Inspired by true events, THE REVENANT is an epic story of survival and transformation on
the American frontier. While on an expedition into the uncharted wilderness, legendary explorer Hugh
Glass (Leonardo DiCaprio) is brutally mauled by a bear, then abandoned by members of his own
hunting team. Alone and near death, Glass refuses to succumb. Driven by sheer will and his love for
his Native American wife and son, he undertakes a 200-mile odyssey through the vast and untamed
West on the trail of the man who betrayed him: John Fitzgerald (Tom Hardy). What begins as a
relentless quest for revenge becomes a heroic saga against all odds towards home and redemption.
THE REVENANT is directed, produced and co-written by Alejandro G. Iñárritu.
ABOUT THE PRODUCTION
Academy Award®-winning director Alejandro G. Iñárritu brings the legend of Hugh Glass to the
screen with The Revenant, an epic adventure set in the unchartered 19th century American Frontier.
Immersing audiences in the unparalleled beauty, mystery and dangers of life in 1823 America, the film
explores one man’s transformation in a quest for survival. Part thriller, part wilderness journey, The
Revenant explores primal drives not only for life itself but for dignity, justice, faith, family and home.
Known for such films as 21 Grams, Babel and the Academy Award®-winning Best Picture
Birdman, The Revenant is Iñárritu’s first historical epic.
He brings his distinctive mix of visual
immediacy and emotional intimacy to a story that transports audiences to a time and place that have rarely
been experienced through visceral modern filmmaking.
The film’s wilderness-based production mirrored the harsh conditions Glass and company actually
lived through in the 1800s. Iñárritu and his whole cast and crew were up for all that was thrown at them,
welcoming the challenges of shooting in Canada and Argentina, regions known for unpredictable weather
and untouched wilds, in order to fully understand the experience of fur trappers in the early 19th century.
Iñárritu collaborated closely with Golden Globe-winning and Academy Award®-nominated actor
Leonardo DiCaprio in a one-of-a-kind role as physically intense as it is emotionally raw. Along with
BAFTA-winning actor Tom Hardy and celebrated actors Domhnall Gleeson and Will Poulter, Iñárritu
guided a diverse international and Native American cast into the unseen past. He reunited with Academy
Award®-winning cinematographer Emmanuel “Chivo” Lubekzi to bring their distinctive camera style
outdoors, with a camera that floats through the landscape – and gets so close-in at times the very breath of
the characters is visually present. And Iñárritu consulted closely with historical advisors to authentically
explore the territorial wars with Native tribes that would later become the stuff of myth.
Glass’s mythology began in 1823, when he was among thousands joining the fur trade, a driving
new force in the US economy. It was a time when many saw the wild as a spiritual void that demanded to
be tamed and conquered by the steeliest of men. And so they poured into the unknown, plying unmapped
rivers, disappearing into impossibly lush forests, seeking not only excitement and adventure but also
profits -- often in fierce competition with the Native tribes for whom these lands had long been home.
Many such men died anonymously, but Glass entered the annals of American folklore by flat-out
refusing to die. His legend sparked after he faced one of the West’s most feared dangers: a startled
grizzly bear. For even the most tested frontiersmen that should have been the end. But not for Glass. In
Iñárritu’s telling of the tale, a mauled Glass clings to life – then suffers a human betrayal that fuels him to
continue at any cost. In spite of tremendous loss, Glass pulls himself from an early grave – clawing his
way through a gauntlet of unknown perils and unfamiliar cultures on a journey that becomes not just a
search for reckoning but for redemption. As Glass moves through the frontier in turmoil, he comes to
reject the urge for destruction that once drove him. He has become a “revenant” -- one returned from the
dead.
Says Iñárritu: “Glass’s story asks the questions: Who are we when we are completely stripped of
everything? What are we made of and what are we capable of?”
Adds Leonardo DiCaprio: “The Revenant is an incredible journey through the harshest elements of
an uncharted America. It’s about the power of a man’s spirit. Hugh Glass’s story is the stuff of campfire
legends, but Alejandro uses that folklore to explore what it really means to have all the chips stacked
against you, what the human spirit can endure and what happens to you when you do endure.”
For Iñárritu The Revenant is a complete 180 from the interior world of Birdman. Having honed in
on the neuroses of current times, Iñárritu now switched all gears into a grand-scale story from the
American past, with its perpetual tensions between savagery and civility, serenity and ambition.
“For over five years, this project was a dream for me,” says Iñárritu. “It’s an intense, emotional
story set against a beautiful, epic backdrop that explores the lives of trappers who grew spiritually even as
they suffered immensely physically. Though much of Glass’s story is apocryphal, we tried to stay very
faithful to what these men went through in these undeveloped territories. We went through difficult
physical and technical conditions to squeeze every honest emotion out of this incredible adventure.”
Iñárritu was fascinated by how stark peril strips us down and allows us a glimpse into what sustains
us; how it can unearth things that might have remained hidden if that door to mortality had never been
opened. The mountaineer Reinhold Messner once said of facing the dangers of the wild: “We are not
learning how big we are. We are learning how breakable, how weak, how full of fear we are. You can
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only get this when you [are exposed] to great danger.” Costume designer Jacqueline West echoes him,
noting, “Glass is a character coming into touch with his own mortality, and that is a powerful thing.”
That confrontation with mortality also becomes entwined with an unusual father-son love story: that
of a man who in his moment of loss becomes more devoted to life than ever.
“The Revenant is a story of harsh survival but also one of inspirational hope,” Iñárritu says. “For
me, the important part was to convey this adventure with a sense of wonder and discovery, as an
exploration of both nature and human nature.”
Producer Steve Golin observes: “Alejandro always brings truth to whatever he does. There’s a
grittiness to his work, but there’s also a spiritual element to his work – and in The Revenant that makes
for a potent combination we haven’t seen in this way before.”
20th Century Fox and New Regency present The Revenant, starring Leonardo DiCaprio, Tom
Hardy, Domhnall Gleeson, Will Poulter, Forrest Goodluck, Paul Anderson, Kristoffer Joner, Joshua
Burge and Duane Howard. The film is directed by Alejandro G. Iñárritu and the screenplay is written by
Mark L. Smith and Iñárritu, based in part on Michael Punke’s novel. Producers are Iñárritu, Arnon
Milchan (12 Years A Slave, Gone Girl), Steve Golin (Babel, True Detective), Mary Parent (Godzilla,
Noah), Keith Redmon and James Skotchdopole (Birdman, Django Unchained); executive producers are
James Packer (The Lego Movie), Jennifer Davisson (The Ides of March), David Kanter (Rendition) and
Brett Ratner (X-Men: Last Stand). The filmmaking team includes two-time Academy Award®-winning
director of photography Emmanuel “Chivo” Lubezki, ASC/AMC (Gravity, Birdman); production
designer Jack Fisk (There Will Be Blood); editor Stephen Mirrione, A.C.E. (The Hunger Games); visual
effects supervisor Rich McBride (Gravity); and costume designer Jacqueline West (The Curious Case Of
Benjamin Button).
THE LEGEND OF HUGH GLASS
For two centuries, the story of Hugh Glass has stood as one of the most astonishing tales of a man
going beyond all expected limits of body, mind and soul. Born in Philadelphia in 1773, little is known
about the real Glass’s early life, but it is believed he spent years at sea as a pirate. He journeyed west in
his 30s, and in 1823, fatefully signed up for Captain Andrew Henry’s expedition to explore the Missouri
River. It was when the expedition neared what is now Lemmon, South Dakota that Glass was mauled by
a grizzly and abandoned by the men assigned to stay with him who assumed, incorrectly, he would soon
die.
Glass himself left no writing behind, save a solitary letter written to the parents of a companion
killed by the Arikara Indians. When he turned up alive, newspapermen of the day spread his tale across
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the nation. Since then, there have been biographies and novels – but in 2002, author Michael Punke
published one of the most extensively researched accounts with The Revenant: A Novel of Revenge.
Intriguingly, Punke has a whole other career as a U.S. trade representative, but he also had a life-long
fascination with mountain men that led him to comb every resource to give the most life-like rendering of
Glass yet.
The book was praised by Publishers Weekly as “a spellbinding tale of heroism and obsessive
retribution” and became a favorite of readers who thrive on high adventure. Three of those readers
included Anonymous Content producers Steve Golin, Keith Redmon and David Kanter.
“I’ve always loved wilderness survival pictures, and we all thought this could an incredible and
fresh adventure,” recalls Golin. “For David, Keith and me, it’s been a long journey, but we are really
excited that it came together the way that it did with the extraordinary group of people that it did. It was
not easy, but it was a dream come true in terms of the creativity the story inspired.”
Anonymous Content enlisted Mark L. Smith to pen a screenplay. Smith saw in the story a chance to
give people an experience we can barely imagine in our 21st Century technological lives.
“Back in the 1820s, when you were left in the wilderness, you were left in the wilderness. You
couldn’t pull an iPhone out of your pocket,” Smith notes. “Glass is thrown into nearly unimaginable
experiences: from going over waterfalls to fighting wolves off a buffalo. His story is an adventure, but it
is also a rich, emotional journey and I felt it could also be an amazing visual spectacle.”
That hope became a reality when Iñárritu came aboard, hoping to take audiences directly into a
world that has long fascinated and beckoned – yet remained inaccessible. “This story is so different for
Alejandro, I was in shock at first that he was interested in it,” Smith admits. “But once he began working
on the script, everything came to life. He was so invested, so creative. It was a wonderful collaboration.”
New Regency was thrilled to work with Iñárritu. Says CEO and president Brad Weston: “We were
fully committed to Alejandro’s vision – we understood the breadth and the scale of it and the need for
flexibility and we saw it as a chance to get back to the roots of our company as a filmmaker-driven
enterprise. We saw it as a very creative project but also a story with widespread commercial appeal.”
Iñárritu brought fictional twists to the already apocryphal stories of Glass, while continually diving
further down to explore the resonant themes beneath the surface. “I was interested in exploring not only
the physical paths of Glass and Fitzgerald but also their psychologies, their dreams, their fears and their
losses,” the director explains. “The storyline was a great base, as in music, but what’s going on in their
minds and their hearts are the solos, the trumpets and piano.”
For DiCaprio, Iñárritu’s stamp on the screenplay was unmistakable.
“When Alejandro came
aboard, it became an exciting prospect for me because he is such a unique filmmaker,” says the actor. “I
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knew he could give audiences that truly immersive experience. On the one hand, it’s a primal story of
existential survival, but Alejandro brings in so many different nuances, it becomes something more.”
Because only the bare historical facts are known, the story demanded imagination, but two words
underlined Iñárritu and Smith’s approach: cultural authenticity. “We researched everything from how
frontiersmen spoke to their tools. We wanted to bring audiences into this world fully,” says Smith.
Iñárritu took to heart the responsibility of recreating a lost world. On the first day of filming, he
assembled the production on the banks of Alberta’s Bow River – where the cast would soon wade into the
icy waters for an action-packed scene. Each was handed a red rose. Blackfoot cultural advisor Craig
Falcon led a ceremony aided by elders from the local Stoney tribe to bless the film, the creatures and the
land. After the blessing, Iñárritu asked the 300 people to hold hands in silence. Then, in unison, they
walked into the river, scattering their rose petals.
LEONARDO DiCAPRIO as HUGH GLASS
Leonardo DiCaprio has portrayed a kaleidoscopic array of characters – from Howard Hughes to Jay
Gatsby to Wolf of Wall Street’s profligate Jordan Belfort – but the role of the Hugh Glass was an entirely
new challenge, taking the actor into borderlands that few in our modern world have experienced. It is
DiCaprio’s most intensely physical role and at the same time, an almost wordlessly raw performance.
“There are powerful themes for me in the film:
the will to live and our relationship with
wilderness,” explains DiCaprio of his immediate attraction to the story. “I’ve also previously played a lot
of characters who were incredibly articulate in different ways and had a lot to say, so this was a unique
challenge for me. It was about conveying things without words or in a different language. A lot of it was
about adapting in the moment, about reacting to what nature was giving us and to what Glass was going
through as we filmed. It was about exploring the most internal elements of the survival instinct.”
DiCaprio was also enthralled by Iñárritu’s aim to bring Glass’s story to life with a realism that
would plunge audiences into life in primordial Western lands long before cowboys and outlaws. “I’ve
never really seen this time period in American history put on film, so that interested me,” he says. “This
was a unique time and place in the history of the American West because it was far more wild than what
we think of as ‘the wild, wild West.’ It was like the Amazon, a completely unknown wilderness, a no
man’s land where few laws applied. These trappers who came from Europe and the East Coast had to
learn to live a life in the middle of the elements -- surviving like any other animal in the wilderness.”
