Production Notes
For additional publicity materials and artwork, please visit: www.lionsgatepublicity.com
Rating: R (for sequences of strong bloody gruesome violence, grisly images involving nudity,
sexual content and language)
Running time: 100 mins.
For more information, please contact:
Kate Hubin
Lionsgate
2700 Colorado Blvd.
Suite 200
Santa Monica, CA 90404
T: 310-255-4064
E: khubin@lionsgate.com
Adam Kersh
Lionsgate
75 Rockefeller Plaza
16 th
E:
floor
New York, NY 10019
T: 212-386-6874 akersh@lionsgate.com

THE CAST
Leon…………………………………………………………………BRADLEY COOPER
Maya………………………………………………………………………...LESLIE BIBB
Susan Hoff……………………………………………………………BROOKE SHIELDS
Mahogany…………………………………………………………………VINNIE JONES
Jurgis……………………………………………………………………….ROGER BART
Driver……………………………………………………………………TONY CURRAN
Detective Lynn Hadley………………………………………..BARBARA EVE HARRIS
Otto…………………………………………………………………..PETER JACOBSON
Leigh Cooper………………………………………………………...STEPHANIE MACE
Randle Cooper………………………………………………………………...TED RAIMI
Erika Sakaki…………………………………………………………………………..NorA
Guardian Angel…………………………………….QUINTON “RAMPAGE” JACKSON
Troy Talevski………………………………………………………….DAN CALLAHAN
Station Cop……………………………………………………………....DONNIE SMITH
THE FILMMAKERS
Directed by………………………………………………………...RYUHEI KITAMURA
Screenplay by…………………………………………………………...…JEFF BUHLER
Based On The Short Story By…………………………………………...CLIVE BARKER
Produced by…………………………………………………………..TOM ROSENBERG
…………………………………………………………………...…….GARY LUCCHESI
Producers………………………………………………………………...CLIVE BARKER
………………………………………………………………..…….JORGE SARALEGUI
…………………………………………………………………………………ERIC REID
…………………………………………………………………....….RICHARD WRIGHT
Executive Producers………………………………………………………….JOE DALEY
……………………………………………………………………...ANTHONY DiBLASI
…………………………………………………………………....DAVID SCOTT RUBIN
………………………………………………………………………..ROBERT MCMINN
...............................................................................................................FISHER STEVENS
……………………………………………………………………………JOHN PENOTTI
Executive Producers………………………………………………………PETER BLOCK
…………………………………………………………………..JASON CONSTANTINE
Director of Photography………………………………………………JONATHAN SELA
Production Designer…………………………………………………....CLARK HUNTER
Edited by…………………………………………………………………...TOBY YATES
Costume Designer………………………………………...CHRISTOPHER LAWRENCE
Music by……………………………ROBB WILLIAMSON and JOHANNES KOBILKE
Co-Producers……………………………………………………………..BETH DePATIE
……………………………………………………………………….JAMES McQUAIDE
Casting by………………………………………….NANCY NAYOR BATTINO, C.S.A.
………………………………………………………....and KELLY MARTIN WAGNER
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SYNOPSIS
Next stop, death.
When his latest body of work – provocative, nighttime studies of the city and its inhabitants -- earns struggling photographer Leon Kaufman (Bradley Cooper) interest from a prominent art gallerist (Brooke Shields), she propels him to get grittier and show the darker side of humanity for his upcoming debut at her downtown art space.
Believing he’s finally on track for success, Leon’s obsessive pursuit of dark subject matter leads him into the path of a serial killer, Mahogany (Vinnie Jones), the subway murderer who stalks late-night commuters -- ultimately butchering them in the most gruesome ways imaginable.
With his concerned girlfriend Maya (Leslie Bibb) fearing for his life, Leon’s relentless fascination with Mahogany lures him further and further into the bowels of the subways and ultimately into an abyss of pure evil – inadvertently pulling Maya right along with him.
The horror thriller THE MIDNIGHT MEAT TRAIN stars Bradley Cooper
(WEDDING CRASHERS, TV’s “Alias,”), Leslie Bibb (the upcoming TRICK ‘R
TREAT, TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY), Tony Curran
(UNDERWORLD: EVOLUTION), Brooke Shields (“Nip/Tuck”), Roger Bart
(HOSTEL: PART II, TV’s “Desperate Housewives”) and Vinnie Jones (X-MEN: THE
LAST STAND, SNATCH).
Also starring is Barbara Eve Harris (TV’s “Prison Break”) and a special appearance is made by UFC mixed martial arts champion Quinton ‘Rampage’ Jackson.
THE MIDNIGHT MEAT TRAIN is directed by critically acclaimed Japanese director Ryuhei Kitamura (VERSUS, AZUMI, SKY HIGH) in his American debut, and based on legendary horror writer Clive Barker’s popular, eponymous short story from his classic Books of Blood collection. The screenplay was adapted by Jeff Buhler.
Lakeshore Entertainment's Tom Rosenberg, Gary Lucchesi, Richard Wright and
Eric Reid produce the film with Clive Barker and Jorge Saralegui producing for Midnight
Picture Show. The director of photography is Jonathan Sela (2006’s THE OMEN).
Production designer is Clark Hunter (THE ASTRONAUT FARMER, ALL THE
PRETTY HORSES). Costume designer is Christopher Lawrence (CRANK, S.W.A.T.).
Special makeup effects are created by Oscar® winner Matthew Mungle (BRAM
STOKER’S DRACULA, SCHINDLER’S LIST).
THE MIDNIGHT MEAT TRAIN is a production of Lakeshore Entertainment and will be released in North America by Lionsgate.
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BOARDING THE TRAIN:
About THE MIDNIGHT MEAT TRAIN Production
Filming on THE MIDNIGHT MEAT TRAIN’s 35-day shoot commenced March 18,
2007 in Los Angeles, but it was a long process before the film was put on track.
THE MIDNIGHT MEAT TRAIN is based on The Midnight Meat Train, a short story from Volume I of legendary horror writer Clive Barker’s best-selling Books of Blood collection.
When Volumes I-III of Books of Blood were published in 1984, they prompted Stephen King to declare that Barker was “the future of horror,” a statement that would jumpstart Barker’s long, acclaimed career as a novelist, screenwriter and director. Over the years, Barker has become one of the world’s most famous and honored writers. And during those years, The Midnight Meat
Train has been one of – if not THE – most popular of his stories, and one that was always on fans’ wish lists for a movie adaptation.
According the Barker, “Books of Blood were written back in the early eighties as my attempt to put into short story form all the wicked, dark ideas that I had had through my twenties.
I really wanted to prove how broad a genre horror actually is. In the six volumes, I wanted to say,
‘Look, horror can be funny, it can be bloody, it can be subtle, it can be about the supernatural, it can be about the human heart, it can be so many things.’”
Barker was in New York in the late 1970s, a time when people were being murdered on trains. It was these news events that provided the initial creative spark for his story.
Barker notes that for the legions of fans, the essence of the original story is all there in the movie. “I don’t think anybody who likes the short story is going to be disappointed by the movie at all,” he assures.
Midnight Meat Train was the first story in the first volume of Books of Blood and it is one of the first stories Barker ever wrote. “It is a relentlessly horrific descent into madness and darkness and all things forbidden,” Barker says. “Joseph Campbell speaks of this being one of the primal forms – the idea of the hero descending into darkness, descending into the underworld, which our hero Leon does. The underworld happens to be below New York, but it’s the same thing.”
Barker hopes that the film will offer audiences an experience that will dare them to keep looking at the screen. And he notes that there is also a lot of character development in the film.
“I think you’re going to care about these people,” he says. “We’ve got some wonderful performances and marvelous actors. It’s not a simple story. It’s a complex tale of somebody
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giving up their social identity and their identity as a lover to become something else, to become a servant of darkness, which is a choice we perhaps all sometimes have to make.”
To help adapt the original 27-page short story into a feature-length film, the studio turned to Jeff Buhler, who marks his first produced screenplay with THE MIDNIGHT MEAT TRAIN, having previously written numerous original works.
An old friend of Clive Barker’s producing partner Joe Daley, Buhler had been trying to find a project with which to work with Barker for as long as he can remember. “I feel like a kid in a candy store,” he says, now that his desire had been fulfilled. “This is one of those things that came about where they were pondering going back to Clive's original anthologies of short stories,
Books of Blood. And Joe brought me a nice signed, collectors' edition and said, ‘Go through these again and see if there's a story there that strikes you as one you want to bring in as an idea for a film.’ And, and I said, ‘Thank you very much for the book. I'm definitely keeping this. But
The Midnight Meat Train is the story I really want to tell.’"
In developing a structure for the screenplay, Buhler first set focus on the classic serialkiller story. But then he says, “There comes a moment when it turns a corner where you have absolutely no idea what is going on.”
As Buhler explains, “The movie THE MIDNIGHT MEAT TRAIN follows a man's obsession, a man who believes that he has stumbled upon a killer who's terrorizing the city. And his obsession is manifested through his photography. This is one of the things that I brought to the screenplay that's not in the short story. In the book we live in Leon's head, and this works amazingly well in that form. But of course as a film we needed a way to see Leon's obsession with the city, what goes on in the dirty alleyways, what goes on below the surface of the city.
And to do that we made Leon a photographer so there was a visual means of seeing what was going on in his head. This photographer stumbles upon a man who he believes is terrorizing the city. He soon learns that there's a lot more to that story than meets the eye and he becomes sucked into this underbelly of what's going on below the city. That's where the real Clive Barkerness comes out.”
In addition to being a celebrated author and director, Clive Barker is also a celebrated and prolific painter. As such Barker did many drawings for THE MIDNIGHT MEAT TRAIN that helped inform the look of the film. “I think it’s a good way to help a director share my vision,” Barker says.
To fulfill that vision, Lakeshore Entertainment enlisted Ryuhei Kitamura, a Japanese director who has garnered widespread international acclaim for his ultra-stylish thrillers and
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fantasies. With THE MIDNIGHT MEAT TRAIN, Kitamura incorporates many of his signature visual styles and storytelling skills to the film.
