Starring
Logan Lerman, Matthew Macfadyen, Ray Stevenson, Luke Evans, Christoph Waltz,
Gabriella Wilde, Milla Jovovich and Orlando Bloom
Running Time: 102 minutes
Jill Jones
E: jjones@summit-ent.com
Tel: 310.309.8435
Summit International Publicity Contacts:
Melissa Martinez
E: mmartinez@summit-ent.com
Tel: 310.309.8436
Constantin Film International Publicity Contact:
Kat Kleiner
E: kat.kleiner@gmail.com
Tel: 310.247.0300
Asmeeta Narayan
E: anarayan@summit-ent.com
Tel: 310.309.8453
SHORT SYNOPSIS
Based on Alexandre Dumas’ classic novel comes a big-screen action adventure update
of The Three Musketeers, conceived and shot in state-of-the-art 3D.
They are known as Porthos, Athos, and Aramis—three elite warriors who serve the King
of France as his best Musketeers. After discovering an evil conspiracy to overthrow the
King, the Musketeers come across a young, aspiring hero — D’Artagnan — and take him
under their wing. Together, the four embark on a dangerous mission to foil the plot that
not only threatens the Crown, but the future of Europe itself.
The Three Musketeers stars Logan Lerman, Milla Jovovich, Matthew Macfadyen, Ray
Stevenson, Luke Evans, Mads Mikkelsen, Gabriella Wilde, James Corden, Juno Temple,
Freddie Fox with Orlando Bloom and Christoph Waltz.
FULL STORY SYNOPSIS
*** NOT FOR PUBLICATION ***
The Three Musketeers begins in Venice. The legendary cavaliers, Athos, Porthos and
Aramis, converge in the vaulted chamber of the Doge’s Palace, each with a coded key to
unlock the most treasured secret in Europe—Da Vinci’s designs for the world’s first
airship. Athos’ seductive lover, Milady De Winter, coldly double-crosses the heroes in
favor of the English Duke Of Buckingham. As the Duke snatches Da Vinci’s plans, Athos’
heart is crushed along with the spirit of the Musketeers.
One year later, the young and idealistic D’Artagnan leaves his rural home on a quest for
adventure and the dream of becoming one of the King’s heroic guards.
His ambitions lead him to Paris where he unwittingly crosses the paths of Athos, Porthos
and Aramis – infamously, the three most daring of the Musketeers. At first exhilarated by
the chance encounter, D’Artagnan is bewildered to discover the trio has grown
pessimistic and disillusioned. Their once ferocious lust for life, love and honor has been
quelled by the humiliating failure of their last mission. To make matters worse for the trio,
the new King Louis is a naïve child who is easily manipulated by the Cardinal Richelieu,
who has little use for the talents and bravery of his elite guards. They long for a worthy
cause to reignite their passion to fight for the monarchy and the good of France.
In addition to the Musketeers, D’Artagnan’s attention is caught by Constance, the
Queen’s beautiful lady in waiting. It is love at first sight for D’Artagnan but Constance is
unconvinced by the sincerity of his unsophisticated advances.
Meanwhile, a treacherous plot is unfolding within the palace walls. With the assistance of
the cunning triple agent, Milady De Winter, Cardinal Richelieu is conspiring to destroy the
young King he professes to serve by driving him wild with jealousy. In manipulating a
war with England, the Cardinal will create the perfect opportunity to overthrow the
monarchy and crown himself supreme ruler of France.
With remarkable finesse, Milady steals the Queen’s favorite diamond necklace and plants
it in the quarters of the Tower of London belonging to the Duke of Buckingham - a
notorious cad and womanizer (not to mention, the proud owner of the world’s first
airship). She then forges love-letters from the Duke thanking the Queen for the
diamonds, and strategically leaves them in the royal chambers for the King to find.
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The Queen is distraught when she discovers the diamonds are missing and realizes the
implications of the Cardinal’s betrayal. Against all the odds, she needs to retrieve the
necklace quickly and quietly or her marriage and the monarchy could be destroyed
forever. Her lady in waiting has an idea.
When Constance goes to D’Artagnan with the predicament, he implores the veteran
Musketeers to join him on the mission. His infectious enthusiasm leaves them little
choice and in haste the fearless group departs for England to find Buckingham and the
Queen’s diamonds before it is too late.
With so much at stake, the resourceful friends must use all their skill and judgment to
keep one step ahead of the Cardinal’s game of power and deceit. D’Artagnan’s voyage
of discovery takes them from the Tower of London, to the awe-inspiring war-ships of the
sky and the rooftops of Notre Dame. For the salvation of France and of themselves, the
legendary Musketeers unite – all for one and one for all!
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ABOUT THE FILM
The Three Musketeers began principal photography on August 26, 2010 on location in
Bavaria, Germany. Produced for Constantin Film and Impact Pictures by Jeremy Bolt
and Robert Kulzer, the film is directed and produced by Paul W.S. Anderson. Martin
Moszkowicz, head of Film & TV at Constantin Film is executive producing.
Based on Alexandre Dumas’ historical novel, the film has been adapted for the screen by
Andrew Davies (Bridget Jones’ Diary) and Alex Litvak (Predators). Other key members of
the creative team include production designer Paul Austerberry (The Twilight Saga:
Eclipse), costume designer Pierre Yves Gayraud (Perfume: The Story of a Murderer),
and cinematographer Glen MacPherson (Resident Evil: Afterlife).
The stellar ensemble cast is led by Logan Lerman (Percy Jackson & The Olympians: The
Lightning Thief) who plays the young and idealistic D’Artagnan, Matthew Macfadyen
(Pride & Prejudice, Robin Hood), Ray Stevenson (The Book of Eli, Thor) and Luke Evans
(Immortals, Clash of the Titans) play the three war-weary Musketeers; Athos, Porthos
and Aramis, respectively. Academy Award®-winner Christoph Waltz (Inglorious Basterds,
The Green Hornet) plays the conniving Cardinal Richelieu, Milla Jovovich (Resident Evil:
Afterlife) is the beautiful but deadly triple-agent Milady De Winter, and Orlando Bloom
(Pirates of the Caribbean) plays England’s Duke of Buckingham.
The film also features rising stars Juno Temple (The Other Boleyn Girl, Notes on a
Scandal) and Freddie Fox (St. Trinian’s 2: The Legend of Fritton’s Gold) as Queen Anne
and King Louis, respectively. Gabriella Wilde (St. Trinian’s 2: The Legend of Fritton’s
Gold) plays the beautiful and resourceful Constance. British comedian and television
star, James Corden (Gulliver’s Travels) is the Musketeer’s servant, Planchet. Mads
Mikkelsen (Casino Royale, Clash of the Titans) portrays D’Artagnan’s nemesis,
Rochefort, the ruthless captain of the Cardinal’s guards.
Summit Entertainment is releasing The Three Musketeers in the USA; Constantin Film
will distribute in Germany. Other foreign distributors include GAGA for Japan; E1 in the
UK; TF1/UGC in France; Aurum Producciones in Spain; Rai Cinema in Italy; Alliance
Films in Canada; and DCA in Latin America.
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A NEW CAST FOR A CLASSIC TALE
Jeremy Bolt and director and producing partner Paul W.S. Anderson reunite with Robert
Kulzer to make The Three Musketeers. Much like the titular characters themselves,
these three filmmakers are back together again, this time tackling historical fiction, quite a
departure from their last collaborations.
“I've always been attracted to The Three Musketeers,” says Anderson. “It's a classic
story. I read the book when I was at school. I grew up watching the Richard Lester
version of the movie. And it's a kind of film that I've always wanted to make. For me, it's
a real passion of mine and it has been for a long time. It’s the classic story of heroism,
love, and friendship. It's set in France. But it tells the story of an everyman and that
everyman is D’Artagnan. He's a young man who grows up in the countryside who
dreams of going to the big city and making it big.”
Says producer Jeremy Bolt, ”Paul and I were in Berlin and had been talking about
wanting to film something with this beautiful European architecture. The Oliver Reed
version of the film - which Paul had always loved - came on while I was at the gym, and it
all just clicked together. I pitched it to Paul as soon as I could, We had been looking for a
project that was full of adventure, and we found it in The Three Musketeers.”
Says Kulzer, “Paul and I have done many movies together, usually involving zombies,
monsters and evil forces. However, I think we are finally growing up and Paul has got
married and had a little girl, Ever. Paul is a very passionate father and I think that Ever
has definitely influenced his branching out in a different direction. But I think we all felt
that this was a fantastic opportunity for Paul to show a side of his work and skills that
goes beyond just being an action director and shows that he is really someone who can
tell a story of love with humor and with great spirit.”
Adds Anderson, “A lot of people say it's a big change of pace, doing a period movie after
having done so many science fiction films. And really I don't see it as that different,
because actually science fiction and period movies have a lot in common. If you think
about it, in a science fiction movie, you need to create all the sets, you need to create a
world. Everyone has to wear a costume, everyone has to have a specific hair style. It's
creating a world. And that's exactly what period moviemaking is. You have to create that
world also. And that's what we have done in Three Musketeers.”
He continues, “I think The Three Musketeers is a story that offers for filmmakers the
opportunity to immerse the audience in the world that a modern audience hasn’t seen
before. To immerse the audience in the world of 17th century Paris is pretty amazing. I
mean, think about it. For me it was very exciting. And also it was very exciting because
really in all the previous versions of The Three Musketeers no one had ever really
presented France and Paris. And I know that may seem strange coming from a filmmaker
who shot his movie in Germany, but the architecture was true French Architecture. And
also what we've been able to do with visual effects is really recreate whole chunks of
Paris that have never been seen before. Notre Dame Cathedral as it was at the time.
The Louvre as it was at the time, these fabulous bridges that arced across the Seine that
had houses built on them, houses and shops and these things have never really been
seen in a movie of The Three Musketeers before.”
Casting for any film is always a crucial stage to ensure a film’s success, but the process
takes on a unique importance when dealing with casting a classic story with well-known
characters.
“This movie was a big challenge in terms of casting because all the actors have to be
funny, they have to be charming and they must be able to deal with their characters
5
individual love issues. This film also requires many of them to fly through the air, sword
fighting, on horseback, on airships etc. So each actor had to be capable of the whole
spectrum of talents,” says Kulzer.
Logan Lerman was cast first in the lead role as D’Artagnan. Says Lerman, “D’Artagnan is
the symbolic youthful, moral character that reignites the Musketeers from their retirement.
At the beginning of the film, when he leaves his small town home, he is a cocky, naïve
kid. He gets a dose of reality when he travels to the big city and meets some immoral
people.
Bolt explains, “we decided to play D’Artagnan as he was portrayed in the book, which
was 17 or 18 years old. He is very smart and, not only physically a great athlete and a
great swordsman, he is also extremely intelligent and good with people. Logan is a very
bright young man and extremely dedicated. We put him with a terrific sword
master/choreographer and he has become a great athlete. He also has a very
sympathetic side to him and it was important to us that our D’Artangnan had that
‘everyman’ quality. He is a country boy from Gascony – essentially, he’s a nobody who
changes the world.
Lerman was excited by the opportunity to work with the director, Paul W.S. Anderson.
He explains, “working with Paul and his team has been a very collaborative experience.
It is nice to have a say on your character and to be able to make small changes so you
feel comfortable with each scene. Paul was always very approachable and open to
ideas.”
Anderson says, “Well Logan Lerman as D’Artagnan, he brings this fiery intensity. Logan
really reminds me of a young Tom Cruise, around Risky Business. He’s just bursting with
intensity. And that's what D’Artagnan is. He can’t wait to leave home, to go to Paris to
seek his fortune, to become a musketeer. And Logan really embodies that. This was his
first time outside of North America; he’d never been to Europe before, so it was very
exciting for him, and it was very exciting for me to kind of put that excitement on film,
because it just pours out of Logan. And then you get to juxtapose him with the kind of
more world weary cynicism of Matthew Macfadyen, Ray Stevenson, and Luke Evans.
They've done a lot more movies, they've done a lot more things, they've lived a lot more
life, they're a little more cynical. Lovely guys, but they're world weary a little bit. Which is
exactly what their characters are in the book and in the movie.”
Lerman was equally excited to work with the actors who would be cast as his costars, the
titular Three Musketeers. But his alter ego’s first encounter with them isn’t exactly a
dream come true.
“When he meets the three Musketeers, he is immediately disappointed by them,” says
Lerman. “He thought they would be heroic figures but in reality they are just bored
drunks without any purpose. D’Artagnan changes their lives – he earns their respect and
brings them back together.”
Casting the Musketeers was quite straightforward because each character is described
so distinctively in the Dumas novel; the mysterious Aramis, the larger than life Porthos,
and the melancholic Athos.
“There needed to be a good balance with these actors because the Musketeers are all
equal – they even have approximately the same number of pages in the novel. Matthew
Macfadyen as Athos is brilliant – he has this elegance and grace with an underlying
brooding violence. Porthos is just full of love of life and exuberance, bear hugs, beer and
wine and Ray [Stevenson] just imports this physicality. Luke Evans as Aramis is
extremely handsome but with a dark, mysterious quality,” says Bolt.
6
“Casting the Three Musketeers was something that I paid very close attention to,” says
Anderson. “I felt that they really had to have a unity. You have to feel that these men
have kind of lived in each other’s pockets for a long time. They actually live together in an
apartment. It's three big guys in this tiny little apartment. And when they go to war, they
go to war together. So you have to really feel this intimacy that they have. And of course
that's very difficult when you cast roles and you hire actors, sometimes, who’ve never met
one another before. And then they're thrown together on a movie.”
Matthew Macfadyen was chosen as the talented but heartbroken Athos. Producer Robert
Kulzer says of the actor, “He plays the role of Athos brilliantly - with elegance and dignity,
but also with a bubbling undercurrent of violence and brutality."
Macfadyen appreciates his role, especially the depth, “Athos has been betrayed by his
lover Milady, who sold him and his friends out to the Duke of Buckingham. As a result,
Athos is quite grumpy and uncommunicative. He is quite a dark character and drinks to
cover his heartbreak.”
But when D’Artagnan arrives in Paris, Athos recognizes in him all the ideals of his own
youth. “He instinctively warms to D’Artagnan because I think he sees echoes of himself
in this young man – I think all the Musketeers do. D’Artagnan is full of life and
exuberance, which Athos is not anymore because he has seen it and done it all – he is in
the doldrums. The relationship he develops with D’Artagnan becomes very paternal – it
is a heart warming story.”
Anderson adds, “Athos is very much the leader of The Three Musketeers. He’s the first
amongst equals because they're a group. But he’s definitely the one they look to for
leadership. He’s also probably the most troubled of the Musketeers. He’s a man who
was deeply in love with a woman who then completely betrayed him. And that has made
him lose faith in not just life, but life, to a certain extent. So when D’Artagnan meets him,
Athos is a cynical, burnt-out man.
“And it really is D’Artagnan's job to re-energize Athos and bring back that flame that
maybe Athos thought was extinguished. And by the end of our movie, D’Artagnan has
given the Three Musketeers and particularly Athos a new sense of drive and purpose.”
Although they are the closest of friends, each of the Musketeers has very individual
personalities. Luke Evans, cast as Aramis, and fan of the story since childhood, talks
about the Musketeer characters and how they relate to the young D’Artagnan in the
movie. “We all have our separate relationships with D’Artagnan. My character, Aramis
becomes like an older brother to him. He sees this young whippersnapper who believes
he is invincible and can rule the world, and watches him make his mistakes. Aramis likes
and cares about D’Artagnan in very brotherly way, even though at times D’Artagnan’s
youthful bravado grates on him. Athos is the father figure, a lovelorn, heart broken father
who sees himself in D’Artagnan. And then we have Porthos, who is a like the bighearted uncle, always ruffling his hair and slapping him on the back a bit too hard. We all
have our place.”
“Having arrived in Paris and met up with us Musketeers, D’Artagnan starts to develop.
He comes a long way through the course of the movie – it is his rite of passage. A young
boy who has his sight set on big things and he gets knocked back. He falls in love and
he realizes he has to make some big decisions, so he grows an awful lot. We all grow in
the film. D’Artagnan revives the sense of camaraderie, brotherhood and pride in who we
are. At the end of the day D’Artagnan earns his place – he works hard for it but
eventually he becomes the fourth Musketeer.”
7
Producer Robert Kulzer evaluates Luke Evans as the ideal candidate for Aramis. "He’s a
good looking guy, but also brings a dark, mysterious side into this role."
Evans says, “Aramis was once a priest and he is often found reading the bible or using
his rosary. He is a loyal soul and a very good friend – in the books he never betrays
anyone. He prays for each and every person he has killed in battle. As a Musketeer,
Aramis is a quiet creature - when he fights he is lethal but graceful and agile. He is like a
seventeenth century Batman.”
For Anderson, Aramis is a very interesting character, because he is a complicated man.
“He has a very interesting line which is straight from the book, where he realized that
being a man of God and a man of the cloth was not exactly the same thing. Which I think
speaks to how corrupt the church may have been at that time, and also how the Church
was used as a force for political and social control. So Aramis has lost faith in his religion
and he’s lost faith in his cause, which is to fight for France. He’s lost faith in a different
way to Athos, but both of them are very similar, in that they need a great cause.”
Ray Stevenson plays the larger than life Musketeer, Porthos. He talks about the
research he did in pre-production and how that formed his version of the character: “We
had some creative license on this film to create a bit of a back story for our characters.
Porthos has a different fighting style, he has a particular way of dressing and he has a
different attitude to life, but at heart he has that certain DNA that makes him a musketeer;
that something that keeps and binds the Musketeers together. It was quite fun to have
the opportunity to play around with those ideas.”
Anderson says, “Porthos is the third musketeer and he’s always portrayed in the book as
the kind of giant of the Three Musketeers, and that's really what made Ray Stevenson
perfect for playing him, because Ray is not just a big man, he’s a big presence.”
As a Musketeer Stevenson was involved in many of the fight sequences and was trained
by the German European Championship gold medalist, Imke Duplitzer. Stevenson says
of his trainer, “Imke was wonderful and we were very lucky to have her. When shooting
scenes in 3D, the camera has an all-encompassing view, so everything you do in a fight
has to be on target. The discipline of the fight sequences when you are shooting 3D is at
a much higher level. Don’t forget, you are wielding a big piece of metal around and going
for a target so you have to be much more focused than if you were filming in standard
2D.”