Iñárritu was gratified to find DiCaprio ready to explore limits, as Glass had. “Leo is extraordinary
in every detail, in every aspect of human behavior and observation. He’s a natural at nuances and
rhythmical movements and everything that makes a character feel fully alive. He’s collaborative and very
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smart, always questioning what makes a scene more powerful. And he brought his own deep personal
connection with nature. What he delivered on screen was not only moving but surprising.”
The director emphasizes that DiCaprio faced tests no actor could fully prepare for in his
performance. “Leo was working in the toughest of conditions, under a challenging wardrobe, in extreme
make-up, going to the most emotionally uncomfortable and dark places. But no matter what he is going
through, something immediate comes to life when Leo is in front of the camera. There’s an incredible
power,” Iñárritu observes. “The way we were shooting demanded an enormous amount from him in
terms of rhythm, timing, momentum and silence, yet Leo makes it all work because he is so present.”
In turn, DiCaprio says he gave Iñárritu his full trust. “What I really love about Alejandro’s
approach is that he’s an old-school filmmaker who believes in the art of creating something on the screen
-- and he’s also kind of an outsider, even though he works on the inside. He understands the industry as it
is now, but he’s been influenced by an entire lifetime of studying cinema history and developed his own
uncompromising style that is now synonymous with his name. There are very few filmmakers out there
who can escape the Hollywood mold and yet accomplish a film like this one on such an epic scale.”
The bear attack that threatens to end Glass’s life immediately took DiCaprio into a mano-a-mano
struggle with one of nature’s most skilled predators. “The bear attack was incredibly difficult and
arduous,” DiCaprio recalls, “but it’s profoundly moving. In the film, Alejandro puts you there almost like
a fly buzzing around this attack, so that you feel the breath of Glass and the breath of the bear. What he
achieved is beyond anything I’ve seen. Glass has to find a way to deal with this full-grown animal on top
of him. He’s at the brink of death – and you are fully immersed in this moment with him.”
Iñárritu and DiCaprio had intensive conversations about Glass that deepened what is a non-stop
kinetic performance. He notes that Glass’s fictional Pawnee wife and son already set him apart among the
trappers. “Glass is someone who has already immersed himself in nature and kind of left behind the
trappers’ more material world,” he observes. “He has faced a unique set of challenges as a father in this
environment, and that is a constant undertone in his character. There’s a sense that he and Hawk are
already isolated and alone, so their father-son bond is a very powerful force that drives him throughout.”
DiCaprio did many of his own stunts: he was buried in snow, went naked in minus five-degree
weather and jumped into a frigid river, each moment bringing him more in touch with Glass’s will. But as
he makes his way, Glass does not just abide – he also changes profoundly, something DiCaprio reveals in
a multi-hued range of subtle details that add up to the film’s stirring climax.
“Throughout, there’s that question of whether some kind of revenge is ultimately the thing that will
quench Glass’s thirst at the end of the day. But the need to continue on becomes something more to
him…it becomes a kind of spiritual endeavor,” he concludes.
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TOM HARDY as JOHN FITZGERALD
The dark mirror to Hugh Glass’s journey of survival is John Fitzgerald’s journey into paranoia,
recrimination and haunted bitterness. To portray Fitzgerald, who both betrays Glass and becomes his
spark for enduring, Iñárritu cast the English actor Tom Hardy who has come to the fore in vastly
contrasting roles, from the dream-world character of Eames in Christopher Nolan’s Inception to the oneman tour-de-force of Locke. Iñárritu says, “As Fitzgerald, Tom plays a man full of prejudice. Yet he’s a
wounded soul who has fears of the other because he is not capable of opening up to and understanding
otherness. Tom has a finesse to him that is difficult to find,” Iñárritu continues. He is so handsome, so
well built, so powerful and strong, but at the same time, can be extremely fragile, and that is what makes
him so unique.”
Hardy made for an incredible nemesis. “Fitzgerald is a very interesting character because you
understand his motivations so well. Here he is a man with nothing who hoped to be in a lucrative
business, and all his future plans disappear in one second. So he goes into this ultimate survival mode
where it’s kill or be killed – and Glass is the person in the way of that,” says DiCaprio. “Fitzgerald is also
a survivor, but he finds a very different way from Glass. He chooses to be cutthroat.”
He continues: “Tom is someone I’ve worked with before and I’m an incredible fan of his work. I
think he’s one of the most dynamic actors out there, and his commitment to creating this character was
incredibly exciting to watch. He has a raw savagery that is so genuine; and that was absolutely,
fundamentally needed to contrast with my character. He’s not your typical villain. These two men show
strength in two entirely different ways.”
For Domhnall Gleeson, playing the role of Fitzgerald’s disappointed Captain, it was thrilling to go
up against Hardy as Captain Henry realizes he has been duped. “Tom has brought an edge to Fitzgerald
where you never know which way he’s going to go,” Gleeson says. “My character feels beaten down by
Fitzgerald, but then he starts to hold his ground – and it was really exciting to go toe-to-toe with Tom.”
FUR TRAPPERS – THE ORIGINAL WESTERN ENTREPENEURS
The history of the American fur trade is brief, yet pivotal, full of tales of daring but also grave
destruction. Though the fur trade forged the romantic image of the mountain man – idealized loners
purportedly as rugged as the wilderness they felt beholden to tame -- the fur trade was also very much a
business. In a sense it ushered in the first emergence of the archetypal Western entrepreneur, the visionary
iconoclast who forges ahead answerable to no one but himself.
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“This era was the start of industrialism at play in the West. Even before the discovery of gold and
oil, the fur trade was a massive, lucrative business,” explains DiCaprio. “You had trappers going into
pristine landscapes among indigenous populations to extract resources – and the question that comes up
is: at what cost? Glass is caught in the middle of that question and it’s a powerful theme in the film.”
Fur trading began in the late 17th Century, as indigenous tribesmen exchanged their wondrously
warm pelts for European’s metal tools. By the early 19th Century, as demand for fancy fur hats soared in
Europe – and prices for beaver pelts reached $6/lb. -- the fur trade became a boost to the American
economy, responsible for new trade routes that would set the stage for development of the West to come.
By the 1820s, the fur trade had reached the Rocky Mountains and become intensely competitive,
with traders battling one another as well as Native tribes. Hugh Glass worked for the Rocky Mountain Fur
Company, then newly on the scene. The company utilized the “rendezvous system,” which meant they
built no cabins or forts. Instead, their trappers were expected to hunt their own food, build their own
shelter and fight their own battles, enhancing their stoic reputations.
Yet the romanticized myths of the heroic mountain men have belied some of the era’s darker
realities. Many trappers spent their lives in debt, while owners of fur companies grew fabulously wealthy.
And while trappers lived amid nature’s rhythms, their relationship to the environment was often
adversarial – resulting in species being hunted to the brink of extinction and profound impacts on both the
natural environment and the Native American cultures entwined with it.
To recreate this world in all its authentic shadings, Iñárritu recruited experts, including historian
Clay Landry, who is affiliated with the only two U.S. museums devoted to the period: The Museum of
the Mountain Man in Wyoming and Museum of the Fur Trade in Nebraska. Landry notes that among
historians, the Hugh Glass story is Mountain Man 101. “If you study Rocky Mountain fur trade history,
one of the first things you’ll learn is the Glass story. It’s that epic,” he muses.
Throughout the production, Landry provided advice on trapper’s mindsets, tools and survival skills.
He gave the cast a personal taste of all this in a “Trader’s Boot Camp” -- where the homework included
drawing bows, setting beaver traps, skinning [fake] beavers and throwing tomahawks.
“At Boot Camp, the actors really dug in,” says Landry. “We taught them everything a trapper
would need to know. Of course, they were shooting blanks and not truly fending for themselves, but they
still got the feel of it. The cast and crew wanted to know everything they could about the era.”
Adds Arthur Redcloud, who plays Hikuc, the Native healer Glass encounters on his journey: “The
boot camp didn’t just take place on a physical level; it gave us something on an emotional and spiritual
level as well. For me, it wasn’t just about reconnecting with the past. It was gaining a new vision.”
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LAND OF THE ARIKARA
As The Revenant begins, Captain Henry’s fur trapping expedition comes under attack from a band
of tribesmen already settled along the banks of the Missouri River. These are the Arikara – dubbed
simply the Ree by trappers -- whose historic offensive against the Rocky Mountain Fur Trading Company
would forever alter their fate. An oft-ignored yet integral part of Glass’s story, Iñárritu felt compelled to
bring the Arikara’s presence to the fore in his telling of the tale.
Known among their own people as the Sahnish, the Arikara were so named by other tribes for
their feathered headdresses. They had populated the plains for more than 1000 years as semi-nomadic
farmers with a rich culture before Europeans arrived. In 1804, Lewis and Clark had encountered the
Arikara, and found them peaceable. Yet by the 1820s, having been repeatedly displaced, they were in
full-scale hostilities. An attack on fur trappers drew a response from the U.S. military, which decimated
the tribe in the first of many brutal plains wars. The Arikara’s dwindling numbers were then reduced
70% in an 1830s smallpox plague and ensuing conflicts with the Sioux. Yet, the Arikara survived,
settling in North Dakota, where the last speakers of the endangered Arikara language have kept it alive.
It was so vital to Iñárritu to authentically portray the Arikara people, that he brought in adviser
Loren Yellowbird Sr., an Arikara historian, anthropologist, and Chief Interpreter and Ranger at the Fort
Union Trading Post in North Dakota.
For Yellowbird, it was exhilarating to see the Arikara finally become part-and-parcel of this story.
“A lot of people have never even heard of the Arikara, so this was a chance to show another perspective
and to bring this world to life,” he says. “I appreciated it greatly, because I think being able to capture the
Arikara language and to bring some of their traditional culture to light in this time is very important.”
Yellowbird notes the period seen in the film represents the last moments of the traditional Arikara
lifestyle. “Arikara villages had been there for hundreds of years … They had a strong trading culture and
an intricate ceremonial culture that was not altered yet.”
That would rapidly change as the fur trade grew. “These trappers were coming in and were not
respectful from our perspective. They were coming into other people’s territory and taking things. There
was no negotiating. The trappers just took what they wanted,” Yellowbird describes.
Following the attack, the Arikara developed a reputation as lethal warriors, but Yellowbird says
there is a larger context. “Traders started to fear the Arikara. Yet, the funny thing is, Arikara women
were still marrying traders,” he points out. “So if you came to the Arikara respectfully, there was peace.
But I believe they were treating the trappers and military they way they felt they were being treated.”
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It was the beginning of a near-collapse of the tribe’s way of life. “At that point, our way of life was
being taken so fast, we had no way to stop it,” Yellowbird laments. “We were lucky we had smart chiefs
-- visionaries who thought about the future and asked what can we do to assure our people survive. I still
follow that path. While making this film, I was thinking about what I can do to make sure that my greatgreat-grandchildren have these things in place: our language, our culture, our songs and our customs.”
Yellowbird is especially excited that some young Arikara may have an opportunity to hear the
language and see how their ancestors lived for the first time when they see The Revenant. “I’m a guy who
has an iPhone but I still follow our traditional paths because I think it is good for us to respect our
ancestors. This stories show all the hardships they went through so we could live today,” he concludes.
While Yellowbird was the only Arikara involved with the production, some 1,500 Native
Americans and Canadian First Nations appear in the film. Yellowbird was gratified by their openness to
learning about the Arikara. “The cast was interested in representing this world in the most vibrant way. It
humbled me to see that,” he says. “If I was portraying someone from another tribe, I’d do the same.”
Craig Falcon, a Blackfoot cultural educator specializing in Native American/Aboriginal Awareness,
also came aboard, with a special interest in horse and war paints. The cultural authenticity Iñárritu sought
was a huge draw. “In Native America, we want to see truth,” says Falcon, “not like the old movies where
you’d see Ricardo Montalban dressed as a Native! The Revenant hits true authenticity with the language,
with the way horses are painted and with its portrayals of each tribe.”
Arthur Redcloud, who grew up on a Navajo reservation and plays Hikuc, says: “The film is a
special gift, and we wanted to pour the heart and soul of our people into it.”
SUPPORTING CAST
Domhnall Gleeson on Captain Henry
Domhnall Gleeson, the rapidly rising Irish actor who also stars in this year’s Brooklyn, plays the
role of Captain Andrew Henry, a real-life historical figure who was one of the founders of the Rocky
Mountain Trading Company and a leader of the expedition up the Missouri River.