Kitamura spent a long time looking for his first American movie project, having read nearly 50 scripts over the last five years. “Most of the scripts I’d received were just B horror movies and B action movies, which doesn’t interest me that much,” the director says. “I already made eight movies in the last five or six years and I think I survived because I always try to put my stamp one each one -- even though I’m making some insane action movie like VERSUS, or a samurai movie like AZUMI, or a Godzilla movie -- I always try to make my world. I didn’t want to mess with my career by doing this just because it’s big budget, or just because it’s a
Hollywood movie. So I was very careful about picking the right project.”
Lakeshore Entertainment Chairman/CEO Tom Rosenberg, who also serves as a producer on the film, notes that Lakeshore had the project for almost ten years before all the right pieces fell into place to head into production. The first choice was to find a director who could translate an iconic classic story into a modern, stylish film. “I think when you look at Ryuhei's body of work, you will see this amazing combination. He not only is this incredible action director who knows how to shoot a fight sequence or bring scares to the screen. But what’s really impressive is that there's also a heart to them,” he says. “There's so much of an emotional underpinning to all of his movies, such as LOVEDEATH or AZUMI. There's a wonderful sense of pacing and action, and at the same time a counterbalance of heart and life and love. And when that emotional tone is combined with the action, it's really, really stunning.”
In 2006, Kitamura’s manager set up a meeting with Lakeshore Entertainment’s Tom
Rosenberg and Gary Lucchesi. Lucchesi told Kitamura they were doing a movie of The
Midnight Meat Train and asked if he was familiar with it. “Of course I knew it,” Kitamura says.
“It was Clive Barker! I read this original novel exactly twenty years ago, the first Clive Barker book published in Japan, back in 1987. I got the book on the first day it came out and read it. I just loved it.” Kitamura still owns the twenty-year-old Japanese first edition.
The executives at Lakeshore gave the director a copy of the script to read, and asked he let them know what I thought. “So I read the script and thought it was good, very good” enthuses
Kitamura. “I’m a big fan of Clive Barker so I couldn’t resist. Clive has an endless, huge imagination inside his mind. I felt this was a great opportunity.”
Kitamura expands, “I think this is one of the most gory, bloodiest movies ever made. It is a scary movie, but it’s not just about death. It’s about the great relationship between Leon and
Maya, which is why I’m doing this. I’m not interested in just showing the blood and gore and splatter; there are too many movies like that. I need story and character and relationship, and this
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script had all that. So I tried to build that unique vision with my crew, my cast, my producers. I think that is how I put a little bit of my own blood into my film. Technically-speaking, since day one we’ve been not to have a single shot in the movie looks like something else. Everything should be something you’ve never seen before -- the angles, the lenses, the camerawork, the look
-- everything should be something original.”
With a director on board, the production was all set to move forward. But first the filmmakers had to find the ideal actors to play the pivotal roles of Leon, Mahogany, and Maya.
Kitamura explains that the character of Leon “is a guy who tries to capture the truth, the essence of the city, what the city really is. He’s trying hard to find the truth that lies beneath the surface of the city. He steps into the darkness and discovers, little by little, this secret mystery among the people and by the time he realizes the truth it’s too late for him to go back. He just goes deeper and deeper and in the end he gets on this mysterious train and finds the truth.”
To portray the role of Leon, the filmmakers chose Bradley Cooper, a rugged leading man best known for his performances on the hit television series “Alias” and his supporting role in the comedy smash hit WEDDING CRASHERS.
As a Clive Barker fan and a fan of the genre, Bradley Cooper was thrilled to take on the role of Leon. “The script was a really cool,” he says, “and the chance to work with Vinnie Jones interested me. I'd also seen several of Ryuhei Kitamura’s movies from Japan and thought working with him would be a really good experience. Ryuhei is the reason why the movie might be completely innovative. He has a completely unique, individual take. The shooting style, the way it's shot is very unorthodox for the genre. It's a lot of long lenses and almost FRENCH
CONNECTION-looking, which I think is going to be pretty cool.”
Cooper was equally intrigued by the storyline and all its twists and turns. “The thing that's different about this movie than other movies of this type is that usually the protagonist is on the hunt for the antagonist. And in this movie those lines are blurred. It's weird because Leon starts to stalk this guy Mahogany. But then you notice that the guy is almost aware that Leon is stalking him and almost wants him to. I really liked that idea. Leon is initially just tracking this guy and trying to figure out what he's up to. He realizes that this meatpacking plant that
Mahogany works at has been around since the 19th century, and that in fact there was a case in the '20s or '30s where cannibalism was going on and this guy was arrested. And he somehow thinks that there's a link between what that guy and Mahogany are doing. But what he doesn't realize is that it's so much bigger than that, and that in fact Leon was ‘chosen,’ perhaps before the movie even starts. It becomes very supernatural as it progresses.”
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Lakeshore President of Entertainment and MIDNIGHT MEAT TRAIN producer Gary
Lucchesi says, “I found myself completely intrigued by Bradley Cooper’s performance. I never knew where Bradley was going as Leon, and as a result I discovered Leon through him. He brought a real uniqueness and freshness to a character that I thought I was already familiar with.”
To balance Cooper’s Leon, the filmmakers set the goal of creating a new horror icon. “From day one in developing the script, Clive and I had this drive to create a new personification of horror,” says Kitamura. “I’m a big fan of the genre myself; I have binders and figurines of Michael Myers, Freddie Krueger, Jason Voorhees, Leatherface,
Pinhead, Ash from ‘Evil Dead’ – all those great characters from the eighties. Characters like these haven’t been seen for twenty years.”
“I was initially considering casting Mahogany,” continues the director, “with someone from the eighties – maybe like bringing back an eighties superstar or someone like that. But the producers were thinking of an unknown because they felt that if we cast somebody famous it would distract from the movie. Then I heard that Vinnie Jones had read the script and he was interested in the part. I knew right then we had to cast Vinnie.”
“When we considered Vinnie Jones for the role,” says Gary Lucchesi, “not one of us in the room didn't say, “That's it!’ It's just this amazing kind of marriage, because Vinnie is known for so many different things and so many different types of heavy characters that he plays. We immediately imagined Vinnie Jones in that dapper brown suit and the short hair, becoming the embodiment of evil that the character becomes.”
Following in the footsteps of such horror legends as Krueger, Voorhees, and Myers,
Vinnie Jones knew that with this role, he had the opportunity to create an equally iconic character in Mahogany. “I knew that if you can make the right movie, the right serial killer, you can become a legend,” says the former UK soccer star turned actor. “And like some of those characters, Mahogany has the interesting and challenging trait of not uttering a word during the film. “If the role has any downfall, it’s that I haven’t got any dialogue,” Jones adds. “But I’m trying to express it in different ways. Instead of remembering dialogue, you’re remembering mannerisms.”
The chiseled, physically intimidating star of films such as LOCK, STOCK AND TWO
SMOKING BARRELS and SNATCH, Vinnie Jones says that what also appealed to him about the film was that it presented characters and story that were a cut above the recent spate of horror films -- “torture porn” as it’s often called -- that have become so prevalent in today’s horror movies. “It’s not one of those movies that’s just snapping fingers off and cutting toes off,” Jones
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explains. “It’s about the story and the characters and what happens along the way. I think people that love horror will be attracted to that side of it, but there is also a compelling story that you can follow. And we bring it all together along with some great twists and mystery as well.”
The third wheel of THE MIDNIGHT MEAT TRAIN is Maya, Leon’s girlfriend, who serves not only as an integral part of the story, but is also in essence the objective viewer who gives the closest approximation of the audience’s viewpoint to the horror that is unveiled.
Maya is played by Leslie Bibb, who was most recently seen in the first blockbuster of
Summer 2008 IRON MAN, starring Robert Downey Jr. and Gwyneth Paltrow; starred opposite
Will Ferrell in the hit comedy TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY, and in the horror film TRICK ‘R TREAT. Though not generally a fan of horror movies, Bibb instantly fell in love with the character of Maya and how she fit into the story. “I've never really technically seen a horror movie in entirety because I'm such a pansy,” she laughs. “So when I read it I was, like, ‘Uh oh, I'm in a little bit of trouble,’ because I just loved Maya. I loved her journey through this story. And the love story in this movie is not the usual thing you see in this sort of film. If you're just doing a horror movie with blood and guts, that's scary. But there's got to be something else too. It's almost like a Greek tragedy because of what happens. To watch this couple and to watch Leon's journey as he essentially dies, I mean, not literally but figuratively dies inside. I thought it was really exciting.”
“Maya is the heart of THE MIDNIGHT MEAT TRAIN,” notes Lucchesi. “She’s the heart of where this movie starts and when we get to the descent, we measure that tragedy by how
Maya's reacting to watching this guy who she loves slip away from her. And I think that's what's so compelling. She and Bradley have such a wonderful chemistry together, which is really exciting to watch.”
For Leslie Bibb, the opportunity to work with such visual stylists as director Ryuhei
Kitamura and his director of photography Jonathan Sela was extremely alluring. “They're a force to be reckoned with because their vision is amazing,” Bibb enthuses. “It almost feels a little noir, due to some of the shots they created and the choices they made with placement of the camera. It feels like so much more than just a horror movie. And I think it's going to really scare the crap out of you, which is always good. That’s what you want with a horror movie.”
“What Ryuhei has done with his interpretation is really capture the heart and the essence of the story between Leon and Maya, which is the entry point into this world,” says Lakeshore’s
Tom Rosenberg. “He's done it with such tenderness that we all can connect with these characters.
Once we're there, he completely spins it in a different direction and takes us down into this descent of decay and discovery. The world into which we enter is a world into which we don't
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want to go, yet we can't help but go. It's so dark we can't help but be intrigued. Ryuhei masterfully pulls us into that world and completely entraps you into that moment.”
Building believable, empathetic characters was a key for Ryuhei Kitamura in crafting a classic horror film. “If you don’t care about the character, then you don’t care if they get tortured or killed or get their heads chopped off. With most horror movies, we don’t care about the characters. You see lots of horrible things all over the world every day but you don’t care because it’s somebody you don’t know. It becomes scary when someone you care about is in danger.
