Production Notes
For additional publicity materials and artwork, please visit:
http://lionsgatepublicity.com/epk/texaschainsaw3D/
www.lionsgatepublicity.com
Rating:
R for strong grisly violence and language throughout
Run time: 92 minutes
For more information, please contact:
Jennifer Lopez
Lionsgate
2700 Colorado Avenue
Suite 200
Santa Monica, CA 90404
P: 310-255-3879
E: jlopez@lionsgate.com
Kimberly Ehlmann
Lionsgate
2700 Colorado Avenue
Suite 200
Santa Monica, CA 90404
P: 310-255-5086
E: kehlmann@lionsgate.com
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Cast (Character):
Alexandra Daddario (Heather Miller)
Dan Yeager (Leatherface)
Introducing Tremaine ‘Trey Songz’ Neverson (Ryan)
Scott Eastwood (Carl)
Tania Raymonde (Nikki)
Shaun Sipos (Darryl)
Keram Malicki-Sanchez (Kenny)
James MacDonald (Officer Marvin)
Thom Barry (Sheriff Hooper)
Paul Rae (Burt Hartman)
Richard Riehle (Farnsworth)
And Bill Moseley (Drayton Sawyer)
Special Appearance by Gunnar Hansen (Boss Sawyer)
Directed by:
John Luessenhop
Screenplay by:
Adam Marcus & Debra Sullivan and Kirsten Elms
Story by:
Stephen Susco and Adam Marcus & Debra Sullivan
Based on Characters Created by:
Kim Henkel and Tobe Hooper
Produced by:
Carl Mazzocone
Executive Producers:
Avi Lerner, Mark Burg
Executive Producers:
Michael Paseornek, Jason Constantine, Eda Kowan
Executive Producers:
Danny Dimbort, John Thompson, Trevor Short, Tobe
Hooper
Executive Producers:
Rene Besson, Christa Campbell, Lati Grobman
Executive Producers:
Robert Kuhn, Kim Henkel
Director of Photography:
Anastas Michos, ASC
Production Designer:
William A. Elliott
Edited by:
Randy Bricker
Costume Designer:
Mary E. McLeod
Music by:
John Frizzell
Special Make-Up Effects Designed
and Created by:
Gregory Nicotero and Howard Berger
Casting by:
Ferne Cassel, C.S.A.
Location Casting by:
Ryan Glorioso, C.S.A
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SYNOPSIS
“Incredible! A perfectly terrifying follow-up to the original.”
Tobe Hooper
Lionsgate’s TEXAS CHAINSAW 3D continues the legendary story of the homicidal Sawyer
family, picking up where Tobe Hooper’s 1974 horror classic left off in Newt, Texas, where for
decades people went missing without a trace. The townspeople long suspected the Sawyer
family, owners of a local barbeque pit, were somehow responsible. Their suspicions were finally
confirmed one hot summer day when a young woman escaped the Sawyer house following the
brutal murders of her four friends. Word around the small town quickly spread, and a vigilante
mob of enraged locals surrounded the Sawyer stronghold, burning it to the ground and killing
every last member of the family – or so they thought.
Decades later and hundreds of miles away from the original massacre, a young woman named
Heather learns that she has inherited a Texas estate from a grandmother she never knew she had.
After embarking on a road trip with friends to uncover her roots, she finds she is the sole owner
of a lavish, isolated Victorian mansion. But her newfound wealth comes at a price as she stumbles
upon a horror that awaits her in the mansion’s dank cellars…
With gruesome surprises in store for a whole new generation, TEXAS CHAINSAW 3D stars
Alexandra Daddario, Dan Yeager, Tremaine ‘Trey Songz’ Neverson, Scott Eastwood, Tania
Raymonde, Shaun Sipos, Keram Malicki-Sanchez, James MacDonald, Thom Barry, Paul Rae and
Richard Riehle, along with special appearances from four beloved cast members from previous
installments of the franchise: Gunnar Hansen (the original Leatherface), Marilyn Burns, John
Dugan and Bill Moseley. The film is directed by John Luessenhop (TAKERS), from a screenplay
by Adam Marcus & Debra Sullivan and Kirsten Elms, and story by Stephen Susco and Adam
Marcus & Debra Sullivan and based on characters created by Kim Henkel and Tobe Hooper, and
produced by Carl Mazzocone. Lionsgate presents a Millennium Films production and Main Line
Pictures production.
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ABOUT THE FILM
As the President of Twisted Pictures, Carl Mazzocone had overseen several entries of the
very successful Saw horror franchise, and was looking for more projects that would appeal to the
fan base. When he was informed that the rights to the cult classic The Texas Chainsaw Massacre
property had reverted to the original owners Robert Kuhn and Kim Henkel, Mazzocone was on a
plane to Austin within days. The producer extolled the virtues of the original film, and explained
to the duo how he hoped to invigorate the property, while remaining faithful to the source
material. His passion and ideas for the project convinced Kuhn and Henkel and soon thereafter,
Mazzocone was anointed as the new caretaker of the series.
“Great horror is a universal level playing field,” states Mazzocone. “We all come from
different backgrounds and cultures, therefore comedy and drama can be lost in translation.
Horror is a universal language, that’s universally scary on a human level. It’s where your
boogieman is authentic and believable, and I think that’s something that’s been forgotten in
recent cinema.
I put the original Texas Chain Saw Massacre right up there as one of the top five scariest
movies, ever. I was a big fan of the original, when I could finally watch it all the way through.
What made the original such a classic is that it felt realistic. Everything about it felt like it could
and did happen. At the time it was released, it was marketed as being a true story, which many
people still believe in to this day. Not to disrespect any of the filmmakers who have been
involved with the franchise over the years, but I felt like there was a lot of gold left in the mine.”
After working with screenwriters Adam Marcus and Debra Sullivan to begin the journey
back to Texas, Mazzocone asked director John Luessenhop to get involved with the project. Like
his producer, Luessenhop admits it took him more than one viewing to make it all the way
through the original film. “I was scared to death. I had to stop watching it when the girl pops out
of the freezer. I’d had enough,” he recalls. “I never watched the movie again until very recently,
when I went back and broke it down setup by setup to understand everything that was in the final
product, and to get a sense of how Tobe Hooper had set the cameras and how he built this world.
I took on a great appreciation for it. There’s a lot of poetry in the original movie, just the
compositions alone with the sunlight and the moon, and being shot mostly in wide shots, not so
full of close-ups.”
One of the things that most impressed Luessenhop was Hooper’s cinema verité style of
shooting, and a very minimal use of editing, which made the film all that more startling and
realistic. “It was one of the first times you had really graphic violence and horror without it being
manufactured in cuts or with special effects. And it introduced us to one of the most provocative
characters in horror.”
“A great horror icon that’s going to have longevity has to sustain a certain organic
authenticity,” offers producer Mazzocone. “When you look at a lot of other horror movies, the
bad guy becomes almost superhuman in his ability to survive anything. Leatherface has
maintained his realism. He’s a man. He may have the emotional development of a nine-year-old,
but you have to equate the power of Leatherface to a shark. He has a set of teeth that you can’t
survive. You can’t defend yourself from a chainsaw. If it hits you, it will cut you and kill you.
Leatherface is a predator that comes after you relentlessly.”
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Adds Luessenhop, “In the original film, Tobe Hooper took the time to give him some
human moments. He’s got a chainsaw and he’s willing to use it, but he’s not like a simpleminded killer. There’s a human aspect to him that we tried to retain in this movie.”
In developing the script for the new film, Mazzocone and Luessenhop decided they
would go back to the beginning. Literally. At the end of Hooper’s 1974 classic, a lone teenager
named Sally Hardesty had managed to escape the madness and horror of the Sawyer family as
well as the deadly blade of Leatherface. None of the ensuing sequels or remakes had ever dealt
with the consequences of that young girl’s escape, so the filmmakers chose to begin their story
exactly at the end of Hooper’s original film. Audiences would learn what Sally’s actions had
wrought upon the Sawyers and the townspeople, who had only suspected the evil that lived in
their midst. Those consequences would continue to reverberate over several decades to bring the
characters into the present day.
“The original is such a powerful piece of film we thought that playing off of it was a
unique way to approach it,” says Luessenhop. That being said, the new movie would pay homage
to the first film, and still take an original approach with a contemporary twist to satisfy both the
fan base and new audiences as well.
“We wanted to have back stories on every character and brought logic and reason to their
decision making in the movie,” says Mazzocone. There’s nothing worse than watching a horror
movie where a girl goes to a creepy house, her friend is chopped up, she gets blood on her and
decides to take a shower. She gets out, wrapped in a towel, and there’s a weird noise on the other
side of a door, and of course, she opens it and gets hacked to death. You roll your eyes when you
watch movies like that, and it takes you out of the film. We tried to have a very realistic movie
where the decision making of our characters is one that is unpredictable, yet realistic, and keep
audience members in their seats.”
To add to that realism, it was decided that this new continuation of this classic horror film
would be shot in 3D. While the script was written to take full advantage of this process, it was
done with purpose, and not with the intent to simply use it for shock purposes. “I asked myself
how I wanted to use the 3D,” offers Luessenhop. “Did I want to make a movie where people are
ducking and screaming the whole time like a ‘50’s drive-in film, or did I want to create a really
cool 3D world? I opted for the latter. I wanted to make a good-looking picture that has some
gloss, and then delivers all of the genre elements when we need to. If you’re going to use 3D
properly, the eye takes a little extra time to see all the things that you’re now being allowed to see
than it would in 2D. For me, the 3D was to create a world you could watch, exist in, explore the
frame and participate without having to duck and crawl and worry about things being thrown at
you the whole movie.”
Mazzocone agrees. “I guarantee this is a 3D movie where the fans won’t be
disappointed, because we set out to make a 3D movie. We spent months and months researching
the technology, and assembled one of the best 3D camera packages in the business. We wrote the
script for 3D. I think if it’s done right in a horror environment, it’s only going to enhance the
cinematic experience even more. Our 3D will not give you a headache and you won’t suffer from
eyestrain when you watch it. It will provide a very realistic environment to scare the living pants
off of you. There’s nothing like a chainsaw coming at you in 3D!”
In the casting of the movie, the filmmakers also took a cue from the original. There
would still be a group of four friends traveling to Texas, and a hitchhiker they would come upon
5
in their travels, but these new characters would be quite different from their mid ‘70’s
counterparts.
“The minute Alexandra Daddario walked in the door, I knew she was absolutely the one
to play Heather,” says Mazzocone of the actress. “She has an enormous strength and power that
very few actresses possess. She brought a work ethic and can-do quality that I haven’t seen in a
long time.” “She’s very pretty in a warrior type of way,” adds Luessenhop. This franchise has a
history of very beautiful leading ladies and Alexandra fits that bill very well.”
Daddario, who had seen her share of on-screen action as the female lead of Percy
Jackson & the Olympians, was excited and enthusiastic to take on the role of Heather. “It’s such
an iconic series of films,” says the actress of joining the Texas Chainsaw legacy. “But this script
was very different than the usual remakes and sequels in that it has a story that stands on its own.
I also think that Heather is written as stronger than many of the female characters in horror films.
I liked being able to play the ‘frightened, running-away-screaming character,’ but then she also
gets to find the strength within herself. I loved the mixture of action, horror and it also has
elements of mystery. It really caught me off guard when I read the script.”
While attending an awards function for BET, Luenssenhop was caught up in the
excitement as a singer made an electric entrance being flown from the ceiling to the stage. “He
had a lot of charisma, and the crowd went crazy. The next day I called his agent and told him I
wanted Trey Songz to play the role of Heather’s boyfriend in the film.”
The agent arranged a meeting between the director and the Grammy ®-nominated artist,
and Luessenhop found himself at a recording studio in Hollywood at eleven o’clock that night. “I
got to see him work, to see how professional and what a perfectionist he is. We spoke until about
two in the morning, but it had really nothing to do with the movie. It was about getting to know
each other. The next day he committed to the film.”