Gleeson notes that the script gives Captain Henry a fictionalized arc beyond what history knows of
him. “The real Andrew Henry was quite respected, whereas in this story you see him as an uncertain man
learning to be leader. He goes on a journey, growing into the man he was said to be,” he explains.
From the start, Gleeson understood the film was going to be a purposefully challenging experience.
“Before we even started shooting, Alejandro said he wanted it to be a tough experience for the actors –
and he was true to his word. We were put in unusual circumstances and challenging conditions but it was
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exciting because it was so different,” he comments. “I certainly have never done anything like it before.
There’s an exhilaration to making a movie in a way that people just don’t make movies anymore.”
Gleeson says the roughness of the shoot enriched the performances. “My character is meant to find
his circumstances horribly difficult, he’s meant to feel out of place and so I poured everything I was
experiencing into the performance,” he explains. “You hope that ultimately the size of all that these men
contended with --- the desperation, the madness and uncertainty -- will feel present in the movie theater.”
Will Poulter on Jim Bridger
Rising English actor Will Poulter (The Maze Runner) stars as Jim Bridger who went on to become
one of the West’s most legendary guides. In The Revenant, he is seen as a mere boy -- but one who must
confront his conscience after he and Fitzgerald leave a mortally injured Glass behind. Poulter was thrilled
by the richness of the role. “It’s an honor to play a real living person who has been celebrated for his
mountain man skills in a time and place when life expectancy for everyone was so low,” he says.
For a young man new to the frontier, it would have been a life-altering experience. “I think
Alejandro wanted to draw from Bridger this idea of innocence facing up to some of life’s toughest
situations, and the conflict between the boy he is and the man he’s becoming. Jim has to step up, he has
to learn to stifle his fears finally, to do the right thing,” says Poulter. “He’s in situations that men like
Glass and Fitzgerald and Captain Henry have experience with – but he has to grow up instantly just to
survive.”
Initially, Bridger is an apprentice to Glass. “Glass may be the closest thing Jim has in the wild to a
father figure,” observes Poulter. “I think he idolizes him as one of the best navigators and shots around.
So when things go wrong, the consequences escalate for him.”
Those consequences mean making a pact with Fitzgerald. Poulter worked closely with Tom Hardy
to explore Bridger’s mix of horror, anger and fear towards the man. “Our dynamic is less than friendly but
with that being said, it’s not as simple as us being enemies either,” he notes “It’s a muddied, complex
relationship. At its core, I think there's an understanding that we both need each other to survive.”
Like his cast mates, Poulter found the way Iñárritu and Lubezki shot the film deeply alluring. “I've
never had to perform so intimately with the camera before. I've never had to introduce the camera’s
presence in my consciousness this way. It was an incredible thing. You almost feel as if you are no longer
acting. You have to really believe you are your character.”
Forrest Goodluck on Hawk
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Sixteen-year old Forrest Goodluck makes his big screen debut as Hawk, Hugh Glass’s fictionalized
son by a Native woman. A member of the Diné, Mandan, Hidatsa and Tsimshian Native American tribes
who lives in New Mexico, Goodluck endured a lengthy audition and rehearsal period to win the role.
The complexity of a character torn between two worlds inspired him. “Hawk is half Native, half
white,” says Goodluck. “At a young age, he was taken from his village, lost his mother and was burned
very badly in a fire. He turned inward, and suffered mental trauma, what we would call PTSD today. But
I think Hawk is strengthened by everything he goes though. He is a strong yet fragile character. He has a
kind of bi-polar mentality, because on one side, he’s not entirely accepted by white culture, and on the
other, he’s not entirely accepted by his own culture.”
Yet Hawk cannot deny his deep, loving link to his father, Glass. Goodluck says, “Our relationship
is one of quiet respect. There is a silent connection, but living in that time you couldn’t be soft, so it can
look like a hard love between Hawk and Glass, but it’s a deep love.”
Duane Howard on Elk Dog
The powerful Arikara warrior Elk Dog, who is in search of his captured daughter, Powaqa, is
portrayed by Duane Howard, a First Nations actor who hails from Vancouver Island, Canada. He says of
his character: “Elk Dog is a kind of authority figure and when he speaks, people listen. Even when he
stands, even when he’s not saying anything, people listen. He gets that kind of respect. And in turn, he is
someone who would give his life for his people.”
Yet, as the Arikara raid the trapper’s camp, Elk Dog is on the emotional edge witnessing the death
and destruction surrounding him. Recalls Howard: “I really had to open myself up. I had to make
myself very vulnerable and there were a lot of emotions during the battle. It was an intense experience.”
For Howard The Revenant was a deeply personal event during which he learned the Arikara
language and culture as if it were his own. “The Arikara language is very different from my own Native
language and it was really challenging and interesting to learn more about it,” he explains.
Howard was inspired by the film’s reverence for authentic cultural representation. “I commend the
whole team because they truly did their homework. Every little thing in the film, from the face paint to
the clothing has a meaning, as it did in those times,” he summarizes.
Arthur Redcloud on Hikuc
A resonant character amid the tapestry of The Revenant is Hikuc, a solitary soul encountered on the
plains who becomes Hugh Glass’s unexpected savior. He is played by Arthur Redcloud, a Navajo who
describes the character as “a man who finds himself ready to take on a new challenge and destination.”
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Redcloud himself had studied to be a medicine man on a Navajo reservation under the tutelage of
his beloved grandfather. Once cast, Redcloud spent a lot of time contemplating the scene where Glass
comes upon Hikuc feasting on a fallen buffalo carcass. “In our culture, the buffalo is not just an animal, it
is a symbol of strength, healing and compassion, so when you see my character eating the buffalo it is not
just about sustenance for the body but for the mind and soul,” he offers.
Working with Leonardo DiCaprio intrigued Redcloud more than it intimidated him. “For me it was
about having a fantastic chance to learn from him. And it was also about really trying to see him. A lot
of the time I was just staying still and trying to read Leo’s heart and who he is, and I felt I was able to see
that. It was a blessing just to share ideas and learn about the craft from a master. Glass and my character
go on a journey from being potential enemies to being brothers, and we went on that journey together.”
Redcloud especially enjoyed the creative back-and-forth with Iñárritu. “He is part mad scientist,
part painter,” he muses. “Every detail is important to him. He wasn’t interested in just taking our Native
stories; he was interested in understanding what makes the stories so powerful.”
The Trappers
Rounding out the main cast is an international group of both established and up-and-coming actors,
each of whom notes that The Revenant was a stand-alone experience. Canadian Brendan Fletcher who
plays the trapper Fryman remarks: “I’ve never had any acting experience like this, being in the raw
elements while shooting such long, meticulously detailed shots. It was amazing to watch Alejandro bring
his eye for honesty to everything.”
Norwegian star Kristoffer Joner, who plays Murphy, adds: “This way of working was all new to
me, moving with the camera. Alejandro told us: ‘The camera is like a moving train and you just have to
hold on to the train and see what happens.’ And that’s a scary thing. Some days it was really fun, some
days it was tough, but it was always unlike anything else.”
Joshua Burge, who plays Stubby Bill, says the physicality of the actors’ work on The Revenant led
to a close-knit camaraderie. “The cast came from all parts of the world, but an incredible bond formed by
going through hardship together. And that’s what it was really like for the trappers -- these guys were out
in the middle of nowhere faced with unpredictable adversity and had only themselves and one another.”
PAINTING THE REVENANT
Coming on the heels of Birdman, director Alejandro G. Iñárritu takes his passion for seamless
filmmaking to a new world with The Revenant. He and his long-time cinematographer, Emmanuel
“Chivo” Lubezki, made several key decisions early on that set the rules for the production. First, they
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decided to shoot the film chronologically, to maintain the natural flow of Glass’s journey. Second, they
committed to shooting the film relying on only the sun and firelight, bringing in no artificial lighting from
later centuries, and working with the light of nature in creative ways. Finally, they wanted to explore the
long, fluid, continuous shots they’ve become known for to a very different kind of effect than in Birdman.
Iñárritu always envisioned the look of The Revenant as a chiaroscuro painting, full of light and
shade, come to visceral life. “Much as Birdman was inspired by music,” says Iñárritu, “this film was
inspired by painting. Chivo has played an incredible role in creating this film as a visual work of art.”
Working with the cutting-edge Arri Alexa 65– the brand new large-format camera from the
pioneering digital camera company -- Lubezki utilized a range of wide lenses, spanning from 12mm to
21mm, to create extreme depth. The flexibility of the system lent itself to camera movements that often
go from extreme close-ups to panoramas in synch with the film’s action, dreams and emotions. The team
mixed three approaches -- telescoping cranes, Steadicams and hand-held work – to allow Iñárritu to later
sequence the visuals like a choreographer with Academy Award®-winning editor Stephen Mirrione.
Bringing long shots to a wholly unpredictable wilderness shoot was completely new for everyone.
The challenges were mind-boggling in the beginning. Because the crew was in wintry Calgary where
daylight hours are already preciously short, the window of opportunity for shots was brief and extremely
high pressure. For any shot, no one could ever be sure if a second or third take would be possible.
“We had to choreograph all the beats and rhythms, find the right time of day and then pray weather
conditions would hold,” says Iñárritu. “It was challenging and fun but it took a lot of time, thought and
rehearsal to get it right. There was a certain patina and atmosphere we wanted to sustain. The conditions
we established were so specific, we had to be very patient or push it and create it. I think we became
trappers in our own way – trappers of circumstance.”
The Revenant took Lubezki not only into the West but also into the dreamscape of Glass’s
subconscious mind.
Iñárritu explains, “During Glass’s journey, when he is alone with his body
collapsing, the only way to know who he is as a man is through his visions and dreams, which inform us
of his state of mind and his past.”
All of the actors were enthralled by Chivo’s photographic style, which pushed them further.
“Chivo’s photography is intrinsically a part of Alejandro’s process,” observes DiCaprio. “Together, they
completely immerse themselves in the material and then work with the actors to coordinate incredibly
complex movements and shots. What they quite uniquely achieve in this film is a virtual reality where
you really feel like you’re out in the elements with these characters. You get Glass’s visual perspective to
the point that it feels almost like you are part of his subconscious.”
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Where Bad Is Good: The Production Design
To capture the world as it was in 1823, Iñárritu collaborated with Academy Award®-nominated
production designer Jack Fisk. Fisk is no stranger to epic productions having worked on Paul Thomas
Anderson’s There Will Be Blood and Terence Malick’s The Tree of Life, but this period was new to him.
Fisk was thrilled by the era’s unmitigated rawness. “I love this period,” the production designer
says. “People were limited as to what they had out there, so it was pretty much axes and knives and very
few amenities. We’ve tried to replicate that as much as possible so that you can truly get lost in it.
Alejandro wanted everything gritty and shitty and aged, so that was our aim. You have to keep in mind
that these trappers often went months without bathing, and each man ate about 10 pounds of meat a day,
so it would not have been pretty. The grittiness and aging help us understand how difficult life was.”
Early on, Iñárritu sent Fisk a copy of Andrei Tarkovsky’s Andrei Rublev to give him a sense of the
roughhewn design he had in mind. “I immediately got what kind of film he wanted to make,” Fisk
recalls. Fisk was also made aware of the decision to use only natural light, which meant a never-ending
hunt for locations that would get the right light at the right times of day. “We had to constantly deal with
whatever nature threw at us,” says Fisk, “but that became an important part of the creative process.”
One of the centerpieces of Fisk’s design is the sprawling Fort Kiowa set, hand-crafted in an old
gravel pit in Spray Valley Provincial Park near Canmore, Alberta. Determined to echo history, Fisk’s
team constructed the Fort using actual materials and designs from the 1820s, utilizing all found lumber.
“I really wanted this Fort to be authentic to the period -- which makes it a place you’d never want to
live today,” Fisk laughs. “Instead of making it charming, we made it inhospitable because these men’s
lives were rough. Also, they weren’t carpenters, so we really used that idea of not doing things too well. I
would get upset with the carpenters whenever they did something too nice. Our motto for the fort
became: ‘Good is bad, but bad is good.’”
Aging the sets became an artform all its own on The Revenant. “We had the agers hit the Fort hard.
One building was just too square so I had them pick it up a couple of times with a forklift and drop it just
to shake it into a bit more dilapidated shape,” Fisk recalls. “We spent as much time aging as building.”
To accommodate the need for natural light, Fisk even built two mirror-image fort buildings – one
facing east for morning shoots and one facing west to take advantage of the afternoon sun.
Fisk built the Pawnee village on a Los Angeles soundstage using authentic materials and techniques
from their culture. “We simplified some of the steps for the winter village but the small houses are all out
of wood and mud and straw as they would have been,” he says.