International movie stars Orlando Bloom, Milla Jovovich and Christoph Waltz also joined
the cast.
Orlando Bloom is the devious Duke of Buckingham. “The Musketeers story is a very
famous and remarkable one. I feel like my whole career has been a journey in which I
realize my childhood dreams - this film certainly adds to that. One of the things that most
attracted me to the project was that the role of Buckingham was a very different part for
me to play. I get to be a caddish rogue. Buckingham is not the archenemy but he is a
great rascal of a character. I just knew when I read the script that it was going to be a lot
of fun and great entertainment. I think there is always room in the theatres for a movie
that people can go and just enjoy. This is a movie to marvel and get lost in. Plus I was
excited to work with Paul Anderson after hearing his ideas on the film.”
Director Anderson explains, “In talking about doing The Three Musketeers, I said to
Jeremy, ‘we must have Orlando Bloom in this movie.’ This is before we’d cast anybody
else. I just knew he was the right kind of person to have in the film. But we weren't quite
sure what role he should play. Because to have him as a Musketeer, I thought would
place him too much in the world of Pirates of the Caribbean. I felt that is something he’d
8
done before and he probably wouldn't be interested in doing again. And then one day I
came up with the idea of casting him as the Duke of Buckingham, one of the bad guys of
the movie. And we went to go and have a cup of tea with Orlando in London and I talked
to him about it and he loved it. Because he felt this is exactly what he had wanted to do
for a long time was to break away from the kind of good guys that he’d been playing in
Lord of the Rings and Pirates of the Caribbean and really let his inner bad guy out. And
he did it with great aplomb. I mean, he really went for it.”
Says Bolt, “Paul and I love to cast against type and Orlando is seen here playing an
antihero – the cunning and caddish Duke of Buckingham. You are going to expect a
goody goody, but you are going to get an extremely roguish, cunning baddy. I think we
are the first to do that with Orlando.
Bloom describes his character: “The Duke of Buckingham was the wealthiest courtier of
his King’s reign and he behaves like a big spoiled brat. He is like a peacock that loves to
show himself off. When Paul and I were discussing the role, he was telling me to think
about the cool rock-stars of our time: David Bowie, Jim Morrison, Mick Jagger –
Buckingham is like a rock star. This is not a Musketeer movie the audience is going to
expect because it doesn’t take itself seriously. There is so much joy, humor and wit in this
piece. Buckingham comes in, has these great moments where he stirs it up with all the
key characters and then leaves again. It has been a lot of fun.”
“Orlando was very engaged with the movie. He loved the role he was playing. He loved
the costumes he was wearing. I think when you make a period movie, and you have
costumes as extravagant as the kind that Orlando wears, I think there’s a great danger
that the costumes end up wearing the actor. But the costume should just become an
extension of his character. And I think Orlando thought about that a lot and he embodied
that when we were shooting the movie,” says Anderson.
Milla Jovovich has been a fan of the Dumas stories since childhood. She explains her
attraction to the time-honored role of Milady De Winter. “For me, The Three Musketeers
is the classic, action packed, fun book that you can’t stop reading once you’ve started.
Dumas was a fantastic writer, every chapter leaves you hanging, wanting to know what
happens next.
“I was involved from the very beginning when Paul [Anderson] started working with
Andrew Davies to write the script for the movie. Milady is one of my favorite characters in
historical literature. I was just so happy that Paul was going in a different direction with
his filmmaking and that I could potentially have the chance to play such an iconic
character.”
“Milla is an incredible history buff,” says Anderson. “I’ve never met anyone who kind of
knows more about European history. She reads all the time. She was very interested
even long before I started talking about doing The Three Musketeers, in the whole time
I've known her, she’s been very interested in period etiquette and she’s read books about
that and about the royal court. And of course she’s a fashion designer. So she knew all
about the dresses. This was a period that she was fascinated with. And had a lot of kind
of passion and knowledge to bring to that role.”
Jovovich talks about Milady as a character and how she embodies the qualities of a
strong, independent woman of today. “I have always looked at Milady as one of the most
modern women in literature. She is single, incredibly smart and able to go in and out of
different societies effortlessly. It takes a very strong and clever woman to be able to
navigate in a man’s world, especially in the 17th century when a woman could be sent
away to a nunnery or an asylum for speaking back to her husband. To be a woman that
is smart enough to manipulate these men is a great accomplishment.”
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Jovovich talks about Milady’s darker side: “I am very proud to play this part - for me it is
not just about portraying the bad guy. It is true, she does not do everything by the book,
but she is not a normal woman. She is not just a pretty girl who sits around waiting for
men to do things for her. She definitely lies, cheats and steals but that is what all the
guys are doing, too! The only difference is that she is a woman. I find a lot of sympathy
with her. She is branded a bad woman but I respect how she lives her life.”
“Milady De Winter is a double agent, she’s a spy, she’s a tough girl. And I think there’s a
tendency in period movies for tough girls to kind of repress their femininity. And play the
roles more like men,” adds Anderson.
Says Bolt, “Milla embodies this incredible force – she is such a strong presence. I can’t
imagine her ever playing an ordinary person and Milady de Winter is absolutely not
ordinary. She is a triple agent, undercover operative with multiple pseudonyms - a
woman way ahead of her time. Milla felt she could bring something very new and distinct
to this character and she has embraced the part. Fans of her previous work will not be
disappointed.
From all of her work on the Resident Evil franchise, Jovovich is more than comfortable
with a little stunt work. “I love to do my own stunts,” she says. “It’s an opportunity I’ve
always embraced and something my fans appreciate, so I’m always keen to do as much
as I can on my own.
“I have one major action sequence which I did myself – it involves a lot of sword work,
which I love, so it was a lot of fun. I have to fight off ten guards whilst in full Milady
costume. I don’t think anyone has ever done an action sequence in this kind of dress with
huge skirts, petticoats and corsets, so it will be a bit of a challenge. It is good because
Milady is an innovative character – always the first to do something – so I am very happy
that she is the one that gets the first female action sequence in a corset and big dress –
she deserves it.”
Anderson agrees, “It was a huge challenge, but actually looks spectacular. Because no
one had ever tried to do that before. And Milla put a huge amount of effort into blocking
her fight scene, where she was fighting with a big dress and two swords and spinning
over people’s backs with the petticoats going everywhere. Technically incredible
difficulty, but visually just something you've never-ever seen before.”
Christoph Waltz plays the devious and all-powerful Cardinal Richelieu. “It was delightful
working with Christoph,” says Anderson. “He really is a gentleman. I met him in Los
Angeles and this was one of the first movies he signed to do after he won the Oscar. He
was a lover of The Three Musketeers. I think that's one of the things you will find in
common with nearly all of the actors. And nearly everyone behind the scenes is a Three
Musketeers fan. Everyone was really excited to make a Three Musketeers movie. And
whereas my Three Musketeers movie was the Richard Lester version, that's the version I
grew up with, Christoph remembers seeing the Gene Kelly version when he was at
school. And they would play that repeatedly at school. So he always had like a
childhood dream to be in a Musketeer movie. So for him it was very much a dream come
true.”
Like many fine actors, his approach to the role was one of research and appreciation for
the period of the film. “I read biographies and did some research on Richelieu, and it is
important to do that in order to draw inspiration, but the performance I give at the end of
the day has nothing to do with the real Richelieu. It is my real Richelieu,” says Waltz. “He
has the power - Richelieu has more power than anyone in France. He simply has to
10
arrange matters so that everything runs smoothly. It is not so much at existential thing,
it’s a diplomatic thing. It is a power game.”
Anderson says of his actor, “he asked a lot of very smart questions about the movie. He
wanted to know how his Cardinal Richelieu was going to be different to any other
Cardinal Richelieu. And I said, what we're going to do is we're actually going to be the
first movie to portray him as the man he really was.”
“Christoph Waltz is mesmerizing to watch – he is a real master,” says Bolt. “We shouldn’t
underestimate the brilliance of the Dumas novel. It is a masterpiece and the characters
are phenomenal, so we had to bring in actors who had the ability to live up to that. With
Christoph we have exceeded expectations. I feel extremely lucky to have him in the
movie.”
Stevenson talks about this experience of working with the director, Paul W.S. Anderson:
“Paul has a genuine enthusiasm for this project – this sheer joy of filming every stage of
this movie is infectious. He is a visual director and his command of telling a story through
motion picture is second to none. It is no surprise to me that he is now coming to the 3D
table. What I think is interesting is how this classical tale will hang on a 3D stage. We all
know what 3D can give you visually, but can you follow a dramatic narrative in that sense
when it is not action lead. The action comes from the narrative rather than the other way
around. I think it is going to work incredibly well. The audience is going to need
massages when they leave the cinema because they will feel as though they have been
inside the fights with us – it’s very exciting.”
Macfadyen comments, “Paul has a non-stop enthusiasm and energy – and I don’t mean
in an ridiculous way. He just has a very constant energy. That quality is so important for
a director because, if nothing else, as an actor you look to him to keep your spirits up. ”
LOCATIONS
The Three Musketeers was filmed on location in some of Germany’s most breathtaking
towns and cities throughout Bavaria, and at Babelsberg Film Studios in Berlin.
Says Anderson, “The Three Musketeers is set in France. But the interesting thing about
Bavaria is that a lot of the castles and palaces that were built there were built at a time
where it was very fashionable to kind of emulate French architecture and also Italian
architecture. And the opening of our version of The Three Musketeers takes place in
Venice and then the action shifts to Paris. So in a way Bavaria was perfect, because it
had a fantastic mix of Italian and French architecture.”
Filming kicked off on location in Bamberg, within a historical courtyard situated on the
Domplatz. The site doubled for Coopers Yard, the meeting point D’Artagnan chooses for
his duels with Athos, Porthos and Aramis. The duel is interrupted by the arrival of
Rochefort and the Cardinal’s guards, who are subsequently flattened by the Three
Musketeers and their new young friend. Says Lerman, “for me, staring off with the huge
fight was definitely an interesting way to begin – jumping straight into the high action. I
remember I was the first one out of the four of us to film his part of the fight. Stepping up
to the plate was nerve wracking to say the least. I’m very competitive so I wanted to
show what I was made of and really put all the hard training to use.”
The Domplatz was transformed into 17th Century Calais, where our heroes discover the
route to England has been blocked. Filming also took place on Obere Brücke (Upper
Bridge) and under the ornate building that was once the town hall. The crew worked
through the night to film the scenes outside the Musketeers’ apartment, where Rochefort
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and his guards arrive to arrest them by force if they refuse surrender. The town hall was
built in the middle of the 14th century. In addition to the stunning architecture, and the
Baroque and Rococo style interior, the frescos are particularly impressive due to their
plasticity.
Says Lerman, “I personally loved Bamberg – I was blown away by it. We also had a lot
of fun there. The cast and crew were all staying in the same hotel in this little town so we
could hang out after work and at the weekends. It was a real bonding experience.”
Next stop on the tour was Burghausen to film within the historic castle walls. One area
doubled for Meung, where D’Artagnan stops on his journey to Paris and is given a lesson
in reality by Rochefort. Burghausen was also the location used as the bustling Parisian
market, in which D’Artagnan chases after Rochefort, but bumps into Athos, Porthos and
Aramis instead.
Burghausen boasts the longest castle complex in Europe, stretching over 3281 feet in
length. Dating back to the 12th century, the castle is picturesquely situated between the
Salzach River and Wohrsee Lake, at the foothills of the Alps.
Stevenson comments, “Each location had its own character. The way the set [Parisian
Market] in Burghausen was dressed was incredible – your eye never has a place to land
which will just be enhanced by the 3D. We also shot in places like the Residenz and the
Antiquariam in Munich which has never been filmed before.”
Next, the crew traveled to the far northern tip of Bavaria to film the splendor of the Louvre
at the Würzburg Residenz and gardens. Crowds gathered daily to catch a glimpse of
The Three Musketeers cast including Christoph Waltz, Orlando Bloom and Milla
Jovovich.
Jovovich talks about the importance of filming on location in the historical towns and
cities of Bavaria: “The locations are really what give this movie the authenticity and the
scope. We could have chosen to film in France but the French countryside is so
modernized that you wouldn’t be able to film wide shots of the castles the way that you
can in Bavaria. Paul and the whole team were able to scout these incredible historical
castles and palaces that enabled him to really back up with the camera and get an
awesome scope. This is especially important for this film because depth and scope are
crucial for 3D.”
Built between 1720 and 1780, the palace is the former residence of the Würzburg princebishops. During World War II it was heavily damaged but it underwent extensive
restoration and re-opened in 1987. It is now on UNESCO’s World Heritage list.
Schloss Weissenstein in Pommersfelden was the palatial country house used as the
interior Venetian safe house set. This is where the Musketeers’ celebration is cut short
by the arrival of Buckingham and the betrayal of Milady. The room used for filming was
intricately decorated with shells and mirrors encrusted into the walls giving the room an
almost aquatic quality.
Filming on location in Bavaria was a treat for Macfadyen, he explains, “It was seemingly
endless; beautiful location after beautiful location, each more wonderful and amazing
than the last. My favorite was a 17th Century Schloss in Pommersfelden. We filmed the
scene in the Venetian Safe House where Milady double-crosses the three Musketeers.
The room we were filming in was vast and exquisite with shells and tiny mirrors
decorating the walls. The art department placed water baths outside so the water
reflected and made a light effect on the ceiling – it was utterly beautiful. I felt very lucky
and privileged to be working there.”
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Moving on, the film crew set up base at Chiemsee and had to get a water taxi each
morning over to the island home of the Royal Palace of Herrenchiemsee. Arguably the
most decadent of all the palaces used during the location shoot of The Three
Musketeers; this palace was the brainchild of King Ludwig II and was intended to be a
copy of Versailles Palace. Ludwig died in 1886 before the building was complete.
However, it still boasts the State Bedroom complete with an 8 ½ ft bed, and The Mirror
Gallery which is almost 328 feet long and decorated with over 1,800 candles.
Several impressive rooms and the famous French gardens at Herrenchiemsee were used
as locations in the film. The site doubled for the French Louvre, the residence of King
Louis and Queen Anne.
Back in Munich, the crew set up for their final location within the Great Hall of
Schleissheim. The magnificent white room served as Cardinal Richelieu’s office – a
perfect reflection of the character’s cold, stark heart.
On Day 33, after six weeks on location, the crew packed up and moved to Berlin to
complete filming at Bablesberg Studios, Potsdam.
COSTUMES
Among the many ways that this version of the classic story has been retold for a new
generation, is a complete update to the wardrobe of all characters in The Three
Musketeers. Costume designer Pierre-Yves Gayraud had his work cut out for him in
finding a unique way to dress the well-known characters, while staying true to the period.
Paul W.S. Anderson says, “I didn't want to go for total realism. I wanted to go for a kind of
hyper real look. Pierre-Yves and I worked on that for a long time. “
Says Gayraud, “When I spoke with Paul for the first time, he told me he didn’t want the
costumes to be traditional, he wanted them to have a rock attitude – especially for Milady
and the Musketeers. However, as things developed, Paul became interested in looking
at more period references. He liked them, so the result is a real mixture – not quite 17th
century, not quite rock star.”
“The costume designer did an amazing job,” praises Stevenson. “He has designed these
wonderful costumes that all sit so well within the flamboyant surroundings. He has
managed to create costumes with just the right degree of theatricality – it is going to be
an incredibly visually rich movie to watch, enhanced by 3D.”
Gayraud continues: “We used a lot of color and, of course, working with 3D meant we
had a really good opportunity to play with textures and give everything lots of extra
volume.
With a background in the fashion industry, Jovovich enjoyed working with Pierre-Yves
Gayraud on the costume for Milady’s wardrobe. “Fashion is something I love; it has
always been a big interest of mine. Working on costumes for characters is really
important because this is the point when your character really comes to life.”
Gayraud explains, “The clothes of the 17th Century were actually not very sexy – they
were quite drab and heavy, especially for the women, so we knew we did not want to go
too traditional. For men, it was slightly easier to make the traditional look modern
because the silhouette remained the same; they still basically wore boots, jeans and flight
jacket. The women of this period were very strict and not particularly glamorous. So, we
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decided to change the volume for the corset, and we mixed it with Christian Dior’s
silhouette from the 1950s by lowering the top edge of the skirts to just below hip-level.”
“When I was a little girl, I have more memories of being in fancy dress than not, but I
never dressed up as a Queen. This is a first, laughs Juno Temple, who plays Queen
Anne. “These costumes were extraordinary - it feels pretty wonderful to be in a corset
with a beautiful skirt, showing of cleavage, collar bones and necks, and being very regal.”
Gabriella Wilde, who plays the Queen’s lady in waiting, Constance agrees. “When you
get in to these costumes, you immediately feel different. The dresses force you to stand
and move in a certain way – you really feel what is must have been like for these women.
I actually get to dress up as a boy as well in this film, so that is fun,” she says.
Due to the stylized look they had created, Pierre-Yves Gayraud and his team had to
produce over 400 unique costumes by hand. He explains: “We had three different places
to make the costumes. We started with a workshop in Paris, where we made our prototype pieces and worked on the silhouettes we wanted for the men and the women. When
that was established, we moved to Romania to start producing the costumes. It wasn’t
until the first week in August that we arrived in Munich to start fitting them with the artists
that would be wearing them in the film. It really was a huge challenge timing-wise. We
were completing items right up until the moment the costumes were needed on set.”
Another challenge for Gayraud was the action element of the film, he explains. “Usually,
I would use old pieces of fabric from movies I have worked on before but for this one it
wasn’t possible because of the amount of duplication necessary to cover the action
scenes. We decided instead to use modern fabrics and then work on them. We would
make a lot of embroidery and add prints to make them unique. Sometimes we would
need five or six duplications of one dress – so it would have been nearly impossible to
find antique material in that quantity.”
Bloom talks about his unique costume and how it helped to bring the character to life for
him: “We had a great rehearsal period and I had already done some work on my
character’s dialect, voice, movement, and physicality… and then I got my costume. You
just don’t mess around when you have a costume like The Duke’s! For a film like this, it
is definitely a great help but it was also something I had to learn to get comfortable in.
These outfits are not something you get to wear everyday. There is nothing comfy about
my suits but they do look amazing!”
“These costumes just pop your eyes and blow your irises out of your face, says Freddie
Fox. “Louis is very interested in fashion but he is not a fashion whore. He wants to look
the best because he must be the centre of attention. He especially wants to show in front
of the Duke of Buckingham, who tends to be one step ahead of him in the fashion
stakes.”