“There were so many things that appealed to me about taking on this role. I had been
given a lot of opportunities and scripts,” explains Songz, “and either the timing wasn’t right or the
movie wasn’t right, or the role was too heavy for my first time. I’m a big horror fan and although
I hadn’t seen the original film until just before we started shooting, I did know the impact it had
on the whole culture of horror films and changing the way the fans thought about them.”
One of the most integral pieces of casting presented itself to the director even before the
process had officially started. At a Christmas party being given by Mazzocone, Luessenhop was
chatting with Executive Producer Mark Burg, when he found himself distracted by someone on
the far side of the room. “I was staring at a six foot, six inch man, with this huge brow, really
scary eyes who had this ‘I’m on an island, just taking in this room’ quality about him. I wasn’t
sure if he was the nicest guy in the world or a serial killer. I was mesmerized.” When Burg asked
what the director was so preoccupied with, “I told him ‘I think I’m looking at Leatherface.’ It
was a completely random meeting and afterwards I began to not be able to think about
Leatherface without thinking about Dan Yeager.” Adds Mazzocone, “I met Dan at an acting
class that I was lecturing at, and he had left the profession of being a contractor in pursuit of
acting. We became friends and he was helping me with my house, and I had invited him to my
holiday party. When John told me he wanted Dan to play Leatherface, I had a little trepidation,
because he was my friend, and he had limited acting credits. Having gone through the experience
of the film, I can’t imagine this movie without Dan Yeager.”
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For Yeager, the chance to play Leatherface meant more than just an actor excited to get a
major role in a feature film. “There were a few great films that caught my interest as a young
person, and inspired me to get into the movies. When my parents bought a VCR in 1980, one of
the first two VHS tapes I bought was The Texas Chain Saw Massacre. I still have that tape.
Leatherface is unique in the pantheon of horror. I don’t want to call him an icon, nor do I want to
call him a villain. He’s more than that. He’s one of us…with a twist, that being he’s been put
into a different context than anyone else has ever experienced. He’s been trained from childhood
to perform a particular killing function, and the most astonishing thing that informs who he is, is
his inability to speak. If you’ve ever tried not to talk for an hour, it can drive you crazy. If you
try not to talk for a day, you will go insane.”
From the moment he began pursuing the rights to the Chainsaw franchise, Mazzocone
wanted to show his respect to the source material in a way that had not been evident in the
previous films. “Sometimes when people make sequels or prequels or remakes, they shoot frame
for frame. I think it’s a really fine line between an homage and plagiarism. In this movie, we
constantly debated to what point we could swing in the right direction. Out of respect, I pursued
Gunnar Hansen to play a cameo in our film. He was the original and best Leatherface, and he
was passed by in all the subsequent Texas Chainsaw movies. I swore if I ever got the rights, I
would fix that wrong.”
In addition to recruiting Hansen to the cast, Mazzocone also invited Marilyn Burns, who
had portrayed Sally Hardesty in the original film, to play the role of Verna Carson, the matriarch
of the Sawyer clan.
For the opening scenes of the film, which continued the action from the first movie, the
filmmakers would also need actors to fill the roles of Drayton Sawyer and Grandpa Sawyer. Jim
Siedow, who had portrayed Drayton, had since passed away and would be replaced by Bill
Moseley, who had created the character of ‘Chop Top’ in Tobe Hooper’s sequel, The Texas
Chainsaw Massacre 2. Moseley had worked with Siedow in that film, and the two men enjoyed a
long friendship afterwards. Moseley bore such a close resemblance to Siedow that he became the
first and only choice of the filmmakers to take on the part.
Finally, John Dugan, who portrayed Grandpa Sawyer in the first film was invited to be
the only cast member of the original Massacre to reprise his role. “We could do it,” explains
Mazzocone, “because John was twenty years old in special effects makeup when he played
Grandpa for the first time.” Dugan would get into the effects makeup chair once again to be
transformed into the macabre patriarch of the Sawyers. “When I called and asked him if he
wanted to be in the movie, his response to me was, ‘Carl, I’ve waited forty years for this phone
call!’”
Dugan’s enthusiasm was shared equally by Hansen, Burns and Moseley at being asked to
be a part of the 2013 version. “Joining the Sawyers back in 1986 for Chainsaw 2 really started
my whole career in horror and was a great thrill,” says Moseley. “It’s something I still cherish,
and any time you get to be part of that again, you jump for it. I’m especially happy to have been
handed the responsibility to do right by Jim Siedow.”
“Over the years, everybody and their brother was trying to write a sequel,” reflects Burns.
“When I read this one, I was thrilled that somebody finally got it right. I just flew through it, and
was genuinely surprised at how clever it was, and delighted that this hasn’t been done before. It
7
paid tribute to Leatherface and the original characters, and then it had a life of its’ own characters
who were so interesting and full of life. I loved all the puzzles and twists in the script.”
The actress was so impressed by the script that she called her cast-mate Hansen to discuss
their reunion. “I think he could tell from my voice I was truly excited. And we talked about all
the twists and the ending, and he was excited. Who would have thought that Texas Chainsaw
Massacre would keep on giving, because it sure as heck did not give for many years!”
One of the key elements that would greatly help Yeager in his portrayal of the mute killer
was the iconic mask, instantly recognized by legions of Chainsaw fans worldwide. Great care
was taken by the filmmakers to recreate the original mask worn in 1974 at the end of the first
movie by Hansen, and two new masks were fashioned by the special effects makeup wizards at
KNB EFX Group, Inc., designed by Aaron Sims and Jerad S. Marantz. Photos taken from the
first movie were used as the blueprint for the mask worn by the actor who would portray the 1974
Leatherface.
As the character has evolved over the years, he has added new masks to his collection.
Explains KNB makeup artist Mike McCarty, “Leatherface cuts people’s faces off and makes
masks out of them. We created two new masks that the character would have made over the
course of time. One was described to us as being akin to a favorite pair of slippers that he wears
around the house all the time. It laces up in the back and it’s got a couple of stitches where he
attaches it to his face. It’s an old, worn version of something he loves and cherishes. The other is
the one he wears at the end of our film during the big climax. It’s more distorted and even more
horrifying.”
“It’s a wonderful aid in getting into the character,” says Dan Yeager. “I see Alexandra
and the others on set, and they’re in character for most of the day, being pursued by a monster
who’s trying to kill them. That’s grueling for any actor. The mask is a tremendous shortcut to
my character. One can’t help but be a murderous monster in that mask.”
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ABOUT THE PRODUCTION
Texas Chainsaw 3D began principal photography on July 18, 2011. In 1973, the cast and
crew of the first movie faced blistering temperatures under the fierce Texas sun while creating
their film. Almost 40 years later, and a couple of hundred miles to the east, Shreveport,
Louisiana found itself in a heat wave of historic proportions. Temperatures soared over the 100degree mark for a record 47 straight days, offering little relief even in the early morning hours.
Although everyone on the cast and crew had to endure the extreme conditions, one man was
singled out for his dedication and performance. “Dan Yeager was the hardest working man on
the set,” declares Mazzocone. “It was over 100 degrees every day he was wearing a winter shirt,
with a leather apron on top of that. He was running around with a 30-pound chainsaw and a
wearing a confining and restrictive latex mask on his face. He never complained.”
Yeager’s dedication and respect for his fellow cast members showed itself on numerous
occasions, but the filming of one sequence went above and beyond. While shooting a scene
where Heather and Nikki (portrayed by actress Tania Raymonde) were being attacked by
Leatherface in their van, Yeager insisted on being in full wardrobe and makeup/mask despite the
fact that the camera would see nothing but his hands, feet and the chainsaw. “Alex and Tania
were amazing. I was so impressed with what they put into their performances, and what they did
for twelve hours of torture. Everyone told me I didn’t have to put the mask or full wardrobe on
because the camera couldn’t see me. But Alexandra and Tania could see me, and I thought that if
they were going to put that much work and intensity into the movie, I wanted to be there for them
to react to. I hope I was able to contribute to their work in some small way.”
One of the facilities that provided more than one location for the production was Camp
Minden, a sprawling military base to the north of Shreveport. At one time, the base was home to
a munitions factory that produced ammunition for the armed forces from the Korean War through
the Vietnam War and beyond. That shuttered facility was transformed into a slaughterhouse set
for one of the climactic confrontations.
The company would also utilize many of Camp Minden’s back roads for the entrance to
the Sawyer mansion as well as the setting for Leatherface’s pursuit of the escaping van. An open
field in Camp Minden was also the location of what Mazzocone considered one of the most
crucial sets.
As they had planned to begin their story moments after the end of the original Texas
Chain Saw Massacre, the filmmakers would need to recreate the iconic farmhouse of the
Sawyers. “There’s a saying—‘God is in the details,’” reflects the producer. “Although it’s not in
the same place, the original house still exists. It was moved from its original site and is now a
restaurant. We sent an architect and art director to measure every square inch of it, and we also
scanned the original movie into high resolution so we could get screen grabs. The power of the
photograph was amazing. We were able to get the proper scale off of it, as well as the original
colors. We replicated that house down to scale perfection along with the set dressing. The true
litmus test that we got it right was when Marilyn Burns, Gunnar Hansen and John Dugan arrived
at the house and their jaws hit the floor.”
“It’s strikingly accurate,” says Hansen of the set. “When I first got here, Carl walked me
through the building, and we discussed a couple of little things, like a chicken cage, which needed
to be down about eight inches and a little closer to the window, but otherwise, they really had it
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dead on.” “It speaks to the dedication of the entire production,” adds Marilyn Burns. “If they’re
taking such painstaking efforts to detail for this small piece at the beginning of the film, it shows
the level of respect and love they have for the film that started it all. They’re very serious about
wanting to make a film that will be appreciated by the fanbase, and attract new audiences as
well.” Even though Burns was not involved in the filming at the Sawyer compound, and not
scheduled for filming for several days after, the actress made a special trip to the Shreveport
location to see the amazing set created by the production, and reunite with fellow cast members
Hansen and Dugan.
Hansen was not only impressed with the recreation of the set, but also delighted with the
role he was asked to undertake in the film. “I play a character named ‘Sawyer number one,’ and
he’s the one who wants the family to give Leatherface to the Sheriff. One of my lines is ‘You
know, he’s never been right, even for a Sawyer.’ The wonderful thing about me doing this is that
I get to make fun of the character I played, and be the one who supposedly sends him off to his
fate.”
Burns wasn’t the only cast member to visit the set on the days that the company shot the
films’ opening scenes. Although he was shooting with a second unit all night long, Dan Yeager
made sure he was present to meet the man who first brought to life the role of Leatherface. “I
wasn’t going to pass up the chance to meet one of my all time screen idols, Gunnar Hansen,” says
Yeager. “It was an overwhelming experience.”
The two men discussed how they each approached the role of Leatherface, and how he
has changed over the course of the decades. “My concept of the character was that if you take the
mask off, there is no face,” says Hansen. “I always felt that it was what made him so frightening
and unnerving, because you had no idea what you were dealing with. On one level, he’s a human
being with an attitude, but on the other level, he’s like some force of nature. Something that’s not
human.”
Offers Yeager, “I would describe the original Leatherface as a lethal instrument of the
will of others. He was not autonomous in any way. He took orders and he fulfilled them, and
those orders were basically to kill and butcher. As time progresses to where we pick up our story,
all of that has changed. His abusers were no longer there, and there was no longer anyone to tell
him what to do. He had to grow from an instrument of violence to seeking vengeance in the
people who slaughtered his family. That was the last thing anyone told him to do, so he’s spent
decades contemplating and carrying out that mission. I’ve tried to remain faithful to what Gunnar
had created. He is the character. The only difference is that now there is a face behind the mask.