That’s why I want the audience to care about Leon and Maya.”
“What I love about Maya is that initially she is Leon’s biggest fan and biggest supporter, but then she really starts to doubt him and starts to lose him,” Bibb explains. “And the fire she gains to just save him, you know, she really tries to save the person that she loves most in the world because she's watching him disappear. She goes from sitting on the sidelines to being part of the game.”
In a stroke of unconventional casting, Brooke Shields plays art gallerist Susan Hoff, a friend of Maya’s who ultimately gives Leon the opportunity to show his photographic work at her downtown gallery. Shields, a renowned actress since her youth, is most recently known for her starring role on the NBC television series “Suddenly Susan,” “Nip/Tuck” and most recently
“Lipstick Jungle.”
Shields points out that she made her debut as an actress in a horror movie at the age of nine, but hasn’t done one since. “I’m a fan of this type of genre film, even though I get really scared watching them,” she says
However, Shields was intrigued about playing a gallery owner who also has predator instincts. “Everybody’s really afraid of her, and it’s a big deal if you get to show in her gallery,” she says. “She has very specific tastes. And she’s not afraid to push the envelope—and push everyone around her too. At first I’m not impressed with Leon’s photography but then I end up getting sort of wowed by it because it’s uncomfortable. The darkness in the photography is something that I respond to.”
Shields continues, “I think of the film as a metaphor for the underbelly, where this life force that has been growing and accumulating for years and perhaps forever. My character doesn’t get to go on the actual journey with them, but I’m throughout, sort of on the outside discussing what the artistry is really about. Much like Clive Barker’s paintings -- they take a step beyond what you normally would see. Susan wants to see the darker side, the side that’s uncomfortable, the side that makes you want to close your eyes and turn away. I’m the one that sort of says, ‘I want you to go further. Don’t be safe. Don’t play it safe in any way.’”
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Rounding out the main cast of THE MIDNIGHT MEAT TRAIN are a talented group of supporting actors including Scottish actor Tony Curran (UNDERWORLD: REVOLUTION) as the driver, Roger Bart (HOSTEL: PART II) as Leon’s art reviewer friend Jurgis; and Ted Raimi
(SPIDERMAN 3, REIGN OVER ME) as a tourist on the train.
UFC mixed martial arts champion Quinton “Rampage” Jackson also appears in a memorable train fight sequence with Mahogany. “The idea behind casting Rampage in the movie was that this is the only character that really can come close to stopping Mahogany,” notes producer Gary Lucchesi. “That maybe Mahogany has messed with the wrong guy is a little bit of an inside joke for those of us who know who Rampage is. When casting him, we learned that he was interested in doing something funny in the movie and we saw that as a real opportunity.”
Tom Rosenberg hopes that THE MIDNIGHT MEAT TRAIN will set a new tone for horror movies. “Every kind of preconceived notion that we have about horror movies in terms of tone, action, blood, in terms of the beats that lead up to the horror, the beats that happen after; this movie takes those very familiar, very conventional aspects and turns them on their side. We are doing something that's slightly different, doing something that is going to give the audience something new and something refreshing, and hopefully that'll translate into a lot of people enjoying the movie.”
To sum up, Clive Barker hopes that audiences “leave the theaters with their seats damp,” he chuckles. “I want them to lose control of their bladders with terror. But, you know, I really want them to come out and say, ‘That was the ride I wanted it to be. That was the journey I wanted to take. I took a journey into the dark.’ And, you know, one of the things horror does is it allows you to face your fears in a safe form and survive. You watch other people die and you think, ‘Hey, it wasn’t me.’ I think this movie is going to take people to a very, very dark place and deliver them at last out into the night, out into the day, feeling like they survived quite a ride.”
# # #
Much of THE MIDNIGHT MEAT TRAIN was filmed on trains, both real trains at several downtown Los Angeles County Metro Rail stations, and fixed train cars situated on stage at the film’s stage and office base in Sun Valley near Burbank.
Two Metro stations were utilized for the practical train sequences in the film, notably the ultra modern Los Angeles City College station underground at Santa Monica & Vermont, which provided the setting for the confrontation between Leon and a group of gangbangers on an
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escalator. In those scenes he rescues a young Asian woman played by Norika Sato, who is also the star of director Ryuhei Kitamura’s recent LOVEDEATH. The other stations was the MTA
Redline station on 5 th and Hill.
A warehouse with an old train platform in San Pedro was the location for the deserted subway platform located beneath the meat plant.
On stage in Sun Valley, the filmmakers brought in two full-size train cars that were placed on a rocking gimbal to simulate the train’s movement. As a note of trivia, these train cars were also utilized in scenes featuring Doc Ock in SPIDER-MAN 2.
For the train sequences, Oscar®-winning prosthetic effects designer Matthew Mungle
(BRAM STOKER’S DRACULA) was charged with creating all the prosthetic effects. For the three-time Oscar® nominee who currently does all the special makeup effects for “CSI: Crime
Scene Investigation,” the allure of this movie was because it was creature-oriented. “I hadn't really done a creature movie for a long time, so I thought it would be a good chance to do something like that again,” Mungle notes.
For Mungle and his team, the main part of his job was to create the bodies of Mahogany’s victims on the train. “We did a lot of nude bodies,” Mungle says. “Initially, it was as if they were skinned down to the musculature. Then the filmmakers changed it, and the bodies were just nude, hanging upside down. So it actually became harder to do that than it would have been to just do the skinned and the musculature because we were just going to take regular bodies, foldable, pose-able bodies and just build them up with muscles. But they changed it to completely nude bodies, so we had to start from scratch, casting actors that production supplied to us, the bottom halves and then the upper torsos, so we could put them together and make them seamless. It became a little bit more difficult for us, but in the end it worked out great.”
One of the more intricate effects designs was when Mahogany decapitates a female tourist on the train. “You don't see the actual decapitation, but you see the aftermath of the head laying there, the body pumping the blood, the hand twitching,” Mungle notes. “So we took a stock body and added the neck and the twitching hand, and cast the actress' head to make a duplicate head of her with her eyes open and her mouth open in a screaming position.”
Emanating from a story collection entitled Books of Blood, it’s not surprising that the filmmakers used gallons upon gallons of fake blood in Mahogany’s killing train. “I honestly think that there is more blood in this film than I’ve ever seen in a horror movie,” Vinnie Jones states.
“They’re just bringing in gallons and gallons and throwing it around. Every time in the fight scenes we’re hitting and there’s blood splattering everywhere and it’s really uncomfortable to
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work with. But you just got to keep telling yourself ‘it’s all for the fun of the end product,” because it’s messy as hell in there!”
In addition to the dark, sinister settings of Mahogany’s apartment and the various train stations, Mahogany carries with him a satchel embroidered with his name and filled with all kinds of devilish killing instruments. “He carries this briefcase around and that has his tools in it, but number one weapon is this big steel hammer,” says Vinnie Jones. “That’s how he starts everything off -- he whacks ‘em with that and then all hell breaks loose.”
Mahogany’s bag was designed by property master John Keim, based on its description from the Clive Barker short story. “The bag started its life as a US Air Force issue bag,” Keim offers, “and I redesigned it based on a veterinarian's bag from the 1800s.” According to Keim, inside the bag he placed everything the well-tooled psycho killer would have in his bag. “I've got the ankle hook with which you can pierce the victims and hang them up in the air. And then you just whip out your knife and carve their skin. Plenty of knives in here for any direction you want to go! We’ve got a real steel hammer as well as several rubber hammers of different weights with which to smash people and things. We even have hammers that don't have heads on them, so that when it goes through a person's skull, the visual effects guys will just add the upper half of the hammer. We've got the fingernail puller and a lot of different pulling devices. There’s even an eyeball separator puller-outer.”
A large artist’s studio in the mid-city area of Los Angeles served as the prestigious downtown art space where gallerist Susan Hoff, played by Brooke Shields, offers Leon inclusion of his edgy photographs into a prominent group show.
For the gallery scene, many of the paintings hanging in the space are the works of Clive
Barker. “The producers asked me if I would like to put some paintings into the gallery scene, and
I said, ‘Hey, why not?,’” Barker recalls. The film’s art director chose the pictures from Barker’s seven hundred-picture collection based on which ones were tonally right for the movie.
Other locations included various city streets and alleyways in downtown Los Angeles, as well as the exterior of Main Street’s Hotel Barclay, that portrays Mahogany’s hotel in the film;
Quality Café in downtown Los Angeles portrayed Otto’s restaurant, and Manning Beef, a meat packing plant in Pico Rivera provided the locale for the plant where Mahogany works.
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ABOUT THE CAST
BRADLEY COOPER (Leon) has become one of Hollywood's most sought after actors.
Bradley was most recently seen on the FX drama “Nip/Tuck” opposite Julian MacMahon and
Dylan Walsh.
Cooper recently completed production on the Warner Brothers comedy YES MAN opposite Jim Carrey based on the memoir by Danny Wallace. The movie is slated for release in
December.
Cooper can soon be seen in New Line Cinema’s HE’S JUST NOT THAT INTO YOU alongside Jennifer Aniston, Ben Affleck, Scarlett Johansson, Drew Barrymore, Ginnfer Goodwin and Justin Long. This film is slated for release on October 24 th . Cooper can also soon be seen in the upcoming films; CASE 39, the Paramount Pictures thriller opposite Renee Zellwegger and the
Fox 2000 comedy ALL ABOUT STEVE , opposite Sandra Bullock. Both films are scheduled for release in early 2009.
Cooper has signed on to co-produce and star in HBO’s comedy series
“Intelligence” opposite Patton Oswalt. The project, created by Michael Patrick Jann, is a workplace comedy about an elite counter-intelligence unit hidden undercover as disgruntled civil servants.