Producer Jeremy Bolt echoes the praise of the cast. “Pierre-Yves has demonstrated to
me how the costumes are equally as important to a film as good lighting. Costumes are
a running theme in The Three Musketeers; the King is very much into fashion and
Buckingham is like the fashion icon of the 17th Century, so we have a lot of fun with the
idea of fashion throughout the film,” he says.
Adds Anderson, “Pierre-Yves is a genius, there’s no doubt about it, and he’s definitely the
one authentic French thing in the movie. He built beautiful costumes and he built
costumes that were true to the 17th century, but altered slightly.”
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PRODUCTION DESIGN
Paul Austerberry talks about of the look and feel of the film: “It is a modern take on a
period movie. We are obviously supposed to be set in the 17th century, but we have
incorporated a lot of modern elements; it is stylized with clean, stark lines and bright color
palates. It is more of a comic book period movie than a real period drama.”
He continues on the director’s style and how that impacted decisions he needed to make
with regards to the location element of the shoot: “Paul Anderson’s middle name initials
are “W.S.” – he loves the wide shot. This is fantastic for the art department because he
always wants to show all the work we do. Paul likes things to be very symmetrical, which
gives a very stylized look. Everything we do is in a really wide lens, usually an 18mm
lens, and everything looks bigger than it actually is. We have gone to these really
amazing locations, which are already large, and used a very wide lens, low to the ground,
and it captures the whole world. It is fantastic because you get all the scenery
surrounding these wonderful sets, and it is more realistic for the actors. It is a subtle
thing with Paul but it is all right there, in your face.”
“Quite often in modern day fantasy and period movies a lot is done with green screen, but
we had the advantage of having these fantastically huge locations. And I wanted to fill
them with hundreds of extras,” says Anderson.
He adds, “the most challenging things have nothing to do with just size and scale and
numbers. One of the scenes that was probably the most difficult, although you may not
think it, is the bridge that we shot in Bamberg. It's a beautiful kind of medieval bridge
across the river. And but because it's tight and it's confined, it was difficult to work on.
Then we had a lot of flaming torches, and there’s always the potential danger of that.
Especially when you have eighty or ninety people carrying flaming torches in an action
scene.”
As the production designer, Austerberry was part of the scouting team that settled on
Bavaria for most of the location work for The Three Musketeers. “I wasn’t sure what to
expect from the locations but they are fantastic. We were looking for some Italian and
French locations and of course Bavaria has a lot of Italian influenced architecture. Many
people wanted to have their Schlosses [palaces] designed in Italian style years ago, or
have part of an Italian Grotto built in their grounds, so we managed to get a lot of the
correct style of buildings from South Germany.”
“The sets that we have in the film bring a sense of reality to the movie, and a sense of
grandeur and scale that I think will really shock people when they see it. These locations
that we used in Bavaria are so big. Because these palaces were built on the scale that
no one constructs anymore. I don't care if you're the richest man in the world, you don't
build a house or a mansion as big as Ludwig II built his mansions. So you're dealing with
a scale of architecture that doesn't exist in the modern world,” says Anderson.
However, shooting in real locations presented its own set of challenges. Austerberry
explains: “First of all we had to get permission to shoot in these protected locations.
Some of the places we wanted to film were highly protected by their historical society, so
it was difficult to get in there. Once we did, we had to decorate the sets. A lot of our
pieces were genuine 17th Century items from France. For every piece of furniture we
brought in to the buildings, we had to produce a certificate declaring there was no
questionable past – ensuring we weren’t bringing termites into the Schlosses.”
Anderson says, “Filming in all of these locations, you had to take special precautions. So
quite often, the camera equipment could not touch the floor. In fact, we would have to
kind of lay carpeting and then Styrofoam and then wooden boards and then more
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Styrofoam and then more wooden boards, and then more carpeting, and then we could
put the equipment on top of that. So that we didn't affect the historic buildings in any
way, which was a lot of extra work for us. And it meant the camera equipment was quite
often it was that high off the ground. But to shoot in such beautiful places, it's worth the
effort.”
He continues, “I’d often say to Paul, ‘how much would it cost to build this if we built it as a
set?’ And he would look at it and he would go, not only would you never ever be able to
afford to build this, but you could never build it, even with all the money in the world,
because the level of detail and the craftsmanship that exists here doesn't exist in the
world anymore. The way these things are carved and detailed no one does that. That's
kind of a lost art. So really in a way, these locations are providing a kind of glimpse into
the reality of an opulent past that I think most people have not seen before. And what we
chose to do is we took real locations and then we adapted them to our use.
One example of such an adaptation was the map of Europe on Richelieu’s office floor.
Austerberry took an amazing white room in Obescheiseim and made the map fit
seamlessly but look like it's inlaid into the marble floor.
Says Anderson, “We adapted a lot of locations into what fit in the script rather than
building just small sets. And then the sets that we built tended to be around the airships
in the movie. And we built a lot of those. Because although there’s an element of green
screen, in those sets certainly, I'm not a big fan of green screen. I would rather build as
much of a real set as possible. Gives the actors more to interact with and also makes the
finished visual effects more realistic.”
Austerberry adds, “there were actually no airships around until the 18th century.
However, there are lots of 17th Century drawings of airships and they are often depicted
as just regular ships hanging beneath a big air balloon - I guess so that if they landed on
water, they could float. We took that idea to the extreme and based our airship on a
Galleon of the period, modified it slightly and suspended it under a huge balloon. Paul’s
vision for these airships was like a 17th century Death Star – the first time we see it
looming over the Louvre in Paris it had to be vast. We take big liberties with gravity and
physics, but it makes for an impressive vehicle.”
“The first time I saw the sets in Babelsburg, the thing that came to mind is ‘damn they're
big,’” laughs Anderson. “I mean, they are undoubtedly my favorite set that I've ever had
built in all the movies I've made. These fantastic three story huge ships were wonderful.
And they were hugely expensive to make. A lot of effort and time and money went into
them. It would have been a lot easier just to have actors standing against a green screen
and then put the ships in digitally. But I felt that would really lack the authenticity of
having like these really big sets. That we could then digitally enhance. So we went for it,
we built these giant ships that were very difficult to film on.”
Talking about the use of color, Austerberry said: “We have tried to push the limits of color
and style in every way possible. For example, Richelieu’s office is a vast, high ceilinged
room that is completely painted white with very small details of black and gold. It is
incredibly stark and cold which contrasts strongly with the Cardinal’s blood red robes and
the costumes of his guards, who are dressed in red with shiny black armor.”
Austerberry explains how working on a 3D set effects his work as the production
designer: “This is my first 3D movie. It is not radically different because I always like to
provide a foreground, mid-ground and background. However, in 3D I have to think about
it a bit more. I can’t bring things too close to the camera; we have to give room for the
extra equipment on the set because the cameras are a lot bigger and require more crew.
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This was true of the interior of the airship – we had to stretch the set to make enough
room for the 3D camera, the crew and the actors to squeeze into the hull of the boat.
“I also get to play around with layering. It especially cool when the camera moves across
layers – items you didn’t know where there suddenly pop out in 3D. It has been a lot of
fun.”
3D MUSKETEERS
For these filmmakers, the decision to shoot in 3D was an easy one. “We are shooting in
3D because Paul does not want to shoot in any other format”, laughs Bolt. “Having shot
Resident Evil: Afterlife in 3D, he is complete convert. For him it is the same as when they
introduced sound to the movies in the early part of the last century. I cannot pitch
projects to Paul unless he can film them in 3D. Paul has such a visual style; he loves the
symmetry, the foreground, mid-ground and background objects. 3D wouldn’t work with a
director who is much more about the written word – it is a tremendously visually
challenging medium, and the director has to be visually brilliant to make the most of it.”
Anderson says, “3D for me is a major paradigm shift in cinema and that's what makes
making movies especially now very exciting. Just as when cinema went from silent
movies to talkies, or went from black and white to color photography, I think going from
two dimensions to three is just the next natural progression in cinema. I'm very excited to
be kind of working on the cutting edge of that.”
“This was my second 3D movie,” he adds. The last Resident Evil film, Resident Evil:
Afterlife, I learned a huge amount about 3D and about visual effects in 3D. We chose
deliberately to use almost the same team behind the cameras we did on Resident Evil,
because I built up a team that I trusted. We’d all learned together. And I wanted to take
advantage of that for The Three Musketeers.
The Three Musketeers marks the second 3D collaboration after Resident Evil: Afterlife
between director and producer Paul W.S. Anderson, cinematographer Glen MacPherson
and CAMERON | PACE Group.
The film was shot using the same 3D camera system that Avatar used, ARRI’s new
ALEXA digital cameras outfitted on the latest CAMERON | PACE Group FUSION 3D
system. Two ALEXA’s are mounted on a “split beam mirror” rig, where one camera is
mounted on top of the other, with one camera filming straight through the mirror and a
second camera filming downward through the reflection captured on the mirror. The 3D
effect is controlled by the FUSION 3D system. Because it was filmed in native FUSION
3D, filmmakers were able to view scenes in 3D on set as they were being shot.
“I approach 3D filmmaking not as an add-on but as a very holistic approach. Everything
about the movie has to be 3D. We start by writing a script that is a 3D script. That has
action set pieces in it and descriptions of places that think about the depth that 3D likes
and loves. Then we design sets that emphasize the 3D. I choose locations that work
well in 3D. We choose to shoot fight scenes in the rain, because rain looks great in 3D.”
While Paul W.S. Anderson is also renowned for his work in 3D, the medium that was a
first for Lerman working in front the camera. “I had never been to a 3D set before so the
whole world of 3D technology was Greek to me when we started. I was really excited to
learn how they make the films in 3D. Actually, as an actor, I can say it is easier in some
ways because you get digital playback, in great quality and in 3D – it is pretty awesome
to see precisely what you are filming.”
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Already well experienced in filming in 3D, Jovovich explains what the medium will bring to
The Three Musketeers, “I think Paul is really taking 3D to a whole new level with this
film. No one has ever filmed a historical piece in 3D and yet it suits the period so well.
When you see these amazing castles, landscapes, gardens and the costumes in 3D it will
be like walking into a storybook. The audience is going to be able to go to the theatre
and be immersed in a past time, which is so rich and beautiful. We have never seen
anything like it before in 3D.”
Lerman agrees, “A lot of people have asked me why we would re-make The Three
Musketeers in 3D. The truth is, we have such incredible technology these days and 3D
transports you straight into that time period unlike any other Musketeers film before. It is
a really immersive – you put the glasses on and you are there, in the middle of the
action.”
Producer Kulzer continues, “I think all big adventure movies going forward will be shot in
3D. We all had a very strong sensation after Resident Evil: Afterlife that we needed to
find our next big spectacle that we could shoot in 3D. This movie is perfect because we
have these phenomenally symmetrical pieces of architecture; these beautiful buildings,
castles and parks, and they lend themselves perfectly to 3D photography. I believe it will
add a lot of value to the movie – not just for fans of action movies but also for fans of
historical buildings or beauty in general. They will experience these locations in a way
they have never been seen before, in beautiful 3D cinematography.”
WHAT AUDIENCES CAN EXPECT
Jeremy Bolt tells us what the cinema goers can expect when The Three Musketeers in
3D is released theatrically: “You can expect something unlike you have ever seen
before; the swords will move faster than you have ever seen in a sword movie; the
costumes will be more colorful than you will believe, the action will be more like a science
fiction movie; the locations will be staggering, and the story is unforgettable.”
Macfadyen said, “I don’t think we are setting out to be a different Musketeers – more a
Musketeers for a new generation. We have a great script, a wonderful cast and crew,
phenomenal locations and I think these ingredients will naturally create a fresh take on
what is a romping good story. With universal themes of love, loyalty and friendship, I
hope it will be as pertinent and relevant as it possibly can be.”
Taking the role of Porthos was great fun for Stevenson: “When I used to go to the
cinema as a child, there was really only these epic adventures on the big screen and to
find yourself doing it in reality is living the dream! We have been riding horses and
fighting with swords – it is a tremendous way to live a life and to make a living. If you are
all going to work together and you are going to entertain people, you have to get involved
in that sense of adventure. Everybody needs to be enchanted – sometimes you just
need to be taken on an inspirational journey of excitement and adventure, and that is the
essence of The Three Musketeers.”
Stevenson talks about what excites him about Paul W.S. Anderson’s version of The
Three Musketeers. “I hope we are providing this generation with a great adventure.
Showing them that there is still room for real excitement and that spirit to go out and
experience life and go with a good heart. It would be great if this film gets one person to
say ‘enough with video games, I’m going to stand on this mountain, I’m going to do a
passage on a boat, I’m doing to build a school in that rain forest’. There are still
adventures to be had and it is all out there waiting to be taken.”
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Anderson concludes, “I think there are many things that make the Dumas tale very
intriguing. Chief among them is that it's probably the best and most classic story of
heroism and friendship that I've ever read. The classic line, ‘All for one and one for All.” It
really is an awesome tale. And those things never go out of style--heroics, friendship,
romance.
“I don't care whether you're ten years old or you're a hundred years old, those are things
that appeal and they appeal right now in 2011 and they appealed just as much in 1911.
A hundred years can go by and people are still interested in those very basic things.
These are the things that are at the core of the The Three Musketeers.”
THE CAST - BIOGRAPHIES
LOGAN LERMAN (D’Artagnan)
Logan Lerman has come of age in the entertainment industry with an impressive body of
work. He maintains a fearless pursuit of challenging roles, evolving with each new
project; fast becoming one of Hollywood's most in-demand young actors, for both
independent and mainstream film.
Lerman recently completed production on the indie coming-of-age drama, The Perks of
Being a Wallflower, alongside Emma Watson, Paul Rudd, Ezra Miller and Mae Whitman.
Lerman stars as Charlie, a shy 15-year old coping with love, friendship, loss, and
heartbreak. Produced by John Malkovich and his team at Mr. Mudd, the film will be
released by Summit Entertainment in 2012.
Lerman will soon star in The Only Living Boy in New York for director Seth Gordon. This
unconventional coming-of-age tale tells the story of a young man (Lerman) who tracks
down his father's mistress to end their affair, only to become romantically involved with
the woman as well.
In 2010, Lerman was seen as the title character in Chris Columbus' Percy Jackson & the
Olympians: The Lightning Thief. Based on Rick Riordan's best-selling book series, the
film is about a trouble-prone teen that discovers he is the descendent of a Greek god and
sets out on an adventure to settle an on-going battle between the gods.
Lerman began his film career landing a role as the youngest son in Roland Emmerich's
war drama The Patriot, opposite Mel Gibson. That same year, he appeared as the
younger version of Gibson's adult character in Nancy Meyers' romantic comedy What
Women Want. Additional film credits include Eric Bress and J. Mackye Gruber's The
Butterfly Effect; Will Schriner's Hoot; Joel Schumacher's The Number 23; Penny
Marshall's Riding in Cars with Boys; James Mangold's critically-acclaimed remake of 3:10
to Yuma; Bernie Goldmann and Melisa Wallack's Meet Bill; Richard Loncraine's My One
and Only; and Mark Neveldine and Brian Taylor's Gamer.
On the small screen, Lerman made his mark in WB's dramatic series, “Jack and Bobby,”
portraying Bobby McCallister, in a show that followed the lives of two brothers as they
went to high school and generally matured, and one goes on to become President of the
United States. Prior to that, Lerman appeared in the made-for-television film, A Painted
House, winning him his first of three Young Artist Awards.
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Logan Lerman grew up in Los Angeles, California and began his professional career as
an actor at the age of five.
MILLA JOVOVICH (Milady de Winter)
Milla Jovovich has successfully established herself as a highly regarded, international
model and actress. Jovovich, (pronounced "mee-luh" "yo-vo-vitch") has transitioned
effortlessly to a full time actress, starring in over two-dozen films.
Star of the Resident Evil franchise, Jovovich reprised her role as ‘Alice’ in the fourth
installment of the film for Sony Screen Gems. In Resident Evil: Afterlife, Alice is on a
mission to save survivors in from falling victim to the Undead in a world ravaged by a
virus infection. Written and directed by Paul W.S. Anderson, the film was released
nationwide on September 10, 2010, and has grossed over $295 million worldwide.
In October 2010, Jovovich starred alongside Academy Award winner Robert DeNiro and
Academy Award nominee Edward Norton in Stone. In February 2011, Jovovich starred in
the Russian-language romantic comedy “Vykrutasy,” which opened in Russia at Number
1.
Jovovich completed production on two independent films, including “Faces in the Crowd,”
a psychological thriller centering on a woman (Jovovich) who barely survives an attack by
a serial killer and wakes up in hospital with a head injury that leaves her “face-blind”
(prosopagnosia). In “Dirty Girl,” Jovovich stars alongside William H. Macy and Juno
Temple. Dirty Girl” is a comedic story of the search for identity and the redemptive power
of unexpected friendship. The film is written and directed by Abe Sylvia and will be
released on August 5, 2011 by the Weinstein Company.
At the age of eleven, Jovovich was spotted by photographer Richard Avedon, who
featured her in Revlon's "Most Unforgettable Women in the World" advertisements. In
October 1987, she was on the cover of the Italian fashion magazine Lei, her first of many
covers. In 1988, she signed her first professional modeling contract.
Milla's breakout role was as Leeloo, the perfect being in Luc Besson's The Fifth Element
(1997). She later starred in several other action movies besides the “Resident Evil” trilogy
such as Ultraviolet (2006), A Perfect Getaway (2009), and The Fourth Kind (2009).
Milla has also been in several comedies and dramas, including Spike Lee's He Got
Game (1998), The Messenger: The Story of Joan of Arc (1999), The Claim (2000), The
Million Dollar Hotel (2000), Zoolander (2001), Dummy (2003), No Good Deed (2003) and
You Stupid Man (2003).
Milla is an ambassador for amfAR (The Foundation for AIDS Research) and also
supports several other charities, including OCRF (Ovarian Cancer Research Fund), The
Dian Fossey Gorilla Fund, Wildlands Project, and UNESCO World Heritage Centre.
When she is not in production, Milla resides in Los Angeles with her husband and
daughter, Ever.
MATTHEW MACFADYEN (Athos)
Matthew joined The Three Musketeers fresh from the set of “Any Human Heart”, a 4part drama for the UK’s Channel 4, which debuted last year. The story is based on a
novel by William Boyd about a series of intimate journals by Logan Mountstuart; writer,
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lover, art-dealer and spy, as he makes his often precarious way through the twentieth
century.
