directorial
debut with The Duellists, for which he won the Best
First Film Award at the Cannes Film Festival. He
followed that with the blockbuster science-fiction
thriller Alien, which catapulted Sigourney Weaver to
stardom and launched a successful franchise. In 1982,
Scott directed the landmark film Blade Runner, starring Harrison Ford. Considered a science-fiction
classic, the futuristic thriller was added to the U.S.
Library of Congress’ National Film Registry in 1993,
and a director’s cut of Blade Runner was released to
renewed acclaim in 1993 and again in 2007.
Scott’s additional film directing credits include
Legend, starring Tom Cruise; Someone to Watch Over
Me; Black Rain, starring Michael Douglas and Andy
Garcia; 1492: Conquest of Paradise; White Squall,
starring Jeff Bridges; G.I. Jane, starring Demi Moore
and Viggo Mortensen; and Hannibal, starring
Anthony Hopkins and Julianne Moore.
In 1995, Scott and his younger brother and fellow
filmmaker, Tony Scott, formed Scott Free Productions. The company has since produced a wide
range of film and television projects, including a
– 43 –
number of films helmed by Ridley or Tony Scott.
Under the Scott Free banner, Ridley Scott has
produced or executive produced such features as Clay
Pigeons, starring Joaquin Phoenix; Where the Money
Is, starring Paul Newman; Tristan + Isolde, starring
James Franco and Sophia Myles; Curtis Hanson’s In
Her Shoes; and the award-winning Western The
Assassination of Jesse James by the Coward Robert
Ford, starring Brad Pitt and Casey Affleck.
For television, Scott Free currently produces the hit
series Numb3rs, which is heading into its fifth season on
CBS. Ridley Scott has also served as an executive
producer on several of the company’s long-form proj-
Writers, creators and executive producers
ETHAN REIFF & CYRUS VORIS (Story by)
wrote the story for Kung Fu Panda, DreamWorks’
2008 smash-hit animated feature, starring the
voices of Jack Black, Dustin Hoffman, Angelina
Jolie and Jackie Chan. Reiff and Voris also wrote
Bulletproof Monk, the 2003 mystical martial arts
adventure film produced by John Woo, starring
Chow Yun-Fat.
In 2008, Reiff and Voris executive produced the
one-hour drama Eleventh Hour, for Jerry
Bruckheimer Television and CBS. From 2005 to
2007, Reiff and Voris created and executive produced
ects, including the A&E miniseries The Andromeda
Strain, based on the book by Michael Crichton; the
TNT miniseries The Company; and the award-winning
HBO movies RKO 281, starring Liev Schreiber as
Orson Welles, and The Gathering Storm, starring Albert
Finney and Vanessa Redgrave under the direction of
Richard Loncraine. Production recently wrapped on a
sequel to The Gathering Storm, also for HBO.
In 2003, Scott was awarded a knighthood from the
Order of the British Empire in recognition of his
contributions to the arts.
two seasons of the multiple Emmy- and Golden
Globe-nominated television series Sleeper Cell, for
Showtime. In 1998, they began their television careers
creating and co-executive producing their original
supernatural/detective series Brimstone, for FOX.
Reiff and Voris have been writing together since
1987. Reiff was born and raised in New York City,
while Voris comes from mid-west Cincinnati, Ohio.
Both attended film school at New York University.
Though they never met while students there, they
were introduced at a mutual friend’s graduation party,
where they learned each was completing his first
feature-length screenplay. They agreed to meet again
and swap finished scripts, which they did at a
Mets/Reds baseball game. This led to their long-term
collaboration and professional partnership, based
first in New York City and later in Los Angeles.
BRIAN HELGELAND (Screenplay by/Story by)
has written and adapted many features throughout his
career as a screenwriter, including the Academy
Award®-winning film L.A. Confidential, for which he
received an Oscar®. Among his credits are his original
screenplays for Conspiracy Theory and A Knight’s
Tale, along with his adaptations of Payback, Man on
Fire and Mystic River, for which he received an
Academy Award® nomination. Helgeland also wrote
Paul Greengrass’ Green Zone, starring Matt Damon,
Greg Kinnear and Amy Ryan.
In addition to his work as a screenwriter,
Helgeland has directed three feature films and is soon
to direct his original screenplay Sidney Grimes for
Sony Pictures.