Prior to these roles, Cooper was seen in the Paramount hit comedy FAILURE TO
LAUNCH opposite Matthew McConaughey and Sarah Jessica Parker. However Cooper is most recognized for his scene stealing role in the mega hit THE WEDDING CRASHERS where he costarred opposite Vince Vaughn, Owen Wilson. ‘Sack Lodge’ has become the prototype for pompous Ivy League leading man in the world of comedy. His first feature film – now a cult favorite – is WET HOT AMERICAN SUMMER by director David Wain.
Cooper also made his Broadway debut in Spring of ’06 in the Joe Montello production “3
Days of Rain.” There his leading lady was Julia Roberts and this limited run was sold out every performance.
On television, Cooper was seen on the critically acclaimed FOX show “Kitchen
Confidential” based on the trials and tribulations of renowned chef Anthony Bourdain. Other notable credits are his two year stint on the Golden Globe®-nominated series “Alias,” “Jack and
Bobby,” “Touching Evil,” “Law & Order: SVU” and “Trial By Jury.”
Cooper graduated from the Honors English program at Georgetown University in 1997.
He then moved to New York City to enroll in the Masters of Fine Arts program at the Actors
Studio Drama School at New School University.
LESLIE BIBB (Maya) is a talented and beautiful actress who is taking the big screen by storm. Leslie was part of box-office history with her role in IRON MAN, which grossed over
$100 million dollars opening weekend. Leslie is part of an all-star cast that includes: Robert
Downey Jr., Gwyneth Paltrow, Terrence Howard and Jeff Bridges. Last summer she starred alongside Will Ferrell, Sacha Baron Cohen, and John C. Riley in Columbia Picture’s
TALLADEGA NIGHTS. Leslie starred opposite Patrick Fugit in the dark romantic comedy
WRISTCUTTERS. Leslie is currently in production on the comedy CONFESSIONS OF A
SHOPAHOLIC, based on the best selling book by Sophie Kinsella.
On television, Leslie made her mark as the lead on the WB series “Popular” as the beautiful Brooke McQueen. Popular became an instant cult classic within the teen demographic.
Bibb was raised in Nelson County, Virginia. Later she and her mother, along with her three older sisters, moved to Richmond, where Leslie attended an all-girls Catholic high school,
St. Gertrude's.
Additional film credits include PRIVATE PARTS, THE SKULLS and SEE SPOT RUN.
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Bibb currently resides in Los Angeles.
BROOKE SHIELDS (Susan Hoff) is a highly accomplished television, film and theatre actress, as well as business woman, author and model. She can currently be seen on the hit show
"Lipstick Jungle" as Wendy Healy, a top executive at a film studio and one of the 50 most powerful women in New York City.
Brooke began her professional career at only eleven months of age when she was selected as the Ivory Snow Baby, and by age 3 was a runway model. Since that time Ms. Shields has graced the covers of hundreds of magazines, most notably Time Magazine as the "Face of the
Eighties", and Life Magazine on three separate occasions. Ms. Shields continues to be featured worldwide in publications and in recent product endorsements such as Ivory.
At age 9, Brooke began her extensive film career when she won her first acting role in
"Holy Terror" and went on to greater parts as a child film star in Louis Malles' "Pretty Baby," the
Palme D'or Award winner at the Cannes Film Festival, and Franco Zeferilli's "Blue Lagoon."
Ms. Shields has worked with such film greats as Susan Sarandon, Shelly Winters, Henry and Peter Fonda, George Burns, Charles Durning, Hal Holbrook and Kiefer Sutherland.
Currently Ms. Shields has starring roles in the soon to be released films: "The Weekend" with
Gena Rowlands; "Black and White" with Robert Downey, Jr.; "The Bachelor" with Chris
O'Donnell; and "After Sex."
While at Princeton University, where Ms. Shields was an Honors Graduate, Brooke pursued her love for the theatre, and after graduation made her Broadway debut as Rizzo in the hit musical "Grease" and earned the Theatre World Award in 1994 for "Outstanding Debut on
Broadway."
Ms. Shields has received numerous awards and accolades for her extensive repertoire of talents. In 1997 and 1998 Brooke Shields was nominated f for a Golden Globe Award for Best
Actress in a Television Series - Musical or Comedy, and was also nominated for The American
Comedy Awards' Funniest Female Performer in a Television Series Leading Role for her hit comedy show, "Suddenly Susan." Ms. Shields is the recipient of five People's Choice Awards -
"Favorite Young Performer" in 1981, 1982, 1983 and 1984 and "Favorite Female Performer in a
New Television Series" in 1997. In 1999 Shields received the Genii Award for "Outstanding
Success in Television, Stellar Achievements in Television Performances and Good Citizenship in the Television Community." Shields also is the proud recipient of the 1st Annual "Fun, Fearless,
Female" Award from Cosmopolitan Magazine.
Shields is the author of "The Brooke Book," "On Your Own" and "Down Came the Rain:
My Journey Through Postpartum Depression." In addition to her professional career, she continues to be a strong advocate for children's rights and literacy and is the national spokesperson for Tupperware's Chain of Confidence campaign.
VINNIE JONES (Mahogany) started his career as a professional soccer player playing for some of the UK’s most prominent teams including, Wimbledon, Leeds, Chelsea, Sheffield,
QPR and eventually was the Captain of the Welsh team. He became iconic across the UK and
Europe, not only from his exquisite skills in Soccer, but also as a performer on the pitch; he always had the crowd on their feet supporting him the whole way through his games, as he reacted very well with the audience, and this made the games highly exciting for the spectator both at the venue, but also on TV.
It was in 1998 that Vinnie was approached by up and coming director, Guy Ritchie to be a part in his movie, LOCK, STOCK AND TWO SMOKING BARRELS to which Vinnie accepted the challenge. From this point onward, the former soccer player now realized that he had a new calling, and that was of a movie star; the film skyrocketed to the top of the movies in Europe and
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the USA, forcing Vinnie’s new career upward. He then went on to star in hits such as SNATCH,
GONE IN SIXTY SECONDS and SWORDFISH.
From this point onwards, Vinnie started to gain recognition from the industry, earning a barrage of accolades and awards, with Hollywood realizing it had true talent on its hands. To this date Vinnie has appeared in over 40 movies, working with some of the film industry’s top producers and directors including, Mathew Vaughan, Jerry Bruckheimer, Brett Ratner, and Gary
Lucchesi. He recently starred in the massive summer blockbuster, “X-Men 3: The Last Stand” as
Cain Marko, better known as the Juggernaut, forever placing him in an iconic league of actors alongside Hugh Jackman, Ian McKellan, Halle Berry and Patrick Stewart. Prior to that, he played the scowling soccer coach illustrating both his likeability and comedic side in DreamWorks’
“She’s The Man.” Vinnie will be seen next starring in Lakeshore Entertainment’s (Million Dollar
Baby), THE MIDNIGHT MEAT TRAIN, and then in the Quentin Tarantino produced feature film HELLRIDE. Vinnie most recently completed filming on the feature film YEAR ONE, where he will be starring alongside Jack Black for Sony Pictures and Judd Apatow.
Vinnie still plays soccer heading up a team called Hollywood All-Stars based in Los
Angeles where he and his family now live. This team boasts an all star team comprised of athletes, movie stars and other celebrities; it is a force to be reckoned with and has a huge following. Their contribution to charity is huge and this goes hand in hand with Vinnie’s personality as a devoted, hard working, multi talented and caring man.
A gifted actor, ROGER BART ’s (Jurgis) tremendous presence extends to both the small and big screens, as well as to the stage.
Bart can currently next be seen on Broadway in the musical “Young Frankenstein” as the title character, ‘Dr. Frederick Frankenstein.’ Based on the smash hit 1974 film, “Young
Frankenstein” is the wickedly inspired re-imagining of the Mary Shelley classic from the comic genius of Mel Brooks. Co-starring Megan Mullally, Sutton Foster, Shuler Hensley, Fred
Applegate and Christopher Fitzgerald, the show is directed by Susan Stroman.
Bart most recently appeared in HAROLD & KUMAR ESCAPE FROM
GUANTANAMO, the highly anticipated follow-up to the cult comedy hit.
Previous film roles include ‘Carmen Ghia’ for Universal’s film version of THE
PRODUCERS directed by Susan Stroman and the role of the prosecuting attorney in Ridley
Scott’s AMERICAN GANGSTER starring Russell Crowe and Denzel Washington. Bart also starred in Paramount Pictures’ THE STEPFORD WIVES as the gay Stepford wife. The role was created for Bart based on his flamboyant role in the Broadway production of “The Producers.”
Additional films include HOSTEL PART II, the sequel to the hit horror film; Jeff Garlin’s independent comedy I WANT SOMEONE TO EAT CHEESE WITH; THE INSIDER starring Al
Pacino and Russell Crowe; Disney’s HERCULES (singing voice of ‘Young Hercules’), and THE
LADY AND THE TRAMP II (singing voice of ‘Scamp’).
On Broadway, Bart originated the role of ‘Carmen Ghia’ in “The Producers,” the smash hit musical by Mel Brooks and Director Susan Stroman. Bart received Tony and Drama Desk nominations for the role. In 1999, Bart received Tony and Drama Desk Awards for Best Featured
Actor in a Musical as ‘Snoopy’ in the revival of “You’re a Good Man, Charlie Brown,” directed by Michael Mayer. Other Broadway credits include “The Frogs,” starring opposite Nathan Lane, and “Triumph of Love.”
On television, portrayed ‘George Williams,’ the menacing pharmacist on ABC’s hit
“Desperate Housewives” and starred in “The Lost Room,” Sci Fi’s hit miniseries event. Other television credits include the CBS comedy “Bram and Alice,” directed by James Burrows, “Law
& Order,” “Law & Order: Special Victims Unit” and “The George Carlin Show.”
A native of New Jersey, Bart currently divides his time between New York and Los
Angeles.
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TONY CURRAN (Driver) was born and raised in Glasgow, Scotland. He is a graduate of the Royal Scottish Academy of Music and Drama. Tony’s first film role came in Bill Forsyth’s
Feature “Being Human” starring Robin Williams. After a string of independent features, Tony landed a recurring role on the UK dramatic series “This Life.”