He plays the role of Prior Phillip in “The Pillars of the Earth”, which aired in the US on
Starz in 2010. Based on Ken Follett’s epic bestselling novel, he stars alongside Eddie
Redmayne, Hayley Atwell and Rufus Sewell, with Ridley Scott as executive producer.
Most recently, Matthew was seen in the role of the Sheriff of Nottingham in Robin Hood,
a feature directed by Ridley Scott, starring Russell Crowe and Cate Blanchett. Other
recent film credits include the award-winning Frost/Nixon, based on the play by Peter
Morgan as well as Incendiary, from the producers of Girl with a Pearl Earring, in which he
starred with Michelle Williams and Ewan McGregor. He won critical acclaim and an
award for Best Newcomer at the 2006 London Critic’s Circle Film Awards for his lead role
of Mr. Darcy in the adaptation of Jane Austen’s Pride and Prejudice directed by BAFTA
winner Joe Wright. The Working Title film starred Keira Knightley, Brenda Blethyn and
Donald Sutherland. In 2004, Matthew was nominated as Best Actor at the British
Independent Film Awards for his role in Brad McCann’s In My Father’s Den. His other
film credits include: Death at a Funeral, directed by Frank Oz, Middletown, directed by
Brian Kirk, The Reckoning with Tom Hardy, Enigma directed by Michael Apted, starring
Kate Winslet and Tom Hollander, and Maybe Baby directed by Ben Elton.
In television, Matthew was awarded a BAFTA Award for Best Supporting Actor for his
performance in BBC1’s second series of “Criminal Justice”. Last year he also featured in
a one-off television drama for BBC Four, “Enid” with Helena Bonham Carter, playing Enid
Blyton’s publisher and first husband Hugh Pollock. He also starred in the award-winning
(BAFTA, Emmy and Golden Globe) BBC adaptation “Little Dorrit” with newcomer Claire
Foy, earning himself a nomination for Best Actor at the 2008 Royal Television Society
Awards.
Matthew is well known for his portrayal of Tom Quinn in the first three series of the BBC
television drama “Spooks”, which won BAFTA and Royal Television Society awards. He
was exceptional in Channel 4’s one-off drama “Secret Life” which received outstanding
reviews and earned him a BAFTA nomination, and a Royal Television Society Award for
Best Actor. He has also starred in “Marple: A Pocketful of Rye” (ITV), “The Project”,
(BBC) directed by Peter Kosminsky and Sir Felix Cadbury, ”The Way We Live Now”
(BBC) directed by David Yates, “Perfect Strangers” (Talkback TV), “Bloodline” (BBC),
“Warriors” (BBC), for which he was nominated at the 1999 Royal Television Society
Awards, and “Wuthering Heights” (LWT).
Matthew’s theatre credits are also extensive. Last year, he received critical acclaim for
his lead role opposite Kim Cattrall in Noel Coward’s Private Lives at the Vaudeville
Theatre. Matthew’s other lauded appearances have included productions such as Henry
IV Parts 1 & 2 (National Theatre), Battle Royal (National Theatre/RSC/Stratford), School
for Scandal (Barbican/Cheek by Jowl), Much Ado About Nothing (West End), Duchess of
Malfi (West End/New York) and Midsummer Nights Dream (RSC) and The Pain And The
Itch (Royal Court Theatre).
RAY STEVENSON (Porthos)
Perhaps best known for his starring role in the HBO/BBC television series "Rome," Ray
Stevenson portrayed the legionary Titus Pullo to both critical and public acclaim. Since
the series wrapped, he has been working non-stop in a wide variety of feature films.
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Most recently, Stevenson starred as Volstagg opposite Chris Hemsworth and Natalie
Portman in Marvel Comics' blockbuster hit "Thor." Stevenson was reunited with the
director, Kenneth Branagh, who acted opposite him in "Theory of Flight" for director Paul
Greengrass. Additionally, Stevenson starred in Jonathon Hensleigh's "Kill The Irishman,"
playing the title character in a true crime story of notorious mobster Danny Greene, with
Christopher Walken, Vincent D'Onofrio and Val Kilmer. Hensleigh and Jeremy Walters
wrote the screenplay based on the nonfiction book To Kill the Irishman: The War That
Crippled the Mafia by Rick Porello.
Next, Stevenson will appear in Paul W.S. Anderson's "The Three Musketeers," opposite
Logan Lerman, Orlando Bloom, Christoph Waltz, and Milla Jovovich. The film is based on
the famous novel by Alexandre Dumas and is set for release on October 21, 2011.
Currently, Stevenson is shooting Billy Bob Thorton's dramatic comedy "Jayne Mansfield's
Car," starring opposite John Patrick Amedori, Robert Duvall, John Hurt, Kevin Bacon and
Robert Patrick. The film focuses on the relationship between two families, one American,
the other British, in Texas during the tumultuous years of the 1960s Civil Rights
movement. Following, Stevenson will be shooting "G.I. Joe 2: Cobra Strikes." He will
play the villain "Firefly" opposite Channing Tatum and Dwayne Johnson. The film is
slated for release in August 2012.
Most recently seen in the post-apocalyptic Warner Bros. feature "Book of Eli" opposite
Denzel Washington and Gary Oldman for directors Albert and Allen Hughes, Stevenson
was also featured in the fantasy thriller "Cirque de Freak: The Vampire's Assistant." In
2008, he was seen as the lead in "Punisher: War Zone," about the Marvel comics antihero Frank Castle and his quest to rid the world of evil after the death of his wife and
daughter. Stevenson's prior film work includes the role of Dragonet in Antoine Fuqua's
"King Arthur," for producer Jerry Bruckheimer; the cult favorite "Outpost," for director
Steven Barker; "The Return of the Native," opposite Catherine Zeta Jones; and "Some
Kind of Life," opposite Jane Horrocks.
His stage work includes playing Christ in the York Mystery Plays in 2000 at York Minster.
In 2001, he played Roger in "Mouth to Mouth," by Kevin Ely, at the Albery Theatre in
London, with Lindsay Duncan and Michael Maloney and, in 2003, appeared as Cardinal
in "The Duchess of Malfi," by John Webster with Janet McTeer, at the Royal National
Theatre.
Born in Northern Ireland, Stevenson grew up in England. He studied acting at the Bristol
Old Vic Theatre School.
LUKE EVANS (Aramis)
An established star on London’s West End, Welsh actor Luke Evans is primed to turn the
heads of U.S. moviegoers and the film industry with his upcoming starring roles in
notable studio films including The Three Musketeers, Immortals, and The Raven.
In November of 2011, Evans will co-star in the Tarsem Singh directed Greek epic film,
Immortals, shot in 3D. As ‘Zeus,’ Evans is the king of the Gods caught in a war with the
mortal ‘Theseus’ (Henry Cavill) who is trying to save mankind. “Immortals” will be
released on November 11, 2011 by Relativity Media.
Evans will start the year 2012 as ‘Detective Emmett Fields,’ who partners with ‘Edgar
Allan Poe’ (John Cusack) to help find his missing fiancée (Alice Eve) in The Raven. The
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Raven is directed by James McTeigue and will be released by Relativity Media on March
9th.
In Fall 2010, Evans returned to his British roots, portraying the lead role of ‘Andy’ in
acclaimed director Stephen Frears’ Tamara Drewe, based on the hugely successful
Guardian newspaper comic strip and graphic novel by the same name. Following an
exciting reception at the Cannes Film Festival last May, this romantic comedy told the
story of a young newspaper reporter (Gemma Arterton) who returned to the town she
grew up in as her family sold her childhood home. Evans earned many fans and turned
the heads of critics and journalists both stateside and internationally for his charming
performance.
Upcoming, Evans will star as music maestro ‘Antonio Vivaldi’ opposite Jessica Biel’s
‘Anna Tessieri Giro’ in the period romance Vivaldi, directed by Patricia Riggen and
produced by Raffaella de Laurentiis. Vivaldi will follow the forbidden romance between
the two that eventually leads to the creation of the masterpiece, The Four Seasons.
Evans has also signed on to play an American in Paris who has been framed for a
murder in writer/director Ross Katz’s 2012 film, The Amateur American.
Evans recently completed his second turn with director Mat Whitecross in the
contemporary film noir, Ashes. He will begin his next project, No One Lives, directed by
Ryuhei Kitamura in Summer 2011 in New Orleans, LA. The film tells the story of a
ruthless gang of killers who are surprised by their victims’ resistance. Following No One
Lives, Evan will begin filming his role of ‘Bard the Bowman’ in Peter Jackson’s The
Hobbit: An Unexpected Journey, in theaters December 14, 2012.
Prior to his film career, Evans had successfully carved out an enviable stage career
starring in West End plays and musicals such as "La Cava,” Boy George’s “Taboo,”
“Avenue Q,” “Dickens Unplugged,” “A Girl Called Dusty,” and, at the acclaimed Donmar
Warehouse, “Small Change” and “Piaf.” His powerful, trained voice and engaging stage
presence made him the perfect choice for leading roles such as 'Chris' in “Miss Saigon”
and ‘Roger’ in “Rent.”
Evans made his UK feature film debut in the role of ‘Clive’ in the 2009 British
Independent Film Academy nominated feature Sex & Drugs & Rock & Roll,”Mat
Whitecross’s biopic of the London punk-rock scene founder Ian Dury of Ian Dury and the
Blockheads. It was Warner Brothers’ action/fantasy/drama Clash of the Titans, however,
that put Evans on the map, where he portrayed the charismatic god, ‘Apollo.’
After Clash of the Titans, Evans was next seen in the Ridley Scott remake of Robin
Hood, playing the Sheriff's head henchman to Russell Crowe’s interpretation of ‘Robin
Hood.’
Without a doubt, Evans has solidified his place in the film world, having had his career
already span a multitude of genres and a variety of substantial roles in less than three
years. Evans currently lives in London.
MADS MIKKELSEN (Rochefort)
Copenhagen-born actor Mads Mikkelsen is the top male star in his native Denmark and is
acclaimed throughout Scandinavia. As a child he trained as a gymnast and then became
a professional dancer, before studying drama at the Arhus Theatre School. In Denmark
he became famous overnight as the star of the Emmy award winning drama series “Unit
1”.
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Among his many and varied film roles, he is best known for his role in the 007 movie
Casino Royale, starring as James Bond’s nemesis, Le Chiffre. He garnered critical
acclaim for his role in Susanne Bier’s Open Hearts winning a Zulu Award and a Best
Actor nomination for the Danish Academy’s Robert Award and the Danish Film Critics’
Bodil Award in 2003. Other leading roles include I Am Dana opposite Gerard Depardieu,
Shake It All About directed by Hella Joof, Wilbur Wants to Kill Himself, directed by Lone
Scherfig, and Flickering Lights and The Green Butchers both comedies directed by
Anders Thomas Jensen. The latter garnered Mikkelsen a nomination for Robert and Bodil
Awards as Best Actor in 2005.
Mikkelsen made his Hollywood debut opposite Clive Owen and Keira Knightley in King
Arthur directed by Antoine Fuqua. As Tristan, he played the understated hawk-loving
Knight of the Round Table.
In Adams Apples, again directed by Anders Thomas Jensen, Mikkelsen stars as a
delusional priest, a performance that has won him a Best Actor Zulu Award in the film.
The film was the Danish selection as Best Foreign Film in the 2006 Academy Awards and
premiered at the Toronto Film Festival. Mikkelsen then starred in Susanne Bier’s After
the Wedding and the Swedish thriller EXIT, directed by Peter Lindmark.
Mikkelsen played ‘The Flame’ in Flame and Citron - the role saw him nominated best
actor at the European Film Academy Awards, best supporting actor at the Chlotrudis
awards and best supporting actor at the Robert Festival. Other notable credits include
Valhalla Rising, Coco Chanel & Igor Stravinsky, playing Stravinsky, Die Tur playing
David, and most recently, Clash of the Titans in the role of Draco.
ORLANDO BLOOM (Duke of Buckingham)
Orlando Bloom was born in Canterbury, England and trained at the National Youth
Theatre in London. He later earned a scholarship to train with the British American
Drama Academy. Having completed his scholarship, Bloom made his feature film debut
in Wilde, starring Stephen Fry and Jude Law.
Bloom was then accepted to London's Guildhall School of Music and Drama where he
performed in many stage productions, including Peer Gynt and Twelfth Night. Upon
graduation, a then unknown Bloom was cast in the films that launched his career: Peter
Jackson's Academy Award® winning trilogy, The Lord of the Rings. Bloom captured the
attention of international audiences and filmmakers alike as Legolas.
In the summer of 2003, Bloom starred opposite Johnny Depp and Keira Knightley in the
Jerry Bruckheimer-produced Disney hit, Pirates of the Caribbean: The Curse of the Black
Pearl, directed by Gore Verbinski.
Having fortuitously worked with Ridley Scott on Blackhawk Down, Bloom went on to star
in Scott's Kingdom of Heaven, written by William Monahan for 20th Century Fox. Bloom
followed the epic Crusades film with his first contemporary American role. He starred
opposite Kirsten Dunst in Cameron Crowe's autobiographical, Elizabethtown, produced
by Crowe and Tom Cruise for Paramount Pictures.
Bloom then reprised his role as Will Turner in the box office record-breaking Pirates of
the Caribbean: Dead Mans Chest, and Pirates of the Caribbean: At World’s End.
In the wake of those blockbusters, Bloom made his debut on London's West End in a
revival of David Storey's 1969 drama, In Celebration. Produced by Sonia Friedman and
directed by Anna Mackmin, the production and Bloom were well-received by both critics
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and audiences alike.
Bloom's additional film credits include Ned Kelly opposite Heath Ledger; Wolfgang
Peterson's Troy opposite Brad Pitt; the Cayman Islands ensemble Haven opposite Zoe
Saldana; and New York, I Love You opposite Christina Ricci.
Most recently, Bloom starred in Mark Ruffalo's directorial debut, Sympathy for Delicious
in which he stars opposite Laura Linney. He followed Sympathy with Horton Foote's Main
Street in which he stars opposite Colin Firth and Patricia Clarkson. Orlando also starred
in The Good Doctor, a black comedy which he also produced via his production
company, Viddywell. The film also stars Michael Peña, J.K. Simmons and Taraji P.
Henson.
Bloom is currently filming in New Zealand as he reprises his role of ‘Legolas’ for Peter
Jackson’s The Hobbit, the sequel to the international blockbuster franchise, The Lord of
the Rings.
CHRISTOPH WALTZ (Cardinal Richelieu)
Christoph Waltz received Academy®, SAG, BAFTA, Golden Globe and Cannes Film
Festival awards for his portrayal of Nazi Colonel Hans Landa in Quentin Tarantino’s
Inglourious Basterds.
Waltz was most recently seen co-starring in Water for Elephants, the Richard
LaGravanese-scripted adaptation of the novel by Sara Gruen. Waltz plays the animal
trainer opposite Reese Witherspoon and Robert Pattinson. Prior to that, Waltz played the
villain “Chudnofsky” in Michel Gondry’s The Green Hornet alongside Seth Rogan and
Cameron Diaz.
Waltz recently wrapped production in Paris on the feature film, Carnage, an adaptation of
Yasmina Reza’s Tony-winning play “God of Carnage.” Roman Polanski directs and
Waltz stars opposite Kate Winslet, Jodie Foster and John C. Reilly.
Waltz’s work in European television, film and theatrical productions spans three decades.
His motion picture credits include Gun-Shy, the Berlin Film Festival entry Lapislazuli,
Dorian, She, Falling Rocks, Ordinary Decent Criminal, Our God’s Brother, The Beast,
Berline Blues and Angst. On television, he appeared in the Adolf Grimme Award-winning
films “Der Tanz mit dem Teufel - Die Entführung des Richard Oetker” and “Dienstreise Was für eine Nacht Dienstreise.” For his work in “Du Bist Nicht Allein” – “Die Roy Black
Story,” Waltz garnered Bavarian and German TV awards and the RTL Golden Lion.
Waltz will make his feature directorial debut with the German-language Auf und Davon
(Up and Away), a comedy loosely based on the novel by Meike Winnemuth and Peter
Praschi. The Fox International Production follows the ruthless host of a dating
competition who falls for a contestant. Waltz also wrote the screenplay.
GABRIELLA WILDE (Constance)
Born in 1989, Gabriella was raised in Hampshire and is one of seven siblings. Her
credits include St. Trinian’s 2: The Legend of Fritton’s Gold, also starring Rupert Everett,
and the new “Doctor Who” with Matt Smith. Gabriella lives in London, England.
JAMES CORDEN (Planchet)
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Born in Buckinghamshire, James has quickly become one of Britain’s most notable
English BAFTA winning comedy actor, writer and producer. His attention to detail and
ingenious timing create television that is pure pleasure to watch, so much so that The
Independent hailed James Corden ‘the hottest property in British television.’
James famously secured his first break undertaking the role as a pupil in The History
Boys by Alan Bennett. This outstanding portrayal of young teenage boys in the pursuit of
sex, sport and a place in higher education is charming, and the talent exhibited earned
James a place on the international tour at The National Theatre; Broadway and in the
cinema adaptation in 1994.
In 1997, James made his first screen debut in the film ‘24/7’ directed by Shane Meadows,
and went on to have a number of small television parts including “The Everglades”, “Little
Britain” and “Teachers”. These roles led to James’ first most recognizable television part
in the British comedy “Fat Friends” in 2000 in which James played a teenage member of
a slimming club.
It was in 2007 that James embarked on his most impressive venture yet - along with his
fellow Fat Friends star Ruth Jones, they created and co-starred in the award winning
“Gavin and Stacy”. The comedy became one of the most recognizable hit comedies from
the last two years, winning the Audience Award at the 2008 BAFTAs and James himself
scooping the award for Best Comedy Performance.
In 2008 James won ‘Best Breakthrough Talent’ at the GQ Man of The Year Awards and
together with co-writer Ruth Jones picked up the award for ‘Best TV Comedy’ at The
Writers Guild Awards (2008.) In 2009 Gavin & Stacey also won ‘Best British Comedy
Show’ at the British Comedy Awards and ‘Most Popular Comedy Programme’ at the
National Television Awards (2010).