BRIAN GRAZER (Produced by) has been
making movies and television programs for more than
25 years. He most recently produced his creative
partner’s, Oscar® winner Ron Howard, adaptation of
Dan Brown’s best-selling novel “Angels & Demons,”
Ridley Scott’s box-office smash American Gangster,
starring Russell Crowe and Denzel Washington, and
Universal Pictures’ drama Changeling, directed by
Clint Eastwood and starring Angelina Jolie.
– 44 –
As both a writer and a producer, he has been personally nominated for four Academy Awards®, and in 2001
he won the Best Picture Oscar® for A Beautiful Mind. In
addition to winning three other Academy Awards®, A
Beautiful Mind also won four Golden Globe Awards
(including Best Motion Picture—Drama) and earned
Grazer the first annual Awareness Award from the
National Mental Health Awareness Campaign.
Over the years, Grazer’s films and TV shows have
been nominated for a total of 43 Oscars® and 131
Emmys. At the same time, his movies have generated
more than $13.5 billion in worldwide theatrical,
music and video grosses. Reflecting this combination
directed by Howard. The film was nominated for five
Academy Awards®, including Best Picture, and nominated for the PGA’s Darryl F. Zanuck Producer of the
Year Award in Theatrical Motion Pictures.
Grazer is currently in postproduction on Restless,
a coming-of-age story directed by Gus Van Sant and
staring Mia Wasikowska and Henry Hopper.
Other feature film credits include the big-screen
adaptation of the international best seller “The Da
Vinci Code,” starring Tom Hanks and directed by
Howard; the tense drama Inside Man, directed by
Spike Lee and starring Denzel Washington, Clive
Owen and Jodie Foster; Flightplan; Cinderella Man;
of commercial and artistic achievement, the
Producers Guild of America (PGA) honored Grazer
with the David O. Selznick Lifetime Achievement
Award in 2001. His accomplishments have also been
recognized by the Hollywood Chamber of Commerce, which, in 1998, added Grazer to the short list
of producers with a star on the Hollywood Walk of
Fame. On March 6, 2003, ShoWest celebrated
Grazer’s success by honoring him with its Lifetime
Achievement Award. On November 14, 2005, the
Fulfillment Fund honored Grazer in Los Angeles. In
May 2007, Grazer was chosen by Time magazine as
one of the “100 Most Influential People in the World.”
Grazer and Howard were honored by the PGA
with its Milestone Award in January 2009 and by
NYU’s Tisch School of Cinematic Arts with its Big
Apple Award in November 2009.
In addition to A Beautiful Mind, Grazer’s films
include Apollo 13, for which Grazer won the
Producers Guild’s Darryl F. Zanuck Producer of the
Year Award in Theatrical Motion Picture as well as an
Oscar® nomination for Best Picture of 1995; and
Splash, which he co-wrote as well as produced and
for which he received an Oscar® nomination for Best
Original Screenplay of 1984.
Grazer also produced the film adaptation of Peter
Morgan’s critically acclaimed play “Frost/Nixon,”
the Sundance-acclaimed documentary Inside Deep
Throat; Friday Night Lights; 8 Mile; Blue Crush;
Intolerable Cruelty; Dr. Seuss’ How the Grinch Stole
Christmas; The Nutty Professor; Liar Liar; Ransom;
My Girl; Backdraft; Kindergarten Cop; Parenthood;
Clean and Sober; and Spies Like Us.
Grazer’s television productions include FOX’s hit
Emmy Award-winning Best Drama Series 24; NBC’s
Friday Night Lights; FOX’s Lie to Me, staring Tim
Roth; and NBC’s Parenthood, which premiered this
March. His additional television credits include
FOX’s Emmy Award-winning Best Comedy Arrested
Development, NBC’s Miss Match, WB’s Felicity and
ABC’s Sports Night, as well as HBO’s From the Earth
to the Moon, for which he won the Emmy for
Outstanding Miniseries.
Grazer began his career as a producer developing
television projects. It was while he was executiveproducing TV pilots for Paramount Pictures in the early
1980s that he first met his longtime friend and business
partner, Ron Howard. Their collaboration began in 1982
with the hit comedies Night Shift and Splash, and in
1986, the two founded Imagine Entertainment, which
they continue to run together as chairmen.