Following a memorable role in Antonio Banderas’ “The 13th Warrior” Tony followed up with a slate of blockbusters, including "Gladiator" and "Blade II." His first major lead came with
"The League of Extraordinary Gentlemen" opposite Sean Connery as the hero ‘Rodney Skinner,’ aka ‘The Invisible Man.’ Following that he starred opposite Dennis Quaid in the remake of
Jimmy Stewart’s "The Flight of the Phoenix."
His most recent feature credits include "Underworld: Evolution" opposite Kate
Beckinsale, “Miami Vice” for Michael Mann and Steven Soderbergh’s "The Good German” with
George Clooney, Cate Blanchett and Tobey Maguire. Tony also played the lead role in Andrea
Arnold’s “Red Road,” which has received worldwide critical acclaim won the jury prize at the
Cannes Film Festival 2006 along with earning Tony the best actor award at the Scottish
BAFTA’s and British Film Awards.
Tony continues to keep himself busy having just finished work on the pilot “Amped” and going straight into shooting an independent feature “Shuttle.”
BARBARA EVE HARRIS (Detective Lynn Hadley) was born in Trinidad and Tobago of Jamaican parents. Raised and educated in Ottawa, Canada, she graduated from the University of Ottawa with a B.A. in Theatre and Philosophy.
A recipient of several regional Canadian awards for performance, and a Gemini nomination for Best Lead Actress in a dramatic role for “Side Effects”, Barbara has had a prolific career both in Canada and the United States. Her film credits include “A Time for Dancing,”
“Ignition,” and “Dead Men Can’t Dance.” Her television credits include recurring roles on “ER,”
“Commander in Chief,” “JAG,” “Party of Five” and such mini-series as “10.5 Apocalypse,” “Sex
Traffic,” “Tek War,” “and “In His Father’s Shoes.” Most recently, Barbara had a multiple episode arc opposite Bill Fichtner in the Fox hit show, “Prison Break.”
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ABOUT THE FILMMAKERS
RYUHEI KITAMURA (Director), a native of Osaka, Japan, studied filmmaking at the
School of Visual Arts in Australia. His award-winning thesis film “Exit” was highly acclaimed and earned him a Best Director of the Year award.
After returning to Japan in 1997, Kitamura established Napalm Films, an independent film production company. Under this shingle, he directed the dynamic action-horror short “Down to Hell.” Filmed in 10 days with a six-member crew and a budget of only 300,000 yen, the film scored the coveted grand prix prize at Indie’s Movie Festival. Around that time, Kitamura also made his first theatrically released film “Heat After Dark,” a 50-minute film noir starring and produced by Atsuro Watabe.
Kitamura’s full-length feature film debut was the fast-paced action movie “Versus,” which was unveiled at the Tokyo International Film Festival in 2000 and went on to win worldwide acclaim, solidifying Kitamura’s growing reputation for stylized, high-octane thrills.
In 2002, Kitamura directed the sci-fi thriller “Alive,” based on the comic by Tsutomu
Takahashi. He followed this hit with a short film, “The Messenger,” his standout contribution to a seven-director omnibus. He then teamed up with well-known director Yuhihiko Tsutsumo to collaborate on the samurai action movie “Aragami.” His next feature was based on the comic book of Yu Koyama, “Azumi,” followed by “Sky High,” adapted from the popular TV drama. In
2004, he directed a monster movie, “Godzilla: Final Wars,” the last installment in the legendary
Godzilla franchise which produced 27 films over the past 50 years. Most recently, Kitamura directed the action film “LoveDeath,” which will be released in Japan in May 2007.
JEFF BUHLER (Screenwriter) has been an avid fan of horror stories since childhood.
After making a series of Super-8 films in high school where Jeff handled the writing, directing and special effects duties, Jeff went off to study Film and Theater Arts at UC Santa
Cruz. After graduation, Jeff spent a year traveling through Europe and North Africa (he is a dual citizen with Switzerland) and eventually landed in Los Angeles to pursue his career in film production.
During the mid to late 1990’s, Jeff spent time working in nearly every conceivable facet of the film industry from development through post production. In addition, Jeff has acted on stage for the Actor’s Gang and the Evidence Room, he is an alumni of Second City Los Angeles and has appeared in numerous commercials, music videos and independent films.
Jeff Buhler’s first break as a screenwriter came when he sold an original idea to Working
Title Films for their Young Writers Program. His work on this script led to an assignment rewriting the horror script “Cave” also for Working Title Films.
After pitching a feature version of the short story “The Midnight Meat Train” to Clive
Barker’s Seraphim Films, Jeff landed the writing honors and has worked closely with Clive in bringing an adaptation of this classic horror tale to life as a screenplay. The film is currently being shot in Los Angeles.
The next phase of Jeff’s career will see him making his directing debut for Screen Gems with his original script “Insanitarium.” The project follows a man who commits himself to an insane asylum to save his sister only to find the methods being employed inside the hospital are less than orthodox. The film is slated to go into production during the summer of 2007.
In addition to directing duties, Jeff is currently working on various writing assignments including a script called “The Hell Within” which was developed in conjunction with Brazilian
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horror director Dennison Ramalho. The project is being produced by the Zurich based Barry
Films and is slated for production in 2008.
CLIVE BARKER (Author, Books of Blood) is a modern mythmaker, an explorer of our darkest and most fantastical instincts, a visionary who has shaped our dreams and nightmares.
Novelist, playwright, scriptwriter, artist and director; he is a master at twisting the mundane into the extraordinary.
Born October 5, 1952 near Liverpool, England, Barker graduated from the University of
Liverpool and began writing and directing plays for a theater company he formed in London, called The Dog Company. Also during this time, Barker wrote short horror fiction—visionary tales that created new and disturbing worlds. His short stories were published in The Books of
Blood, Volumes 1-3 and The Books of Blood, Volumes 4-6 In addition, he published his first novel, The Damnation Game, in 1985, which garnered the attention of literary critics and expanded his international audience. Other novels include The Thief of Always, Galilee,
Weaveworld, Abarat 1 &2, Imajica, Coldheart Canyon, Everville, The Great and Secret Show and most recently Mr. B. Gone.
Continuing to write throughout the 1980s, Barker made the jump to motion pictures.
Dissatisfied with previous attempts to develop his stories into feature films (re: Rawhead Rex &
Underworld) , Barker decided to direct something himself. The result was an adaptation of his novella, The Hellbound Heart, into a film called Hellraiser . Barker’s stylish, chilling directorial debut resulted in a movie franchise that has spawned eight sequels. Shortly thereafter, Barker adapted his story “Cabal” into the film Nightbreed , which he also directed.
Barker’s film career continued as Executive Producer on the film Candyman , based on his short story, “The Forbidden.” He went on to executive produce the sequel, Candyman 2:
Farewell to the Flesh , and in 1995 he returned to directing with Lord of Illusions , the tale of a private eye investigating a dangerous cult leader. Barker also executive produced Bill Condon’s
Academy Award-winning film, Gods and Monsters , in 1998, a lyrical account of gay horror director James Whale. Most recently, Barker’s film career has lead him to produce a good number of stories from The Books of Blood under his MIDNIGHT PICTURE SHOW label, including THE MIDNIGHT MEAT TRAIN for Lakeshore and Lionsgate and BOOK OF
BLOOD for Matador Films. The company will produce DREAD this summer.
TOM ROSENBERG (Producer) is founder and Chairman of Lakeshore Entertainment.
Rosenberg produced Clint Eastwood’s
Million Dollar Baby , which won the Academy Award for
Best Picture in 2005. The film also won Oscars for Eastwood (Director), Hilary Swank (Best
Actress) and Morgan Freeman (Best Supporting Actor). Rosenberg recently produced
Underworld: Evolution and The Exorcism Of Emily Rose , both of which opened at No.1 at the box office. He is currently producing the third feature in the highly successful worldwide franchise, the prequel Underworld: Rise of the Lycans
. He’s also producing the action thriller
Game, starring Gerard Butler ( 300 ), and the sequel Crank 2: High Voltage, starring Jason
Statham.
Rosenberg began his film career as co-founder of Beacon Communications, under whose banner he was the executive producer of such films as The Commitments, Sugar Hill, A Midnight
Clear, Princess Caraboo, The Road to Wellville and The Hurricane .
Among the other feature film projects produced by Lakeshore are Wicker Park,
Underworld, The Human Stain, The Gift, Autumn in New York, Passion of Mind, The Mothman
Prophesies, Runaway Bride, Arlington Road and 200 Cigarettes
. Rosenberg’s other feature films for Lakeshore include Kids in the Hall: Brain Candy, ’Til There Was You, Box of Moonlight, The
Real Blonde and Going All the Way . His most recent credits include The Covenant , The Last Kiss and Feast of Love.
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GARY LUCCHESI (Producer) is Producer/President of Lakeshore Entertainment, an independent film company based in Los Angeles. Lucchesi executive produced Million Dollar
Baby, which won the 2004 Oscar for Best Picture. Directed by Clint Eastwood and starring Hilary
Swank, Eastwood and Morgan Freeman, the film netted Oscars for all three. Eastwood claimed
Best Director, Swank Best Actress and Freeman Best Supporting Actor. Lucchesi is currently overseeing production on the prequel Underworld: Rise of the Lycans , in addition to the action thriller Game, starring Gerard Butler ( 300 ), and the sequel Crank 2: High Voltage, starring Jason
Statham.
Lucchesi recently produced The Dead Girl , which was nominated for three Independent
Spirit Awards including Best Feature. The film, directed by Karen Moncrieff, featured an ensemble cast including Marcia Gay Harden, Brittany Murphy and Mary Beth Hurt.
Beginning his career in Los Angeles as an agent for the William Morris Agency,
Lucchesi represented such stars as Kevin Costner, Michelle Pfeiffer, Susan Sarandon and John
Malkovich. He then worked at TriStar Pictures for four years as both vice president and senior vice president of production.