That’s what this story is about.”
After six weeks of sweltering days and nights, production wrapped on Texas Chainsaw
3D, and filmmakers hope they have created a film that will excite fans of the original, and attract
a new audience as well.
“Great cinema is something that manipulates all of your senses,” says Mazzocone. “I
believe that what’s going to make this movie stand out from all other horror movies is that we’re
not relying on gimmicks to make it scary. We tried to make a smart horror film, a classic modern
day monster movie. And it’s in 3D!”
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ABOUT THE CAST
ALEXANDRA DADDARIO (Heather) is best known for her lead role as Annabeth
Chase in the action/fantasy film, Percy Jackson & the Olympians: The Lightning Thief. The film
– co-starring Logan Lerman, Uma Thurman, Pierce Brosnan and Catherine Keener – grossed over
$227 million worldwide, and was based on the popular Rick Riordan book series of the same
name. It was released by FOX on February 12, 2010. Its sequel, Percy Jackson: Sea of
Monsters, will release August 16, 2013.
While Percy Jackson launched Daddario into the global spotlight, she has been working
in the industry for almost a decade. Her previous film credits include the Farrelly Brothers’ Hall
Pass, Bereavement, The Attic, The Babysitters, The Hottest State, and The Squid and the Whale.
Past TV credits include “Parenthood,” “White Collar,” “Law & Order: Criminal Intent,” “Nurse
Jackie,” “Damages” and “The Sopranos.” The actress made her debut with a role on the longrunning daytime drama “All My Children.”
Daddario was recently named one of V Magazine’s “Faces to Watch in 2011.”
Born and raised in New York City, the actress currently resides in Los Angeles.
While working as a full-time architectural designer, DAN YEAGER (Leatherface)
attended The American Film Institute. He has trained with noted acting coaches Jeff Celentano,
Frank Tammariello and Joel Asher, all of whom have contributed to his command of multiple
acting techniques. He has acted in several film projects and stage productions. His latest
assignments include a feature role on stage with the Mayflower Players. He recently fulfilled the
dual roles of actor and Associate Producer in a production by Director Michael Kehoe. When
away from the cameras, Dan is an avid sportsman with superior athletic ability. He has played
league football, basketball and baseball. He is currently working with a trainer to master boxing
technique for an upcoming role. In his free time, he maintains an active regimen of hiking, sport
shooting and sailing.
TREMAINE ‘TREY SONGZ’ NEVERSON (Ryan) Trey Songz has undeniably
become one of music’s hottest R&B artists today thanks to an infinite streak of hit singles –
including “Heart Attack,” “2 Reasons,” “Can’t Help But Wait,” “Successful (Drake & Trey
Songz),” “I Invented Sex,” “Neighbors Know My Name,” and the RIAA platinum-certified “Say
Aah.”
Songz’ third album, Ready made a stunning Top 10 debut on the Billboard Top 200 and
later received a Grammy Award nomination for “Best Contemporary R&B Album.” The R&B
superstar’s fourth studio album, Passion, Pain, and Pleasure, was released in September 2010
and debuted at #1 on the “R&B/Hip Hop Chart” and #2 on the Billboard Top 200, thanks to the
success of the two smash singles “Bottoms Up (feat. Nicki Minaj),” and “Can’t Be Friends,” both
of which have gone on to secure platinum status.
Chapter V, the fifth studio album from the Grammy-nominated international R&B
superstar, debuted in 2012 at number one on the Billboard 200, selling 135,000 copies in its first
week. For this new chapter in his career, Songz once again teamed up with the upper echelon of
producers ranging from his longtime friend and production partner, Troy Taylor, to hit makers
Benny Blanco, Eric Hudson and Rico Love. He tapped his younger brother, Alex, to produce
“Don’t Be Scared.” Trey also enlisted a roster of high-profile featured guests including T.I., Lil
Wayne, Young Jeezy, Rick Ross, Diddy and Meek Mill.
Last year, Trey was part of Kodak’s “SO KODAK” campaign alongside Drake, Pitbull
and Rihanna, as well as serving as the face of Roc-a-wear’s Fall and Spring 2011 lines. Trey’s
constant touring led him to Johannesburg, Africa where he took the stage for two once-in-alifetime performances and spent time with local aspiring young musicians and entrepreneurs.
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He has used his gift of music as the launching pad to various philanthropic and
entrepreneurial endeavors such as the “Angels With Heart Foundation” and the Trey’s Angels
clothing line, sold exclusively at Citi Trends. Founded in 2010, Songz’ “Angels With Heart
Foundation” began as a call to action to engage his fan club and has now become a worldwide
movement. Through this foundation, Trey encourages members to give back and, most
importantly, have a positive impact in their neighborhood through community service with local
charities and random acts of kindness.
SCOTT EASTWOOD (Carl) was born in Monterey, California but spent the majority of
his grade and high school years in Hawaii with his mom and younger sister. While growing up in
Hawaii, Scott learned the true meaning of “Aloha” and learned to enjoy the very simple things in
life: Pop Warner football, surfing, swimming, fishing, and just about any ocean-related activity
known to man. Whether Scott was getting up at 5:30 AM to hit the surf or just sitting on the
beach at sunset with a fishing pole, his life revolved around the ocean. From an early age, Scott
always excelled in drama. After spending summers with his father and then eventually living
with him, Scott felt compelled to pursue a career in acting. Thanks to his father’s love of jazz,
Scott also learned to play the saxophone at an early age while always being encouraged to stay in
shape.
Growing up with his mother, Scott always had someone he knew would go to bat for him
and when staying with his father, Scott could count on someone to “kick his ass.” Scott’s second
mom has always been the voice of reason and sense of humor between the two.
Scott has been fortunate to have great friends and special aunties and uncles along the
way, all of whom have played a role in making Scott the individual he is today.
Scott recently completed shooting Trouble with the Curve and Epic. In addition, Scott
appeared in Invictus, Gran Torino, the World War II drama, Flags of Our Fathers, along with, An
American Crime, and the swimming movie, Pride.
Raised in Los Angeles of French-American descent, TANIA RAYMONDE (Nikki) is
increasingly recognized as one of the more dynamic young actresses in Hollywood. Tania is best
known for her acclaimed portrayals of the offbeat charmer “Cynthia” in “Malcolm in the
Middle” and of “Alex”--daughter of Others’ mastermind Ben--in the iconic series “Lost.” In
a USA Today feature, “Lost” creator J.J. Abrams praised Tania’s performance—“in a show with
so many different people”--for giving her character “such heart and soul” and making Alex “so
identifiable and complex.”
Tania’s further television credits encompass recurring roles in several series such
as “Switched at Birth,” “90210,” “Death Valley,” “The Cleaner,” “Medium,” “Cold Case,” “The
Guardian,” “The O’Keefes,” and “That's So Raven.”
She has appeared in the feature films, The Garage, Wild Cherry, Chasing 300,
Elsewhere, and Crazy Eyes among others.
In 2006, she wrote, edited and directed the short film Cell Division. The film has won one
of the three certificates of merit awards at The Fort Lauderdale International Film Festival. And is
currently writing and directing her second film Little Siagon.
SHAUN SIPOS (Darryl) is starring in the independent feature Heart of the Country
playing the role of “Lee,” to be released in early 2013.
Sipos’ television credits include starring roles in the CW drama series “Life Unexpected”
and the reinvented “Melrose Place,” along with the ABC comedy “Complete Savages.”
Additionally, Shaun had a major recurring arc on “Shark” and has guest starred on “CSI,”
“Southland,” and “ER.”
Shaun was most recently in the independent feature Hick, alongside Chloë Moretz, Anson
Mount and Blake Lively. Sipos’ other feature film roles include Enter Nowhere, Rampage, Final
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Destination 2, Lost Boys: The Tribe, The Grudge 2, and Lost Dream, where he played an art
student who takes his own life in a prison cell.
Shaun is a Vancouver native and currently lives in LA.
For KERAM MALICKI-SANCHEZ (Kenny), Texas Chainsaw 3D is the latest project
in a career marked by interesting work with talented actors and directors in both studio features
and independent film. As the son of a Polish father and Ecuadorian mother, the Toronto-born
actor is fluent in English, French, Polish and Spanish. Given such a diverse background, his
eclectic choices as an artist make absolute sense. Keram began to explore his artistic instincts as
a child, leading to acting in film, television and on stage. He has been fortunate to work with
Texas Chainsaw 3D director John Luessenhop as well as directors Nick Cassavettes (John Q),
Tony Kaye (American History X), John Stockwell (Crazy/Beautiful), and Peter Greenaway (The
Tulse Luper Suitcases), among others. In addition to acting, Keram composes and produces
ambient music, and produces a weekly podcast where the topics of culture and electronic media
come together. Keram resides in Los Angeles, California.
JAMES MACDONALD (Officer Marvin) has made a living as an actor for over twenty
years, since graduating from New York’s Circle in the Square Theatre School, having appeared in
dozens of TV series and feature films. This fall he was featured opposite Dennis Quaid in the
CBS pilot “Vegas,” following a recurring role on the short-lived NBC series “Love Bites.” As
the lead in last year's indie Fissure he won Best Actor at the FirstGlance Film Fest in Hollywood.
Some of his favorite roles were in “Sex In The City” (as Garth, the porn star), John Woo’s Broken
Arrow, Ron Shelton's Hollywood Homicide, Joel Schumacher’s Tigerland and Phone Booth, and
playing opposite Jessica Biel in Home of The Brave. Of course, his featured role in the upcoming
Texas Chainsaw 3D now ranks among one of his favorites, as it's the first time he's had his face
ripped off.
On the stage, Jim’s one-man show Big Frame Shakin’—which he wrote and performed—
enjoyed a run off-Broadway at New York’s Ensemble Studio Theatre before being optioned by
HBO. The New York Times, said of Big Frame…, “Macdonald's kaleidoscopic chronicle of
growing up in America in the 1970's taps its own touching threnody [as] Macdonald, leads us
quietly into his helter-skelter world.” Jim also created the lead role of F.W. Murnau in Zoo
District's production of Nosferatu, for which he shared in a Garland Award for the writing of the
show. He has written several plays for the Los Angeles stage, one of which, SLIM, was a fulllength with original music. His play The Mickey Tiles Project was workshopped at the Mark
Taper Auditorium, and his short film, Heavy Lifting, garnered awards in every category in film
festivals across the country. James is a longtime member of Ensemble Studio Theatre NYC and
L.A.
From a farm in Ohio to Hollywood, THOM BARRY (Sheriff Hooper) has come a long
way. He co-starred alongside Kathryn Morris, in the top ten hit Bruckheimer series, "Cold Case,"
which had a seven season run on CBS and is now in syndication. Barry plays seasoned detective
“Will Jeffries.” The writing for Jeffries featured episodes has stretched the character from mild
mannered wisely bemused senior officer to distraught nearly homicidal widower. Additionally,
this accomplished stage and screen actor is well known in the 12+ demographic for his starring
roles alongside Paul Walker, Vin Diesel and Ludacris, in The Fast and the Furious and 2 Fast 2
Furious where Barry reprised his role of “Bilkins,” the wise-cracking, hard-edged FBI agent who
still takes care of business, but in 2 Fast 2 Furious with a more laidback attitude. Director John
Singleton used Bilkins’ consultant-to-customs status for some great “straight man” comedy
scenes in the hugely successful sequel.
With probably one of the most familiar faces in film and television, Barry’s career
skyrocketed just shortly after he moved to Los Angeles, and his resume reflects the success of a
seasoned actor. His starring roles in the third installment of Major League, Steel and the first
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installment of The Fast and the Furious established him as a lead role player having had other
great silver screen character roles in such features as Space Jam, Ghosts of Mississippi,
Independence Day, The American President, Congo, White Man’s Burden and shares a SAG
Award for “Best Cast In A Dramatic Feature” from Apollo 13.