In 2009 James starred to much critical acclaim in Nick Moran’s ‘Telstar’ alongside Kevin
Spacey and the spoof horror film ‘Lesbian Vampire Killers’ (March 2009.) James also cowrote/ starred with Matthew Horne in the BBC sketch show ‘Horne and Corden.’
2009 also saw James write and star in a number of comedy sketches including the
infamous England football team sketch for Comic Relief. He also teamed up with F1
world champion Jenson Button to film a sketch for Sports Relief and continues to be a
huge supporter of the cause.
March 2010 was an equally busy year for James who secured his own sports panel show
on Sky 1 HD - ‘A League of their Own.’ The brand new format saw Ashes hero Andrew
Flintoff and former England footballer and Sky Sports presenter Jamie Redknapp line up
as team captains. Featuring physical challenges, comedians; celebrity and cameo
appearances from the biggest names in sport - the show was the perfect platform for
one-upmanship mixing specialist knowledge of groundbreaking sporting moments with
hilarious facts and figures.
James will also appear in the remake of Jonathan Swift's story ‘Gullivers Travels’ playing
the right-hand man to Lemuel Gulliver, played by Hollywood top comic Jack Black. Also
starring in this 20th Century Fox blockbuster are stand-up legend Billy Connolly and
comedy queen Catherine Tate. (Release date TBC)
ITV1 commissioned 14 episodes of James Corden's World Cup Live that TXed
immediately after every ITV1 World Cup evening game for a 1-hour live show - the
second half of which TXed on ITV4. James Corden's World Cup Live, a Comedy
Entertainment show celebrated the World Cup in all its glory. Every night James was
joined by two guests interviewed in his typical upbeat and cheeky spirit.
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This year James was back with a second series of his popular sports quiz ‘A League Of
Their Own’, and still found time to be awarded GQ Comedian Of The Year 2010. He was
also nominated in the Best Entertainment Programme category for James Corden’s
World Cup Live Show at next year’s National Television Awards (26 Jan 2011).
JUNO TEMPLE (Queen Anne)
In just a few years, Juno Temple has firmly established herself as one of the most
versatile and talented young actresses in Hollywood. She is currently in production on
Christopher Nolan’s The Dark Knight Rises, his third film in the Batman franchise. Her
next project, an independent film called The Brass Teapot, also recently begun
production.
Temple will next be seen in Killer Joe, based on the play by Tracy Letts. Also upcoming is
Killer Films’ Dirty Girl, in which she stars as a notorious high school tramp who journeys
from Oklahoma to California to find her father. She also stars as ‘Lily Hobart’ in Elgin
James’ Little Birds opposite Kate Bosworth and Leslie Mann, which will be released by
Millennium Entertainment on October 7, 2011. The film premiered at the Sundance Film
Festival in January 2011, along with Kaboom, Gregg Araki’s sci-fi film about the sexual
awakening of a group of college students. Additionally, Juno will star in Good Night Moon
opposite Anna Sophia Rob and finally in Jack and Diane.
Most recently, Temple appeared in the independent drama, Cracks,directed by Jordan
Scott. In 2010, Temple appeared in Focus Features’ relationship dramedy, Greenberg,
directed by Noah Baumbach and starring Ben Stiller.
In 2008, Temple was seen in The Other Boleyn Girl, opposite Natalie Portman and
Scarlett Johansson In 2007, she appeared in the Academy Award®-winning film
Atonement, opposite Keira Knightley, James McAvoy and Saoirse Ronan.
In 2006, Temple’s breakthrough arrived when she won the role of Cate Blanchett’s
daughter in the Academy Award® nominated film Notes on a Scandal.
Additional credits include Mr. Nobody, The Year One, 1939 and British box office hits St.
Trinian’s, Wild Child and Pandeamonium.
Juno is the daughter of director Julien Temple and producer Amanda Temple. She
currently resides in Los Angeles.
FREDDIE FOX (King Louis)
Born in 1989, Freddie grew up in London and graduated from Guildhall School of Music
and Drama in 2010.
His credits include the role of Ratallack in Hugo Blick’s The Shadow Line, alongside
Chiwetel Ejiofor, Christopher Ecclestone and Eddie Marsan and Julian Jarrold’s Worried
About The Boy.
Freddie made his professional stage debut at The Old Vic in December 2010 for Richard
Eyre’s production of “A Flea in Her Ear,” joining a cast that included Tom Hollander and
Nancy Carroll. He subsequently appeared in Thea Sharrock’s production of “Cause
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Celebre,” also at The Old Vic. Freddie’s next projects include the HBO Drama Parade’s
End” and the BBC’s Dickens adapatation “The Mysteries of Edwin Drood”
TIL SCHWEIGER (Cagliostro)
Actor, producer, writer and director Til Schweiger is one of Germany’s biggest filmmakers
and movie stars. He runs his own production company Barefoot Films in Berlin.
Schweiger’s debut as a producer and (uncredited) director came in 1997 with Knockin’
On Heaven’s Door. The film remains a cult favorite for audiences worldwide. He also
directed and produced Der Eisbaer (The Polar Bear) in 1998.
Schweiger won a Bambi Award for Barfuss (Barefoot) in 2005 that he wrote, directed and
starred in. He also won a Bambi for his lead role in Raumschiff Surprise (Dreamship
Surprise). Keinorhasen (Rabbit Without Ears) was written, produced and directed by
Schweiger and became the most successful film in German Theaters in 2008. The film
won a prestigious Bambi Award, a Bavarian Film Award, the German Comedy Award,
two DIVA Awards, a Jupiter Award and the Ernst Lubitsch Award. The sequel
Zweiohrkueken (Rabbit Without Ears 2) was released on the following year and was also
a huge success with over 4.2 million viewers. Schewiger then went on to direct, produce
and star in 1 ½ Ritter (1 ½ Knights), which also proved a huge cinema hit on its release in
2008.
His recent work as a director, co-writer, producer and actor was last seen on the big
screen in February 2011 with KOKOWÄÄH.
Schweiger has also appeared in a wide range of American films, including Already Dead,
King Arthur, In Enemy Hands, Magicians, Tomb Raider: The Cradle of Life, Driven, SLC
Punk, Investigating Sex, Joe and Max, and The Replacement Killers.
His most recent big screen appearance was as the legendary Hugo Stieglitz in Quentin
Tarantinos Inglorious Basterds. He recently completed production on The Courier with
Mickey Rourke and This Means War with Oscar Winner Reese Witherspoon.
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THE CREW – BIOGRAPHIES
PAUL W.S. ANDERSON - Director/Writer
Director, producer, and writer Paul W.S. Anderson has become internationally known for
his action-packed, edge-of-your-seat films. All together, his films have grossed over $1.1
billion worldwide, with #1 weekends around the globe – an accomplishment that puts him
in an elite group of filmmakers. Anderson turns epic stories into must-see movies, having
launched four successful film franchises, and tackled diverse subjects such as classic
literature, science fiction, video game franchises, and historical fiction.
Next, Anderson will direct the fifth installment of the Resident Evil franchise, which has
made $675 million worldwide to date. Also set for an early 2012 shoot is Pompeii, an epic
love story set against the backdrop of the eruption of Mt. Vesuvius in 79 AD again in 3D
for Constantin Film and Summit Entertainment.
Paul’s first film was 1994’s low-budget success Shopping, which Anderson wrote and
directed. Starring Sadie Frost and Jude Law (with an appearance by legendary singer
Marianne Faithful), this dark film about joyriding and ram-raiding British youth was
banned in some UK theatres, but established Anderson’s flare for high-impact action.
Shopping paved the way to Hollywood for Anderson, and 1995’s Mortal Kombat became
Anderson’s first American No.1 box-office smash. It was also the first successful movie
adaptation of a videogame. The triumph of Mortal Kombat quickly established Anderson
as the man who could take the game off the television and make it explode on the big
screen, and into a successful franchise. Sidestepping offers to direct a sequel to Mortal
Kombat, Anderson chose instead to turn his attention to science fiction. His next
directorial projects included Soldier and Event Horizon. Blade Runner screenwriter David
Peoples wrote Soldier as a “sidequel” to the bleakly powerful Blade Runner. Now
considered a cult classic, Event Horizon starred Laurence Fishburne, Sam Neill, Jason
Isaacs and Joely Richardson.
Anderson returned to adapting videogames for the big screen with the survival horror
Resident Evil (2002), starring Milla Jovovich and Michelle Rodriguez. Anderson wrote,
directed and produced the feature. A resounding commercial success, the movie
spawned Anderson’s second successful franchise that includes No.1 hits Resident Evil:
Apocalypse (2004) and Resident Evil: Extinction (2007). Anderson wrote and produced
the sequels with Impact Pictures partner, Jeremy Bolt.
Anderson confirmed his box-office power when he wrote and directed the highly
anticipated AVP: Alien vs. Predator (2004). This kicked off Anderson’s third successful
franchise; the movie opened at No.1 and went on to be the highest-grossing film in both
the Alien and Predator series.
In 2008, Anderson’s Death Race, starring Jason Statham and Joan Allen, rolled into
theaters. Anderson’s film was a remake of the 1975 cult classic Death Race 2000
starring David Carradine and Sylvester Stallone. The film was distributed by Universal
Pictures and was produced by Anderson through Impact Pictures with Bolt.
In 2009 Anderson wrapped the sci-fi horror Pandorum, starring Dennis Quaid and Ben
Foster, for which he took on the role of producer. Anderson and Bolt produced through
their Impact Pictures banner.
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Anderson most recently released Resident Evil: Afterlife, the fourth film in the highly
successful franchise. The film stars Milla Jovovich and was filmed using the Vincent Pace
3D system developed for Avatar.
Born and raised in Newcastle-upon-Tyne, England, Anderson graduated from the
University of Warwick with a BA in Film & Literature, he continued at Warwick to become
the youngest student to achieve an MBA.
ALEX LITVAK – Writer
Alex is a former feature executive turned screenwriter. Upon graduating from the
prestigious USC Film School, he worked at 20th Century Fox, Outlaw and Intermedia,
where he was involved with over two dozen movies, including X Men, X-Files, Fantastic
Four, Daredevil, Behind Enemy Lines, Training Day, Alexander, K-19, Quiet American,
Mindhunters, Basic, Dark Blue and The Hunting Party.
Since making the switch to screenwriting, he's penned a number of projects in features
and TV. His produced credits are Predators (2010) and The Three Musketeers (2011).
He's currently writing Masters of the Universe for Sony and a high concept sci fi
adventure for Fox.
ANDREW DAVIES – Writer
Andrew Davies is acknowledged to be the most successful adapter of classic novels
writing in film and television today. He began his career by writing radio plays, and then
moved into writing for television, films, theatre, novels and children's books.
Andrew received credit on the screenplay for both Bridget Jones’ Diary and the follow up
film, The Edge of Reason, sharing credits on both of these with Helen Fielding and
Richard Curtis. He has adapted Evelyn Waugh’s Brideshead Revisited for Ecosse Films
and shared screenwriting credit with John Le Carre and John Boorman on The Tailor of
Panama. The film of his book, B Monkey, was directed by Michael Radford for Scala
Productions and he wrote the screenplay for Maeve Binchy’s novel Circle of Friends
which was directed by Pat O’ Conner and starred Minnie Driver.
Andrew’s most recent adaptation for television was of Winifred Holtby’s “South Riding” for
the BBC, screened in February of this year. It starred Anna Maxwell-Martin and David
Morrissey with John Henshaw and Shaun Dooley.
Andrew’s 14 part adaptation of Charles Dickens’ “Little Dorrit” (BBC) for which he won the
Emmy Award for outstanding writing, transmitted in October 2008 sporting a stellar cast
including Tom Courtenay, Matthew Macfadyen, Amanda Redman and Andy Serkis. This
was followed by his adaptation of Sarah Waters’ gothic novel “Affinity” for ITV1.
His acclaimed screenplay of “Pride and Prejudice” was transmitted on BBC 1 in the
autumn of 1995 and received both the highest viewing figures of any BBC Classic Serial
and the highest audience for any drama transmitted on the Arts & Entertainment Channel
in the United States. The serial was produced by Sue Birtwistle and directed by Simon
Langton.
His theatre writing credits include 1989’s “Prin,” which enjoyed a very successful run at
the Lyric Hammersmith and at the Lyric Theatre in the West End. His earlier play,
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“Rose,” starring Glenda Jackson, played to full houses at the Duke of York's in the West
End and was subsequently produced on Broadway and in many other countries.
Andrew has written two novels for adults (Getting Hurt and B Monkey) as well as
numerous children's books he has also written for children's television.
JEREMY BOLT – Producer
Since creating and developing Impact Pictures with Paul WS Anderson in 1992, Jeremy
Bolt has gone on to produce the majority of Anderson’s features. In the past two
decades, their films have become cultural touchstones, and grossed over $1.1 billion.
Bolt will soon begin production in the fall of 2011 on the fifth film of the highly successful
Resident Evil franchise with Paul WS Anderson directing for Constantin Film and Sony
Screen Gems. In addition, Bolt is set for an early 2012 shoot on Pompeii, an epic love
story set against the backdrop of the eruption of Mt Vesuvius in 79 AD again with Paul
WS Anderson directing in 3D for Constantin Film and Summit Entertainment.
His first collaboration with Anderson was on 1994’s Shopping starring Jude Law (Channel
Four Films). The action packed film about joyriding and ram-raiding British youth, revved
up Bolt’s career and established his love of cars and death defying races. With
Hollywood’s attention, Bolt began producing big budget films such as Event Horizon
(Paramount) and Soldier (Warner Bros). 2002’s Resident Evil (Sony Screen Gems) was
the first movie under Impact Picture’s joint venture deal with Germany’s leading
independent distributor, Constantin Film, going on to gross over $100M worldwide.
Under the joint venture with Constantin, Bolt produced 2004’s Resident Evil: Apocalypse
for Sony Screen Gems (written by Anderson and directed by Alexander Witt); the
psychological horror The Dark (directed by John Fawcett); teen actioner DOA: Dead Or
Alive (directed by Cory Yuen for Dimension), an adaptation of Tecmo’s best-selling
videogame franchise; and the third movie in the block-busting Resident Evil franchise,
2007’s Resident Evil: Extinction that debuted #1 at the US box office, and grossed $150M
worldwide.
Also in 2007, Bolt produced Death Race with Jason Statham, Joan Allen and Ian
McShane, a reimagining of the Roger Corman classic, with Cruise/Wagner Productions
for Universal Pictures. Fall 2009 saw the release of the sci/fi horror film Pandorum for
Overture Films and Constantin Film starring Dennis Quaid and Ben Foster. The 4th film
in the Resident Evil franchise was released in the fall of 2010 and earned $300M
worldwide. Action horror Resident Evil: Afterlife was shot in 3D for Constantin Film &
Sony Screen Gems, and stars Milla Jovovich and Ali Larter. The franchise has made
$675 million worldwide to date.
As well as producing big budget genre movies, Bolt has proved his talents as a versatile
and eclectic filmmaker, producing the art house film Vigo for Film Four (directed by Julien
Temple), and the comedy Stiff Upper Lips (starring Peter Ustinov). He has also produced
There’s Only One Jimmy Grimble (starring Ray Winstone and Robert Carlyle) and teen
horror The Hole (starring Thora Birch and Keira Knightley), both for Pathe Pictures.
ROBERT KULZER - Producer
Robert Kulzer was named co-president of Constantin Film Development Los Angeles in
2005, where he had worked as head of production since 2000 and served as head of
development and acquisition from 1991 to 2000. Among his acquisitions for Constantin
Film were American Pie, The Sixth Sense and Sleepy Hallow. He also contributed to the
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production of The House of the Spirits, Smilla’s Sense of Snow, Wrongfully Accused and
The Fantastic Four.
Kulzer executive produced Resident Evil and Resident Evil: Apocalypse. He produced
Resident Evil: Extinction, which became the highest grossing independent film of 2007.
He executive produced the U.K. thriller The Dark, starring Maria Bello and Sean Bean,
and wrote and produced the German action-comedy Autobahn Racer. Kulzer also
produced the survival horror film Wrong Turn, the action-adventure DOA: Dead or Alive,
the werewolf action-thriller Skinwalkers and, most recently, the science-fiction thriller
Pandorum.
MARTIN MOSZKOWICZ - Executive Producer
Martin Moszkowicz has been involved in well over 100 feature films as producer,
executive producer, co-producer or managing director of Constantin Film. Moszkowicz’s
long list of producing achievements include a slew of German film hits, among them
Sönke Wortmann’s Maybe…Maybe Not (1994), Michael Bully Herbig’s Manitou’s Shoe
(2001), winner of the Bavarian and German Film Award, Caroline Link’s Oscar®-winning
epic Nowhere in Africa (2001), and Doris Dörrie’s Naked (2002), also a recipient of the
German Film Award. Moszkowicz has also been involved in a producing capacity in a
string of high profile international features in recent years, including Downfall (2004),
Perfume – The Story of a Murderer (2006), A Year Ago in Winter (2008), Pope Joan
(2009), Männersache(2009), Maria, He Doesn’t Like It (2009), Wickie the Viking (2009),
Electric Ghetto (2010), The Hairdresser (2010) and Freche Mädchen (2010). Upcoming
films include two highly anticipated 3D features: The Three Musketeers and Wickie and
the Treasure of the Gods, both of which Constantin Film will open in Germany this
coming September.
In his capacity as member of the Executive Board of Constantin Film AG, Moszkowicz is
responsible for the company's film & television business, including worldwide production,
distribution/marketing and publicity.
A graduate of the Ludwig Maximilian University in Munich, Moszkowicz began his film
career in physical production as a production manager and line producer, before turning
to producing films himself. In 1985, he became producer and managing director of
Munich based production outfit M+P Film GmbH. In 1991, Moszkowicz joined Constantin
Film as producer and was named managing director in 1996, a position he held through
the company’s successful IPO in 1999. Moszkowicz has been a member of the Executive
Board since then.
Moszkowicz is also a member of the board of the German Producers Association and
chairman of the supervisory board of German Films.
CHRISTINE ROTHE – Executive Producer In Charge Of Production
Christine Rothe was born in Traunstein, Bavaria, and began working for Bavaria Film
Studios in 1977. She remained with the company for nine years working as production
coordinator and unit manager on projects including the popular miniseries “Ein Stuck
Himmel” and “Rote Erde”. She went freelance in 1987, working on films such as Michael
Verhoeven’s The Nasty Girl as the line producer.