Next, Lucchesi was president of production at Paramount and oversaw production of a large number of highly successful films, including Ghost, Indiana Jones and the Last Crusade,
Fatal Attraction, The Hunt for Red October, Coming to America, The Naked Gun and The
Untouchables , with a cumulative box office gross exceeding $2 billion. Other films which
Lucchesi oversaw include Godfather III, Days of Thunder, Another 48 Hours, Star Trek V , Star
Trek VI, The Naked Gun 21/2: The Smell of Fear, Pet Sematary, Scrooged, Major League and
Black Rain . Fatal Attraction (1988), Godfather III (1990) and Ghost (1990) were nominated for
Academy Awards for Best Picture. Ghost was awarded the Oscar for Best Original Screenplay.
While serving as president of Andrew Lloyd-Webber’s The Really Useful Film
Company, Lucchesi executive produced the film version of the Broadway musical “Cats,” as well as original feature films and direct-to-video releases of theatrical hits.
As president of Gary Lucchesi Productions, he produced Primal Fear , for which Edward
Norton garnered an Oscar nod for Best Supporting Actor. Other credits from this period include
Virtuosity, Jennifer Eight, Three Wishes and Just the Ticket . Lucchesi also produced the Emmynominated “Gotti,” “Breast Men” and “Vendetta,” all telefilms for HBO. In addition, he produced the Emmy-winning Showtime movie “Wild Iris.”
Lucchesi’s production credits with Lakeshore Entertainment include The Mothman
Prophesies, starring Richard Gere and Laura Linney; Autumn in New York , starring Richard Gere and Winona Ryder; and Sam Raimi’s
The Gift, which starred Cate Blanchett, Katie Holmes, Greg
Kinnear, Hilary Swank, Keanu Reeves and Giovanni Ribisi. Lucchesi was the executive producer on the box office hit Runaway Bride , starring Julia Roberts and Richard Gere and directed by
Garry Marshall; The Next Best Thing , with Madonna and Rupert Everett, directed by John
Schlesinger; and Passion of Mind , a Demi Moore feature directed by Alain Berliner.
Other credits include The Last Kiss , starring Zach Braff and Jacinda Barrett, directed by
Tony Goldwyn; Crank, starring Jason Statham and Amy Smart; the box office smash The
Exorcism of Emily Rose, starring Jennifer Carpenter; Aeon Flux , starring Charlize Theron; and
Underworld: Evolution
, starring Kate Beckinsale. In 2004, Lucchesi produced MGM’s
Wicker
Park , directed by Paul McGuigan and starring Josh Hartnett. Previously, he produced the first
Underworld and The Human Stain , based on the Philip Roth novel, directed by Academy Award winner Robert Benton and starring Anthony Hopkins and Nicole Kidman.
JORGE SARALEGUI (Producer) formed his own production company, 'Material,' in
1988 at Warner Bros., where he produced five films, including 'Showtime' starring Robert
DeNiro and Eddie Murphy, 'Queen of the Damned,' starring Aaliyah, and 'The Time Machine,' starring Guy Pearce. In 2003, he launched a partnership with Clive Barker and created a horror label called 'The Midnight Picture Show'. Their first production is the upcoming release
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"Midnight Meat Train.' They also just completed "The Book of Blood,' and are preparing to film
"Dread' this summer.
Prior to that Jorge Saralegui was Executive Vice President of Production at 20th Century
Fox. The films he brought to the studio and supervised include 'Speed', starring Keanu Reeves and Sandra Bullock; 'Independence Day', starring Will Smith; 'Broken Arrow', starring John
Travolta and Christian Slater; and 'Alien Resurrection', starring Sigourney Weaver and Winona
Ryder.
RICHARD WRIGHT (Producer) currently serves as executive vice president and head of production at Lakeshore Entertainment, an independent film company whose recent credits include the Academy Award-winning Clint Eastwood film Million Dollar Baby , the box office hit
The Exorcism of Emily Rose , Paul McGuigan’s Wicker Park and Robert Benton’s The Human
Stain , as well as DreamWorks’ The Last Kiss , starring Zach Braff. Wright has produced a number of Lakeshore features including Blood & Chocolate; Crank, with Jason Statham and Amy Smart; the Sony/Screen Gems hits Underworld and Underworld: Evolution; and The Cave , with Cole
Hauser and Piper Perabo.
Wright executive produced the Richard Gere and Laura Linney thriller The Mothman
Prophecies.
He served as co-producer on Sam Raimi’s The Gift , starring Cate Blanchett, Katie
Holmes, Greg Kinnear, Keanu Reeves, Hilary Swank and Giovanni Ribisi; the Madonna and
Rupert Everett drama The Next Best Thing, for Academy Award winner John Schlesinger; the box office smash Runaway Bride, starring Julia Roberts and Richard Gere; Mark Pellington’s
Arlington Road, starring Jeff Bridges and Tim Robbins; Polish Wedding, with Claire Danes and
Lena Olin; and the romantic comedy ‘ Til There Was You, starring Jeanne Tripplehorn, Dylan
McDermott and Jennifer Aniston.
JOE DALEY (Executive Producer) is currently President of Production for Clive
Barker's Seraphim Films, and is partner in Barker's film label, MIDNIGHT PICTURE SHOW.
Daley just produced BOOK OF BLOOD for Matador Pictures and other credits include
PLAGUE, SAINT SINNER and will produce DREAD for Matador this summer. Daley was also nominated for a GLAAD Media Award for the US Premiere production of BURNING BLUE.
ANTHONY DIBLASI (Executive Producer) is currently serving as Vice President of
Production for Clive Barker’s Seraphim Films, and is partner in Barker’s film label, Midnight
Picture Show. DiBlasi recently executive produced BOOK OF BLOOD for Matador Pictures, and is also set to direct his own feature adaptation of Barker’s short story DREAD for Matador
Pictures in summer 08.
JONATHAN SELA (Director of Photography) has worked in film, commercials and music videos. His film credits include 2006’s THE OMEN, POWDER BLUE, MARILYN
HOTCHIKISS' BALLROOM DANCING AND CHARM SCHOOL, BUTTERFLY, A GRIMM
LOVE STORY, RANDY AND THE MOB, DREAMLAND, and MAX PAYNE” (Release
2009).
Sela shot additional photography for THE LITTLE BLACK BOOK, THE GIRL NEXT
DOOR, and MARTIAN CHILD. Other credits include the short films THE NEWMAN
SHOWER, and DYSENCHANTED, which was an official selection at the 2004 Sundance Film
Festival.
Sela's extensive music video work includes Christina Aguilera, Beyonce, Sheryl Crow,
Britney Spears, Jennifer Lopez, Rhianna, Black Eyed Peas, Prince, Justin Timberlake, Destiny's
Child, Lindsay Lohan, Enrique Iglesias, Metallica, Green Day, AFI, Counting Crows, Alicia
Keys, Usher, 50 Cent, Incubus
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Sela has worked on commercials for Reebok, Coca-Cola, Pepsi, Six Flags Magic
Mountain, Nintendo, Burger King, Bacardi, Playstation, McDonald's, Hanes, Cingular, Chase
Bank, John Frieda, Jergens, Kay Jeweler’s, Cover Girl, Old Navy, Target, State Farm, All State and HSBC. Sela was also named in the 2004 Craft Series of The Hollywood Reporter
's “Next
Generation.”
CLARK HUNTER’s (Production Designer) feature credits include the hit comedies
ROAD TRIP and OLD SCHOOL, for director Todd Phillips, and three films directed by Billy
Bob Thornton: SLING BLAD, ALL THE PRETTY HORSES and DADDY AND THEM.
Hunter also served as production designer on THE ASTRONAUT FARMER and the action drama THE BADGE, both starring Thornton.
He received an Art Directors Guild nomination in 2006 for his work on the Hallmark Hall of Fame television movie “The Magic of Ordinary Days.”
Hunter’s additional film credits include BEERFEST, HOW HIGH, CLAY PIGEONS,
BREAK UP, SWEET JANE, SUICIDE KINGS, NIAGARA, NIAGARA, IT’S MY PARTY,
THE PROPHECY, NO WAY BACK, and the Billy Bob Thornton/Polish Bros film MANURE.
He also designed the television movies “Oprah Winfrey Presents: Amy and Isabelle,” “Oprah
Winfrey Presents: David and Lisa,” and “Oprah Winfrey Present: Mitch Albom’s For One More
Day.”
As a producer, Hunter worked on the feature SWEET JANE, starring Samantha Mathis, and the documentary ATHENS, GA: INSIDE OUT.
TOBY YATES (Editor) recently edited the award-winning drama THE DEAD GIRL for director Karen Moncrieff. He also worked with Moncrieff on her first film, BLUE CAR. His other credits include BROWN’S REQUIEM, CLEOPATRA’S SECOND HUSBAND,
CHARLIE, SLIPSTREAM and THE MOON AND THE STARS.
For television, Yates edited “Don Quixote” and “A Separate Peace,” as well as the Pilot for the series “Brothers and Sister.” He also co-produced and directed with Ralph Howard the
1989 TV film, “Teething with Anger,” which won them the MTV Student Film Award.
He is currently cutting BLOOD DONE SIGN BY NAME with Nate Parker and consulting editor on ADAM with Hugh Dancy and Rose Byrne. In 2007 he won the Milan
International Film Festival Award as Best Editor for THE MOON AND THE STARS.
CHRISTOPHER LAWRENCE (Costume Designer) began his industry career working as a costume supervisor with some of Hollywood’s finest filmmakers, including Blake Edwards
(“Switch”), Mel Brooks (“Life Stinks”), Garry Marshall (“Beaches”), Barry Levinson (the Oscarwinning “Bugsy”), Cameron Crowe (“Say Anything”), James L. Brooks (“I’ll Do Anything”),
Stephen Frears (“Hero”), Curtis Hanson (“The River Wild”), James Cameron (“T2/3D”), Philip
Noyce (“The Saint”), Tony Scott (“Enemy of the State”) and Michael Mann (as associate designer on his Oscar-nominated drama, “The Insider”).
A favorite of designer Marlene Stewart, with whom he served as supervisor on six films and numerous other projects, Lawrence has also worked with such renowned designers as
Academy Award-winner Albert Wolsky, Emmy-nominee Ellen Mirojnick and the late Oscar nominee Richard Hornung.