CHARLES J.D. SCHLISSEL (Executive Producer) re-teams with director Ridley Scott after
– 45 –
serving as executive producer on Body of Lies, and as
co-producer on the 2003 comedy Matchstick Men.
Schlissel studied film and media at the University
of Washington and San Francisco State University
before completing his college education at UCLA,
where he graduated summa cum laude with a BA in
economics, with an emphasis on international finance
and arbitrage. He briefly studied in the American
Film Institute’s producing program before accepting a
job as Mel Brooks’ assistant on the comedy
Spaceballs. He then worked as a production assistant
on several projects before commencing a long-term
association with producer Stuart Cornfeld as a devel-
produced Body of Lies, directed by Ridley Scott and
starring Leonardo DiCaprio and Russell Crowe; and
American Gangster, directed by Ridley Scott and starring Denzel Washington and Russell Crowe. Scott
Free most recently produced The Company, a six-hour
miniseries chronicling the history of the CIA for TNT.
Costigan has developed many projects during his
tenure at Scott Free, including Domino, starring Keira
Knightley; A Good Year, the romantic comedy starring Russell Crowe; Curtis Hanson’s romantic drama
In Her Shoes, with Cameron Diaz, Toni Collette and
Shirley MacLaine; and the hit CBS television series,
Numb3rs. His upcoming projects under the Scott Free
opment executive. He next moved to Barry Levinson
and Mark Johnson’s newly formed Baltimore Pictures
as director of development, and served as postproduction supervisor on Levinson’s Academy
Award®-nominated Avalon. Promoted to head of
production, he oversaw such high-profile Baltimore
Pictures projects as Bugsy, Toys, Wilder Napalm and
Steven Soderbergh’s Kafka.
Subsequently, Schlissel became an independent
producer with credits including Heavy Weights, While
You Were Sleeping, Celtic Pride and Red Planet. He
served as executive producer on director Christopher
Nolan’s features Insomnia, starring Al Pacino, Robin
Williams and Hilary Swank, and The Prestige, which
starred Christian Bale, Hugh Jackman, Michael Caine
and Scarlett Johansson. He was also executive producer
on the hit thriller Flightplan, starring Jodie Foster.
Apart from his film career, Schlissel pursues
white-water rafting and alpining. Among his mountain conquests is the summit of the world’s highest
peak, Mount Everest, accomplished with a sole guide
in November 1998.
banner include the feature Factor X, the story of the
infamous BTK killer in Kansas.
Costigan served as executive producer on the
groundbreaking drama Brokeback Mountain.
Directed by Ang Lee from a screenplay by Larry
McMurtry and Diana Ossana, based on the Annie
Proulx short story, the film was nominated for Best
Picture and won Oscars® for Best Director and Best
Adapted Screenplay. More recently, he produced the
romantic comedy-drama Smart People, and the
holiday comedy Deck the Halls.
Before segueing into production, Costigan spent
over a decade in the studio ranks, serving for nine
years as executive vice president of production at
Sony Pictures. He oversaw the acquisition, development and production of dozens of motion pictures,
including the Oscar®-winning Girl, Interrupted,
directed by James Mangold; Milos Forman’s
Oscar®-nominated The People vs. Larry Flynt;
McG’s blockbuster Charlie’s Angels; the acclaimed
black comedy To Die For, directed by Gus Van Sant;
and two high-profile directorial debuts: Andrew
Niccol’s Gattaca, and Wes Anderson’s Bottle Rocket.
In 2002, Costigan founded his own production
company, Corduroy Films. Based at Sony Pictures,
Corduroy’s current projects include the big-screen
version of the landmark television series Dallas and
MICHAEL COSTIGAN (Executive Producer)
has served as president of Scott Free Productions,
Ridley and Tony Scott’s company, since 2005. Under
the Scott Free banner, he most recently executive
– 46 –
Another Bullshit Night in Suck City, based on Nick
Flynn’s award-winning memoir.
JIM WHITAKER (Executive Producer) is
currently directing and producing Project Rebirth, a
film that chronicles the reconstruction of Ground Zero
along with the healing process of nine people affected
by September 11, 2001. He recently executive produced
Changeling, directed by Academy Award® winner Clint
Eastwood and starring Academy Award® winner
Angelina Jolie; American Gangster, starring Academy
Award® winners Denzel Washington and Russell
Crowe; Friday Night Lights, starring Billy Bob
Thornton; Flightplan, starring Jodie Foster; and 8 Mile,
starring Eminem. He also co-executive produced Ron
Howard’s film Cinderella Man, starring Academy
Award® winners Russell Crowe and Renée Zellweger.