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While most of the sets are historically based, Fisk also designed dream-like elements, including the
towering mountain of buffalo skulls and the husk-like ruins of a European church. Another atmospheric
set is the trapper’s camp attacked by Arikara in the opening battle. As the scene begins, the camp is
dressed with makeshift tents, lean-tos, campfires and busy trappers skinning beaver and bundling pelts.
Fisk even built a period keelboat, which becomes a major part of the action. “I love that the boat is fully
authentic,” he says, “except that it has a 450 horsepower engine hidden inside so we could get it
upstream!”
Fisk is known for building sets that can be photographed from any angle and The Revenant was no
exception. He says, “I like sets to be shootable from 360 degrees – and a director like Alejandro takes full
advantage of that. If you give that to him, he will always find the most inventive angles,” he muses.
PRIMAL AND AUTHENTIC: COSTUMES
The mountain man look has become an enduring icon of Americana, but for The Revenant, twotime Academy Award®-nominated costume designer Jacqueline West (Argo, The Curious Case of
Benjamin Button) wanted to go beyond the clichés.
She notes that the Glass legend is one she grew up with: “I know the story of Hugh Glass because I
have a ranch in South Dakota, and he's a mythical character up there. These trappers were the real
pioneers,” West points out. “Yet, the script felt as much like a Russian novel as a Western to me. I'm
obsessed by Dostoevsky, Chekov and Tolstoy, so the psychological side of the story really lured me.”
Diving in, she drew her influences from a broad range of artists, including paintings and sketches
by two renowned artists of the period: Alfred Jacob Miller, who headed to the Rocky Mountains in the
mid 19th Century and was one of the few to capture life there as it unfolded; and Karl Bodmer, a Swiss
painter known for his portraits of Native Americans, especially the Mandan tribe of South Dakota.
One particular painting became the inspiration for Leonardo DiCaprio’s look. “It’s a painting of a
Native hunter all bundled up for the woods in a very simple, hooded frock coat,” she describes.
“Alejandro loved it when I showed it to him. He like things to be humble, not self-conscious at all. He
likes the person to come through the clothing. The hood comes from an image that Alejandro always had
for Glass as spiritual and monk-like. His shirt is very practical, made of long flaxen linen he’d have
bought at the local fort. There's nothing showy about him. His clothes keep the elements at bay.”
She continues: “Alejandro had the very poetic idea that Leo would wear the bearskin left behind
when his fellow trappers abandon him. It's such a lyrical image, and there’s an irony that the thing that
almost killed him saves his life. It keeps him warm, protects him and gives him buoyancy on the river.”
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West contrasted Glass’s look with his nemesis Fitzgerald. “I see Fitzgerald as being almost
completely driven by fear,” she explains. “So I incorporated lots of animals into his wardrobe, with full
otters lining his coat and a beaver hat.” (West emphasizes that all furs and skins utilized in the film were
sourced “from Pacific Fur Trade who gets everything from the Parks Department, all humanely taken.”)
Each trapper has his own distinctive look. “Jim Bridger was a farm boy, so I made his outfit
homespun but with that amazing buffalo coat. Stubby Bill’s look I took from a painting of a trapper in
striped pants and blue coat. Murphy was more European and I figured he would have traded with the
French for his capote coat. I gave each person a backstory that made their outfits totally different.”
Captain Henry’s clothing is based on real artifacts on display in Nebraska’s Museum of The Fur
Trade. “He’s the one I had the most visual information on. His leggings were terribly inconvenient, but
those are the real gaiters he wore. And the cut of his coat is also very famous, so we had to mirror that.”
As with Jack Fisk’s work, West found herself constantly aging and darkening. “We used as our
theme song ‘Paint It Black,’” she laughs. “We did shredding, sanding and cutting. Everything is grimy
and weather-beaten; yet I find it beautiful, because the eyes of the actors just glow in the contrast.”
West was especially excited to have the chance to display Native American clothing of the period.
“Native men often wore what was called a ‘war shirt,’ which is two skins usually decorated by their
wives. We also worked to keep the tribes distinct looking,” she explains. “The Pawnee have cottons and
wools because they were closer to the trading post, while the Arikara, Mandan and Sioux are in leather.”
For Elk Dog’s war shirt, West used one of the most potent Arikara symbols: a piece of corn. “Corn
symbolizes that if you die in the battle, those kernels will be planted with you into the earth, and
something new will grow from that. It's a form of taking the earth into battle with you,” she explains.
The simple but authentic garments for the Native healer, Hikuc, with their links to the past, moved
Arthur Redcloud. “I felt like my costume became part of me and I developed an emotional attachment to
it. Regalia clings to you when it wants to. I felt my costume had chosen me and I wore it with honor and
great respect,” he says, “not just for myself or the film, but for my ancestors.”
FROSTBITE, BEARDS AND BLOOD: HAIR AND MAKE-UP
Make-up designer Sian Grigg has been collaborating with Leonardo DiCaprio for 20 years since
they first worked together on Titanic, but The Revenant required the most intensive make-up DiCaprio
has ever undergone. From the moment Glass is mauled by the bear, Grigg notes that he transforms into
someone almost unrecognizable. “No one expects Glass to survive, so his injuries had to look horrific,”
she says. “You have to believe he can’t possibly live, which meant a staggering amount of make-up.”
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The process began with analyzing what a bear attack can do to a human body. It was a particularly
dynamic make-up job --- for as Glass slowly begins to heal, then sustains new wounds, his face, hair and
skin constantly change. DiCaprio’s bruises mottle and his infected gashes morph into a map of scars.
“Everything Glass endures had to show on screen,” says Grigg. “But the advantages of shooting in
chronological order were tremendous for our work. It meant we could do really subtle make-up changes
every day to reflect Glass’s physical state.”
Even before the mauling, DiCaprio transformed into a woodsman living without a mirror or bath.
He grew a bushy, unkempt beard – and received a daily layering of dirt over his face, body and
fingernails. Later, DiCaprio’s body was covered in post-mauling prosthetics created by special effects
make-up designer Duncan Jarmon. It was a painstaking process, with each piece sculpted, painted and
layered with hair. Each individual wound had to be seen in various stages of recovery and also had to be
capable of being stitched shut with needle and thread.
“It’s rare that makeup is as integral to a story as this,” says Grigg. “To have the opportunity to tell a
story partly through make-up is a gift.”
DiCaprio’s hair stylist, Kathy Blondell, worked in tandem with Grigg. Through much
experimentation, she came up with a mixture of glycerin and grit to give the actor’s hair the strange
texture of a man who has no means of washing the blood and dirt from it.
Meanwhile, Robert Pandini, head of department hair, prepared looks for the trappers. “They would
only go to a fort maybe every few months to get cleaned up, so the reality of that is lots of grit,” says
Pandini. “Alejandro asked me to give a back-story to every trapper. Some had powder burns that took off
the sides of their hair, others had lice so they’d scratched out patches.”
For the Native American characters, Pandini let their hair down. “I left it very natural and humble.
It might not be period true for all of them, but the look tied together,” he explains.
Graham Johnston, head of department make-up, took on the same mandate. “The feeling of the
entire film was grime, it was dirt, it was real,” he sums up. “With every frame, every character grows
more weather-beaten.”
SURVIVING THE REVENANT
Shooting outdoors in Canada and Argentina, in snow, wind and often at high altitude, the cast and
crew of The Revenant faced remnants of the same dangers and conditions that people living in the South
Dakota region of 1823 would have faced. This was by design to further inspire an authentic wellspring of
storytelling and to put audiences into the very center of a wilderness, which is not a park but a zone of
mortal peril where survival is not guaranteed.
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“Today, we’ve really lost touch, or we’ve lost the intimate kind of contact with the natural world
that these trappers had then. Yet the wilderness is always a part of us -- we are clouds, we are rivers, we
are formed by the same elements.
I think when you see these places, there is a connection there that
reminds you where you come from and where you are going. One of the blessings of the film was being
able to bring environments that do that to the screen,” says Iñárritu.
Simply finding landscapes and weather raw enough to replicate the American West of 1823 was
daunting. “It took five years to get the locations right,” Iñárritu explains. “I was very interested in the
film presenting locations that hadn’t been touched by human beings so we searched for locations that
would be almost that pristine. There was something pure and poetic about them.”
There was also something harrowing about them – and this gave the cast and crew insight into men
for whom life, death and nature were irrevocably entangled. “The great thing was that as actors we were
actually reacting to the elements,” says Will Poulter. “When you're scaling a mountain in minus 20degrees there's nothing better from an actor’s perspective to get you fully in the moment.”
Dangers ranged from avalanches to bears - the production even had a Bear Safety Coordinator on
set every day. (While cast and crew had a justified concern about local bears, no actual bear was used in
the grizzly attack sequences. That was one of the few places Iñárritu utilized CGI.)
Another major threat, as it is for Hugh Glass in the story, was weather. At one point, a blizzard
brought minus-27 degree temperatures, and the need for crewmembers to keep an eye on each other for
the signs of frostbite. “I have learned that there is no bad weather, there are only bad clothes,” Iñárritu
jokes, but he notes the intense cold gave the film a shivery reality shooting in tepid conditions could not.
Typical of the film’s extremes, a record-busting hot spell (the warmest Canadian winter in 23 years)
turned the filmmakers into snow diviners. “Alberta is very susceptible to radical climate changes,” says
Iñárritu. “You can have seven different kinds of weather in a single day. In the beginning, we struggled
with low temperatures and blizzards. Later on, we struggled with no snow. It was a winter of record high
temperatures, and we went from chasing Chinooks to chasing ice.”
At times, teams of men armed with shovels were sent to a nearby mountain to bring back the
precious, temporary stuff. Ultimately, the production headed for 2 weeks to Tierra Del Fuego, at the very
Southern tip of South America, to capture the winter conditions needed to complete the film.
The film ultimately came full circle. On the last day of filming, Iñárritu assembled cast and crew
just as he had in the beginning. He said to the group, “To make a film like this is the journey of a lifetime.
It’s been a journey of wonder with challenging moments and tough ones and beautiful ones. I feel
honored, thankful, humble, happy and sad that we achieved what we achieved. What we achieved is
amazing. Every single day of the production was difficult, but I think this has been the most fulfilling
artistic experience of my lifetime.”
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ABOUT THE CAST
LEONARDO DiCAPRIO (Hugh Glass) is an award-winning actor and a five-time Academy
Award® nominee who has been recognized for his work as an actor, producer and activist.
DiCaprio most recently worked with Netflix to release Virunga, an Academy Award® nominated
documentary that examines gorilla preservation in the Democratic Republic of Congo’s Virunga National
Park. He previously produced and starred in The Wolf of Wall Street directed by Martin Scorsese, where
he received the Golden Globe for Best Actor in a Motion Picture, Musical or Comedy, as well as
Academy Award® nominations for Best Actor in a Leading Role and Best Picture from his role as a
producer. Prior to The Wolf of Wall Street, he starred in the blockbuster hit The Great Gatsby as well as
Django Unchained, where he received a Golden Globe nomination for his work. As the title role in J.
Edgar, under the direction of Clint Eastwood, he received Golden Globe, Critics’ Choice and Screen
Actors Guild (SAG) Award® nominations for his work in the film. Additionally, he starred in
Christopher Nolan’s blockbuster Inception, and the dramatic thriller Shutter Island, which marked his
fourth collaboration with director Martin Scorsese.
Before earning two Academy Award® nominations for Wolf of Wall Street, DiCaprio earned an
Academy Award® nod in 2007 for his performance in Edward Zwick’s drama Blood Diamond. He also
received Golden Globe, Critics’ Choice and Screen Actors Guild (SAG) Award® nominations for his
work in the film. That same year, he garnered Golden Globe, BAFTA Award, Critics’ Choice Award and
SAG Award® nominations for his role in the Academy Award®-winning Best Picture The Departed,
directed by Scorsese. He also shared in a SAG Award® nomination for Outstanding Motion Picture Cast
Performance as a member of the ensemble cast of The Departed.
He previously earned an Academy Award® nomination for his performance in Scorsese’s
acclaimed 2004 biopic The Aviator. DiCaprio’s portrayal of Howard Hughes in that film also brought
him a Golden Globe Award for Best Actor in a Drama, as well as Critics’ Choice and BAFTA Award
nominations. He was also honored with two SAG Award® nominations, one for Best Actor and another
for Outstanding Motion Picture Cast Performance as part of the The Aviator cast.
In addition to his acting work, DiCaprio launched his own production company, Appian Way.