After debuting as costume designer on “The Anniversary Party” (co-directed by actors
Alan Cumming and Jennifer Jason Leigh), the Los Angeles native reteamed with Mann on his TV pilot, “Robbery Homicide Division.” He also designed such films as “Showtime,” with Robert
DeNiro and Eddie Murphy, the thriller “Cellular,” the police actioner “S.W.A.T.,” “11:14,” starring Hilary Swank and Barbara Hershey, the comedy, “The Alibi” and the family film,
“Hoot,” based on the popular book by Carl Hiaasen. He followed “Hoot” by reuniting with actordirector Cumming on his latest project, “Suffering Man’s Charity.” He also designed the
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wardrobe for PBS-TV’s adaptation of the Tony-winning drama, “The Gin Game,” which reunited
Mary Tyler Moore and Dick Van Dyke.
Most recently, Lawrence’s credits include the thriller “Crank,” starring Jason Statham;
"Childless" starring Barbara Hershey, Joe Mantegna, Diane Venora, James Naughton, and "The
Hottie and the Nottie" starring Paris Hilton. In 2006, Lawrence won the Costume Designers
Guild Award for Best Costume Design for a Commercial for the Capital One Viking commercials.
A Los Angeles native, Lawrence began his industry career as a production assistant on
“The Merv Griffin Show.” He segued over to the popular syndicated hit, “Dance Fever,” before a brief sojourn away from the industry as a clothier in a unique Beverly Hills boutique, Camp
Beverly Hills, then as a designer for Esprit. He resumed his entertainment career as a costumer on the Emmy-winning TV series “Moonlighting” and “Pee Wee’s Playhouse” before moving into the motion picture arena.
NANCY NAYOR BATTINO, CSA (Casting) began her casting career off-Broadway at
Manhattan Theater Club in New York, then moved to Los Angeles where she worked as Senior
Vice President of Feature Film Casting for Universal Studios. There she oversaw the casting of the studio’s slate of films for Steven Spielberg, Spike Lee, Ron Howard, Oliver Stone and John
Hughes. After her years at Universal she opened her own freelance casting company in 1997 and has since cast such films as ROAD TRIP, THE WHOLE NINE YARDS, THE GRUDGE,
EXORCISM OF EMILY ROSE, WHEN A STRANGER CALLS, as well as NIM’S ISLAND with Jodie Foster and THE CODE with Morgan Freeman and Antonio Banderas.
Academy Award® winner MATTHEW W. MUNGLE (for Best Make-Up,
DRACULA) (Special Prosthetics Effects) is regarded as one of Hollywood's premier make-up special effects artists. With over 100 film and television projects to his credit, Matthew has earned accolades and recognition as one of the industry's top masters of makeup effects illusion.
Born in Durant, Oklahoma in 1956, Matthew was one of five children born to Atoka dairy farmer Jene and Becky Mungle. As a boy he recalls seeing "Frankenstein," "Dracula" and
"The Mummy." He was fascinated with the make-up, often times "borrowing" his mother's cosmetics to create his own version of horror. As he got older, he would send away for theatrical make-up from New York and Dallas specialty stores — experimenting with face casts and prosthetics on willing family members and friends. Although his parents thought it was a phase he would soon outgrow, Matthew knew differently. In 1964 with the release of "The Seven Faces of Dr. Lao," Matthew credits the film as having been his greatest influence and deciding factor in becoming a make-up special effects artist.
In 1968, a film that would revolutionize make-up special effects and further impact the small town boy from Atoka, was the release of "Planet of the Apes." It's hard to say how many times Matthew saw the film. What he did know was that he wanted to follow in the footsteps of his mentors, namely Lon Chaney, Sr., Jack Pierce and John Chambers, who won the Academy
Award for the specialized make-up effects for "Planet of the Apes."
In high school, Matthew worked at the local movie theatre. When "Return to the Planet of the Apes" was released, he encouraged the owner to let him dress up to promote the film. Not only did he dress the part, but he created his own prosthetics to look the part of a chimpanzee.
The realism was so startling to the small town of Atoka, that many thought Hollywood had sent an actor to hype the film!
Matthew graduated from Atoka High School in 1975. Although his sights were still on
Hollywood, at his father's insistence, he applied and was accepted into Oklahoma State
University as a theatre arts major. Working with props and make-up for various productions,
Matthew eagerly absorbed the educational tools being given.
Matthew finally arrived in Hollywood in 1977. In 1978 he applied and was accepted into
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Joe Blasco's Make-up Center --- the premier academy responsible for training many of the film and television industry's elite make-up artists. "From the very beginning, Matthew showed exceptional talent!" claims Blasco, whose own career as a top make-up artist turned educator, has been instrumental in graduating Academy Award winners. "I instinctively knew that Matthew had what it takes to become a success in this business. His dedication to the art form and rapid ability to master the craft led me to hire him as an instructor following his graduation from my school in
1978. He stayed on-staff until his own popularity as a working make-up artist became too demanding."
Matthew credits Joe Blasco with his professional start in the industry. "I was a sponge, absorbing every ounce of knowledge I could. Whether learning the techniques of beauty make-up or casting molds and working with prosthetics, I wanted to be as versatile as I could." Today,
Matthew is a veteran voice to up-and-coming artists hoping to find their own niche in the industry. "If you want to be a working make-up artist, then you need to learn and perfect all areas of the craft."
Matthew's professional career began on low-budget projects that taught him to think quick on his feet. His first major success was on “Edward Scissorhands” in 1990. Sixteen years later, Matthew has accumulated an impressive list of credits and an equally impressive genre of box office successes including: “Bram Stoker’s Dracula,” earning him his first Oscar in 1992;
“Schindler’s List,” giving him another nomination in 1993; creating Arnold's pregnancy stomach in the comedy spoof “Junior;” tackling special make-up effects for “Outbreak,” “Congo,”
“Primal Fear,” and aging James Woods to 72 in “Ghosts of Mississippi,” which earned him his
3rd Oscar nomination in 1996.
Aging has become one of Matthew's strongest calling cards and an area of make-up effects that's definitely challenging. His fascination with artificially making someone young look old prompted him to research more viable methods, such as with gelatin, which was first used in the 1930's but later abandoned when the hot lights caused it to melt. With today's less intense lighting and faster film, Matthew has resurrected the nearly-translucent substance, which when applied looks and moves like real skin. "I've made it a part of my craft to see how skin moves. I'm intrigued with how women and men age differently. Both get jowls and tend to get that fold of skin over the top lid of the eyes and bags under the eyes. However, men's ear lobes get longer and women's skin gets creepy and translucent."
Matthew's expertise in this highly-specialized area of make-up effects created a vast field of job opportunities in both film and TV --- HBO's “Citizen Cohn,” starring James Woods and earning him his first Emmy in 1993. Another nomination followed in 1997 for “Miss Evers’
Boys.” Two more nominations were earned in 1998 --- TNT's “Wallace” and ABC's “Oliver
Twist” and in 1999 for his work on TNT's “Houdini.” In 2000, Matthew was the recipient of his
Local's first annual Local 706 Make-up and Hair Award for his work on ABC's “The Beat Goes
On.”
In 2000, Matthew was hired on “X-Files” for special make-up and prosthetic designs. A coup to his already long list of credits, Matthew entered the show's 8th season and promptly won an Emmy in 2001 for the episode, “DeadAlive.” Within weeks of the show's final airing (May,
2002), Matthew was hired to work on CBS's “C.S.I. Miami” and “Presidio Med.” Even with a demanding schedule, Matthew found time to work on TNT's “Door-to-Door,” which earned him an Emmy in 2003 and USA Network's “Rudy Giuliani Story,” earning him yet another nomination. In 2006, Matthew took home his fourth Emmy for his work in HBO's final episode of “Six Feet Under.” With a full film and TV schedule, Matthew continues his work on “C.S.I.” and “Navy: NCIS” (CBS).
His impressive list of film credits include such box office hits as “The Perfect Storm;” creating Brendan Fraser's many character looks in “Bedazzled;” “Pay it Forward” with Kevin
Spacey; Universal's action film “The Fast and the Furious;” “Red Dragon,” “Cradle to the
Grave,” Fox’s “Daredevil;” “Anchorman,” “The Punisher,” “House of D” with Robin Williams;
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“Collateral,” “Skeleton Key,” “Meet the Fockers,” “Monster-in-Law,” “Polar Express,” “The
Omen,” “X-Men: The Last Stand,” “Poseidon,” “Epic Movie” and “Love in the Time of
Cholera.”
One of Matthew's greatest challenges is with the hit Broadway show “Wicked,” creating the prosthetic face masks for the production's various characters. Balancing his film and TV projects, Matthew continues his work for the show's Broadway, U.S. tour, Japan and Los Angeles productions.
In 1999, Matthew conducted a 3-day seminar on advanced prosthetics for Screen
Training Ireland” in Dublin and in June, 2000 was a featured guest lecturer aboard the Q.E.II.
He's appeared on a wide variety of TV shows including Discovery Channel's “Mega,
Mega Movie Magic” where he aged a 12-year-old girl into an 80-year-old woman!, and BBC's
“Talk of the Town,” a highly-rated and popular London-based magazine show. He's also been interviewed for Turner Entertainment Report, E! Entertainment News, The Morning Show, FX
Dailies, CNN, Good Day LA, and Japan’s “Ch. 5 News Network.”
MATT KUTCHER (Special Effects Supervisor) has quickly gone from being one of the most in-demand Special Effects Supervisors in the industry to co-producer and director. His talents have extended far beyond pyrotechnics, crashes, rigging and squib hits. His credits cover the gambit of commercials, music videos, documentaries, episodic television, reality TV, cable
(HBO, Disney Channel, Discovery, etc.), independent features and large studio films.