Whitaker’s passion for filmmaking first emerged
during his undergraduate years at Georgetown. In 1987,
he went to work in Baltimore doing craft services on
John Waters’ cult hit, Hairspray. In 1988, he served as
an intern at the local NBC affiliate and traveled to the
Democratic and Republican conventions, working as a
stringer for Katie Couric, a local reporter at the time. In
1989 and 1990, he directed several films to raise money
for nonprofit organizations including Best Buddies and
Rebuilding Together.
Upon graduation, Whitaker joined the independent production company Hillman & Carr, where he
edited documentaries for museums. He also
conceived, raised financing for and directed an
award-winning public service announcement against
drunk driving. In 1991, Whitaker moved to Los
Angeles where he entered the Peter Stark Producing
Program at the University of Southern California,
earning a master’s degree in fine arts.
During his graduate studies, Whitaker accepted
an internship position at Ron Howard and Brian
Grazer’s Imagine Entertainment. Upon graduation
from USC, he was awarded a full-time position as a
creative associate with the company. Whitaker rose
through the ranks to become president of motion
picture production from 2003–2009, supervising the
development and production of several other major
motion pictures including Nutty Professor II: The
Klumps, Intolerable Cruelty and Curious George.
Born the youngest of five boys in Bethesda,
Maryland, in 1968, Whitaker spent his early years in
the Washington, D.C. area before moving to the small
town of Yarmouth, Nova Scotia. He returned to
Washington, D.C., for his senior year of high school
and graduated from Georgetown Preparatory School
in 1986. Whitaker graduated from Georgetown
University with honors in 1990 with a bachelor of arts
degree in economics.
Whitaker currently resides in Los Angeles,
California with his wife, Chris, daughter, Rebecca
and son, Emmett.
RYAN KAVANAUGH (Executive Producer) is a
principal of Relativity Media, LLC, a self-sustaining
media company engaged in the business of developing, creating and acquiring content and contentrelated assets.
Kavanaugh created business and financial structures for a number of studios, production companies
and producers. Since moving from venture and
private equity to entertainment industry transactions,
he has introduced more than $10 billion of capital to
these structures including Sony Pictures, Universal
Pictures, Warner Bros., Marvel and many others.
In 2008, Relativity Media finalized its acquisition
of Rogue from Universal. The purchase of Rogue, a
company that specializes in the production and distribution of lower-budget films, includes the label’s
entire library of films, as well as producing deals and
more than 30 projects currently in development.
Rogue has had particular success within the horror
genre; the first Rogue release under Relativity’s
ownership was The Unborn, starring Gary Oldman,
– 47 –
Cam Gigandet, Odette Yustman and Idris Elba. The
Unborn grossed more than $19 million at the box
office on opening weekend and has earned nearly $60
million to date. The Last House on the Left, based on
a Wes Craven film, opened to $15 million at the box
office, and Fighting, starring Channing Tatum and
Terrence Howard, grossed a strong $11.5 million
opening weekend. Additionally, Relativity Media
recently launched Rogue as an overall lifestyle brand
to include a clothing line, a social networking platform and a music label.
In a significant milestone for the entertainment
finance industry, Kavanaugh created a wholly owned
As part of its “single-picture business,” Relativity
Media develops, produces, finances and distributes
approximately one film per month, packaged with
top-tier talent and filmmakers and imbued with
strong commercial appeal both domestically and
internationally. Credits under this single-picture business include 3:10 to Yuma, starring Russell Crowe
and Christian Bale for director James Mangold; The
Forbidden Kingdom, teaming Jet Li and Jackie Chan
for director Rob Minkoff; and The Bank Job, starring
Jason Statham for director Roger Donaldson.
Relativity’s recent single-picture lineup includes Jim
Sheridan’s Brothers, starring Jake Gyllenhaal, Tobey
subsidiary, Relativity Media Holdings, which has
concluded an agreement with Citigroup Corporate
and Investment Banking on a co-financing package
for approximately 45 studio films for the next five
years. With this deal, Relativity will co-invest in
approximately 75 percent of Columbia Pictures’
films, under a five-year revolving credit facility.