Under the Appian Way banner, he wrote, produced and narrated the acclaimed environmentally themed
documentary The 11th Hour. Among Appian Way’s other productions are the aforementioned Shutter
Island and The Aviator, as well as The Ides of March, Red Riding Hood, Orphan, Public Enemies, Out of
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the Furnace starring Christian Bale and Woody Harrelson and Runner, Runner starring Justin Timberlake
and Ben Affleck. Their upcoming production slates includes the film adaptation of Dennis Lehane’s
critically acclaimed novel “Live By Night” which Ben Affleck will adapt, direct and star; Jaume Collet
Serra’s Akira written by Dante Harper; and two projects written by Billy Ray: Joseph Kosinki’s Twlight
Zone and an Untitled Richard Jewell Project starring Jonah Hill.
Born in Hollywood, California, DiCaprio started acting at the age of 14. His breakthrough feature
film role came in Michael Caton-Jones’ 1993 screen adaptation of Tobias Wolff’s autobiographical drama
This Boy’s Life. That same year, he co-starred in Lasse Hallström’s What’s Eating Gilbert Grape,
earning his first Academy Award® and Golden Globe nominations for his performance as a mentally
handicapped young man. In addition, he won the National Board of Review Award for Best Supporting
Actor and the Los Angeles Film Critics Association’s New Generation Award for his work in the film.
In 1995, DiCaprio had starring roles in three very different films, beginning with Sam Raimi’s
Western, The Quick and the Dead. He also garnered praise for his performance as drug addict Jim Carroll
in the harrowing drama The Basketball Diaries, and for his portrayal of disturbed pansexual poet Arthur
Rimbaud in Agnieszka Holland’s Total Eclipse. The following year, DiCaprio starred in Baz Luhrmann’s
contemporary screen adaptation of William Shakespeare’s Romeo + Juliet, for which he won the Best
Actor Award at the Berlin International Film Festival. He also joined an all-star ensemble cast in
Marvin’s Room, sharing in a SAG Award® nomination for Outstanding Motion Picture Cast
Performance.
In 1997, DiCaprio starred opposite Kate Winslet in the blockbuster Titanic, for which he earned a
Golden Globe Award nomination. The film shattered every box office record on its way to winning 11
Academy Awards®, including Best Picture. His subsequent film work includes dual roles in The Man in
the Iron Mask; The Beach; Woody Allen’s Celebrity; Steven Spielberg’s Catch Me If You Can (receiving
a Golden Globe nomination); Gangs of New York (his first film for director Martin Scorsese); Ridley
Scott’s Body of Lies; and Sam Mendes’ Revolutionary Road, which reunited DiCaprio with Winslet and
brought him his seventh Golden Globe nomination.
DiCaprio is well known for his dedication to the environment on a global scale, producing creative
projects such as the documentary The 11th Hour, spearheading numerous public awareness campaigns,
and launching The Leonardo DiCaprio Foundation. He also serves on the boards of World Wildlife Fund,
Natural Resources Defense Council, and International Fund for Animal Welfare.
In September 2014, DiCaprio was designated as a United Nations Messenger of Peace for his
longstanding commitment to environmental activism. That same month, DiCaprio was honored with the
Clinton Global Citizen Award, participated in history’s largest climate march in New York City and
powerfully addressed the UN Summit.
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TOM HARDY (Fitzgerald) has quickly become one of today’s most versatile and sought after
talents, earning widespread acclaim and recognition over the years from critics and audiences alike for
his transformative
performances and extensive range across a variety of mediums, including film,
television, and theatre.
Hailing from Great Britain, Hardy was studying at the prestigious Drama Centre London when
he was offered his breakout role in HBO’s award-winning World War II miniseries “Band of
Brothers,” executive produced by Tom Hanks and Steven Spielberg. His feature film debut came
shortly after when he was cast in Ridley Scott’s war drama Black Hawk Down (2001), followed by
Stuart Baird’s sci-fi adventure Star Trek: Nemesis (2002).
In 2008, Hardy garnered global attention for his captivating on-screen transformation as a reallife, notoriously violent convict in the title role of Nicolas Winding Refn’s drama Bronson, winning
the British Independent Film Award for ‘Best Actor’ on behalf of his performance. The British
Academy of Film and Television Arts further recognized Hardy’s achievements by honoring him with
their ‘Rising Star Award’ in 2011. The actor’s subsequent film credits went on to include lauded roles
in Christopher Nolan’s Inception (2010) and The Dark Knight Rises (2012), Tomas Alfredson’s Tinker
Tailer Soldier Spy (2011), Gavin O’Connor’s Warrior (2011), John Hillcoat’s Lawless (2012), and
Michaël R. Roskam’s The Drop (2014).
In 2013, Hardy received rave reviews for his powerful one-man performance in Steven Knight’s
Locke, which earned him the Los Angeles Film Critics Association Award for ‘Best Actor’ in addition
to his third British Independent Film Award nomination. Most recently, Hardy starred in the highly
anticipated title role of the summer blockbuster Mad Max: Fury Road, George Miller’s critically
acclaimed reboot and fourth installment in his iconic Mad Max franchise.
On television, Hardy currently appears in a recurring role on the award-winning BBC series
“Peaky Blinders.” In 2008, H a r d y earned a ‘Best Actor’ BAFTA nomination for his performance
in the HBO movie “Stuart: A Life Backwards,” and portrayed ‘Heathcliff’ in the 2009 ITV
production of “Wuthering Heights.” His small screen credits also include the telefilms “Oliver Twist,”
“A for Andromeda,” “Sweeney Todd,” “Gideon’s Daughter,” and “Colditz,” as well as the BBC
miniseries “The Virgin Queen.”
On stage, Hardy has starred in numerous plays on the London West End, including Blood and In
Arabia We’d All Be Kings, winning the ‘Outstanding Newcomer Award’ at the 2003 Evening
Standard Theatre Awards for his work in both productions and a 2004 Olivier Award nomination for
the latter. In 2005, Hardy starred in the London premiere of Brett C. Leonard’s Roger and Vanessa.
His stage work also includes Rufus Norris’ adaptation of Festen at the Almeida; The Modernists at
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Sheffield’s Crucible Theatre; The Man of Mode at the National Theatre; and the 2010 world premiere of
Leonard’s The Long Red Road, directed by Philip Seymour Hoffman at Chicago’s Goodman Theatre.
Outside performing, Hardy is also the Founder and CEO of UK production company Hardy Son
& Baker at NBCUniversal International Television (working alongside FX, Ridley Scott’s Scott Free
Productions, Working Title, and BBC), as well as US production banner Executive Options at Warner
Bros. Studios. A member of The Academy of Motion Pictures Arts & Sciences, Hardy also serves as
an Ambassador for The Prince's Trust, the Royal Marines Charitable Trust Fund (RMCTF), and Help
For Heroes.
Most recently, Hardy starred in Brian Helgeland’s crime drama Legend, where he takes on the
challenge of portraying dual roles Ronald and Reginald Kray, the notorious identical twin gangsters
that ruled the East End of London in the 1950s and 6 0 s . Debuting in the UK in early September
(with a US release of Nov. 20), the film has already gone on to set several UK records, including
becoming the highest-grossing 18 cert British film of all time.
Currently, Hardy is busy producing and starring in the forthcoming eight-part event series Taboo,
about a 19th century Londoner who is struggling to build a shipping empire while also avenging his
father’s death. With story developed by both Hardy and his father, Chips Hardy, this will be the first
project to come from their Hardy Son & Baker banner. Written by Steven Knight (“Peaky Blinders”),
the series is set to air in 2016 on BBC in the U.K. and FX in the U.S.
DOMHNALL GLEESON (Captain Henry) recently completed filming JJ Abrams’ Star Wars:
Episode VII. He also recently appeared in Enda Walsh’s play The Walworth Farce, directed by Seán
Foley, in which he starred in alongside his father Brendan Gleeson and brother Brian Gleeson.
Other recent productions include in Alex Garland’s sci-fi film Ex Machina, Nick Hornby’s
adaptation of Colm Tóibín’s novel Brooklyn, directed by John Crowley, and the Coens’ adaptation of
Louis Zamperini’s memoir Unbroken, directed by Angelina Jolie.
His previous lead roles in film include Lenny Abrahamson’s Frank, with Michael Fassbender and
Maggie Gyllenhaal; Richard Curtis’ About Time, opposite Rachel McAdams and Bill Nighy; and
Sensation, directed by Tom Hall. He received IFTAs for playing Bob Geldof in When Harvey Met Bob
and Levin in Joe Wright’s Anna Karenina.
Supporting roles in film and television include John Michael McDonagh’s Calvary, Charlie
Brooker’s Black Mirror on Channel 4, Mark Romanek’s Never Let Me Go, Joel and Ethan Coen’s True
Grit, the role of Bill Weasley in Harry Potter and the Deathly Hallows (I & II) directed by David Yates,
and Martin McDonagh’s Academy Award®-winning short Six Shooter. He also appeared in Dredd,
directed by Pete Travis; Shadow Dancer, directed by James Marsh; Ian Fitzgibbon's Perrier’s Bounty; A
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Dog Year, for HBO films, opposite Jeff Bridges; Paul Mercier’s Studs; Stephen Bradley’s Boy Eats Girl;
and John Butler’s Your Bad Self, for which he co-wrote sketches with Michael Moloney.
Gleeson’s work onstage includes Now or Later at the Royal Court, American Buffalo and Great
Expectations at the Gate, Druid’s production of The Well of the Saints, Macbeth directed by Selina
Cartmell, and Chimps directed by Wilson Milam at the Liverpool Playhouse. Gleeson was nominated for
a Tony Award® for the Broadway production of Martin McDonagh’s The Lieutenant of Inishmore. He
received a Lucille Lortel Nomination and a Drama League Citation for Excellence in Performance for the
same role. He earned an Irish Times Theatre Award nomination for his role in American Buffalo.
Gleeson wrote and directed the short films Noreen (starring Brendan and Brian Gleeson) and What
Will Survive of Us (starring Brian Gleeson). He also created Immatürity for Charity, comedy sketches
shot with family and friends in aid of St. Francis’ Hospice (they're pretty weird and they're on YouTube).
WILL POULTER (Jim Bridger): In 2014, British actor Will Poulter was presented with the
prestigious EE BAFTA Rising Star award positioning him as one of the country’s most exciting young
talents. He also received the ‘Breakthrough Performance’ award at last year’s MTV Awards for his role in
We’re The Millers along with ‘Best Kiss’ for his hilariously memorable scene in the film.
Poulter was recently seen starring in the Twentieth Century Fox film The Maze Runner, an
adaptation of James Dashner’s bestselling novel and directed by Wes Ball. Other recent projects include
the coming-of-age film Kids in Love, which was shot in and around London and also stars Sebastian De
Souza, Gala Gordon and Cara Delevingne. In Glassland, the second feature from Irish director Gerard
Barrett, he takes the role of ‘Shane’. Starring Academy Award®-nominated actress Toni Collette and
Jack Reynor, the film has just received the award for ‘Best Irish Feature’ at this year's Galway Film
Fleadh Awards.
He also recently starred in Warner Bros. box office hit comedy We’re the Millers, starring as
‘Kenny’ opposite Jennifer Anniston, Jason Sudeikis and Emma Roberts.
Poulter’s feature film debut was in Garth Jennings’ nostalgic hit comedy Son of Rambow in 2008
for which he received a nomination at the British Independent Film Awards for Most Promising
Newcomer.
In 2011 he starred in Dexter Fletcher’s BAFTA nominated directorial debut Wild Bill. The film saw
Poulter’s transition from child star to adult actor, and he was nominated for Young British Performer of
The Year at the Critics’ Circle Awards for this breakout performance.
Other films credits include the blockbuster adaptation of The Chronicles Of Narnia: The Voyage Of
The Dawn Treader in which he played ‘Eustace Clarence Scrubb’ opposite Tilda Swinton, Liam Neeson
and Simon Pegg. His dramatization of one of the best-known characters in children’s literature won him
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award nominations and rave reviews commending his stellar performance and heralding him as a name to
watch.
He also played and developed a string of satirical characters on C4/E4 comedy sketch show School
Of Comedy, an adult TV show performed by a cast of talented British young comedic actors. The show
was taken to The Edinburgh Festival Fringe and in 2009 adapted into a six part television series for E4
running for two seasons until 2010.
FORREST GOODLUCK (Hawk): A member of the Diné , Mandan, Hidatsa and Tsimshian
tribes, Forrest Goodluck makes his feature film debut in The Revenant.