Playing roles as diverse as military generals to homeless bums, you can see Barry
practically every week on the small screen. His unique character lends itself to his big success in
guest starring and recurring roles on some of the hottest network hits on television. He’s seen as a
very dignified no-nonsense judge on ABC’s “The Practice,” and a noteworthy congressman on
NBC’s award-winning Aaron Sorkin drama “The West Wing.” Then look to the rest of network
television’s hits such as “NYPD Blue,” “ER,” and “Seinfeld” to see Barry’s incredible gift to
unnoticeably assimilate into any role.
And when you don’t see Barry, you can hear him as an accomplished voice-over actor.
Either with work in radio or television commercials or watching TV’s animation series “The
Hulk” as a S.H.I.E.L.D. agent and “The Wild Thornberrys,” donning an Australian character
voice, you’ve heard Barry’s confident, assuring and sexy voice. Before his acting career
exploded, Barry was also a popular country music DJ on KLAC in Los Angeles. And since Barry
credits much of his character to his diverse list of occupations, he’s proud to divulge that he also
was a fighter jet mechanic in the Air Force, auto body repairman, and even a Duncan Hines
research technician. He is equally proud of his role as a member of a family of 11 growing up on
44-acre farm in rural Ohio. He’ll tell you one his of his earliest life lessons was, “Don’t have pets
that are edible on a farm.”
PAUL RAE (Burt Hartman) was born on June 27, 1968 in New Orleans, Louisiana. He
was raised on the North Shore in Washington Parish. He has a younger sister named Elizabeth.
Paul started acting in his high school's Theatre program where he was a part of several
productions. He attended Louisiana State University where he majored in Theatre and was a
member on the LSU football team. In 1995 Paul relocated to Los Angeles to pursue a career in
acting. He studied with several prominent teachers including John Kirby and Steven Book. Paul
started his acting career in commercials and voice-over jobs but shortly transitioned to television
and film. Paul's first break in film came opposite Cuba Gooding Jr. in Sony's Daddy Day Camp.
He has also appeared in Oliver Stone's W. opposite Josh Brolin, and more recently he reprised the
role of Emmett Quincy in the Coen Brothers' Paramount release of True Grit.
RICHARD RIEHLE (Farnsworth) is an actor’s actor who has appeared in over 200
films and over 50 different television shows as well as having performed on stage in many of the
country’s most prestigious theaters.
The list of films is as illustrious as it is extensive with memorable performances in films
such as Bridesmaids, Office Space, Casino, The Fugitive, Glory, Ghosts of the Mississippi, Fried
Green Tomatoes, Of Mice and Men, and Mysterious Skin. He is a passionate supporter of new
and independent filmmakers.
Television audiences know him from series regular roles on comedies such as “Grounded
for Life” and “Married to the Kellys,” his extensive list of dramatic roles include work on
telefilms such as, “Keeper of the City” and “The Laramie Project,” as well as guest starring
appearances in episodes of “The West Wing,” “Boston Legal,” “ER,” and “Allie McBeal” to
name a few.
BILL MOSELEY (Drayton Sawyer) joined the Chainsaw family in 1986 as Chop-Top
in Tobe Hooper's darkly comedic sequel to the original Texas Chain Saw Massacre, The Texas
Chainsaw Massacre 2, starring Dennis Hopper. Having worked with Jim Siedow (the original
Drayton in Chainsaw’s 1&2) and been personal friends with Siedow, Moseley brings a unique
connection to his depiction of Drayton Sawyer and especially appreciates the Chainsaw legacy.
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An English major from Yale University, Moseley began his career in New York City,
writing for such prestigious periodicals as Omni, Rolling Stone, Interview, The National Lampoon
and Psychology Today. Thanks to a short film he wrote, produced and acted in called The Texas
Chainsaw Manicure that caught Tobe Hooper's attention, Moseley landed the job as the platescratchin' Chop-Top, then moved to LA to pursue an acting career at Hooper's encouragement.
Since then, Moseley has cemented his place as a horror icon, starring as Otis Driftwood
in Rob Zombie's House of 1000 Corpses and The Devil's Rejects, Johnny in Tom Savini's color
remake of Night of the Living Dead, Luigi Largo in Darren Lynn Bousman's Repo! The Genetic
Opera, and many, many more characters that make us laugh and squirm.
GUNNAR HANSEN (Boss Sawyer) was born in Reykjavik, Iceland, and moved to the
United States at the age of five. He lived in Maine until he was eleven, then his family moved to
Texas, where he went to high school and then the University of Texas. He majored in English and
mathematics and then went to graduate school in Scandinavian Studies and creative writing.
Gunnar is best known for playing Leatherface in The Texas Chainsaw Massacre, one of
the most influential horror films ever made, now in the permanent collection of the Museum of
Modern Art. The Encyclopedia of Horror called Chainsaw "an unequaled masterwork of the
macabre and genuinely horrific."
Gunnar has continued acting since Chainsaw, though mostly he has worked as a writer.
He has written four books of non-fiction, countless magazine articles and several feature film
scripts, as well as writing or directing nine documentary films. His newest book, Chain Saw
Confidential: How We Made America’s Most Notorious Horror Movie, will be released by
Chronicle Books next September.
He now lives on an island off of the coast of Maine.
MARILYN BURNS (Verna) was born in Erie, Pennsylvania, and is acknowledged as
one of the original “Scream Queens,” a title she claimed in her role of Sally Hardesty in the
original Texas Chain Saw Massacre. Her follow-up appearance was again directed by Tobe
Hooper in Eaten Alive, where she portrayed a vacationer who unwittingly stumbles upon a hotel
run by a madman who feeds his guests to his pet alligator.
The actress maintained her horror following with starring roles in films such as Kiss
Daddy Goodbye and Future-Kill. In 1976, she appeared in the TV movie “Helter Skelter” as
Linda Kasabian, the Charles Manson follower whose testimony helped lead to the conviction of
the cult leader.
In 1994, Burns also made an uncredited cameo as a patient on a hospital gurney in The
Return of the Texas Chainsaw Massacre.
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ABOUT THE FILMMAKERS
JOHN LUESSENHOP (Director) made a splash this past summer when his stylish
action film Takers, produced and released by Sony Screen Gems, which opened #1 at the US box
office. Upon its video release, Takers followed its box office success by topping the US charts
for sales, rentals and video-on-demand purchases.
Mr. Luessenhop made his directorial debut in the world of feature films with Lockdown,
an independently produced urban prison drama acquired and distributed by Columbia Home
Entertainment. The film struck a strong chord with urban audiences, opening the UrbanWorld
Film Festival in New York City and closing the Hollywood Black Film Festival in Los Angeles.
It also premiered internationally at the Toronto Film Festival.
A native of McLean, Virginia, and an alumnus of the University of Virginia and
Georgetown Law School, Mr. Luessenhop began his film career by writing and directing the
hard-edged 33-minute featurette “TICK…TICK…TICK…,” which premiered at the Sundance
Film Festival and went on to win Best Short Film at Universal’s Florida Film Festival.
Because of his gritty style, Luessenhop has directed more than twenty episodes of
“America’s Most Wanted,” including two national cop-of-the-year stories.
Prior to making the leap to writing and directing, Mr. Leussenhop was a successful Wall
Street attorney. He currently resides in Santa Monica, California with his wife Catherine and
three sons.
This married duo, ADAM MARCUS and DEBRA SULLIVAN (Screenwriters), met
while doing post-production on the Marcus written/directed film, Jason Goes To Hell. At the
time, Marcus was the youngest director New Line had ever hired, and Jason Goes To Hell not
only blasted the box office, but has become an icon in the Friday the Thirteenth franchise.
Marcus started his career at the age of 11, working on the original Friday the 13th for
Sean Cunningham. By 13 he was apprentice editing for Columbia Pictures. At 15 he started his
first of three theatrical companies that helped to put him through NYU where he won best picture
at the Student Academy Awards®.
Sullivan was raised in the Theater where she wrote the critically acclaimed plays
Southern Exposure and Girl on the Rocks.
Together they currently have several projects in various stages of production: Cabin
Fever: Outbreak for Indomina Pictures (in production in 2013), Gravity for Chango Vallandos (in
production late 2012/early 2013), Black Autumn for Fox and Mike Medavoy’s Phoenix Films, 7 x
7 the independent anthology horror film for Damn Skippy Pictures, and The Plantation for
RKO/Evolution Pictures (Marcus is also directing in early 2013), to name a few.
Marcus has also sold several Television Pilots to Kevin Bright Productions, Imagine
Television, NBC, Fox and The WB, before the duo teamed up.
Marcus is an Award Winner for the Sundance feature film, Let It Snow, and Marcus &
Sullivan have won two Best Picture Awards at various festivals for their web series Connected
(Sullivan wrote / Marcus directed).
But even if they sometimes stray from their roots, into rom/com or action, their bloody
hearts will always belong to Horror, chainsaws and all.
Since graduating film school at SDSU, KIRSTEN ELMS (Screenwriter) has worked on
several projects from Summit Entertainment, Lionsgate, Evil Twins, Hypnotic, and Arclight. Her
most recent endeavor is Backmask, a supernatural thriller from the producer of Paranormal
Activity.
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STEPHEN SUSCO (Story by) Over the past fifteen years, Stephen has penned and sold
over forty scripts and pitches, and written for a variety of acclaimed directors and producers,
including Mike Nichols (The Graduate), Taylor Hackford (Ray), Quentin Tarantino (Pulp
Fiction), Philip Noyce (Dead Calm), and Michael Bay (Transformers). Three of his films – The
Grudge, The Grudge 2 and The Possession – placed #1 at the U.S. box office, and two others
(Red, starring Brian Cox, and High School, with Adrien Brody and Michael Chiklis) were invited
to premiere at the prestigious Sundance Film Festival.
Most recently Stephen has written Infantry for director McG (Terminator: Salvation) and
star Taylor Lautner (The Twilight Saga), and he is currently adapting a superhero comic series for
director Brett Ratner (X-Men 3), a science-fiction novel for director Chris Columbus (Harry
Potter 1 & 2, Gremlins, Goonies) and a TV series for director Gore Verbinski (Pirates of the
Caribbean 1-3).
This year marked Stephen’s first foray into publishing with contributions to the zombie
anthology 21st Century Dead and stories for the upcoming anthologies Exotic Gothic 5 and Liar
Liar.
Upon graduating from the School of Communications at Ithaca College, CARL
MAZZOCONE (Producer) started his motion picture career working in physical production, first
in New York City on several movie-of-the-week and afterschool specials for ABC. His first
feature film was Jaws 3D. In addition to his duties as the film’s location manager, Mazzocone
oversaw the design, construction and operation of a 2 million-gallon tank; the largest built at that
time in the United States for underwater photography. In 1983 Mazzocone relocated to Los
Angeles and commenced work on John Carpenter’s Starman, Ruthless People, The Night They
Saved Christmas, Wanted: Dead or Alive and Johnny Be Good.
In order to realize his ultimate pursuit as a creative producer, in 1987 Mazzocone created
his own development and production company, named after his Philadelphia roots. Main Line
Pictures made its theatrical debut with the highly controversial feature film, Boxing Helena. The
film was written and directed by Jennifer Lynch (daughter of David Lynch), with Mazzocone
producing and financing the picture, which starred Sherilyn Fenn, Julian Sands, and Bill Paxton.
Main Line Pictures re-emerged in production in the fall of 1996 with Body Count,
starring Forrest Whitaker, John Leguizamo, David Caruso, Donnie Wahlberg, Linda Fiorentino,
and Ving Rhames. Mazzocone served as Executive Producer and Line Producer on the picture.