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Christine Rothe joined Constantin Film in 1996. Major projects she handled as producer
include; Pope Joan (2009), The Baader Meinhof Complex (2008), Perfume: The Story of
a Murderer (2006), Downfall (2004), The Trails of Vera B (2001) and The Campus
(1998).
GLEN MACPHERSON, ASC, CSC - Director of Photography
Glen Macpherson most recently served as director of photography on the 3-D action
movie Resident Evil: Afterlife and the horror flick Final Destination. Before that, he shot
the hit action film Rambo, the tense thriller One Missed Call and the festival favorite Trick
‘R Treat. The Canadian-born cinematographer’s previous film credits include 16 Blocks,
Rebound, Walking Tall, My Baby’s Daddy, Friday After Next, All About the Benjamins,
Exit Wounds, Camouflage, Romeo Must Die, Wrongfully Accused, and Cadillac Girls.
MacPherson received a Genie Award nomination for Best Achievement in
Cinematography for the biographical drama “Regeneration”. He was nominated for a
Gemini Award for Best Photography in a Dramatic Program or Series for “Captains
Courageous.”
Also for television, MacPherson worked on such telefilms as “Max Q: Emergency
Landing,” “Calm at Sunset, Calm at Dawn,” “Doctor Who,” “First Degree,” “Bye Bye
Birdie,” “Johnny’s Girl,” “Serving in Silence: The Margarethe Cammermeyer Story,”
“Shock Treatment,” “Voices from Within,” “Flinch,” “For the Love of Aaron,” “Dying to
Remember,” “The Substitute,” “The Sea Wolf,” “Miracle on Interstate 880,” “The Amy
Fisher Story,” “Miles from Nowhere,” “Deadly Surveillance,” “Deadly Betrayal: The Bruce
Curtis Story,” “Conspiracy of Silence” and “Betrayal of Silence.” MacPherson’s TV series
credits include the pilot episode of “Sliders” and an episode of the CBC’s “Magic Hour.”
ALEXANDER BERNER - Editor
Editor Alex Berner was born and raised in Munich. He spent much of the 80s in London,
first training in computer graphics at PLB Ltd. and then working as a film and video editor
at New Decade Productions Ltd. He concentrated on corporate films, documentaries,
commercials and eventually music videos for MTV. After directing a documentary and a
multicultural rock band in San Francisco in 1988/1989, he returned to Germany to work
as a sound and picture editor in features, documentaries, commercials and film trailers.
In 1996 Berner won the prestigious German Film Award for "Brother of Sleep". Among
his other credits are Roland Emmerich’s epic 10,000 B.C.
Other notable credits include Perfume: The Story of a Murderer and Paul W.S.
Anderson’s Alien vs. Predator and Resident Evil.
DENNIS BERARDI – VFX Supervisor
Founder of the Mr. X studio, Dennis Berardi is a creative visionary who has lived and
breathed the visual effects industry for over fifteen years. In addition to a passion for
filmmaking, his talents include exceptional creativity and problem solving ability – as well
as an unwavering dedication to his craft.
Dennis’s love affair with the motion picture industry began in the early 1990s, when he
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worked closely with IMAX and The National Film Board of Canada to integrate new
ground-breaking digital imaging systems for both live-action as well as animated films.
In 1994, Dennis then helped to form a motion picture digital opticals company called
Cine-Byte, broadening his industry experience while managing daily production of highresolution input scanning, film recording, and digital effects. In 1997, he moved to
Command Post Toybox (Toronto), to establish a feature film Visual Effects department.
Here, he quickly built a reputation as an expert in the field of computer animation – one
who was also skilled at developing teams capable of tackling innovative and complex
CGI projects. It was during this period that Berardi’s enthusiasm for working with images
made him the first choice as a creative visual effects lead for such visually
groundbreaking films as Tarsem’s The Cell and David Fincher’s Fight Club.
In 2001, Dennis Berardi founded Mr. X in conjunction with TOPIX – an award winning
commercial design and animation house, with the goal of creating an artist-based studio
environment that would contribute fundamentally to how a concept or story is visually
interpreted for the medium of feature film.
His studio has since established itself as a leader in North America, with credits on
dozens of distinguished projects including such recent films as Resident Evil: Afterlife
(2010), Scott Pilgrim vs. the World (2010), Letters to Juliet (2010), Fast & Furious
(2009), Sin Nombre (2009), Amelia (2009), Taking Woodstock (2009), Death Race
(2008), The Rocker (2008), Flash of Genius (2008), Eastern Promises (2007), Resident
Evil: Extinction (2007), Balls of Fury (2007), Lust Caution (2007), Skinwalkers (2006),
Silent Hill (2006), Hollywoodland (2006), Happily N’Ever After (2005), Four Brothers
(2005), Assault on Precinct 13 (2005), Greatest Game Ever Played (2005), Ice Harvest
(2005), Ice Princess (2005), A History of Violence (2005), Where the Truth Lies (2005),
Dawn of the Dead (2004) and Wrong Turn (2003).
It was a natural evolution of Berardi’s creative collaboration with other filmmakers, that he
would begin producing original content himself. His first foray into film production earned
him a producer credit for Cube Zero, the prequel to the cult film series, The Cube.
Berardi then built on this early success, producing the feature film Skinwalkers that was
completed in 2006 and released theatrically in North America by After Dark Films.
PAUL DENHAM AUSTERBERRY – Production Designer
Award-winning costume designer, Paul Denham Austerberry most recently worked on
The Twilight Saga: Eclipse starring Kirsten Stewart and Robert Pattinson, Amelia starring
Hilary Swank and Deathrace, starring Jason Statham. He has worked on such
productions as 30 Days of Night, starring Josh Hartnett, Take the Lead, starring Antonio
Banderas, Assault on Precinct 13, starring Ethan Hawke and Lawrence Fishburne,
Resident Evil: Apocalypse, starring Milla Jovovich, Highwaymen, starring James
Caviezel, The Tuxedo with Jackie Chan and Jennifer Love Hewitt, Exit Wounds, starring
Steven Seagal, the Canadian feature Men with Broooms and Mercy with Ellen Barkin and
Julian Sands.
As art director, Austerberry’s credits include X-Men, Forever Mine, The Corrupter, Half
Baked, The Real Blonde, Extreme Measures, Harriet the Spy, and Kids in the Hall: Brain
Candy.
On television, he was awarded a Canadian Gemini for his work designing the musical
special “Inspired by Bach.”
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PIERRE-YVES GAYRAUD – Costume Designer
Pierre-Yves Gayraud is one of France’s most sought after costume designers, with over
thirty films to his credit. Perhaps best known in the U.S. for two large-scale productions,
Regis Wargnier’s Oscar® winning Indochine and Doug Liman’s The Bourne Identity.
Indochine, set during the French occupation of Vietnam and filmed in that country,
starring Catherine Deneuve and Vincent Perez, brought Gayraud and collaborator
Gabriella Pescucci Cesar Award nominations.
As the costume designer on Perfume: The Story of a Murderer, he won the German Film
Award’s ‘Film In Gold’ for best costume. He went on to design worked on two segments
of the episodic “Paris, Je T’aime” with directors Tom Tykwer and the Coen brothers.
Other notable feature film credits include: Mr. Bean’s Vacation, starring Rowan Atkinson,
Jean-Jacques Annaud’s His Majesty Minor with Vincent Cassel, and The Countess
featuring Julie Delphy and William Hurt.
35
THE THREE MUSKETEERS FUN FACTS

260,000 liters of water were needed to fill the section of the Venetian canal built
on Stage 15 at Bablesberg Studio.

It wasn’t just the actors that required hair and make up; the horse playing
‘Buttercup’ was given grey hair extensions on her mane and around her hooves,
transforming her into D’Artagnan’s much loved work-horse.

In preparation for filming, Logan Lerman and the actors playing The Three
Musketeers were tutored in the fine art of fencing by the German European
Championship gold-medalist, Imke Duplitzer.

The armory department handcrafted over 800 individual period weapons for
filming The Three Musketeers; including guns, pistols, muskets, daggers,
rapiers and swords.

For the scenes involving visual effects, the film crew used 10,000 feet of greenscreen on the stages – that’s nearly 2 miles of fabric.

For the Venice Vault set, the art department painted 1,800 marble tiles, made
180 gargoyle masks to hang on the walls, and rolled 2,000 scrolls for the vault.
36
Animated Logo
SUMMIT ENTERTAINMENT
Animated Logo
CONSTANTIN FILM
Animated Logo
IMPACT PICTURES
SUMMIT ENTERTAINMENT
CONSTANTIN FILM
present
A
CONSTANTIN FILM
IMPACT PICTURES
Production
THE THREE MUSKETEERS
Directed by
PAUL W.S. ANDERSON
Screenplay by
ALEX LITVAK and ANDREW DAVIES
Based upon the novel “The Three Musketeers” by Alexandre Dumas
Produced by
JEREMY BOLT
PAUL W.S. ANDERSON
Produced by
ROBERT KULZER
Executive Producer
MARTIN MOSZKOWICZ
LOGAN LERMAN
MILLA JOVOVICH
MATTHEW MACFADYEN
RAY STEVENSON
LUKE EVANS
MADS MIKKELSEN
GABRIELLA WILDE
JAMES CORDEN
JUNO TEMPLE
FREDDIE FOX
TIL SCHWEIGER
with ORLANDO BLOOM
37
and CHRISTOPH WALTZ
Casting by
SUZANNE M. SMITH, CDG
Director of Photography
GLEN MacPHERSON, ASC, CSC
Editor
ALEXANDER BERNER
Production Designer
PAUL DENHAM AUSTERBERRY
Make Up Designers
CHRISTINA SMITH
BJÖRN REHBEIN
Costume Designer
PIERRE-YVES GAYRAUD
Visual Effects Supervisor
DENNIS BERARDI
Supervising Sound Editor
STEFAN BUSCH
Re-Recording Mixers
MICHAEL KRANZ
ANDREW STIRK
Music by
PAUL HASLINGER
Line Producer
SILIVA TOLLMAN
Executive Producer in Charge of Production
CHRISTINE ROTHE
A Film by
PAUL W.S. ANDERSON
Co-Producers
MANUEL MALLE
RORY GILMARTIN
CHARLIE WOEBCKEN
CHRISTOPH FISSER
In Co-Production with
38
NEF PRODUCTIONS
NEW LEGACY FILM
and
BABELSBERG FILM
A CONSTANTIN FILM/IMPACT PICTURES
Production
Supported by
DEUTSCHER FILMFÖRDERFONDS
FILMFERNSEHFONDS BAYERN
BAYERISCHER BANKENFONDS
FILMFÖRDERUNGSANSTALT
MEDIENBOARD BERLIN BRANDENBURG
Supported by
DEUTSCHER FILMFÖRDERFONDS
FILMFERNSEHFONDS BAYERN
BAYERISCHER BANKENFONDS
FILMFÖRDERUNGSANSTALT
MEDIENBOARD BERLIN BRANDENBURG
ASSISTANT DIRECTORS
1st AD
2nd AD
2nd AD Floor
2nd AD Crowd & Doubles
2nd AD Crowd
3rd AD
3rd AD Crowd
AD Crowd Bavaria
Crowd Marshalls
Jamie (James) Christopher
Matthew Sharp
Stewart Hamilton
Katharina Hofmann
Ronny Schröder
Kaspar Lerch
Robert Moravek
Tommy Kreiselmaier
Stephanie Guttenberger
Susanne Frei
Tobias Illing
Holger Sachse
AD Runners
Eva Obieglo
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Rickie-Lee Roberts
Jan Weyl
PRODUCTION
Unit Production Managers
Hermann Maurer
Ranke Rakowski
Miki Emmrich
Unit Manager
Assistant to Line Producer
Production Coordinators
Jens Enderling
Dorothee Specht
Irene Kainz
Andrea Held
Djamila Holland
Susanne Fischer
Assistant to Production Coordinators
Beatrice Degenhart
Elisabeth (Ellie) Kemps
Travel & Shipping Coordinator
Accommodation Coordinators
Lena Kopsch
Jessica Moroder
Mandy Barchmann
Silke Werner
Production Runners
Jenifère Nieschmidt
Jan Gallasch
PAs
Sebastian Gosch
Katrin Ewerlin
IT-Support
Astrid Junge
LOCATION
Location Managers
Ruben Hanne
Grit Simbeck
Jens Geibel
Silke Krüger
Hannes Heidenreich
Andreas Friz
Assistant Location Managers
Alexander Schimkus
Andreas Heidenreich
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Nima Nadaf
Set Manager
Assistant Set Managers
Sven Jenuwein
Volkmar Croye
Rocco Weber
Set PAs
Kilian Hebold
Andre Schmidt
Julian Witt
Viktoria Steudemann
David Schill
Rosemarie Becker
Paul Wolf
Location Scouts
Marina Winter
Helga Berthold
Franz Hinterbrandner
ACCOUNTING
Chief Accountant
Accountants
Johanna Kohtz
Ursula Gaida
Heike Förster
Monika Helmer
Stefanie Schlesinger
Lena Schmigalla
Ines Wagner
Cashiers
Clemens Ehses
Deniza Popova
Assistant Accountant
Accounting Extras
Od Howell
MECON Media Concept Ltd.
ART DEPARTMENT
Supervising Art Director
Art Directors
Nigel Churcher
David Scheunemann
Hucky Hornberger
Standby Art Director
Special Thanks To
Jens Löckmann
Bernd Lepel
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Assistant Art Directors
Sebastian Krause
Stefan Speth
Patrick Herzberg
Sabine Engelberg
Art Department Coordinators
Roxy Konrad
Gabriele Wolters
Digital Set Designer
3D Set Designer
Graphic Designer
Concept Artists
Wolfgang Metschan
Carsten Woithe
Hennig Brehm
Rob Ballantyne
Bartol Rendulic
Ulrich Zeidler
Peter Popken
Illustrator for Set Dec / Props
Draughts Person
Jan Jericho
Tanja Baumgartner
Stephanie Rass
Art Department Assistant
Art Department Trainees
Carolin Kraft
Leon Fechner
Tobias Herrmann
Diana Neidhardt
Carolin (Carola) Korbmacher
SET DECORATION
Set Decorator
Assistant Set Decorators
Philippe Turlure
Judith Rosskoth
Christelle Maisonneuve
Set Decoration Coordinator
Set Decoration Store Men
Cathleen Hoffmann
Sascha Kaminski
Friederike Beckert
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Set Decoration Buyers
Peter Dürst
Joey Weber
Alwara Thaler
Set Dressers
Stefan Burischek
Christoph Heinecke
Klaus Eckmann
Torsten Münch
Thomas Wimmer
Frank Müller
Florian Speidel
Jens Gaube
Bettina Saul
Standby Construction
Michael Däumler Filmbau
Alex Böhaker
Standby Painter
Junior Set Dressers
Enzo Enzel
Alexander Frühbrodt
Tim Sehling
Additional Set Dressers
Grit Kronacher
Bülent Akgün
Jakob Schalinski
Jochen Schütz
Draper
Assistant Draper
Prop Man France
Greens Person
Drivers
Jacques Kazandjian
Francine Crolbois
Philippe Margottin
Petra Pieper
Richard Grady
Gerd Lassen
Andreas Paech
Maxim Janzen
Wolfgang Stübner
PROPERTY
Prop Master
Marcus Haendgen
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Assistant Prop Master
Prop Buyer
Standby Props
Assistant Standby Props
Junior Assistant Standby Props
Armourers
René Zeunert
Michael Bortz
Ulrike Gojowczyk
Stefan Sellin
Anika Reichenbach
Detta Lenz
Simon Grzesczsk
Standby Armorer-Weapons
Weapon Master Fire Arms
Assistant to Weapon Master Fire Arms
Prop Maker Supervisor
Senior Prop Maker
Prop Makers
Veronika Dolezalova
Rainer Metz
Gregor Olbrys
Simon Weisse
Benjamin Palmer
Robert Wiesner
Gerold Bublak
Prop Maker / Paintress
Junior Prop Maker
Assistant Prop Maker
Sculptor
Prop Making Trainees
Katharina Hafermaas
Stefan Kolbe
Adina Wolff
Frants Rodvalt
Katja Trambow
Alice Büchner
Prop Drivers
Enchbaatar (Endra) Dshamsran
Martin Müller
Roland Eckhardt
SET CONSTRUCTION ON LOCATION
Set Construction
JJ DEKO-BAU
Josef Jacob
SAURUS GMBH
Stefan Rieger
SETBAU GERG
Anton Gerg
SET CONSTRUCTION STUDIO
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Construction Manager Berlin
Assistant Construction Manager
Standby Carpenter
Standby Rigger
Key Carpenter
Head of Revamps
Head Painter
Painter
Key Painter
Key Plasterer
Construction Secretary
Construction Logistics Berlin
Dierk Grahlow
André Brüggemann
Gerd Kunze
Andreas Schweigel
Mark Murawski
Matthias Kullewatz
Jean-Jacques Chaboissier
Annette Fritze
Pablo Alza
Brita Hofmann
Nadin Meyer
Karsten Assmann
MODEL MAKER / MINIATURE UNIT
Model Makers
Alexander Friedrich
Cindy Schnitter
Adrian Lippmann
Jacob von Dohnany
Gunnar Zimmer
Model Makers / Miniature Unit
Jan Meurer
Susanna Jerger
Holger Delfs
Holger Grahn
Josef Schmidt
CONTINUITY & STORYBOARD
Storyboard Artists
Brent Boates
Darek Gogol
Peter Rubin
Script Supervisor
Douglas (Dug) Rotstein
COSTUMES
Assistant Costume Designers
Vincent Dumas
Sabine Knocke
Brigitte Massey-Sersour
Wardrobe Supervisor
Assistant Wardrobe Supervisor
Wardrobe Cast
Claudia Maria Braun
Kristin Pektor
Mitra Saffari
45
Abdelfattah Qzaibar
Nana Kolbinger
Marion Sonnenberger
Gabriele Bahmer
Wardrobe Crowd
Gabriele Keuneke
Jana Witte
Lisi Proske-Amsüss
Nina Trautmann
Björn B. Bugiel
Christina Molitor
Valerie Uckermann
Alexandra Stähle
Veronika Schmederer
Ute Stritzel
Additional Wardrobe
Elena Thodria
Melanie Flath
Franka Eisenhardt
Ulrike Dietel
Kesso Eradze
Standby Tailor
Assistant Standby Tailor
Standby Aging
Trainees
Manja Beneke
Jeremie Hazael-Massieux
Jan Dieckmann
Friederike Roolf
You-Jin Seo
COSTUME WORKSHOPS PARIS / BUKAREST / MUNICH
Assistant Costume Designer (Props)
Assistant Costume Designer
(Ballroom & Upper class)
Assistant Costume Designer
Assistant Costume Designer Italy
Assistant Costume Designer Spain
Assistant Costume Designer UK
Lorenzo Mancianti
Chantal Hocde-del Papas
Ursula Paredes-Choto
Anna Lombardi
Ruth Llera Segovia
Robert Worley
46
nd
2 Assistant Costume Designers
Fanny Rappange
Oriol Nogues Balana
rd
3 Assistant Costume Designers
Florent Cassiani-Ingoni
Laurent Bourven
Key Tailor Women
Key Tailor Men
Key Tailor Men 2
Tailors
Anne Versel
Daniel Roland Bihin
Patricia Faget
Christiane Gassler
Heike Ammer
Margarete Schäfer
Marianna Simoneit
Karin Plobner
Sabine Adldinger
Birgit Rosemeyer
Steffen Sureck
Ahmet Bakhit
Kerstin Lehmann
Karin Schöppe
Norbert Münzer
Birgit Winkler
Susanne Eski
Marco-Oliver Hüttmann
Olli Pohl
Assistant Tailor Women
Assistant Tailor Men
Assistant Tailors
Pascale Paume
Fatima Azakkour
Alix Descieux-Read
Chimène Lerandy
Silver Sentimenti
Wendy Lebeaud
Seamstresses
Natalie Schust
Katrin Kobold
Cedric Cailliau
Kristina Bell
Steffi Block
Evelyn Buri
Leonhard Schlittenbauer
Kathrin Fabisch
Barbara Weyerer
Maria Heddicke
Melanie Hilme
47
Pano Gounaris
Anna Lutz
Nina Lerch
Wolfgang Buchner
Hang-Lang (Samantha) Altun
Helene Boisgontier
Magali Bonnot
Myriam Boucher
Ghénaelle Brossard
Anna Cleeves
Marie-Laure Deltour
Oriane Fauvel
Camille Guèret
Simon Huet
Que Hiang Jsem
Lina Jsem
Lydie Lalaux
Natalia Pankowski
Eve Ragon
Gwenn Tillenon
Aging
Carola von Klier
Frédérique Guillard
Stephanie Wirth
Marika Danc-Roth
Frank Harnoth
Illustrators
Benoist Liebert
Erwan Tur
Xavier Tarrega Raton
Aging Trainee
Anett Somogyi
COSTUMES MANUFACTURING
Workshop Paris
Costumes manufactured by
Costume Prod. Coordinator DADA
Shoe Manufacturing
Costume Rental
Constantin Film c/o Eurocostumes
Oana Paunescu
Fabrika DADA 94 BIS
Daniela Ortenzia Chelaru
Sc. BENEDICT ltd. Srl
Angels the Costumiers
Annamode - Costumes - Rome
Arte e Costume Srl
Sastreria Cornejo S.A.