In addition to acting, Goodluck is an award-winning youth director. He began directing on the stage
at age 10 and, by age 14, he had become an award-winning film director. His short films, Sun Kink (2013)
and Malady’s Muddy Waters (2014), were both honored as the Smithsonian's National Museum of the
American Indian and SWAIA Santa Fe Indian Market Class X Youth Winners when they premiered at
SWAIA. Goodluck’s films have also been screened at the Seattle International Film Festival, Taos
Shortz, LA Skins Festival and NM Showcase.
Born in Albuquerque, New Mexico, Goodluck was educated at The Bosque School where he
participated in drama both at school and through the Sol Acting Academy. Since the age of 10, he has
played numerous roles in community and school theater.
In January 2015, Goodluck was invited to participate in the Sundance Institute’s Native American
Full Circle Fellowship. This inaugural fellowship program is supported by the W.K. Kellogg Foundation,
interested in investing in the first generation of filmmakers.
PAUL ANDERSON (Anderson) will next be seen opposite Tom Hardy in Legend, directed by
Paul Helgeland, and with Chris Hemsworth in Ron Howard’s In the Heart of the Sea.
An English actor, Anderson’s film roles include films such as The Firm, The Sweeney, Sherlock
Holmes: A Game of Shadows, Electricity, ’71, Still Life, Brian De Palma’s Passion, Piggy, A Lonely
Place to Die, and Frankie Howerd: Rather You Than Me.
On television, he starred in the BBC drama “Peaky Blinders,” and also appeared in the English
mini-series “The Great Train Robbery” and “The Promise.”
KRISTOFFER JONER (Murphy) was born in Stavanger, Norway. He is an actor and director,
known for Next Door (2005), King of Devil's Island (2010) and The Monitor (2011). He is one of the
most prolific Norwegian actors of his generation and has co-starred with many great talents, including
Stellan Skarsgård, Noomi Rapace and Michael Nyqvist, just to name just a few.
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Joner started his acting career at the Rogaland Theater in Stavanger, Norway at the age of 14 and
performed there until he was in his 20s. His acting career spans stage, film and television and he also
turned his hand to directing in 2008 with the short, Cold And Dry.
Joner has won many awards throughout his career, including the Amanda, the Norwegian Academy
Award® for the lead in The Orheim Company; the Shooting Star at the Berlin Film Festival; and even
Best Actor in 100 Years of Norwegian Film, an honor that he shares with acclaimed actress Liv Ullman.
JOSHUA BURGE (Stubby Bill) most recently starred in Buzzard, the third film in the indie trilogy
by Joel Potrykus. Burge also had the lead roles in the first two films in the trio, Ape and the short Coyote.
While studying film in his native Michigan, Burge was swept up by music. He spent the next decade as a
singer songwriter, fronting the band Chance Jones. Burge landed his role in the The Revenant after a
lengthy and exhaustive casting process. He is ecstatic to have returned to film and make his studio feature
debut in such a monumental production.
LUKAS HAAS (Jones) was born in West Hollywood, California and he was discovered at the age
of five by casting director Margery Simkin while he was in kindergarten. While his first screen role was
in the 1983 nuclear holocaust film Testament (1983), it was his second appearance in Witness (1985),
opposite Harrison Ford and Kelly McGillis, that earned attention and acclaim. In Peter Weir's 1985 film,
Haas portrayed an Amish child who was the sole witness to an undercover cop's murder, and his work
earned him starring roles in such films as Lady in White (1988), The Wizard of Loneliness (1988),
and Alan & Naomi (1992) - the latter film co-written by his mother. Haas was subsequently nominated for
an Emmy for his portrayal of AIDS victim, Ryan White, in the controversial TV movie, The Ryan White
Story (1989). He continued to distinguish himself in film in starring roles including: Music Box (1989)
with Jessica Lange and director Costa-Gavras; Convicts (1991) and Rambling Rose (1991) (both with
Robert Duvall); and Boys (1996) with John C. Reilly and Winona Ryder.
On stage, in 1988, Haas performed alongside Steve Martin and Robin Williams in Samuel Beckett's
"Waiting for Godot" at Lincoln Center in New York City for director Mike Nichols. He went on to
work with directors Woody Allen in Everyone Says I Love You (1996), Tim Burton in Mars
Attacks! (1996) and Alan Rudolph in Breakfast of Champions (1999). He had a pivotal role
in Brick (2005), Rian Johnson’s directorial debut with Joseph Gordon-Levitt. He next appeared in
the Kurt Cobain-inspired Last Days (2005), directed by Gus Van Sant, which premiered at the Cannes
Film Festival. Roles in Material Girls (2006), slasher movie send-up The Tripper (2006), Who Loves the
Sun (2006), Gardener of Eden (2007), While She Was Out (2008), and Death in Love (2008) followed.
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Haas had a supporting role in Christopher Nolan's Inception (2010) opposite Leonardo
DiCaprio, Ellen Page, Joseph Gordon-Levitt, Michael Caine and Marion Cotillard. He then appeared
in Red Riding Hood (2011) for director Catherine Hardwicke, and Contraband (2012) for
director Baltasar Kormákur. Haas recently starred in Crazy Eyes (2012), Pawn Shop Chronicles (2013)
and Dark Was The Night (2014). He also had a large recurring role as Calvin Norburg in the acclaimed
FOX series, Touch, and was featured in Wally Pfister’s feature directorial debut, Transcendence (2014).
BRENDAN FLETCHER's (Fryman) acting debut came as 'Des' the lead in CBC's 1995
production Little Criminals, a performance that earned him a Leo Award as well as a Gemini nomination
for Best Lead Actor in a Dramatic Role.
Since then, Fletcher has starred in several award-winning films, including Jimmy Zip,
Rollercoaster, The Five Senses and Edwin Boyd. In 2002, Fletcher was awarded a Genie for Best Actor in
a Leading Role for his work in the feature film The Law of Enclosures starring opposite Sarah Polley. He
then received a Gemini nomination for his work in 100 Days in the Jungle as well as a Genie nomination
for Turning Paige opposite Katherine Isabelle in 2003. His work in the film Paper Moon Affair earned
him a 2006 Leo Award nomination for Best Lead Actor in Feature Drama. Also in 2006, he earned his
second Gemini Award for starring opposite Jessica Pare in the television movie, The Death and Life of
Nancy Eaton.
Over the years, Fletcher has worked on hundreds of productions. His film credits include the Terry
Gilliam film, Tideland, starring opposite Jodelle Ferland, Jeff Bridges and Jennifer Tilley, 88
Minutes with Al Pacino, and RV with the late Robin Williams. He has also starred in cult
favorites Ginger Snaps, Freddie vs. Jason and Uwe Boll's Rampage. More recently, Fletcher starred in a
new take on the well-known horror franchise, Leprechaun: Origins, and co-wrote and executive produced
the sequel to Rampage, Rampage: You End Now.
Other credits include Steven Spielberg’s Emmy Award winning mini-series, The Pacific, and a
recurring role in the critically acclaimed AMC drama, The Killing. His numerous guest star credits
include, The CW’s Supernatural, FOX’s Alcatraz, and A&E’s Bates Motel, to name a few. This past
year, he joined the cast of DirectTV’s Rogue, during its sophomore season. He can also be seen recurring
in AMC’s Hell on Wheels and FOX’s crime drama, Gracepoint.
Brendan Fletcher was born and raised in the Comox Valley on Vancouver Island in British
Columbia.
DUANE HOWARD (Elk Dog) is from Mowachaht/Muchalht first nations, a small community
located on Vancouver Island, but over the last 30 years Duane has made his home in Vancouver B.C.
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Living in the city he has accomplished a lot through education, studying Native Education at Capilano
University, and he continues to share his knowledge and education with others in the community.
Howard faced challenges at a very young age. Like many others it was hard to get away from using
drugs and alcohol, and he had to experience hard times before he made changes in his life. In the summer
of 1986, he changed his life and went to treatment to better his life for himself and for his children.
In 1987 he went back to school and subsequently finished a drug and alcohol counseling degree.
Later, he started working with youth and families. He started traveling around Canada doing workshops at
conferences and gatherings helping communities be more aware of drug and alcohol issues. Then Howard
came to realize that he needed to make a change in his life to move forward to make a career change
which he found that passion love to do.
In the 1990’s, Howard began working in the film industry as a background performer. He did that
for a few years as part time work, and as the years went on he ventured into special skills extra work. He
received a stunt credit on Scarlet Letter and then he worked on a few local shows in Vancouver, including
Da Vinci’s Inquest, Supernatural, Peace Maker, Good Night For Justice, Blade, The Collector, Johnny
Too Tall, Arctic Air, the mini-series Into The West directed by Steven Spielberg, as well as the feature
films The ‘A’ Team, Pathfinder and Bury My Heart At Wounded Knee.
Now, Howard mentors students at Capilano University, sharing his experiences in the entertainment
industry. He will next be seen in the indie feature The Sun at Midnight, shot in the Yukon. Howard has
also performed in live theatre and improv. The arts continue to nourish his confidence and self esteem
while contributing to his success as an accomplished stunt/actor.
ARTHUR REDCLOUD (Hikuc) is a full-blooded Navajo who was born in Crown Point, New
Mexico and currently lives in the Dallas-Forth Worth area, where he works in the Dallas County Sherrif’s
Department and drives trucks part-time. He began his acting career as a Western model and re-enactor
and has appeared in several independent films. He was cast as Hikuc in The Revenant – a role he related
to at a deep level as the grandson of a medicine man -- following an intensive audition process. It is his
first major film role.
Redcloud is also a long-time volunteer with Hawkquest, a nonprofit devoted to promoting the
welfare of hawks, eagles, owls and falcons.
GRACE DOVE (Powaqa) is Secwepemc from Canim Lake First Nation, led by family member
chief Mike Archie. She moved to Vancouver to pursue her career as an artist. She is a graduate of
Vancouver Film School Acting program and is currently auditioning and working regularly in the film
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industry. When she is not exploring a script, Dove loves the great outdoors and capturing it through her
photography, whether ripping down ski slopes or climbing a rock face.
Her career has skyrocketed with the huge learning curve of working alongside artists such as
Leonardo DiCaprio and Tom Hardy in The Revenant.
This year has brought big opportunities working with the "UnderEXPOSED" team on APTN
(Aboriginal Peoples Television Network), where she is now going into her 3rd season of production,
moving from apprentice to lead host of the show. She has been travelling mainly throughout North
America in 13 new episodes per season, including everything from snowboarding, and skateboarding to
surfing. This new series has combined her love for TV and photography all in one. Along with plenty of
adventure, has come challenges she never expected pushing her to grow physically, mentally and
emotionally. She is definitely stoked for a new season.
ABOUT THE FILMMAKERS
ALEJANDRO G. IÑÁRRITU (Directed by, Screenplay by, Produced by) is an Academy
Award®-winning director, writer and producer and one of the most acclaimed and well-regarded
filmmakers working today.
Last year Iñárritu won three Academy Awards® for directing, co-writing and co-producing
Best Picture winner Birdman: Or (The Unexpected Virtue of Ignorance). The acclaimed dark comedy
also won Best Cinematography and was nominated for an additional five Academy Awards®. Iñárritu
won a DGA Award and a PGA Award for the New Regency/Fox Searchlight film, which starred
Academy Award® nominees Michael Keaton, Emma Stone and Edward Norton.
Iñárritu made his feature directorial debut with Amores Perros, a drama that explored Mexican
society told through the perspective of three intertwining stories connected by a car accident in Mexico
City. The film was nominated for Best Foreign Language Film at the 2001 Academy Awards®.
His next film, 21 Grams, was nominated for two Academy Awards® for Lead Actress Naomi
Watts and Supporting Actor Benicio del Toro and released by Focus Features. His third film, Babel,
released by Paramount Pictures, premiered at Cannes where Iñárritu won Best Director. That same year,
Babel subsequently went on to win the Golden Globe Award for Best Picture Drama, and was
nominated for seven Academy Awards®, including two for Iñárritu for Best Picture and Best Director.
With his two nominations, Iñárritu became the first Mexican filmmaker to ever be nominated for either
director or producer in the history of the Academy Awards®. Iñárritu’s fourth film, Biutiful, was his
first Spanish-language film since Amores Perros. He directed and produced the acclaimed drama,
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which he also co-wrote with Armando Bo and Nicolás Giacobone. The Focus Features film was
nominated for an Academy Award® for Best Foreign Language Film, and Javier Bardem was
nominated for Best Actor for his moving lead performance.
Iñárritu first began his career as a radio host and radio director at Mexican rock radio station
WFM, which became the number one radio station in Mexico during his time. After working in radio,
Iñárritu spent three years studying theater in Mexico City with Ludwik Margules, and then began
writing, producing and directing short films and commercials under his Z Films company in Mexico.