Jill Goldsmith of Variety wrote of Kavanaugh:
“His co-financing deals are the most successful
ever in Hollywood. He’s been amazingly proactive
and is the envy of many on Wall Street involved in
the business.”
Kavanaugh has created a number of unique
financing packages, including Gun Hill Road I and
Gun Hill Road II, which provide discrete and separate
funds for both Sony Pictures Entertainment and
Universal Pictures, marking the first time two studios
received funding from the same source. In January
2008, Relativity Media announced the formation of
the wholly owned subsidiary Relativity Capital,
which is to be a principal investor in major media
transactions, including studio slates, the Relativity
Media Single Picture Business, library acquisitions
and other media-related cash-flow investments.
Elliott Associates, L.P., a New York-based hedge
fund, will be working with and providing financing to
Relativity Capital in these media transactions.
Maguire and Natalie Portman; Joe Johnston’s The
Wolfman, starring Benicio Del Toro, Anthony
Hopkins and Emily Blunt; Lasse Hallström’s Dear
John, starring Channing Tatum and Amanda Seyfried;
the heist thriller Brilliant, starring Scarlett Johansson;
the family action film The Spy Next Door, starring
Jackie Chan; and Rob Marshall’s Nine, starring
Daniel Day-Lewis, Nicole Kidman, Penélope Cruz,
Marion Cotillard and Sophia Loren.
Prior to his work with Relativity, Kavanaugh
started a venture capital company at age 22 and,
during that time, raised and invested more than $400
million of equity due to a number of venture and
private equity transactions.
JOHN MATHIESON (Director of Photography)
earned his first Oscar® nomination for his work on
Ridley Scott’s epic Gladiator. He also won a BAFTA,
was nominated for an American Society of
Cinematographers Award and was honored by the Los
Angeles Film Critics Association for his camerawork
on the film. Mathieson continued his creative collaboration with Scott on Hannibal, Matchstick Men and
Kingdom of Heaven.
His recent projects include John Landis’ Burke and
Hare; Rowan Joffe’s Brighton Rock; Kirsten Sheridan’s
August Rush; Joel Schumacher’s The Phantom of the
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Opera, for which he earned a second Oscar® nomination; Marc Evans’ Trauma; Iain Softley’s K-PAX; and
Jake Scott’s Plunkett & Macleane.
Additionally, the Scottish-born cinematographer
has worked on a number of international releases
including Love Is the Devil: Study for a Portrait of
Francis Bacon, starring Derek Jacobi, Vigo: Passion
for Life, Twin Town, Bye-Bye, Pigalle and the documentary Mirror, Mirror.
In 1996, he was accorded the title Chevalier de
l’Ordre des Arts et des Lettres by France’s Ministry of
Culture for his contribution to French cinema.
Festival and projects at Bill Graham’s famous venue
Fillmore East in New York’s East Village. During the
following decade, he designed concert stages for such
legendary musical artists as T-Rex and Pink Floyd.
After studying architecture in England, earning
degrees in the early ’80s from Polytechnic of Central
London and the Royal College of Art, Max went on to
do several architectural design projects in London. He
worked in the British film industry as an assistant to
such prominent production designers as Stuart Craig
on Greystoke: The Legend of Tarzan, Lord of the Apes
and Cal, and Asshetton Gorton on Revolution.
Max subsequently shifted his career focus to tele-
ARTHUR MAX (Production Designer) began his
collaboration with director Ridley Scott in the TV
commercial arena two decades ago. Max has received
Academy Award® nominations for his work on two
Scott-directed films: The 2000 Best Picture Oscar®
winner Gladiator, on which he brought ancient Rome
to vivid life, and American Gangster, for which he
recreated 1970s Harlem. For Gladiator, Max also won
a BAFTA, a National Board of Review award, a
Broadcast Film Critics award and an Excellence in
Production Design award from the Art Directors
Guild. He received his fourth Art Directors Guild
nomination for American Gangster.
Max’s collaborations with Scott also include Body
of Lies; Kingdom of Heaven; Black Hawk Down, for
which he received his second Art Directors Guild
nomination, as well as an American Film Institute
award nomination; and G.I. Jane.
Max has twice collaborated with director David
Fincher, serving as production designer on the filmmaker’s dark 1995 crime drama Se7en, and more recently
on his claustrophobic thriller Panic Room, for which
Max received his third Art Directors Guild nomination.