In 2000, Mazzocone returned to his line producing past, rendering services on the
romantic comedy, Good Advice. Directed by veteran comedy helmer Steve Rash, the film starred
Charlie Sheen, Angie Harmon, Denise Richards, Jon Lovitz, Rosanna Arquette and Estelle
Harris. From there he went on to produce Run, Ronnie, Run, starring David Cross, based on the
critically acclaimed HBO comedy series, Mr. Show with Bob and David.
With his stand-up comedy movie for Miramax entitled The Three Amigos, Mazzocone
became the first film producer to utilize the state of the art video technology: 24p Hi-definition
format. He next co-produced the feature Shade, starring Gabriel Byrne and Sylvester Stallone
followed by Dumb & Dumberer and Knee High P.I. for Comedy Central. In 2004, Mazzocone
produced the reality based television show “Chasing Farrah” for TV Land.
In 2005, Mazzocone was named President of Production of Twisted Pictures. While
overseeing production of SAW 3 and SAW 4, Mazzocone also found time to gear up the
company’s development slate. In 2007, Mazzocone produced the innovative Repo! The Genetic
Opera, starring Sarah Brightman, Paul Sorvino and Paris Hilton, and also produced, The
Tortured, a thriller starring Jesse Metcalfe, Erika Christensen and Bill Moseley.
With over 250 films to his credit, AVI LERNER (Executive Producer), co-chairman of
Nu Image/Millennium Films, is one of the most experienced producers and distributors of
independent film in the international motion picture industry.
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Born and raised in Israel, Lerner’s career in the film business began as the manager of
Israel’s first drive-in cinema. He acquired a chain of movie theaters while simultaneously
producing several low-budget features. He anticipated the explosion of home video rental in
1979 and pioneered the largest specialized video distribution company in Israel and became a
partner in the largest theatrical distribution company in Israel.
In 1984, he was executive producer in Zimbabwe of the remake of King Solomon’s Mines
and the sequel Alan Quartermain and the Lost City of Gold. He sold his Israeli company and
relocated to Johannesburg, South Africa, where he founded the Nu Metro Entertainment Group.
He went on to own and operate theaters, a video distribution division representing top studios and
independent companies, and a production arm that made over 60 features in Zimbabwe and South
Africa which were distributed worldwide by major studios.
Lerner’s next professional moves were to sell Nu Metro and to join MGM United Artists
while still producing movies. A year later he moved to Los Angeles where he founded Nu Image
with Danny Dimbort, Trevor Short and Danny Lerner. A string of successful films followed until
Nu Image developed and maintained an enviable reputation as a producer and distributor of high
quality, low budget action pictures for the international and domestic markets.
In 1996 Nu Image formed Millennium Films to address the market’s growing need for
quality theatrical films and higher budget action features, while Nu Image continues to cater to
the lucrative international home video market. Between the two divisions, over 230 films have
been produced since 1992. Under the Millennium films label, Lerner has produced numerous
titles, which include Lonely Heart, starring John Travolta; Black Dahlia, with Hillary Swank; 16
Blocks, starring Bruce Willis; 88 Minutes, starring Al Pacino; The Contract, with Morgan
Freeman; Rambo, directed by and starring Sylvester Stallone; and Righteous Kill, starring Al
Pacino and Robert De Niro.
Lerner and Nu Image/Millennium Films currently develop finance, produce and distribute
approximately 15 – 18 pictures a year with budgets ranging from three to 60 million dollars,
shooting in locations all over the world.
MARK BURG (Executive Producer) is the co-founder of Twisted Pictures, as well as the
management company Evolution Entertainment.
With over 20 years of producing experience, Burg has brought an impressive range of
films to the screen. His early credits include the award-winning Bull Durham as well as Can’t
Buy Me Love. Burg served for several years as president of Island Pictures where he produced or
executive produced films such as Toy Soldiers, Airheads, The Cure, Don’t Be a Menace…,
B*A*P*S and The Gingerbread Man, among many others.
Since his launch of Evolution in 1998, his producing credits include the dramatic thriller
John Q, starring Denzel Washington and Robert Duvall. Evolution is also active in television
with Burg serving as executive producer of the smash sitcom “Two and A Half Men.” In 2004,
Burg produced SAW, an immediate cultural sensation and one of the year’s most profitable films.
Its success led to the subsequent formation of Twisted Pictures.
In 2005, he produced SAW II, which opened at #1 on the Halloween weekend, and went
on to become the year’s top-grossing horror movie. The success of subsequent sequels, III, IV
and V, have made the series the number one horror franchise of all time. Most recently, Burg
producer produced SAW: The Final Chapter, which was released in 3D. Again, the film took the
top spot at the box office and brought the worldwide box office total of the franchise to over $800
million. Burg also served as producer on the comedy Lottery Ticket, starring Bow Wow and Ice
Cube.
TOBE HOOPER (Executive Producer/ Based on Characters Created by) has been
honored with many awards for his films and achievement in the horror genre. Before becoming a
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filmmaker, Tobe Hooper, a native of Austin, Texas spent the '60s as a college teacher and
documentary cameraman. He organized a small cast of college teachers and students and made
The Texas Chainsaw Massacre (1974.) This film changed the horror film industry and became an
instant classic. Even today it remains on every list of top horror films of all time.
Hooper's success with Texas Chainsaw Massacre landed him in Hollywood. It is in the
Permanent Collection of the Museum of Modern Art, and was officially selected at the Cannes
Film Festival of 1975 for Directors Fortnight.
Hooper rejoined the cast of Chainsaw for Eaten Alive (1976) starring Mel Ferrer, William
Finley and Marilyn Burns. The film received the first Saturn Award. Also in the film was Robert
Englund in his first film role. Hooper's success continued with Stephen King's 1979 mini series
"Salem's Lot." In 1981, Hooper directed The Fun House for Universal Pictures. Then in 1982
Steven Spielberg enlisted him to direct the successful haunted-house shocker, Poltergeist for
MGM. During the mid-'80s Hooper directed several films and television projects, including
Lifeforce (1985) with Patrick Stewart for Tri-Star, Amazing Stories, The Equalizer, Invaders from
Mars, Freddy's Nightmares, Tales from the Crypt, with Whoopi Goldberg and The Texas
Chainsaw Massacre 2 with Dennis Hopper.
In the '90s he continued doing both film and television; "I'm Dangerous Tonight,"
"Nowhere Man," "Dark Skies," "Perversions of Science" with Jamie Kennedy and Jason Lee,
"The Apartment Complex" with Amanda Plummer for Showtime, Night Terrors (1993) and The
Mangler for New Line (1995.)
In the new century, Tobe's career continued to grow stronger with "Night Visions," "The
Shadow Realm," and the pilot episode for Steven Spielberg's award winning miniseries "Taken."
In 2004 Tobe had the successful remake of The Texas Chainsaw Massacre for New Line in
theaters.
In 2005, Hooper has started own low budget horror franchise, TH Nightmare, which
includes Toolbox Murders with Angela Bettis in release through Lion's Gate. He also directed
Mortuary for Echo Brige, and was a producer on the 2006 New Line release The Texas Chainsaw
Massacre: The Beginning.
Tobe just finished working on a new Texas Chainsaw Massacre reboot with Twisted
Pictures. Tobe is also in post for Djinn, an atmospheric ghost story, for FilmNation.
ANASTAS MICHOS, ASC (Directory of Photography) works with bold confidence in
every genre, from lush period pieces, to sparkling romantic comedies, and electrifying thrillers.
Michos brings to each of his films a strong style and dynamic look. His versatility is front and
center in the relentless in-your-face camerawork in the FBI thriller Untraceable; the gritty reality
of the New York police drama Freedomland; the lush period drama Mona Lisa Smile, and in the
polished suspense thriller Perfect Stranger. Experience and artistry combine in his work with
Hollywood’s leading ladies. Beyonce Knowles, Halle Berry, Kirsten Dunst, Julia Roberts, Angela
Bassett, Julianne Moore, Paula Patton, Julia Stiles, Meg Ryan, and Annette Bening are a few
captured by his lighting prowess and appreciation of beauty in storytelling. Throughout his
lengthy career, Michos has collaborated with the industry’s top directors, among them, Martin
Scorsese, Milos Forman, Edward Norton, Mike Newell, Stephen Frears, Neil Jordan, Oliver
Stone, Ron Howard, and Danny DeVito.
Before moving up to Director of Photography, Michos worked for more than a decade as
one of the industry’s most respected and sought after camera and Steadicam operators. He
remains an active member of the American Society of Cinematographers, and the Academy of
Motion Pictures Arts and Sciences. Michos frequently lectures at universities and workshops
throughout the US and Europe.
A self-made man, Michos’ love of photography began in his teenage years. Having never
attended film school, Michos instead learned the art by reading film theory and technique books
on his own, and spending as much time as possible in art museums and at movie theaters. Michos
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got his start while working on a non-union documentary as a camera operator. Renowned
camera/Steadicam operator and personal mentor of Michos’, Garrett Brown, took notice, taking
Anastas under his wing. Michos worked a multitude of music videos and commercials until he
was hired as a camera operator for a low budget union film.
RANDY BRICKER (Editor) made his mark as Editor on such timeless horror films as:
Halloween: The Curse of Michael Myers, Hellraiser: Bloodline, Phantoms and Bride of Chucky.
Bricker has also served as Visual Effects Editor on the blockbuster release Constantine. He then
went on to work as First Assistant Editor on Francis Lawrence’s box office hit I am Legend, as
well as The Time Machine, and Daredevil. His other editing credits include The Roommate,
Takers, Armored, and the Sundance hit Urbania. He served as associate editor on Charlie’s
Angels: Full Throttle.
MARY McLEOD (Costume Designer) Ms. McLeod's journey began at age 7, with a
brand new sewing machine. Her muse was her grandmother, who schooled her in the fine art of
couture methodology, construction, draping and fabrics. Years later, she developed her technical
skills at George Brown College in Toronto. She then went on to the Ontario College of Art &
Design
to
perfect
her
drawing
and
visual
communication
skills.
Prior to her involvement in the Motion Picture and Television Industry, she was a music
programmer for CKNW and CFCA Radio and a director of Campus Radio in Waterloo, Ontario.
After graduating from the University of Waterloo, she wrote and produced an educational film
dealing with teenage sexuality. Although provocative for its time, the film was well received and
performed well in syndication.
Then came her opportunity and her debut as a costume designer. The movie was Bob
Clark's Porky's, a teen coming-of-age comedy set in 1954 South Florida. Mary continued to work
with Bob on Porky's 2 and the classic, A Christmas Story. She received Genie Award
nominations for Best Costume Design for Porky's and A Christmas Story.
Throughout the following years, Ms. McLeod designed costumes for a wide range of film
genres, working with some of the best directors and actors in the industry. From Look Who's
Talking Now with John Travolta to the Indie classic, The Boondock Saints, Driven with Sylvester
Stallone, 3000 Miles To Graceland starring Kevin Costner and Kurt Russell, to the successful
franchise Resident Evil: Apocalypse. Along the way she garnered another Genie Award
nomination for her work on Fido.
Ms. McLeod's talents are not limited to feature film. Some of her notable work in
television included designing for Vanessa L. Williams in the 1950's musical Bye Bye Birdie,
choreographed by the great Ann Reinking and directed by the legendary Gene Saks.
Again she teamed up with Director Bob Clark to design the TV Movie “Catch A Falling
Star” with Sela Ward. Other notable TV projects were “Spoils Of War,” a TV adaptation of the
Broadway play, starring Oscar nominated Kate Nelligan and the pilot entitled “17th Precinct,”
written and produced by the creator of “Battlestar Galactica,” Ron D. Moore.
Ms. McLeod has worked extensively in both Canada and the United States. From
Montreal, Toronto, Winnipeg & Vancouver to Los Angeles, New York, Louisiana, Georgia,
Florida & the Carolinas. Ms. McLeod is a dual citizen of Canada and the United States.