MARK L. SMITH’s (Screenplay by) most recent films include The Hole, directed by Joe
Dante, Vacancy, directed by Nimrod Antal, and the upcoming Martyrs, directed by the Goetz brothers.
Smith currently has a slate of screenplays in various stages of development, including several
being produced by The Revenant’s stars. Endurance and Ruthless are both being developed by
Leonardo DiCaprio’s Appian Way, and Tramps is being produced by and will star Tom Hardy. Other
recent screenplays include The Queen of the Tearling, set to star Emma Watson, The Descent, which
Robert Redford will direct, Collider for Bad Robot and Edgar Wright, Ghost Recon for Warner Bros.
and Michael Bay and Chain of Events, which Morten Tyldum will direct.
EMMANUEL “CHIVO” LUBEZKI, ASC/AMC (Director of Photography) is a two-time
Academy Award® winner, winning Oscars® for ‘Best Achievement in Cinematography’ for Birdman
and Alfonso Cuarón’s Gravity. He is also a two-time BAFTA Award winner, and a seven- time
Academy Award® nominee.
Two of his Academy Award® nominations are also for his collaborations with Cuarón, A Little
Princess and Children of Men. His work on the latter brought him a BAFTA Award and awards from
the American Society of Cinematographers and the Australian Cinematographers Societies, as well as a
number of Critics Associations’ awards, including the Los Angeles Film Critics Association and
National Society of Film Critics. He has enjoyed a long association with Cuarón, beginning in 1991
with SóLo Con Tu Pareja (Love In The Time Of Hysteria) and also including Great Expectations and Y
Tu Mamá También.
Lubezki’s other Academy Award® nominations are for his work on Tim Burton’s Sleepy
Hollow, and Terrence Malick’s The New World and The Tree Of Life. For The Tree Of Life, he was
again honored by the American Society of Cinematographers, Australian Cinematographers Societies,
Los Angeles Film Critics Association and the National Society of Film Critics, as well as the New York
Film Critics Circle, among others.
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He has since reunited with Malick on To the Wonder, as well as the upcoming Knight Of Cups
and the Untitled Terrence Malick Project.
His long list of film credits also includes Lemony Snicket’s A Series Of Unfortunate Events, The
Assassination Of Richard Nixon, Ali, Meet Joe Black, The Birdcage, A Walk In The Clouds, Reality
Bites and Like Water For Chocolate.
ARNON MILCHAN (Producer) is widely renowned as one of the most prolific and successful
independent film producers of his time, with over 100 feature films to his credit. Born in Israel,
Milchan was educated at the University of Geneva. His first business venture was transforming his
father’s modest business into one of his country’s largest agro-chemical companies. This early
achievement was a harbinger of Milchan’s now-legendary reputation in the international marketplace as
a keen businessman.
Soon, Milchan began to underwrite projects in areas that had always held a special interest for
him – film, television and theater. Early projects include Roman Polanski’s theater production of
Amadeus, Dizengoff 99, La Menace, The Medusa Touch and the mini-series Masada. By the end of the
1980s, Milchan had produced such films as Martin Scorsese’s The King of Comedy, Sergio Leone’s
Once Upon a Time in America and Terry Gilliam’s Brazil.
After the incredible successes of his films Pretty Woman and The War of the Roses, Milchan
founded New Regency Productions and went on to produce countless critical and box office successes
including J.F.K, A Time to Kill, Free Willy, The Client, Tin Cup, Under Siege, The Devil’s Advocate,
The Negotiator, City of Angels, Entrapment, Fight Club, Big Momma’s House, Don’t Say a Word,
Daredevil, Man on Fire, Mr. and Mrs. Smith, Alvin and the Chipmunks, What Happens in Vegas, Love
and Other Drugs, Noah and Gone Girl.
In 1998, Milchan received an Academy Award® nomination for producing the film LA
Confidential. He served as producer of back-to-back Academy Award® Best Picture winners 12 Years
A Slave (2014) and Birdman (2015).
Along the way, Milchan brought on board two powerful investors and partners who shared his
vision: Nine Network and Twentieth Century Fox. Fox distributes Regency movies in all media
worldwide, except in international pay and free television where Milchan has taken advantage of the
growing television and new media marketplace. Milchan has also successfully diversified his
company’s activities within the sphere of entertainment, most specifically in the realm of television
through Regency Television (“Malcom in the Middle,” “The Bernie Mac Show” and “Windfall”) and
sports where the company was once the largest shareholder of PUMA, the worldwide athletic apparel
and show conglomerate based in Germany, which was later sold after a successful re-branding in 2003.
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STEVE GOLIN (Producer) is the Founder and Managing Partner of Anonymous Content, a
development, production and management company. Over the past 20 years, he has developed a
reputation for cultivating artistic freedom while maintaining commercial viability, working across
feature films, television, commercials, music videos, and new media.
He is the producer of over 40 film and television projects, including Babel, directed by
Alejandro Gonzalez Iñárritu, which was honored with multiple Golden Globe and Academy Award®
nominations; and won the Golden Globe for Best Picture, and Best Director at the 2006 Cannes Film
Festival. Other highlights Include Being John Malkovich (1999) directed by Spike Jonze; and Michel
Gondry's Eternal Sunshine Of The Spotless Mind (2004).
In 1999, his film with David Lynch, Wild at Heart (1990) won the Palme d’Or at Cannes.
Recent credits include the critically acclaimed HBO® series, True Detective, written by Nic
PIzzolatto, directed by Cary Fukunaga and starred Matthew McConaughey and Woody Harrelson;
Seeking A Friend For The End Of The World, which was written and directed by Anonymous client
Lorene Scafaria and stars Steve Carell and Keira Knightley for Mandate Pictures. Big Miracle directed
by Ken Kwapis for Universal, stars Drew Barrymore, John Krasinski, Ted Danson, Dermot Mulroney
and Kristen Bell and was released in February 2012. The Last Elvis, written and directed by
Anonymous client Armando Bo, screened at Sundance and the LA Film Festival. The Beaver, directed
by and starring Jodie Foster, opposite Mel Gibson was released in May of 2011. 44 Inch Chest, the
feature debut of acclaimed commercials director Malcolm Venville, opened at the 2009 London Film
Festival and stars Ray Winstone, John Hurt, Ian McShane, Tom Wilkinson, Stephen Dillane and Joanne
Whalley. 2007's Rendition was directed by Anonymous client Gavin Hood and starred Jake Gyllenhaal,
Meryl Streep and Reese Witherspoon. Last year, Anonymous produced the family hit, Fun Size, written
by Anonymous client Max Werner and directed by Josh Schwartz starring Victoria Justice, Jane Levy
and Chelsea Handler.
Additionally, Anonymous Content also represents many A-list clients such as Nicholas Refn
(Drive, Only God Forgives), Steven Soderbergh (Magic Mike, Behind The Candelabra), Samuel L.
Jackson, and Emma Stone and Michael Keaton, just to name a few.
Currently in production is Triple Nine, directed by John Hillcoat and starring Casey Affleck,
Chiwetel Ajiofor, Gal Gadot, Woody Harrelson, Kate Winslet, Aaron Paul, Teresa Palmer, Anthony
Mackie, Norman Reedus and Clifton Coollins Jr, and season two of True Detective.
In post now, Golin is producing Len & Company, directed by Tim Godsall and starring, Rhys
Ifans, Juno Temple, Jack Kilmer and Kathryn Hahn and his other films awaiting release are The Loft,
directed by Erik Van Looy, starring Karl Urban, Wentworth Miller, Isabel Lucas, James Marsden,
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Rhona Mitra, Margarita Levieva, Rachael Taylor and Eric Stonestreet, and U Want Me To Kill Him?
directed by Andrew Douglas, based on the 2005 Vanity Fair article.
Golin's earlier producing credits include: Truth of Dare (1991) with Madonna; Jane Campion's
The Portrait of a Lady (1996); David Fincher's The Game (1997); and Neil LaBute's Your Friends And
Neighbors (1998) and Nurse Betty (2000). He also produced such television series as Beverly Hills
90210, The L Word and David Lynch’s Twin Peaks.
Golin co-founded his first company, Propaganda Films in 1986. It became the largest music
video and commercial production company in the world, earning more MTV Video and Palme d’Or
awards than any other company. Golin helped launch the careers of David Fincher, Spike Jonze,
Michael Bay, Antoine Fuqua, Gore Verbinski, Alex Proyas, David Kellogg and Simon West among
others.
Steve Golin is a member of the Academy of Motion Picture Arts and Sciences and the
Producers Guild of America. He attended New York University and American Film Institute.
MARY PARENT (Producer) is the founder and CEO of Disruption Entertainment, which has a
first look deal at Paramount Pictures.
Since starting Disruption Entertainment four years ago, Parent has produced a prolific slate of
films. The first three releases, Pacific Rim, Godzilla and The Spongebob Movie: Sponge Out of Water,
were all commercial and critical successes generating a combined global box office of over $1.6
Billion.
Parent is currently in production on Kong: Skull Island (directed by Jordan Vogt-Roberts and
starring Samuel L. Jackson, Tom Hiddleston, Brie Larson and John C. Reilly and in post production on
Monster Trucks (directed by Chris Wedge and starring Rob Lowe, Barry Pepper and Jane Levy) and
Same Kind of Different as Me, based on the New York Times bestselling book.
Prior to founding Disruption Entertainment, Parent was CEO and Chairman of Worldwide
Production for MGM. Before taking the reins at MGM, Parent co-founded Stuber/Parent, where she
produced You, Me and Dupree and Role Models.
Parent also spent nine years at Universal Pictures rising up the ranks to eventually become Vice
Chairman of Worldwide Production, where she was responsible for many of the studio's critically
acclaimed and commercially successful films.
Prior to Universal Pictures, Parent worked at New Line Cinema starting as a Creative
Executive, Director of Development and eventually Vice President of Production, where she executive
produced Pleasantville and Set it Off. Parent began her career as an assistant and agent trainee at ICM.
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KEITH REDMON (Producer) was born and raised in Livingston, Montana. He earned his
B.A. from Pepperdine University before beginning his career in entertainment as a trainee at The
William Morris Agency in 1997. He worked at Propaganda Films before joining Anonymous Content
as a manager in 2004. Now a partner at Anonymous, some of his producing credits include the films
Rendition and Triple 9 as well as the upcoming television series Berlin Station and Counterpart.
JAMES W. SKOTCHDOPOLE (Producer) most recently served as producer on Alejandro G.
Iñárritu’s highly-celebrated Birdman, which was nominated for nine Academy Awards® and won four,
including Best Picture.
A native New Yorker, Skotchdopole has been making films for some 35 years and worked on
49 feature films in seventeen different countries. He most recently served as executive producer for
David O. Russell on the film Nailed and Quentin Tarantino on Django Unchained and Deathproof, as
well as four films for director Tony Scott, Man On Fire, Enemy Of The State, The Fan, and Spy Game,
during a nine-film association with the director which began in 1988 with Revenge and included Days
Of Thunder, The Last Boy Scout, True Romance and Crimson Tide.
He also had a long collaboration with director Nora Ephron, having worked many times as her
executive producer and as an associate producer on Sleepless In Seattle. Skotchdopole has produced
commercials for directors Sam Mendes, Oliver Stone and Samuel Bayer.
In 1984, Skotchdopole was the youngest member to be accepted in the Director’s Guild of
America. He cut his teeth in the industry by working as an assistant director with Sir Richard
Attenborough, Francis Ford Coppola, Brian De Palma, Richard Donner, John Frankenheimer, Paul
Mazursky, Mike Nichols, Frank Oz and John Schlesinger.
DAVID KANTER (Executive Producer) is a producer and manager at Anonymous Content, a
leading motion picture, television and commercial production company and talent management
company in Culver City, CA.
Kanter is a producer of The End of the Tour, starring Jesse Eisenberg and Jason Segel, directed
by James Ponsoldt, which premiered at the 2015 Sundance Film Festival. It was called “The best of the
best at Sundance” (Rolling Stone Magazine) and has been acquired by A24 for US and opens on July
31, 2015. His films in production include Bastille Day, starring Idris Elba and Richard Madden,
directed by James Watkins for Vendome/Studio Canal/Focus Features.