Cosprops
48
Costumi D'Arte, Rome
Sartoria Farani di Roma
G.P.11 S.R.L.
Le Vestiaire
Mediev'Art
E. Rancati s.r.l.
Sands
Tirelli Costumi S.P.A.
Shoes
Hats
Hats/ Gloves
Pompei
Pippa Cleator
Ditta Pieroni Bruno s.r.l.
MAKE-UP / HAIR
Hair Designer
Personal Make-up Artist to Milla Jovovich
Make-up / Hair Artists Cast
Loulia Sheppard
Christina Smith
Valeska Schitthelm
Petra Schaumann
Birger Laube
Lesley Smith
Hair Artist Cast
Supervisor Make-up / Hair Crowd
Crowd Make-up & Hair Artists
Francesco Alberico
Daniela Skala
Tatjana Krauskopf
Constanze Madlindl
Additional Make-up & Hair Artists Extras
Julia Rinkl
Doreen, Gerlach
Lisa Büscher
Andrea Pirchner
Jan Kempkens
Esther Behrendt
Ji Na Kim
Barbara Obel
Hetty Zwölfer
Elisabeth Vollnhofer
Renate Skala
Anne Weinberger
Veronika Tober
Nadine Hohmann
Judith Anthony
Stefanie Kinzel
Andrea Gotowtschikow
Virginia Vogel
Ina Charanza
49
Anne Wendt
Katharina Thieme
Dörte Dobkowitz
Michael Faralewski
Margot Redmann
Michaela Reuscher
Silvia Windfelder
Simone Neufischer
Katrin Ecker
Regina Münkner
Friederike Mirus
Katja Fischer-Vohwinkel
Sina Stölzle
Nadine Kersten
Christiane Kochendörfer
Günter Schobert
Katharina Pointner
Nicole Zürner
Nadine Jüsche
Jennifer Berr
Ida Arndt
Niyousha Nasri
Florian Zeughan
Aljona Kassner
Ines Prinzel
Felicia Semnau
Verena Schirmer
Sandra Eggener
Melanie Glanzmann
Anja Kieselbach
Katharina Künstler
Wig Makers
Carrol Waugh
Terry Jarvis
Make-up Trainee Cast
Make-up Trainees Crowd
Christina Wagner
Annika Rahner
Christina Mara
Carolin Bonde
Tatjana Bösch
CAMERA
A Camera Operator
A Camera 1st Assistant
Klemens Becker
Thomas Gottschalk
A Camera - Convergence/ Stereo Operator
Sascha Mieke
A Camera 2nd Assistant
Won-Suk Park
A Camera Cable/ Utility PAs
Florian Bellack
Clarissa Cody
50
B Camera Operator
B Camera 1st Assistant
B Camera - Convergence/ Stereo Operator
B Camera 2nd Assistant
B Camera Cable / Utility PA
C Camera Operator
C Camera 1st Assistant
C Camera Convergence / Stereo Operator
C Camera 2nd Assistants
Michael Praun
Michael Rathgeber
Alex Seidl
Sascha El Gendi
Nicholas Jackson
Vern Nobles
Christian Graf
Jens Wenzel
Mira Hamza
Additional C Camera 2nd Assistant
Greta Erhardt
C Camera Cable/ Utility PA
Malte Siepen
3D Systems Tech / Stereographer
3D Systems Engineers / DITs
John Harper
Michael John Taylor
Robert (Bruno) Brunelle
DIT
Assistant DIT
DIT PA
Video Assist Operators
Viktor Lonek
Daniel Eberhard
Florian Bingold
Bert Willer
Michael Philipp Stiebing
Post 3D Stereographer
Assistant to Post 3D Stereographer
Dailies Colorist
David Watro
Ana de Mier y Ortuno
Anna Stalter
Stills Photographer
Rolf Konow
Trainee Video Assist Operator
Jens Rainer
SOUND
Sound Mixer
Boom Operators
Roland Winke
Peter Brücklmair
Thomas Wallis
LIGHTING
Gaffer
Ronald Schwarz
Best Boy
Armin Bach
Electricians
Peter Rabe
Karsten (Willy) Tietz
Simon Rainer
Jürgen Thiele
Christoph Blasé
Thomas Rossbach
51
Carsten Klockow
Stefan Schauerte
Genny Operator
Additional Electricians
Thorsten Baier
Thibault Roginas
Peter Hafenrichter
Klaus-Peter Lübs
Oliver Buschner
Oleg Prohl
Balloon Light
BALLOON LIGHT
Carsten Thoms
Ingo Gärtner
Hartmut Nakelski
RIGGING ON LOCATION
Rigging Gaffer
Bernhard Fuss
Best Boy
Mike Waechter
Rigging Electricians
Nikolaus Szabo
Florian Göttlinger
Georg Hartl
Franz Winter
Florentin Wahl
Johann “Francis“ Frauenrieder
Additional Rigging Electricians
Mike Yousaf
Daniel Beck
Robert Reindke
Thorsten Harms
Ludwig Schmid
Mirko Wittig
RIGGING / STUDIO
Rigging Gaffer
Ron Rakowski
Best Boy
Michael Watts
Additional Rigging Gaffer
Frank Margraf
Rigging Electricians
Patrick Kubat
Ralph Kulike
Axel Renner
Johannes Precht
Sebastian Behrens
Heiko Lehmann
Uwe Joachim
Norman Kästner
52
Holger Schütze
Tom Natusch
Sebastian Heinrichs
Sebastian Beutler
Dimmer Board Operators
Torsten Harms
Denny Bratsch
Christian Schenk
Anton Meister
Head of Green Screen Department
Geoffrey Kennedy
Green Screen Riggers
Ralph Firnkäs
Rene Wagner
David Kuss
GRIP
Key Grip
Grip / A Cam Dolly
Grip
Glenn König
Christian Scheibe
Philipp Rath
Sebastian Mayer
Grip Assistant
Grip / B Cam Dolly
Grip / C Cam
Kenneth Pearson
Arne Schriever
Jan Brun
Techno / Remote Head Operator
Robert Hottarek
Alpha Head Operator
David Cornelius
SPECIAL EFFECTS
SFX Company
DIE NEFZERS GmbH (Logo?)
NEFZER Babelsberg GmbH (Logo?)
SFX Supervisor
SFX Set Supervisor 1st Unit
Gerd Feuchter
Bernd Rautenberg
Project Manager
Rolf Hanke
SFX Coordinator
Klaus Mielich
SFX Workshop Foreman
Michael Luppino
SFX Foreman Rigging
Markus Geiger
Foreman Breakaways
Jaroslav Bucek
Senior Technician Breakaways &
Pyrotechnics
SFX Senior Technicians Workshop
Marcus Paul Schmidt
Jürgen Thiel
Sebastian Venhues
SFX Technician Rigging
SFX Technician Workshop / Rigging
SFX Technician Set
Monty Ploch
Andreas Herberg
“Otto“ Dirk Schlosser
53
SFX Senior Technicians Set
Till Hertrich
Michael Rudnick
STUNTS
Stunt Coordinators
Nick Powell
Volkhart Buff
Assistant Stunt Coordinator
2nd Assistant Stunt Coordinator
Fight Choreographer
Fight Arranger
Assistant Fight Arranger
Sandra Barger
Markus Haas
Nick Powell
Michael Bornhütter
Oliver Juhrs
Sword Master
Roman Spacil
Fencing Instructor
Imke Duplitzer
Stunt Riggers
Ralph Güthler
Marc Sieger
Sven Drangeid
Mathias Gunther
Petr Dvorak
Jason Oettle
Marcus Viergutz
Mathias Stutz
Stunt Performers
Marco Albrecht
Christian Angres
Jörg Annen
Ratislav Bensa
Jan Böhme
Danny Bortfeld
Ulrik Bruchholz
Kristian Czirjak
Nicolas de Pruyssenaere
Georg Ebinal
Jörg Ellmer
Moritz Fischer
Kristoffer Fuß
Sven Thorsten Gliewe
Zdenek Gloser
Christian Gneißl
Joshua Grothe
Thomas Hacikoglu
Fred Hady
Karel Hartl
Sigo Heinisch
54
Timo Honsa
Petr Kadlec
Alois Knapps
Felix Koch
Pavel Konvalina
Alrik Kreemke
Alexander Mack
Branislav Martinak
Ivan Mica
Bruno Montani
Pavel Novotny
Piet Paes
Christian Petersson
Markus Pütterich
Swen Raschka
Ilian Simeonow
Martin Sinn
Bernie Schirmer
Thomas Schubert
Josef Schützenhofer
Daniel Stockhorst
Zoltan Toth
Asuka Tovazzi
Martin Turecek
Martin Uhrovcik
Vali Vasilescu
Ondra Voda
Horse Master
Horse Trainers
Vanessa Wieduwilt
Suzanne Struben
Zsolt Sera
Siegfried Scherer
Bernhard Schirmer
Josef Schützenhofer
Bellinda Weymanns
Steffen Meyer
Horse Riders (Mounted Cardinal Guards)
Volkhart Buff
Michael Luckau
Frantisek Mikota
Fritz Junginger
Alexander Junginger
Fernando Lopez
Steffen Meyer
Roman Spacil
Zsolt Sera
Bernie Schirmer
Moritz Fischer
55
Saddler
Carolin Holleber
Assistant Saddler
Christian Papke
Special Horse Make-Up
Animal Wrangler
Barbara Rönneburg
Michael Schweunecke
TRANSPORTATION
Transport Manager
Martin Kuschan
Transport Captain
Florian Haeger
Assistant Transport Coordinator
Knuth Sorgers
Drivers Captain
Driver to Producer
Driver to Director
Driver to Director / Cast Driver
Cast Drivers
Nils Konrad
Andreas Loibl
Elvin Rook
Smike Triebel
Jan Bludau
László Somogyi
Dirk (Keek) Niemeyer
Jan Luo
Andreas Pauli
Alexander Müller-Lenhartz
Oliver Maloy
Steve Wilks
Georg Nagel
Tobias Joosten
Alexander Sterling
Family Driver of Cast
Alexander Schimpf
Driver to D.O.P.