JOHN FRIZZELL (Composer) has demonstrated an ability to transcend film genres
when scoring a project. He has created scores as varied as the dark and violent Alien
Resurrection, the quirky off-beat music for the cult classic Office Space, the epic sounds of Gods
and Generals and the gentle melodies of the intimate period drama The Prize Winner of Defiance,
Ohio. He has collaborated with DMX's team on the score to Cradle 2 the Grave, composed for
the Looney Tunes characters in the short film The Wizzard of Ow, and created the plaintive jazz
score behind James Franco's Golden Globe® winning performance in James Dean.
20
Born in New York City, Frizzell began his music career early, singing in the chorus of
the Paris Opera Company and the Metropolitan Opera Company. As a teenager he played guitar
in rock bands, and later became focused on Jazz, a passion that led him to pursue a formal
musical education at the University of Southern California School of Music as well as the
Manhattan School of Music. It was during his college years that Frizzell met his mentor, guitar
legend Joe Pass. It was through Pass that Frizzell discovered his calling as a composer.
After college Frizzell worked for acclaimed producer/vibraphonist Michael Mainieri,
who owned a Synclavier, the first digital music workstation, and Frizzell became a master
synthesist. This skill led him to work with Academy Award® winning composer Ryuichi
Sakamoto, for whom Frizzell provided orchestrations to Oliver Stone's landmark mini-series
Wild Palms. Re-locating to Los Angeles, Frizzell was introduced to James Newton Howard, who
championed him and composed the themes for Frizzell's first two feature films, The Rich Man's
Wife and Dante's Peak.
Known to experiment with evolving music technology in his film scores, Frizzell has
utilized cutting edge devices and software to create a fluid, collaborative and creative process
while still incorporating classical orchestral writing. Recently, he collaborated to revamp the
score page in Apple Computer’s flagship program Logic Pro, enabling a much more intuitive
approach to orchestral composition. His orchestral mock-ups, a great asset to the post-production
process, are often used instead of temp score. Frizzell is an advocate of featuring soloists in
scores, and has featured jazz great Jack Sheldon, violin virtuoso Mark O'Connor, Chieftans
member Paddy Maloney and Sean and Sara Watkins, members of the Grammy® winning band
Nickel Creek. In addition to scoring for film, Frizzell recently co-composed a song with Nickel
Creek guitarist Sean Watkins for Watkins' upcoming solo album.
A proponent for film music and film music issues, Frizzell serves on the Executive Board
of the Academy of Motion Picture Arts and Sciences, instructs graduate students at USC
Thornton School of Music, and is the Honorary President of the International Film Music
Conference in Ubeda, Spain.
GREG NICOTERO (Special Make-up Effects) is a four time Emmy® winner and is
currently a Co-Executive Producer and Director on “The Walking Dead.” He won a 2012 WGA
award for Outstanding Achievement in Writing Derivative New Media for his work on the show’s
webisodes, “Torn Apart,” which were viewed on-line by over 10 million people. His episode of
THE WALKING DEAD “Judge, Jury, Executioner” premiered in March to rave reviews and he
is currently shooting his 6th episode of the show in Georgia. In addition to his recent work in
television, Greg has worked on hundreds of feature films. Greg is the special FX make-up wizard
behind films such as The Grey, Predators, Sin City, Pulp Fiction, Transformers, The Book Of Eli
and many others. Greg’s company, KNB-EFX Group, won the Academy Award for best makeup for The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.
HOWARD BERGER (Special Make-up Effects) Growing up in Los Angeles, California
and having a father in the film industry helped encourage Howard towards a life of a special
makeup effects artist. He started becoming serious about this career when he met his idol, the
legendary Stan Winston, when he was 13 years old. Stan took him under his wing and encouraged
him to be an up-and-coming artisan. Stressing the importance of education, Winston promised to
hire Berger after high school with the understanding he maintain high grades and prove his
attention to detail. Winston lived up to his promise and hired Berger at 18 years old to work on
Predator, Pumpkinhead and Aliens. In 1988 KNB EFX Group, Inc. was co-founded by Howard
and Gregory Nicotero and over the past 24 years, they have become one of the most prolific
Special Make-up Effects studios in Hollywood. Specializing in character prosthetics,
animatronics, creatures and replica animals, Howard has over 800 feature film and television
credits including Inglourious Basterds, Prince Caspian: Voyage of the Dawn Treader, Kill Bill 1
21
& 2, Splice, The Book of Eli, Hostel, The Green Mile, The Pacific, Dolphin Tale, Fright Night,
and Savages to name a few. In 2006 Howard won the Academy Award® for Best Make-up for
The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe as well as winning a British
Academy Award for Best Achievement in Make-up for the film. Howard won an Emmy® Award
with his team from KNB for Best Prosthetic Makeup for the AMC hit television series “The
Walking Dead.”
This year he completed work on Disney’s Oz The Great and Powerful starring James
Franco, Michelle Williams and Mila Kunis. He also was lucky enough to design and create the
portrait makeup of Alfred Hitchcock for Sir Anthony Hopkins for the FOX Searchlight feature
Hitchcock. The film opens around the world Nov. 23rd and is sure to be a huge success. He is
currently running the makeup and special makeup effects department for Peter Berg’s film Lone
Survivor, starring Mark Walhberg and Taylor Kitsch.
Howard lives in Sherman Oaks, CA with his artist wife, Mirjam, and their 3 children,
Kelsey, Travis and Jake.
22
END CREDITS
Unit Production Managers
CYNDI BRENNER
ROBERT ORTIZ
First Assistant Director
JAY OSTROWSKI
Second Assistant Director
SETH W. HANSEN
Line Producers
CYNDI BRENNER
ROBERT ORTIZ
MATT O’TOOLE
Executive in Charge of Production
P roduction Supervisor
GIANCARLO SINI
Associate Producer
T. JUSTIN ROSS
Second Second Assistant Director
BRAD ARNOLD
Cast
Heather Miller
Leatherface
Ryan
Carl
Nikki
Darryl
Kenny
Officer Marvin
Sheriff Hooper
Burt Hartman
Farnsworth
Drayton Sawyer
Boss Sawyer
Gavin Miller
Arlene Miller
Ollie
Verna
Loretta Sawyer
ALEXANDRA DADDARIO
DAN YEAGER
TREMAINE ‘TREY SONGZ’ NEVERSON
SCOTT EASTWOOD
TANIA RAYMONDE
SHAUN SIPOS
KERAM MALICKI-SANCHEZ
JAMES MacDONALD
THOM BARRY
PAUL RAE
RICHARD RIEHLE
BILL MOSELEY
GUNNAR HANSEN
DAVID BORN
SUE ROCK
RITCHIE MONTGOMERY
MARILYN BURNS
DODIE L. BROWN
23
DAVID “BEAR” BELL
JOHN DUGAN
SAMUEL McKINZIE
VELEKA GRAY
SCOTT MARTIN
TORI LONDON
JUSTIN BEAU HOWELL
JONATHAN REED
NIKOLETTE NOEL
ANTHONY McCULLOUGH
Bear Sawyer
Grandpa Sawyer
Young Leatherface
Receptionist
Hargrove / Bartender
Scared Girl
Drunk High Schooler
Hardware Store Cashier
Supermarket Co-Worker
Townie
Original 1974 Film
Sally Hardesty
Jerry
Franklin Hardesty
Kirk
Pam
Hitchhiker
Leatherface
Grandfather
MARILYN BURNS
ALLEN DANZIGER
PAUL A. PARTAIN
WILLIAM VAIL
TERI MCMINN
EDWIN NEAL
GUNNAR HANSEN
JOHN DUGAN
Stunts
Stunt Coordinator
STEVE GRIFFIN
Ms. Daddario’s Stunt Double
ELENA SANCHEZ
JIM HENRY • ASHLEY NICOLE HUDSON • JAY LYNCH • DAVE MUELLER • HOLLY O’QUIN
MET SALIH • TIM J. SMITH • MATTHEW STALEY • TRACY THOMAS
RUSSELL TOWERY • ERIC VANARSDALE
Crew
Financial Controller
Production Accountant
First Assistant Accountant
Accounting Clerk
GIANCARLO SINI
LAURA J. FOX
BROOKE LEHMAN
JILL FRENCH ANDERSON
SAMANTHA BONILLA
JACKIE ROBERTS-VINCENT
PENELOPE COX
TAYLOR SEAMAN
Payroll Accountant
Payroll Clerk
Art Director
ROB SIMONS
Art Department Coordinator
Storyboard Artist
Set Decorator
Leadman
AUDRA L. MUSLOW
TODD HARRIS
KRISTIN BICKSLER
MICHAEL CALABRESE
24
Buyer
On Set Dresser
Set Dressers
KATHERINE MILLER
PHILLIP JOFFRION
WILLIAM BOLTON III
PATRICK CALABRESE
STEVEN P. CALABRESE
ERNEST “E.J.” LEVRON, JR.
DAVID MARKLE
F. B. STERLING, JR.
CARY WHITAKER
JASON CLARK
Photo Artist & Restoration
Key Set Production Assistant
Base Camp Production Assistant
Set Production Assistants
JAMES NIMMERS
GREGORY S. CARR
BARBARA “BABS” BABB
VALERIE COOK
SARAH DANDASHY
AUSTIN TURNER
“A” Camera / Steadicam Operator
First Assistant “A” Camera
Second Assistant “A” Camera
“B” Camera Operator
First Assistant “B” Camera
Second Assistant “B” Camera
NICK DAVIDOFF
PETER D. ROOME
RY KAWANAKA
ROBERT FOSTER
BRYAN DELORENZO
NANCY PIRAQUIVE
Stereographer
SIP Operator/Engineer
“A” Camera Rig Tech
“B” Camera Rig Tech
Additional Rig Tech
RAY HANNISIAN
MARKUS LANXINGER
PATRICK CECILIAN
ANDRE SOBCZAK
STUART T. LILLAS
DIT Dailies Colorist
LUIS FLORES, JR.
Techno Crane Operator
KENNY DEZENDORF
ZANE STREATER
ADRIAN NERI
JEFF TAYLOR
BRANDON GOODWYN
KEVIN B. STEVENSON
JUSTIN LUBIN
Techno Crane Tech
Scorpio Head Tech
Camera Production Assistant
Video Assist Operator
Still Photographer
Sound Mixer
Boom Operator
STEVE C. AARON
JARED WATT
25
Sound Utility
BRAD LOKEY
Property Master
Assistant Property Master
MARK WALLACE
FOREST FAGAN
SIOBHAN O’BRIEN
Assistant Props
Props Buyer
Props Production Assistant
Armorer
MATTHEW L. CROWSON
SHELBY GILLEN
MIKE MURACO
MATTHEW T. STRATTON
Script Supervisor
SAM SULLIVAN
Gaffer
Best Boy Electric
Lamp Operators
BOB BATES
ELI EVERHARD
ELIOT BRASSEAUX
GUY BROUSSARD
JOHN GREGORY EDWARDS
GARY L. HARVILL II
CHARLES LAURENTS
BRADLEY MARTIN
ADAM MITCHELL
JAMIE MORENO
BRENT “SWAMPY” MULLINS
ROBERT B. OWEN
STEPHANIE SOUSA
TEDD UNDERWOOD
DRE’ GREEN
JOSIAH GREENUP
DANIEL GREENUP
AHMAD “BIG THIRSTY” POWELL
ANTONIO WASHINGTON
MARVIN WRIGHT
Rigging Gaffer
Best Boy Rigging Electric
Rigging Electricians
Key Grip
Best Boy Grip
Dolly Grip
Company Grips
CHRIS EKSTROM
HILTON C. GARRETT, III
GREG LOMAS
ANDREW J. CLARK
MARTIN DUMAS
DAVID “DAVY” EASLEY
BRIAN HARRISON
RICHIE HOLLIS
DALLAS HOLLOMON
26
KENDELL KD JOSEPH
BRIAN K. STUART
JEREMY WREN
KING W. LANAUX II
RICK SECOSKY
JONATHAN ADAMS
MAX ORESTE PATRUCCO
TODD THOMPSON
Rigging Key Grip
Rigging Best Boy
Rigging Grips
Costume Supervisor
Costume Supervisor (Los Angeles)
Key Set Costumer
Set Costumer
HANNAH GATES
CAROLYN DESSERT-LAUTERIO
BRITANY VIGUERIE
KIZZIE AUTUMN MARTIN
MELISSA NACCARI
MAYUMI MASAOKA
SARAH WINN
COURTNEY ANDRESEN
Costumer (Los Angeles)
Costume Production Assistant
Costume Production Assistant (Los
Angeles)
Makeup Department Head
Key Makeup
Additional Makeup
ANTONYIA VERNA
ROSE LIBRIZZI-DAVIS
ROBIN K. BYRD
Department Head Hair Stylist
Key Hair Stylist
Assistant Hair Stylist
Additional Hair
JEAN WEBBER
AMY WOOD
KARMANN SWANK
SUZY BOYD TEEKELL
Conceptual Mask Designs by
AARON SIMS
JERAD S. MARANTZ
Special Makeup Effects by KNB EFX Group, Inc.