A native New Yorker, Max graduated from New
York University in the late 1960s and began his career
as a stage lighting designer in the music industry. His
early work included the historic 1969 Woodstock
vision commercials and, for a decade, designed for
such clients as Pepsi, Nike, Jeep, Coke and Levi’s,
which led to his associations with filmmakers Ridley
Scott and David Fincher.
PIETRO SCALIA (Editor) has been honored
twice with an Academy Award® for Best Film
Editing: For Oliver Stone’s controversial 1991
conspiracy theory drama JFK, on which he shared the
honor with co-editor Joe Hutshing and also took
home a BAFTA and the American Cinema Editors’
(ACE) Eddie Award; and for his work on Ridley
Scott’s acclaimed 2001 war drama Black Hawk Down,
for which he also won an ACE Eddie Award and
received a BAFTA nomination.
In addition, Scalia received nominations for an
Oscar® and an ACE Eddie Award for Gus Van Sant’s
Good Will Hunting, and an Oscar® nomination, an
ACE Eddie Award and a BAFTA for Scott’s Oscar®winning film Gladiator.
Scalia has also edited Scott’s Body of Lies;
American Gangster, for which he received a BAFTA
nomination; G.I. Jane; and Hannibal.
He also served as editor on actor-producer
Leonardo DiCaprio’s acclaimed 2007 documentary
The 11th Hour and, more recently, on Matthew
Vaughn’s Kick-Ass.
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Earlier, Scalia collaborated with fellow Italian
filmmaker Bernardo Bertolucci on Little Buddha and
Stealing Beauty. He has also worked with such filmmakers as Sam Raimi on The Quick and the Dead;
Rob Marshall on Memoirs of a Geisha; and Larry
Charles on Masked and Anonymous.
He began his career by collaborating with Oliver
Stone, first as assistant editor on the filmmaker’s Wall
Street and Talk Radio. He went on to serve as associate editor on Born on the Fourth of July, which won
an Oscar® for Best Film Editing, and an additional
editor on The Doors.
Born in Sicily, Scalia was raised in Switzerland.
quently worked on two Mike Newell films: The 1985
thriller Dance With a Stranger and the 1988 drama
Soursweet. She served as wardrobe supervisor on
Alan Parker’s acclaimed Irish music tale The
Commitments, then made her debut as a feature film
costume designer with the 1993 British comedydrama Bad Behaviour.
He came to the U.S. to attend college, eventually
earning his MFA in film and theater arts from UCLA
in 1985.
romantic comedy A Good Year. He also worked with
Scott as music supervisor on Kingdom of Heaven and
Matchstick Men; music editor on Black Hawk Down
and Hannibal; and technical score advisor on the
Oscar®-nominated soundtrack to Gladiator.
Born in Munich, Germany, Streitenfeld relocated
to Los Angeles at the age of 19. He first worked for
composer Hans Zimmer as his assistant, then as a
freelance music editor and music supervisor on
numerous high-profile films.
JANTY YATES (Costume Designer) won the
2000 Academy Award® and earned a BAFTA nomination for her costumes evoking ancient Rome in Ridley
Scott’s Best Picture Oscar® winner Gladiator. The
film marked the first of her five feature film collaborations with the director, which also include Body of
Lies, American Gangster, Hannibal and Kingdom of
Heaven, for which she received a Goya Award nomination for Best Costume Design.
Her list of notable filmmaker collaborations also
includes the Michael Winterbottom films Welcome to
Sarajevo, Jude and With or Without You; Michael
Mann’s Miami Vice; Jean-Jacques Annaud’s Enemy at
the Gates; Christopher Monger’s The Englishman
Who Went Up a Hill But Came Down a Mountain; Jon
Amiel’s The Man Who Knew Too Little; Gillian
Armstrong’s Charlotte Gray; and Irwin Winkler’s
Cole Porter biographical drama De-Lovely, for which
her designs of post-Depression elegance earned her a
Costume Designers Guild Award nomination.
Yates began her career in the fashion world, then
segued to the film industry as a costume assistant on
Jean-Jacques Annaud’s Quest for Fire. She subse-
MARC STREITENFELD (Music by) has
written the music for four consecutive Ridley Scott
films, which include Body of Lies, the BAFTA-nominated score for American Gangster, starring Denzel
Washington and Russell Crowe, and the director’s
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— robin hood—
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