Kanter produced Fun Size, a co-production with Paramount Pictures that marked the feature
directorial debut of Josh Schwartz and starred Victoria Justice, Thomas Mann and Chelsea Handler; In
the Land of Women, a co-production with Castle Rock and Warner Independent, starring Kristen
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Stewart and Adam Brody; the controversial Tony Kaye documentary Lake of Fire, which premiered at
the 2006 Toronto International Film Festival; and New Line Cinema’s Rendition, directed by Gavin
Hood, starring Reese Witherspoon, Jake Gyllenhaal, Meryl Streep and Alan Arkin.
His television executive producing credits include the forthcoming Cinemax series “Quarry,”
starring Logan Marshall-Green to premiere in 2016; “To Love and Die” for USA Network; “Law &
Order: Crime and Punishment,” a drama series documentary for NBC that he co- created and executive
produced; and “Stanley Park” for BBC3/Lionsgate. David currently has pilots and long-form shows in
active development at AMC, Showtime, HBO, FTVS, F/X Studios, Lionsgate Television, and Sony
Television.
Kanter’s roster of management clients includes John Romano (The Lincoln Lawyer), Andrew
Baldwin (The Outsider), Donald Margulies (Middlesex and the Pulitzer Prize winning play “Dinner
with Friends”), Lesli Linka Glatter (“Mad Men,” “Pretty Little Liars,” “Homeland”), Ron Nyswaner
(Philadelphia, Freeheld) and Andrew Fleming (The Craft, Hamlet 2) among others.
Prior to joining Anonymous Content in 2000, Kanter was a founding agent at United Talent
Agency and was personally involved with numerous major studio motion pictures.
David started his career in New York in the books-to-movies and television business with
Curtis Brown, Ltd., the late Edgar J. Scherick and Sterling Lord Literistic Agency.
JENNIFER DAVISSON (Executive Producer) has been President of Leonardo DiCaprio's
Appian Way since 2007. During her tenure, Jennifer and Leonardo have produced nine feature films
under the Appian Way banner: Martin Scorsese’s Golden Globe® and Academy Award®
nominated The Wolf of Wall Street; Martin Scorsese's Shutter Island; Scott Cooper’s Out of the
Furnace starring Christian Bale and Woody Harrelson; George Clooney’s Golden Globe®
nominated The Ides of March; Jaume Collet Serra’s psychological thriller Orphan; Catherine
Hardwicke’s Red Riding Hood; Brad Furman’s Runner Runner starring Justin Timberlake and Ben
Affleck; Dennis Iliadis’ Delirium; and Dan Myrick’s Under the Bed.
Additionally, in October of this year, Jennifer and Appian Way began production of a film
adaptation of Dennis Lehane’s critically-acclaimed novel Live By Night written, directed by, and
starring Ben Affleck. This upcoming summer, Appian Way will begin production on Otto
Bathurst’s Robin Hood, starring Taron Egerton.
Further, under Jennifer’s direction, Appian Way has worked in partnership with Netflix to
produce two documentary films: the Academy Award® nominated Virunga directed by Orlando von
Einsiedel, and Kip Anderson’s Cowspiracy: The Sustainability Secret. Appian Way is also in
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partnership with Netflix on two additional documentaries, How to Change the World and Catching the
Sun, which are both in post-production and slated for release in 2016.
Davisson currently oversees a number of other projects in priority development at Appian Way:
a feature adaptation of the Japanese manga and animated film Akira; and three projects written by Billy
Ray – Martin Scorsese’s The Devil In The White City, The Ballad of Richard Jewell starring Jonah Hill,
and The Twilight Zone. Multiple television projects are also in the works with HBO, Showtime, FX,
Amazon and TNT.
Born and raised in Sparta, New Jersey, Jennifer got her start working with AMG, before it
transitioned to The Firm. From there she branched out to LBI Entertainment, where she demonstrated
the leadership that would eventually propel her to the helm of DiCaprio’s Appian Way. She currently
resides in Los Angeles.
BRETT RATNER (Executive Producer) is one of Hollywood’s most successful filmmakers.
His diverse films resonate with audiences worldwide and have grossed over $2 billion at the global box
office. Ratner began his career directing music videos before making his feature directorial debut with
Money Talks, starring Charlie Sheen and Chris Tucker. He followed with the blockbuster Rush Hour and
its successful sequels. Brett also directed The Family Man, Red Dragon, After the Sunset, X-Men: The
Last Stand, Tower Heist and Hercules.
He produced Horrible Bosses and its sequel, Mirror Mirror, and the documentaries Catfish, the
Emmy®-nominated Woody Allen – A Documentary for the American Masters series, I Knew It Was You:
Rediscovering John Cazale and Night Will Fall, the story of Alfred Hitchcock’s never released
Holocaust documentary. Ratner executive produced and directed the Golden Globe-nominated television
series Prison Break, which ran for four seasons on Fox.
Ratner, along with his business partner James Packer, formed RatPac Entertainment, a film
finance production and media company, in 2013. RatPac has a first-look deal with Warner Bros. and
joined with Dune Capital to co-finance over 75 films including Gravity, The Lego Movie and American
Sniper. Internationally, RatPac and Warner Bros. have formed a joint venture content fund with China’s
Shanghai Media Group to finance local Chinese content. In partnership with New Regency, RatPac also
finances the development and production of Brad Pitt’s Plan B Entertainment.
Upcoming RatPac projects include Truth, starring Robert Redford and Cate Blanchett, I Saw the
Light, starring Tom Hiddleston, and the untitled Howard Hughes project, written, directed, produced, and
starring Warren Beatty.
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In addition to strongly supporting ADL, Brett is a member of the Board of Trustees of the Simon
Wiesenthal Center and Museum of Tolerance and serves on the Dean’s Council of the NYU Tisch
School of the Arts. He also sits on the boards of Chrysalis, Best Buddies and Do Something.
JACK FISK (Production Designer) is an Academy Award® nominated production designer
with over 35 years of experience in the film industry. Fisk has enjoyed numerous successful
collaborations with influential American filmmaker Terrence Malick, including: To The Wonder, The
Tree Of Life, The New World, The Thin Red Line, Days Of Heaven and Badlands.
Fisk designed There Will Be Blood and The Master for Paul Thomas Anderson and he was the
Production Designer on The Straight Story and Mulholland Drive for David Lynch.
Other Production Design credits include Water For Elephants, The Invasion, Heart Beat, Movie
Movie, Carrie and Phantom Of The Paradise.
JACQUELINE WEST (Costume Designer) earned Academy Award® nominations for her
work on The Curious Case of Benjamin Button and Quills. For Benjamin Button, she also received a
BAFTA nomination and a Costume Designer Guild Award nomination. West received another Costume
Designer Guild Award nomination for Argo.
After graduating from the University of California at Berkeley, West followed in the footsteps
of her mother, a popular avant-garde fashion designer in the 1940s and 50s. From 1988 to 1997, West
ran her own company and designed a nationally acclaimed line of clothing. West went on to own retail
stores in the Bay Area and contemporary departments in Barney’s New York and Tokyo.
West’s first foray into film, as a creative consultant on Henry and June, was the start of a long
relationship with award-winning director Phillip Kaufman and led to future projects with such
illustrious filmmakers as Terrence Malick, David Fincher and Ben Affleck. She has done five films
with Malick starting with The New World and including The Tree of Life, To the Wonder, Knight of
Cups, and his upcoming Project V.
She has also designed The Gambler, Water for Elephants, The Social Network, and State of Play
amongst others.
West serves on the Advisory Board of the Fashion Institute of Design and Merchandising in Los
Angeles, and spends her time between Los Angeles and her ranch in Deadwood, South Dakota.
RICH McBRIDE (Visual Effects Supervisor) most recently served as Visual Effects
Supervisor on Gravity, which won seven Academy Awards®, including Best Achievement in Visual
Effects. McBride was honored with two VES (Visual Effects Society) Awards for Gravity: Outstanding
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Visual Effects and Outstanding Virtual Cinematography, sharing the latter with director of photography
Emmanuel Lubezki.
McBride was also visual effects supervisor on The Spirit, Red Cliff II, World Trade Center, and
the video game Fantastic Four: Rise of the Silver Surfer. He has worked on an array of movies as visual
effects supervisor, compositor, technical director and digital artist, with effects houses such as Industrial
Light and Magic and Giant Killer Robots. His many films include Pacific Rim, The Lone Ranger, The
Conspirator, Avatar, A Christmas Carol, Transformers: Revenge of the Fallen, Fantastic 4: Rise of the
Silver Surfer, Happy Feet, Poseidon, The Producers, Fantastic Four, Blade: Trinity, Scooby-Doo 2:
Monsters Unleashed, The Matrix Revolutions, Terminator 3: Rise of the Machines, The Matrix
Reloaded, Scooby-Doo, and Obsidian.
STEPHEN MIRRIONE, ACE (Edited by) began his career in the nineties editing the movies
Swingers and Go for director Doug Liman. He then went into a long collaboration with Steven
Soderbergh cutting Ocean’s Eleven, Ocean’s Twelve and Ocean’s Thirteen, as well as The Informant,
Contagion and Traffic, for which Mirrione won an Academy Award®.
In 2007, Mirrione received his second Academy Award® nomination for his work on Alejandro
G. Iñárritu’s drama Babel, which garnered Mirrione an Eddie Award and the ‘Vulcain Artist-Technical
Grand Prize’ at the 2006 Cannes Film Festival. Other films edited for Iñárritu include Biutiful and 21
Grams.
Another notable collaboration was in 2005 with George Clooney on the Academy Award®
nominated drama Good Night, And Good Luck, earning Mirrione both BAFTA and Eddie Award
nominations. He has edited all of Clooney's directorial efforts, Confessions Of A Dangerous Mind,
Leatherheads, The Ides Of March, and The Monuments Men.
Other films edited by Mirrione include August: Osage County and The Hunger Games.
RYUICHI SAKAMOTO (Original Music by) Bio forthcoming – please check back for
updated notes.
ALVA NOTO (Original Music by) Carsten Nicolai is a German artist and musician based in
Berlin. For his musical outputs he uses the pseudonym Alva Noto. Born 1965 in Karl-Marx-Stadt he is
part of an artist generation who works intensively in the transitional area between music, art and
science. With a strong adherence to reductionism he leads his sound experiments into the field of
electronic music creating his own code of signs, acoustics and visual symbols. Diverse musical projects
include remarkable collaborations with Ryuichi Sakamoto. For more than 10 years both artists work
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together, recorded five albums and toured extensively through Europe, Asia, South America and the US.
Among others, Nicolai performed as Alva Noto at the Solomon R. Guggenheim Museum in New York,
the San Francisco Museum of Modern Art, Centre Pompidou in Paris and Tate Modern in London.
His musical œuvre echoes in his work as a visual artist. Carsten Nicolai seeks to overcome the
separation of the sensory perceptions of man by making scientific phenomenons like sound and light
frequencies perceivable for both eyes and ears. His installations have a minimalistic aesthetic that by its
elegance and consistency is highly intriguing. After his participation in important international
exhibitions like documenta X and the 49th and 50th Venice Biennale, Nicolai’s works were shown
worldwide in extensive solo and group exhibitions.
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GLOSSARY
ARIKARA:
The Arikara or Ree, known to themselves as the Sahnish people, historically lived by the
mouths of the Grand and Missouri Rivers in what is now North Dakota. With a complex ceremonial
culture and a rich trading network, they ultimately came to clash with the Rocky Mountain Fur
Company, starting what became known as the Arikara War.
ASHLEY HENRY:
Ashley Henry was the fur company founded by William Henry Ashley and Andrew Henry,
sometimes called the Rocky Mountain Fur Company. In the 1820s, Ashley Henry revolutionized the fur
trade by leaving employees in the field year-round, which led to the creation of the “rendezvous”
system – where individual trappers would rendezvous to sell their goods.
BEAVER PELTS:
Beaver pelts were in massive demand during the 1820s due to the European hat fashions of the
day. At that time, a single beaver pelt might sell for $5 and a trapper could yield up to six animals a
day. Before the fur trade declined in the 1850s with the advent of silk hats, the beaver was nearly
hunted to extinction.
CHINOOK:
A dry, warm wind that can rapidly change weather conditions in the Rocky Mountains.
KEELBOAT:
An important workhorse for the Missouri River trade, keelboats were cargo vessels designed
for shallow water, usually propelled by manpower and sometimes by sail.
PAWNEE:
One of the largest and most powerful Native American tribes of the 19th Century the Pawnee
traditionally lived along the banks of the Missouri River in permanent lodges, where they farmed and
hunted.
POSSIBLES BAG:
In the early 19th century, most mountain men would have two bags: a shooting pouch their gun
equipment and a “possibles” bag for personal items, so-called because it was supposed to hold anything
else possible that one would need.
REVENANT:
One who returns after death.
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