On Set Supervisors
ALEX DIAZ
MIKE McCARTY
ASHLEY M. CLARK
On Set Special Effects Makeup P.A.
Art Department
NORMAN CABRERA
DAVID GRASSO
ANDY SCHONEBERG
JOHN WHEATON
JIM LEONARD
HOWARD ADAMS, JR.
Key Designer
Mold Department
27
CHRIS CERA
JOE GILES
BRIAN GOEHRING
MORGAN MUTA
BRIAN HILLARD
MICHAEL ROSS
BETH HATHAWAY
TERRY FLUKER
CLARE MULROY
DEREK KROUT
MIKE LACHIMIA
STEVE KATZ
JASON PINSKER
GRADY HOLDER
DIRK ROGERS
CHRISTINA PRESTIA
CALEB SCHNEIDER
MARK BOLEY
ANNELIESE BOIES
PHILLIP CARROT
Fabricators
Prosthetic Manufacturing Department
Denture Department
Silicone Department
Hair Department
KNB EFX Coordinator
Assistant Coordinator
Accounting
Purchaser
VERONICA OWENS
REGINA CASTRUITA
RANDY BALL
DIAN BACHAR
Location Manager
Key Assistant Location Manager
Location Assistant
KENDRICK HUDSON
JOHN A. “ROCKY” METOYER
DANNY ANDERSON
COLBY ISOM
KENNETH LeCOMPTE
CHAD WATSON
Production Coordinator
Assistant Production Office Coordinator
Production Assistants
ROY BOGY
DRUSCILLA SMITH
KENT J. BERNARD
PATRICK McBRIDE
ASHLEY GWEN PATRICK
JOHNNY RAY VELEZ
Special Effects Coordinator
Special Effects Foreman
Special Effects Set Foreman
JACK LYNCH
RICHARD E. PERRY
MICHAEL CLARK
28
Special Effects Technicians
JASON BABIN
MILTON TAYLOR
MICHAEL E. WILKS
RACHEL JUINO
Special Effects Chainsaw Technician
Special Effects Assistant
Construction Coordinator
General Foreman
Foreman
Buyer/Propmaker
Gang Bosses
DANIEL A. COE
JOHN SEAY
JASON WILSON
KENNETH BROWN
CHARLES DAVID WILSON
RUSSELL “RUSTY” WILSON
ROBERT E. ALLISON
LARRY L. DEAN
DARRELL GORDON
KYLE KING
ADAM ROBBINS
DEMIAN ROBINSON
DAVID S. SESSUM, JR.
DAVID SESSUM, III
DAVID “SCOTT” FRYE
MARCUS ROBISON
BLAKE LeVASSEUR
GENNY BAMBURG
TRINITY BAMBURG
JACK REEVES
JOHN L. JACKSON
DAVID “DAVO” MYERS
CINDY SEAY
EDDY COLE
KERRY HARDY
TRACYE A. PLUNKETT
MICHAEL DAVID WYNN
JASON JIMES
JEFFERY L. JIMES
WILLIAM NUTT
CLAY DARRELL CARTER
TANYA McMULLEN
CHAD SMITH
Prop Makers
Laborers
Lead Sculptor
Lead Scenic Artist
Scenic Gang Boss
On-Set Painter
Set Painter
Painters
Plasterer
Greens Foreperson
Greens
Model Maker
Assistant to Mr. Burg
Assistant to Mr. Paseornek
Assistant to Mr. Constantine
Assistant to Ms. Kowan
JAMES COLE
JESSICA SWITCH
JONAH LEACH
ALLISON LYNCH
29
Assistant to Mr. Lerner
Assistant to Diego Martinez
Assistant to Mr. Songz
Bodyguard to Mr. Songz
Assistant to Mr. Barry
JONATHAN YUNGER
ERICA CALLAIS
CILICIA JAMES
KENNEY BUGG
CYNATHIA BARAJAS
Los Angeles Casting Associate
Extras Casting Coordinator
EMILY COOK
ANDREI COSTANTINESCU
Caterer
Chef
Sous Chef
Assistant Chef
Cook
LOCATION GOURMET
JUSTIN S. McDONELL
ORIE HAW
OWEN ARGOE
LUCAS N. RIDDLE
Craft Service Provided By
MIKE KEHOE, BIG DADDY
ENTERTAINMENT
JENNIFER BENTON
ALISON LYLE
CANDIS WOMELDURF
Key Craft Service Assistant
Craft Service Assistants
Animal Trainers
JJ ENGELL
RANDY MOORE
Transportation Coordinator
Transportation Captain
Transportation Co-Captain
Dispatcher
Picture Car Coordinator
Construction Drivers
KEN SMITH
DAN SUMNER
PHIL K. FROST
BEVERLY J. REEVES
JAMES YEATES
KENNETH MOON
HENRY PAYNE
JUSTIN NANCE
GERALD HARDY
TRAVIS CARTER
ROBERT WATTS
JAMES R. DUNN
ROBERT LaCAZE
GARY McCLAIN
TOMMY CULPEPPER
J. RAYMOND DUNN
BILL MITCHELL
DEAN MORRIS
CHARLES “WHIT” WHITAKER
Fuel Truck
Honey Wagon Driver
Drivers
Rigging Driver
Set Dec Drivers
Stake Bed Drivers
Electric Truck Driver
30
Grip Truck Driver
Props Driver
Van Drivers
RAYMOND L. LEE
TIM SOWELL
DAVID “BEAR” BELL
BART FIGUEIREDO
GARY L. HORTON
TOMMIE YOUNG
JOE PELLICCIO
Wardrobe Driver
Water Truck Driver
Stand-Ins
WILLIAM BARRON
LAINE DUBROC
MELISSA KRISTIN HEARD
KARI J. KRAMER
CHARLES LOVITT
LEMAR SAIN
CHEVY WHITE
WILLARD WOODS
Set Medic
Construction Medic
DIANE DAVIS
REGINALD A. SMALLS
Second
Second Unit Director
JOHNNY MARTIN
First Assistant Director
Second Assistant Director
Second Second Assistant Director
DENNIS MAGUIRE
ANDREW SHEPHERD
CHERYL ANDRYCO
Script Supervisors
NANCY BREAUX
JENNIFER COLLINS
Director Of Photography
GARY JAY
“A” Camera Operator
First Assistant “A” Camera
Second Assistant “A” Camera
“B” Camera Operators
ALLAN WESTBROOK
KEVIN BOYLE
MICHAEL R. WOHLFELD
PETER GREEN
DAVID McGILL
RON HORICK
BRITT WEST
DAVID BRINK
First Assistant “B” Camera
Second Assistant “B” Camera
Stereographer
SIP Operator
MARKUS LANXINGER
ALICIA ROBBINS
31
Q Take Operator
Video Assist Operator
NATHAN TRUCKS
EDDIE ARMES
Production Sound Mixer
Boom Operator
ERIK MAGNUS, C.A.S.
DALE BEASLEY
On-Set Dresser
ERIC AYCOCK
Gaffer
Best Boy Electric
Lamp Operators
JUAN M. ROMERO
MARK HERMANN
ERIC MONTES
ALEX RENSHAW
STEPHEN RITCHEY
MARK “ZERO” STINNER, JR.
MARK ZEPEDA
Key Grip
Dolly Grip
Company Grips
ERIC DAMAZIO
SEAN MAXWELL
EVAN BRANNEN
KEVIN COMBS
TONY DAMAZIO
CHRIS LOVELY
BRIAN STITT
Key Costumer
Costumer
SANDRA ALGOOD
ROBERT PAUL LEWIS
Makeup
EBONY STAR PARSON
Additional Hair Stylists
ANDREA BOWMAN
CRYSTAL R. WOODFORD
Special Effects Makeup
ROBERT KURTZMAN
ALAN TUSKES
Set Production Assistants
MELANIE A. BONHOMME
LISA MALL
Special Effects Technicians
DEAN ALLISON
SCOTT CHILDERS
On-Set Greensman
KENNETH M. HERRIAGE
32
Caterer
Sous Chef
Cook
Catering Assistant
LAURENT GOUGNEAU
CHRIS FITE
MICHAEL CASTRO
DONALD JOHNSON
Key Craft Service
Craft Service Assistants
DOTTIE BUCK
BRANDON BUCK
ROBERT TYLER SAMARDICK
Transportation Captain
Picture Car Wrangler
Camera Driver
Electric Truck Driver
Grip Driver
Props Driver
Fuel Driver
Stakebed Drivers
RANDY DUPLECHINE
JARED FOSHEE
ALAN ARIES
KEVIN SIEVE
JOEY BASCO
DAVID HOLT
DWIGHT LINDSEY
JORGE A. LOREDO
NOAH “BIG DOG” LOREDO
MARTY CARRINGTON
BRENT DAHLIN
PAUL DONAUBAUER
PAUL BLAIR
JAMES OLVERA
ALLYN ARY
RON HULEC
JAMES R. LONG
Van Drivers
Honeywagon Driver
Insert Car Driver
Drivers
Set Medic
TAMMI JOHNSON
Additional
Unit Production Manager
JUAN MAS
First Assistant Director
VERNON A. DAVIDSON
Director of Photography
MICHAEL BARRETT
FRANK BYERS
Camera Operator
First Assistant “A” Camera
Second Assistant “A” Camera
“B” Camera Operator
First Assistant “B” Camera
Media Loader
MICHAEL SATRAZEMIS
DAVID TAYLOR
WILLIAM COTTON
CHRISTOPHER CHOMYN
COBY GARFIELD
CHRIS BULLER
33
Stereographer
Digital Imaging Technician
Rig Technician
KEITH COLLEA
PATRICK CECILIAN
CLAY PLATNER
Production Sound Mixer
STACY HILL
Chief Lighting Technician
Best Boy Electric
Set Lighting Technicians
ROBERT J. FERRARA
DARRIN HILL
WARREN FOX
ANTONIO V. HENDERSON
MICHELLE SUTOR
Key Grips
DAVID McSWAIN
VINCENT PALOMINO
CHARLES LANG
MIKE SHAW
GEORGE CANADAY
GLEN PURDY
Best Boy Grip
Dolly Grip
Grip
Costumer
CARLY J. MILLS
Hair Stylist
CRYSTAL R. WOODFORD
Production Office Coordinator
Key Production Assistant
Production Assistants
CARRIE TYSON
TANYA TAYLOR
IAN ALLOWAY
JOE ARMAND
ROBERT DOSSA
RYAN SPINDELL
Special Effects Coordinator
RICH-E. CORDOBES
Leatherface Revenge Board Designed by
SHANNON LEFT
Construction Coordinator
Leadman
Prop Makers
JAMES ONDREJKO
ERNEST LEVRON, III
VICTOR CARRANZA
JOHN EMPERO
MATTHEW HRUPCHO
Painter
Stage Manager
JOAQUIN BACA
34
Transportation Coordinator
Generator Operator
Driver
JOHN H. McLAUGHLIN
CHARLES F. COULTER
PHILLIP FROST
Set Medic
ELOY LARA, JR.