Sibylle Follmer
Production Drivers
Stefan Backes
Daniel Huhn
Axel Hübner
Matthias Langwich
Hannes Schamberger
Eduard Philippsen
Andreas Schumacher
Altay Ünsal
Roland Fritze
Markus Ritter
Philipp Storz
Sebastian Gottschalk
56
Ilja Kloppenburg
Ivica Rahija
Carina Liegl
Marit Stoye
Additional Production Drivers
Additional Production Drivers Würzburg
Marcel Ahrens
Mathias Schnedler
Julia Tyrolt
Mareike Georg
Tanja Oppel
Luise Aetner
Julia Eitel
Rushes Driver
Equipment Shuttle Driver
Unit Move Coordinator / Truck Driver
Truck Drivers
Darin Damjanow
Enrico Fischer
Tony William Smith
Robert Ehlert
Michel Ehmke
Antonio Allocca
Andreas Holert
Enrico Schleser
Steffen Sahr
Additional Truck Driver
Daniel Schmidt
Translux Facilities Head of Department
Thomas Suess
Translux Drivers
Andreas Rose
Alexander Wunderling
Ronald Hartkopf
Ilja Krug
Björn Schultheiß
Chris Morser
MEDICS
Set Medic
Eric Herz
Maresa Montag
Set Nurse
Nina Perovic
Construction Nurse
Betty Hellwig
CATERING
Catering Company
MAMA Filmcatering
Crowd Catering
CENA Catering International
Catering Rehearsals
The COOKING BROTHERS
SECOND UNIT
DIRECTORS
57
Director
Nick (Nicholas Carl) Powell
st
1 AD
Stewart Hamilton
nd
2 AD
Simon Downes
rd
3 AD
AD Runners
Ronny Schröder
Jenifère Nieschmidt
Almuth (Amo) Völker
PRODUCTION / LOCATION
Unit Manager
Jens Enderling
Junior Stage Manager
Alexander Volk
Set Manager
Volkmar Croye
Key PA
Kilian Hebold
Set PAs
Konstanze Oesker
David Schill
SCRIPT
Script
Silke Dunker
ART DEPARTMENT
Standby Art Director
Carsten Woithe
Standby Carpenter
Patrick Lissek
Standby Paintress
Siguna Wiehr
PROPERTY
Standby Props
Martina Seidl
Franziska Bolze
Nele Gebhardt
Assistant Standby Props
Caroline Ohmert
COSTUME
Wardrobe
Gabriele Keuneke
MAKE-UP
Make-Up / Hair Artist
Petra Schaumann
CAMERA
D.O.P. / Stereographer
1st Assistant Camera
Convergence / Stereo Operator
2nd Assistant Camera
Additional Operator
Camera PA
DIT
DIT PA
Video Assist Operator
Additional Camera Assistant
Vern Nobles
Christian Graf
Jens Wenzel
Mira Hamza
Sebastian Meuschel
Malte Siepen
Viktor Lonek
Florian Bingold
Michael Philipp Stiebing
Greta Erhardt
58
SOUND
Sound Mixer
Henning Thölert
Boom Operator
Thomas Wallis
LIGHTING
Gaffer
Alexander Schaak
Best Boy
Yannick Bonica
Electricians
Thomas Günther
Tino Hopf
André Morgen
Tom Sperling
Oliver Sartorius
Additional Electricians
Tarek El Barbari
Tilo Glawe
Rainer Köhle
Oliver Kühne
GRIP
Key Grip
Grip
Jan Brun
Hannes Tröger
Oliver Senkpaul
Griphand
Shawn Becker
STUNTS
Stunt Coordinator
Volkhart Buff
Assistant Stunt Coordinator
Sandra Barger
Sword Master
Roman Spacil
TRANSPORTATION
Transport Captain
Drivers Captain
Florian Haeger
Nils Konrad
CAST IN ORDER OF APPEARANCE
Athos
Milady de Winter
Aramis
Blonde
Matthew Macfadyen
Milla Jovovich
Luke Evans
Helen George
Venetian Nobleman
Christian Oliver
Porthos
Ray Stevenson
Cagliostro
Til Schweiger
Sergeant Venetian Guard
Markus Brandl
Duke of Buckingham
Orlando Bloom
D'Artagnan
Logan Lerman
D'Artagnan's Father
Dexter Fletcher
D'Artagnan's Mother
Jane Perry
59
Rochefort
Mads Mikkelsen
Drunk
Andy Gatherhood
Tailor
Ben Moor
Cougar
Richelieu
Louis
Jussac
Boy
Susanne Wolff
Christoph Waltz
Freddie Fox
Carsten Norgaard
Isaiah Michalski
Constance
Gabriella Wilde
Planchet
James Corden
Queen
Lady in Waiting
Beefeater Sergeant
Helmsman
Crewman 1
Juno Temple
Nina Eichinger
Max Cane
Gode Benedix
Hannes Wegener
Spengler
Iain Mckee
Crowd Member 1
Horst Kiss
Crowd Member 2
Gudrun Meinecke
Crowd Member 3
Victoria Koestler
Crowd Member 4
Yvonne Pajonowski
Rochefort's Replacement
Florian Brückner
CASTING
Casting Director US
US Casting Associate
Casting Director Germany
Joseph Middleton
Tineka Becker
Simone Bär Casting
Extras Casting Bavaria
Producers Friend GmbH
Marc Körber
Konstanze Körber
Nadia Grasso
Extras Casting Berlin
Agentur Filmgesichter
Johanna Ragwitz
ADVISORS
Historical Advisor/ Etiquette Coach
Choreographer
Prof. Dr. Wolfgang Augustyn
Morris Perry
DIALOGUE COACH
Dialogue Coach (rehearsals)
Catherine Charlton
PERSONAL TRAINERS
Personal Trainer to L. Lerman/ Stunt Double
Personal Trainer to M. Macfadyen (prep)
Donald (Don) L. Lee
Cengiz Dervis c/o Te London
STUNT DOUBLES
60
Athos
Porthos
Alexander Richie Padrutt
Heiko Kiesow
Aramis/Buckingham
Sascha Girndt
Richelieu/Nobleman
Joshua Grothe
Constance
Milady de Winter
Stephanie Burkhard
Jo-Anne Leach
Katja Richter
Planchet
Rochefort
Cagliostro
Blonde
D'Artagnan's Father
Drunk
Jussac
Ralph Güthler
Libor Vrba
Oliver Juhrs
Alessija Lause
Thomas Hacikoglu
Volkhart Buff
Milos Reznicek
RIDING DOUBLES
D'Artagnan
Athos
Porthos
Aramis
Constance
Max Jördens
Valentin Vasilescu
Peter Neumeyer
Kristian Czirjak
Alana Zalambra
Constanze Schwarz
Rochefort
Jussac
Zsolt Sera
Oliver Schropp
STAND-INS DOUBLES
D'Artagnan
Athos
Johannes Ziegler
Patrick Dollmann
Porthos
Klaus Sawatzki
Aramis
Thore Jarosch
Richelieu
Constance
Milady
Buckingham
Planchet
Rochefort
Mathias Schum
Amo Völker
Nina von Düsterlho
Extra (Hannes Scholl)
Simon Thelen
Extra (David Helmut)
Christian Sprecher
Louis
Queen
Cagliostro
Jussac
Tobias Adlberger
Christiane Höhn
Extra Oliver Scheffel
Christian Haupt
POSTPRODUCTION
Postproduction Supervisor
Postproduction Supervisor Constantin Film
Christopher Berg
Simone Benek
61
Head of Postproduction Constantin Film
Co-Editor & VFX Editor
1st Assistant Editor
2nd Assistant Editor
Editorial P.A. Los Angeles
Sound Effects Editors
Nicholas Goodwin
Claus Wehlisch
Constantin Brodt
Lara Keszler
Natalia Pleshivtseva
Chrissi Rebay
Frank Kruse
Supervising Dialogue Editor
ADR Editor
Simon Price
Rodney Berling
Stephen Little
Supervising Foley Editor
Foley Artists
Elisabeth Geffcken
Carsten Richter
Jörg Klinkenberg
Roland Platz
3rd Re-Recording Mixer
Ben Rosenkind
VISUAL EFFECTS by
MR. X. Inc. (Logo)
Visual Effects Production Manager
Digital Effects Supervisors
Jo Hughes
Eric Robinson
Edward J. Taylor IV
Additional On-Set VFX Supervisor
Digital Compositing Supervisor
Leann Harvey
Robert Greb
Animation Supervisor
Jason Edwardh
Model/Texture Lead
Chris MacLean
Lighting Lead
Look Development Lead
Rigging Supervisor
Rigging TD
Cloth TD
Ayo Burgess
Trey Harrell
Jim Su
Ethan Lee
Paul Hurwitz
62
Layout Lead
Matt Ralph
Effects Lead
Kyle Yoneda
Coordinator Leads
Becca Donohoe
Matt Glover
Digital Effects Production Managers
Isabelle Langlois
Annie Alix
Visual Effects Coordinators
Sarah Barber
Ricco Colinares
Naomi Foakes
Matt Glover
Ben Mossman
Laetitia Séguin
Senior Studio Artists
Kirsty Blackwell
Wayne Brinton
Craig Calvert
James Cooper
Jeremy Dineen
Anna Joukova
Sean Mills
Christian Paradis
Matt Schofield
Tamara Stone
Brendan Taylor
Model/Texture Artists
Francisco Alvarez
Martin Andersson
Alfredo Octavio Arango
Andrew Kin Fun Chan
Atilla Ceylan
Devin Dawkins
Katerina Dzolganovski
Can (Jon) Etiskol
Ken Liu
Hernan Melzi
Andre Miranda
Barry Lam
Woo hyuck Lee
Yuhay-Ray Ng
Juan de Santiago
Ian Spriggs
Kelvin Tam
Furio Tedeschi
63
Donmill Yip
Rigging
Andrew J. Farrell
Jon J. McCallum
Farrukh Khan
Animation & Layout
Dan Carnegie
Joseph Cheng Chen
Maxime Ducharme
Pete Dydo
Claudio Gonzalez
Ollie Hearsey
Martin Hesselink
Hanung Lee
Derick Loo
Tom Nagy
Chris de Souza
Gavin Soares
Frankie Stellato
Danny Testani
Effects Animation
Keith Acheson
Shaun Galinak
Yaron Galula
Eric Lacroix
Michael Rice
Ronen Tanchum
Stephen Wagner
Digital Matte Painters
Mathew Borrett
Ken McCuen
Tracey McLean
Milan Schere
Lighting Artists
Engin Arslan
Ghislain Bruneau
Clifford Otomi Green
Jason Gougeon
Geoff Harvey
Lorne Kwechansky
Abdulkadir Mohamud
Tom Perry
Britton Plewes
Matt Whelan
Paul Wishart
Digital Compositors
Mathieu Archambault
Greg Astles
64
Mandy Au
Peter Bas
Andrew Brooks
Kris Carson
Ovidiu Cinazan
Doug Cook
Nicolas Deziel
Thai Son Doan
Anand Dorairaj
Alex Jadfard
Edward Huang
Elizabeth Holmes
Mickael Léger
Perrine Michel
Jaideep Mohan
Christian Morin
Mary Nelson
Alessandro Pantanella
Hojin Park
Pedro Pozo
Sébastien Proulx
Scott Riopelle
Paul Saint-Hilaire
Jerry Seguin
Adam Trowse
Owen Williams
Paint/Roto
Jackie Mills
Briana Nuttall
Anna Pacchioni
Michael C. Tang
Charlotte Xue
VFX Editorial Assistant
Production Assistants
Kelly Noordermeer
Nick Colangelo
Chris Ross
Olivier Rousseau
Senior Technical Supervisor
Jim Price
Pipeline Supervisor
Aaron Weintraub
Tools Development
Sven Steinbauer
Systems
Rory Falloon
David Fix
Chris Nguyen
65
Marcus Beiner
Operations
Sarah McMurdo
Wilson Cameron
Lara Osland
Diana Pazzano
Martin Abel
Lisa Alli
Mally Moyer
Linda Rose
Elizaveta Yankelovich
Additional Visual Effects by
Digital Effects Supervisor
Digital Effects Producer
Lead Digital Compositors
Lead 3D Artist
Lead Matte Painter
Digital Effects Coordinator
Digital Compositors
Rodeo FX
Sébastien Moreau
Annie Godin
Ara Khanikian
Matthew Rouleau
Frédéric St-Arnaud
Genevieve Morin
Joao Sita
Vincent Poitras
Christophe Chabot-Blanchet
3D Artists
Gabriel Beauvais
Mark Carlevaris
Todd Gill
Matte Painters
Stephane Keller
Jeremy Boissinot
Marilyne Fleury
Moïka Sabourin
Mathieu Veillette
Camera Matchmover
Étienne Poulin St-Laurent
Operations Manager
Benoit Touchette
Director of Technology
Additional Visual Effects by
Jordan Soles
Anibrain
Jesh Krishna Murthy
Amod Diwakar
Anirban Das
Bhavik Mehta
Shaiju E.P.
Michael Yates
Pravin Hodage
Vinay Goenka
66
Sachin Satpute
Vikrant Sawarkar
Additional Visual Effects by
VFX Trainee on Set
Fusion CI Studios
Roman Remer
DIGITAL INTERMEDIATE
by
ARRI (Logo)
Lead Digital Colorist
Supervising Digital Colorist
Head of Digital Filmworks
Post Stereographer
Digital Intermediate Producer
Digital Intermediate Supervisor
Digital Intermediate Assistant
Traudl Nicholson
Florian "Utsi" Martin
Harald Schernthaner
Constantin Seiler
Christian Herrmann
Martin Sippel
Simon Duschi
3D Compositing
Abraham Schneider
Stereo Opticals
Roger Voss
Data Wrangler
Amir Farivar
Stereo Alignment
Digital Intermediate Editor
Jeffrey Yaworski
Markus "Mac" Erl
Colorist Lab
Franz Rabl
Endtitle
Lutz Lemke
POSTPRODUCTION FACILITIES
Mixing Theatre
Head of Sound Department
Dolby Consultant
ADR Recording Studios & ADR Mixers
Foley & Sound Effects Recording Studios
CinePostproduction (Logo)
Michael Kranz
Norbert Zich
GOLDCREST POST LONDON
Peter Gleaves
Adam Horley
WILDFIRE POST-PRODUCTION-STUDIOS
Travis MacKay
Wade Barnett
POP SOUND
Michael Miller
TONSTUDIO JOHANNES WARNS (Logo)
WAVEFRONT STUDIOS (Logo)
67
Recordists
Hanse Warns
Roland Platz
Chrissi Rebay
EQUIPMENT
Specialty High Definition Equipment provided by
PACE
FUSION 3D technology provided by
Stereo Lab provided by
Camera; Lighting & Grip Equipment
Colour Grading On-Set Dailies
Weiss Cam
HS Operator
Storage Administrator
3D Rig Operator
Cable Cam
Helicopter Wuerzburg
Nose Mount for Heli Shots Wuerzburg
Sound Equipment
Cameron/Pace Designs
PACE Post Services
ARRI Rental Deutschland GMBH
COLORFRONT
WEISS CAM GmbH
Christoph Skovic
Frank Pelak
Leander Brinkmann
CAMCAT Systems GmbH
Thomas Schindler
HELI Aviation GmbH
FLIGHTCAM DAS
FILMTONSERVICE
Heiko Hinderks
Radios
ROGER & OVER
Stefan Bastian
Additional Radios Berlin
DIE CINEBÄREN
LEGAL DEPARTMENT
Legal & Business Affairs
Gero Worstbrock
Katja Kessler
Felicitas Achelis
Friedrich Radmann
Bernd Bünseler
Sebastian Bergau
Assistants
Olga Alvariño Cerro
Johanna Fuchs
Karolin Stetter
Legal & Business Affairs U.S.
Marsha Metz
Megan Shaw
CO-PRODUCERS
68
Co-Producer France
Co-Producer UK
Co-Producer Germany
NEF Production S.A.S.
New Legacy Film Ltd.
Studio Babelsberg
ASSISTANTS TO PRODUCERS
Impact Pictures Production Executive
Assistant to Robert Kulzer
Assistant to Jeremy Bolt
Executive Assistant to the Board
Creative Affairs Assistant
Assistant to Martin Moszowicz
Executive Assistant to Christine Rothe
Assistant to Christine Rothe
on location
Coordinators
Constantin Film Produktion
Sarah Crompton
Johannes Schlichting
Shawn Wallace
Franz Trosthammer
Friederich Oetker
Désirée Schildt
Daniela von Keyserlingk
Sabina Friedland
Yasmina Majid
Meike Bockelmann
MARKETING & PUBLICITY
Managing Director, Constantin Film Verleih
Marketing & Publicity
Assistant to Torsten Koch
Director Marketing
Marketing
Director Publicity
Unit Publicist
PR Agency Germany
Making Of Producer
Making Of Camera
EPK Interviews
Managing Director, Constantin Film Verleih
Distribution & Sales
Assistant to Oliver Koppert
Torsten Koch
Annegret Michel
Pamela Schuster
Philipp Hergarden
Sonja Hoess
Katja Wirz
Katherine McCormack
JUST PUBLICITY
Regine Baschny
Stephanie Dresbach
Max Meinikat
Sonja Brummer
Oliver Koppert
Mariana Ramlow
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INSURANCES & FINACING BANKS
Insurance Broker
Insurance Broker Germany
Completion Bond
Financing Banks
Derek W. Townshend
Franz Gossler
Versicherungsvermittlung GmbH
International Film Guarantors
DZ Bank, DeutscheZentralgenossenschaftsbank AG
Bayerische Landesbank
Dresdner Bank
MUSIC
Score Produced by
Recorded and Mixed at
Recording Engineer & Scoring Mixer
Recording & Score Mix Assistant
Recording Supervisor
Paul Haslinger & Mike Higham
& Tobias Lehmann
Teldex Studio Berlin
Tobias Lehmann
Tom Russbueldt
Floran Tessloff
Music Editor
Mike Higham
Protools Engineer
Travis Smith
Music Programming Assistant
Orchestrations by
Music Preparation
Daniel Waldmann
Tim Davies
Jeremy Levy
Leo Birenberg
Jonathan Hughes
Florian Tessloff
Jan-Peter Klöpfel
Roman Vinuesa
Featured Soloists
Noah Sorota
Martin Tichy
Guitars
Jason Falkner
Cembalo
Paul Haslinger
Solo Oboe
Albrecht Mayer
Conducted & Contracted by
Performed by
Music Supervisor
Joris Bartsch-Buhle
Berlin Session Orchestra
Constantin Music
Christoph Becker
Pia Hofmann
Music Legal
Ama Walton
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"Royal Dance"
Music: A.R. Luciani
Mit freundlicher Genehmigung der Universal
Publishing Production Music GmbH
"Praetorius: 2. Gavotte (Dances from
Terpsichore)"
Collegium Terpsichore, Fritz Neumeyer
1960 Deutsche Grammophon GmbH
Mit freundlicher Genehmigung der Universal
Music Classics & Jazz - a division of Universal
Music GmbH
ACKNOWLEDGMENTS
The Director and Producers wish to thank and acknowledge
the contribution of the following
Bayerische Verwaltung der Staatlichen Schlösser, Gärten und Seen
Dr. Johannes Erichsen · Jochen Holdmann · Dr. Sabine Heym · Gabriele Uhl
Kathrin Jung · Thomas Steffny · Dr. Heinrich Piening · Dr. Max Tillmann
Clemens von Schoeler · and many others.
Alte Hofhaltung und Domresidenz Bamberg
Bernhard Schneider · Baptist Ruß · Kristina Karl
Residenz Würzburg & Festung und Kirche Marienberg Würzburg
Gerhard Weiler · Elisabeth Leo · Manuel Bechthold ·and many others
Burg zu Burghausen
Walter Rappelt · Heinz Donner
Schloss Herrenchiemsee
Josef Austermayer · Georg Riepertinger · Willi Reichert · Cornelia Wild
Residenz und Hofgarten München
Josef Streun · Günther Graml · Philipp Feldmüller
Neues Schloss Schleissheim · Paula Kleeberger · Helmut Schrader
Gemeinnützige Stiftung Schloss Weissenstein, Pommersfelden
I.E. Damiana Gräfin von Schönborn · S.E. Paul Graf von Schönborn
Franz Kiesel · Dorothee Feldmann · Birgit Wernsdörfer
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Bamberg
Pressestelle der Stadt Bamberg
Frau Siebenhaar
Bamberg Tourismus & Kongress Service
Frau Schühlein · Frau Dr. Hanemann
Dombauhütte Bamberg · Ordnungsamt Bamberg · Staatliches Bauamt Bamberg
Straßenverkehrsamt Bamberg · Theater der Schatten · Feuerwehr · DLRG
Erzbischöfliches Ordinariat Bamberg
and all residents
Burghausen
1. Bürgermeister Hans Steindl · Ordnungsamt Burghausen, Martin Hinterwinkler ·
Bürgerhaus, Birgit Reinecke-Reiprich, Armin Bathen · Burgcafé, Lucia Stranzinger
Würzburg
Oberbürgermeister Georg Rosenthal · GTW GmbH, Mischa Steigerwald · CTW
Hochschule für Musik Würzburg · Polizeiinspektion Würzburg · Wasser- und Schiffahrtsamt · Feuerwehr ·
Staatlicher Hofkeller Würzburg · Luftfahrtamt Nord
Kaufhaus Wöhrl · Café zum schönen René · and all residents
Prien / Insel Herrenchiemsee
Hotel Luitpold am See · Yachthotel Prien · Chiemseeschifffahrt Ludwig Fessler
Günther Hartl · Heinz Baumgartner
Schalkhofen
Peter Huber · Georg Rieger
München
KVR München, Herr Danninger, Frau Seibt
Preussische Schlösser- und Gärten Berlin Brandenburg
Cathedrale & Ville de Reims
Adelibe Hazan, Maire de Reims
Centre des monuments nationaux
Deutsche Telekom · PRO Sale MAC Cosmetics
Smart Cover · L'Oreal · La Mère · Avena
AVEDA
Support Bayern:
Huber & Hägele · SCS Schäfer Clean Matten · DHS Filmservice GmbH
Kipper Filmservice GmbH · Film-Mobile GmbH · Filmobil Carsten Kley
Mirus Filmservice · PSD Sicherheitsdienst GmbH · and many others
72
A
CONSTANTIN FILM
IMPACT PICTURES
Production
In Co-Production with
NEF PRODUCTIONS
NEW LEGACY FILM
and
STUDIO BABELSBERG
(Logos)
Supported by
DEUTSCHER FILMFÖRDERFONDS
FILMFERNSEHFONDS BAYERN
BAYERISCHER BANKENFONDS
FILMFÖRDERUNGSANSTALT
MEDIENBOARD BERLIN BRANDENBURG
(Logos)
The Co-Producers and its affiliates are the authors of this motion picture for the purposes of the Berner Convention and
all national laws giving effect thereto.
Constantin Film Verleih is the exclusive owner of all and any exploitation rights in and to this motion picture.
This motion picture is protected under the laws of Germany, the United Sates of America and other countries.
Unauthorized duplication, distribution or exhibition may result in civil liability
and criminal prosecution.
The animals used in this film were in no way mistreated and all scenes in which they appeared were under strict
supervision with the utmost concern for their handling.
Dolby Digital
(Logo)
World Sales
SUMMIT ENTERTAINMENT (Logo)
A German - French - British Co-Production
under the European Convention on Cinematographic Co-Production
© 2011 Constantin Film Produktion GmbH, NEF Productions S.A.S.
and New Legacy LTD.
CONSTANTIN FILM (Static Logo)
- All Rights reserved by Constantin Film Verleih -
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