Post Production
Post Production Supervisors
LARRY FERGUSON, JR.
TIM PEDEGANA
KELLEY WHITIS
Post Production Coordinator
Assistant Editors
EVA CONTIS
LORENA TALPAN
JONATHAN FREY
Editorial Production Assistant
Post Sound Services Provided by SONY PICTURES STUDIOS
Culver City, California
Re-Recording Mixers
DEB ADAIR, C.A.S.
BILL W. BENTON
TREVOR JOLLY
MARK LANZA, M.P.S.E.
TREVOR JOLLY
MARK PETERSON
DAVID WEISBERG
KEVIN NANAUMI
GREG ABARTA
ROBERTO DOMINGUEZ ALEGRIA
WILLY ALLEN
MONIQUE REYMOND
ROBERTO DOMINGUEZ ALEGRIA
Sound Supervisor
Sound Designer
Dialogue and ADR Supervisor
Sound Effects Editor
ADR Mixer
Assistant Sound Editor
Sound Librarian
Foley Supervisor
Foley Editor
Foley Artist
Foley Mixer
Music Editor
Assistant Music Editor
BRIAN RICHARDS
ROGER KOSTECK
Co-Mixers
SCHUYLER DAVID JOHNSON
FREDERIK WIEDMANN
ADR Voice Casting
RANJANI BROW & WENDY HOFFMANN
35
ADR Cast
JACK BLESSING • RANJANI BROW • EDDIE FRIERSON • SUMMER HARLOW
WENDY HOFFMANN • SCOTT MENVILLE • ZACH SELWYN
Mobile Dailies Provided by OUTPOST® - a LIGHT IRON Service
On Location Digital Lab
ANDREW KILCOIN
OUTPOST Engineers
AARON KROGER
NICHOLAS LAREAU
CHRIS ARMSTRONG
Digital Intermediate by LIGHT IRON
IAN VERTOVEC
PAUL GEFFRE
KATIE FELLION
MONIQUE EISSING
MATT BLACKSHEAR
PAUL SAGE
DI Assists
PAUL REHDER
RYAN McKEAGUE
Light Iron Management
MICHAEL CIONI
PETER CIONI
DES CAREY
CTO
CHRIS PEARISO
Systems Administrator
KEVIN LONDON
Administration
DANA BLUMBERG
KEVIN WARNECKE
EMILY EDDEY
DEAN MOZIAN
Digital Intermediate Colorist
DI Producer
DI Supervisor
Conform Editors
Visual Effects Producer
Visual Effects Supervisor
Operations Manager
Supervising Lead
3D Leads
Visual Effects by WORLDWIDE FX
SCOTT COULTER
ANDREW SAGAR
PAUL BELCHER
DUSTIN SCHOLL
RYAN E. MARKLEY
Animators
AARON ASKEW • DWIGHT CARTER • PETER CROMWELL • JAMES GOING
KYOUNG “KAY” PARK • KALEB PRICHARD • ANTHONY MARIGLIANO
Compositors
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AARON T. BROWN • RICHARD APONTE-CHONG • MITCHELL W. BAXTER •
ANTON TSOLOV • ATHENA LAWLESS • BRAD BAXTER • CAYLIN COLSON •
CHRIS COOPER • JACK HEBERT • JUSTIN HORTON • JUVENAL VIQUE •
RYAN LITTLEFIELD • ESTEBAN OLIDE • JOSHUA GARZA • NATHAN GRUBBS
AMY PUTRYNSKI • PATRICK SCHULTZ • ISABEL CRISTINA THOMAS
WILLIAM TATUM III • ERROL HANSE • MICHAEL A. WALKER •
DUSTY EMERSON
Visual Effects Editor
EMILY PERLA
DEE ANNE PHILLIPS
DUSTIN SCHOLL
STEPHEN H. PORTER
MATT JENNINGS
JOEY SCARPINATTO
KEVIN LANGLEY
TRAVIS HOWE
BECKY EMERSON
JOHN BRIZZI
ALEX DAIGLE
Colorist
Project Management
Coordinators
I/O Coordinator
Bookkeeper
IT Support
3D Main & End Title Sequences
IDENTITY STUDIOS LOGO
Stereoscopic Supervisor
Title and Stereoscopic Producers
LEO VEZZALI
ALISON SAVITCH
DAVID SCOTT VAN WOERT
3D Design and Stereoscopic Optimization by IDENTITY FX, INC.
Digital Coordinator
Stereo Compositing Supervisor
Digital Compositors
JAMIE YU
KEVIN YUILLE
ALICIA SUGGS
CHARLIE LAWSON
MARKY KANG
SETH MARTIN
NEIL THOMPSETT
JUAN CARLOS ERTZE
ZAK MARX
Digital Paint and Roto
Online Conform Editor
Title Design and Animation
Cameras & 3D Systems provided by OFFHOLLYWOOD / Digital FX
Additional 2D to 3D conversions by OFFHOLLYWOOD
ALDEY SANCHEZ • MARK L. PEDERSON • A.J. DEL CEUTO
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Conversion Artist
LIAM MULVEY
Filmed with RED Epic Cameras & 3ALITY TECHNICA 3D Systems
Laser Film Recording provided by FOTOKEM
4K Archival Film Remastering by CINELICIOUS
Scanning and Restoration Producer
PAUL KORVER
Archival Film Scanning and Restoration
TYLER FAGERSTROM
Artist
Archival Sound Transfer by CHACE AUDIO, a DELUXE Company
Unit Publicist
MICHAEL KLASTORIN
EPK Produced by HURWITZ CREATIVE
Producer
Camera
Sound
JENNIFER PETERSON
SCOTT CRAIN
STEVE SULLIVAN
JOHN PERKINS
MILLENNIUM FILMS
President of International Sales & Distribution
JOHN FREMES
Vice President, International Sales &
Distribution
JEFFREY GREENSTEIN
V.P., International Business & Legal Affairs
DIMITER D. NIKOLOV
Vice President, International Distribution
ADELE YOSHIOKA
Distribution Services
TANYA THANADPOJANAMART
JACK PRZYBLYSKI
DANIEL CHAVEZ
Executive in Charge of Post Production
TODD GILBERT
Post Production Coordinator
BRIAN HAYASHI
Executive in Charge of Marketing & Publicity
ERIC GREEN
Development Executive
CHRISTINE CROW
Development Executive
JOAN MAO
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BETH BRUCKNER
Creative Executive
Production Business & Legal Affairs
LONNIE RAMATI
Business & Legal Affairs
RICK EYLER
Human Resources
BRADLEY WEISS
Production Financing
RUSS RIGGINS
Nu Image, Inc. Accounting
CHRISTINE J. FORGO
IMELDA SANTIAGO
JULIE WEISEL
GUSTAVO SANTANA
ANNIE DOMINGO
RAY TAMAYO
PATRICIA STANLEY
Music Supervisor
Music Coordinator
SELENA ARIZANOVIC
CASSANDRA HOWLAND
“DOCTOR Z”
Think Original
Written by Preston Hart, Ramon Villa
Published by Primary Pulse Music (ASCAP)
Courtesy of Think Music
“MOVE”
Written by Darryl Pittman
Performed by DR Period
Courtesy of Spirit Music Group
“HAND OF ALMIGHTY”
Written and Perfromed by John R. Butler (ASCAP)
Courtesy of John R. Butler
“A TRAMP”
Performed by Dave Lowe
Written by Norma Conway and Connie Conway
Published by Renda Musci (BMI) and
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Desert Palms Music Publishing (BMI)
Courtesy of John P. Dixon for Liberty Bell
By Arrangement with Fervor Records
Vintage Masters
“2 REASONS” featuring T.I.
Written by Tremaine Neverson, Troy Taylor, Najja McDowell, Clifford Harris, Menardini
Timothee, Kyle Stewart
Published by April’s Boy Muzik/Warner Chappell Music (BMI), No Quincydence Music
(BMI/Downtown DMP Songs (BMI), Najja
McDowell for Left Field Music (BMI)/Bar Raising Tracks (BMI), Domani and Ya Majesty’s
Publishing/Warner Chappell Music (ASCAP), Timothee Publishing (BMI), Kyle Stewart
T.I. Appears courtesy of Grand Hustle/Atlantic Recording Corporation
“I THOUGHT I WAS A STUD”
Written and performed by Carey Moore
Courtesy of Imaginary Friends
“DANCING ON TOP OF THE WORLD”
Performed by The PlaceMints feat. Kristen Mari,
Shari J, Milad, Cho-Bayashi, BoogieMan & J. Sabin
Written by Seyed Milad Nazeri, Kristopher Cho
Flagg, Kristen Mari Redmond, Joseph Paul Sabin,
Shari J. Hill, Darius Taylor, Tracy S. Kendrick,
Asani Yaphei Charles & Bryan Joshua Bonwell
Courtesy of Buzz Bridge Records &
BZEE ROC Music Group, LLC
By Arrangement with Spirit Music Group
“GOT IT ON”
Produced by Richard “Wolfie” Wolf
Performed by G-Block
Courtesy of Richard “Wolfie” Wolf and
The Producers Lab, Inc.
“LONESOME”
Written by Rick Riso, Cathy Riso
Published by Engine Co 35 Music Publishing (ASCAP)
Courtesy of 5 Alarm Music
“NORMANDY”
Written by Brett Boyett
Published by Engine Co 30 Music Publishing (BMI)
Courtesy of 5 Alarm Music
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“JIMMY CRACK CORN”
Traditional
Performed by Willa & The Buffalo Chips
“CLOSER TO THE BONE”
Written by Louis Jones
Arranged by Logan Mader and Tom Leonard
Performed by Tom Leonard and Logan Mader
Published by Unichappell Music Inc (BMI)
Courtesy of Logan Mader
Legal services provided by Kyle Fogden, Roberts & Stahl
Payroll Services provided by EASE Entertainment Services, LLC
Completion Guaranty provided by Matt Warren, Film Finances, Inc.
Insurance services provided by Gallagher Entertainment,
a Division of Arthur J. Gallagher
Legal Clearances by Hollywood Script Research
The Producer wishes to thank the following for their assistance:
David Tolbert, Camp Minden Liaison
Diego Martinez and Chad Mayeux, Millennium Studios
Mitchell Brothers Entertainment
Dr. Jeffrey Evans
David Nelson
Dick Grieder
The Desoto Sheriff’s Office
Monica Cason
Sheriff Rodney Arbuckle
Jim Page
Big Star Grocery
Howard Abramson
Charles O. Grigson
John Raybin
Chris Ridenhour
Tony Profeta (RIP) - it all started with TE/TV
Dashiell Luessenhop
Scott B. Hansen
Elisa Meri Hansen
The Town of Mansfield, LA
The City of Shreveport, LA
The City of Bossier City, LA
The Shreveport Film Commission
The Louisiana Army Ammunition Plant
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Louisiana State Military Department
The State of Louisiana
American Humane Association monitored the animal action. No animals were harmed®.
(AHAD 03257)
NO. 47750
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The characters and incidents portrayed and names used herein are fictitious and any similarity to
the name, character or history of any person is entirely coincidental and unintentional. This
motion picture is protected under the laws of the United States, Canada and other countries.
Unauthorized duplication, distribution or exhibition may result in civil liability and criminal
prosecution.
© 2013 Twisted Chainsaw Properties, Inc. and Nu Image, Inc.
All rights reserved.
Texas Chainsaw
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