As a special effects coordinator or supervisor, Kutcher’s feature film credits include the upcoming “21,” “The Tribe” and “The Death and Life of Bobby Z,” as well as recent releases
“Blades of Glory,” “Home of the Brave,” “The Dead Girl,” “The Marine,” “Crank,” “Into the
Blue,” “Monster-in-Law,” “Suspect Zero,” “Win a Date with Tad Hamilton!,” “Just Married,”
“Joy Ride,” “The Mexican,” and “In Dreams.” Kutcher rapidly went from being a coordinator for other top effects supervisors, to supervising his own crew (one show at a time), to now supervising multiple effects crews at once, all under his Spectrum Effects banner.
Matt's work on "reality TV" started when he was asked to consult on various shows, including “Rivals” and “The Chamber.” This led him to the entire first season of NBC's "Dog
Eat Dog" in 2002, for which he conceived of and designed all the game play, and fabricated each stunt with his Spectrum Effects crew. This show led to additional offers and his involvement with shows such as “Culture Shock,” “The Next Action Hero” and “Winner Take All” (which Matt also co-created and co-executive produced).
- 25 -

END CREDITS
Unit Production Manager Beth DePatie
First Assistant Director Milos Milic
Second Assistant Director Ivan Kraljevic
Leon
Maya
Bradley Cooper
Leslie Bibb
Susan Hoff
Mahogany
Jurgis
Driver
Detective Lynn Hadley
Otto
Brooke Shields
Vinnie Jones
Roger Bart
Tony Curran
Barbara Eve Harris
Peter Jacobson
Leigh Cooper
Randle Cooper
Erika Sakaki
Guardian Angel
Troy Taleveski
Station Cop
Jack Franks
Lead Gangbanger
Father #1
Father #2
Father #3
Scrawny Kid #1
Scrawny Kid #2
Young Man
Stunt Coordinator
Leon Stunt Double
Maya Stunt Double
Mahogany Stunt Double
Utility Stunts
Stephanie Mace
Ted Raimi
NorA
Quinton “Rampage” Jackson
Dan Callahan
Donnie Smith
Earl Carroll
Allen Maldonado
Michael McCracken
Ryan McDowell
Eddie Vargas
Kelvin O’Bryant
Jayson Sanchez
Brian Taylor
David Leitch
Chris O’Hara
Heidi Pascoe
Daniel Stevens
Simone Bargetze
Scott Cosgrove
Jonathan Eusebio
Danny Hernandez
Darrin Prescott
Cain Smead
Jon Valera
Art Director
Art Department Coordinator
Set Decorator
Art Department Assistant
Lisa Vasconcellos
Rebecca Herron
Andi Brittan, SDSA
Alex Hunter
- 26 -

Storyboard Artist
Script Supervisor
Script Clearances
Camera Operator
‘B’ Camera Operator
First Assistant Camera
‘B’ Camera First Assistant
Second Assistant Camera
‘B’ Camera Second Assistant
Film Loader
Camera Production Assistant
Still Photographer
Leon’s Photography
Production Sound Mixer
Boom Operator
Utility
Video Assist
Property Master
Assistant Property Master
Lead Person
On-Set Dresser
Buyer
Set Dressers
Construction Coordinator
Construction Foreman
Propmakers
Todd Harris
Scott Peterson
Ashley Kravitz
Gregory Smith
Remi Tournois
Eric D. Anderson
Hiroyuki Fukuda
Donald Burton
Ryan Nguyen
Peter DePhilippis
Miguel Pask
Chris Julian
Saeed Adyani
Eric Reid
Robert Eber
John Paul Hays
Steven Klinghoffer
Robert C. Lowe
Chris Shadley
John A. Keim
Tom Waisanen
Robert Renna
Charles F. Courrieu
Terry Adams
Felicity Nove
Peter Angles
Nathan Haas
Gerard A. Jordan
Anthony Price
Michael W. Shaules
Greg A. Wyszynski
Chris Marneus
Matthew Martin
Greg Allinson
Paul Atacan
Thomas Baumgartner
Patrick Butcher
Todd Butler
Sergio L. Castaneda
Tony Chavez
- 27 -

Plaster Foreman
Plasters
Scenic Foreman
Standby Painter
Painters
Labor Gangbosses
Labor Foremen
Laborers
Chief Lighting Technician
Assistant Chief Lighting Technician
Lighting Technicians
Dimmer Console Programmer
Location Rigging
Chief Lighting Technician
Stage Rigging Gaffer
Rigging Lighting Technicians
David Dragan
Greg Kovach
Kevin McCoy
Russ Mott
Daniel Pennington
William A. Naumann
Matt Sazzman
Rick Sciacca
Joe B. Villalobos
Roger Luna
Paul E. Smets
Gregg Smets
Steven M. Bishop
Fernando Diaz-Barriga
Carrie Brody
Ronald A. Day
Mike Ellis
Steven C. Fenster
Richard Nua
Frank Ortiz
Ryan Ulbrich
Eric Boden
David Miller
Sergio Acevedo
Neil Roemer
Aroldo Vazquez
James E. Davis
Peter M. Smith
Trish Herremans
Andrew Clarke
Joel Potter
Richard Botchlet
Don Mazi Mitchell
Joshua Sinkoski
John Bratlien
Glen Narimatsu
Erica Kim
Walter Sylvia
Chad Cohlmia
John Peirce
Dale Balani
Karla J. Chamorro
- 28 -

First Company Grip
Second Company Grip
Dolly Grips
Grips
Supervising Make-Up Artist
Make-Up Artists
Supervising Hair Stylist
Hair Stylists
Technocrane Technicians
Special Effects Coordinator
Special Effects Foremen
Special Effects Technicians
Special Effects Assistant
Rigging First Company Grip
Rigging Grips
Jeff Chin
Casey Dunn
Augustus Gordon Jr.
William Guerre
Phillip Jordan
Stuart Kirschner
Kyle Kovacs
Don Mazi Mitchell
John Peirce
Mike Reppert
Lyle Robbins
Cale Tompkins
Mark Hyde
Daniel T. Conner
Adam Eichhorst
Greg Freeman
Cynthia Bystrak
Jay Pope
Ray Skinner
Darryl St. Juste
Oscar Gomez
Jeff Brinker
Ted Eachus
Louie Escobar
Jonathan Gomez
Eric Leach
Joe Allegro
Steven T. Nolan
Matt Kutcher
Bret Barrett
Parry D. Willard
Matt DiSarro
Scott Dwyer
Guy Feldman
Andy Loprino
Rudy R. Perez
Thomas Tate
Robert G. Willard
Monica Reilly
Deborah Patino
Don Rutherford
Elizabeth Villamrin
Solina Tabrizi
Anne Marie Luddy
- 29 -

Special Make-Up Prosthetics
Father Sculptures
Lab Prosthetics
Special Prosthetic Artists
Wardrobe Supervisor
Key Costumer
Costumer
Additional Costumer
Production Supervisor
Production Coordinator
Assistant Production Coordinator
Production Assistants
Location Manager
Katrina Chevalier
Matthew W. Mungle
Michael McCracken Jr.
Carlton Coleman
Eddie Vargas
Ryan McDowell
Matt Jorgensen
Romesh McCullough
Koji Ohmura
Jamie Hess
Kelly Capoccia
Jane Kim
Aaron Koons
Aurelio Guzman
Ross Talent
Bart Mixon
Daniel Cheshire
Chris Payne
Kyle Sullivan
Graham Schofield
Tim Estes
Clinton Wayne
Joe Podnar
Gabriel De Cunto
Corinna Liebel
Edward Emerson French
Ruth Haney
Margie Latinopoulos
Mary Matthews
Katherine Wright
Paul Corricelli
Kimberly Buckley
Sharon Dietz
Derek Jan Vermaas
Debbie Merritt
Michelle Hulan
Tracy Sagalow
Tami Zamberg
Ralph Meyer
- 30 -

Assistant Location Manager
Locations Assistant
Production Accountant
First Assistant Accountant
Second Assistant Accountant
Payroll
SVP Of Production Finance
Unit Publicist
Casting Associate
Casting Assistants
Extras Casting
Transportation Coordinator
Transportation Captains
Dispatcher
Drivers
Alex Apple
Brian Kinney
Denise Rosen
Corinne Fixmer
Steve Salada
Stan Umamoto
Steve Marques
Tal Meirson
Alex Worman
Celeste Leger
Chris Gehrt
Rich King
Dawn Deibert
Geno Hart
John Pellegrino
Mark Timpe
Drew Barnett- Hamilton
Marc C. Bird
Robin Bishop
Curtis Blackwell
Scott Breitenstein
John A. Campbell
Leon Citarella
James W. Combs
Paul DiCecco
Juan Carlos Garcia
Kenneth Gonzalez
Jesse Grillo
John Grissom
Chris Gallegos
Peter Helm
DJ Johnson
Mark Johnson
Jay Krueger
Ned La Grotta
Alvin L. Lewis
Marc Lipman
Michael Locke
Patrick Maguire
Tirsa Moya
Steven G. Murray
Adam Pinkstaff
Alejandro Reynoso
- 31 -

John Russo
Luis M. Salazar
Michael D. Sarni
Paul D. Sarni
Timothy Schau
Martin James Schulz
Damien Stafford
Tom Trow
Craig Walendy
Second Second Assistant Director Carla Graichen
Additional Second Assistant Directors Mitch Kelleher
Brendalyn Richard
Key Set Production Assistants Joshua Lou Friedman
Set Production Assistants
Bri Hervey
Matt Schoenbaum
Carl Thompson
Amber Clancy
Chris Hughs
Troy Wagner
Stand Ins Greg Monk
Elizabeth Wachsberg
Martin Trees
Assistant to Mr. Kitamura
Assistant to Mr. Rosenberg
Assistant to Mr. Lucchesi
Assistant to Mr. Wright
Assistant to Mr. Reid
Assistant to Mr. Rubin
Catering Services Provided by
Caterer
Chef
Assistant Chefs
Ivette Garcia-D’Avila
Kate Schriver
Scott Herbst
Thomas Beatty
Max Smerling
Leanne K. Tanizawa
Alex’s Gourmet Catering
Alex Uceda
Luis Mena
Rogelio Castro
Felipe Contreras
Michael Cruz
Carlos Gutierrez
Martin Hurtado
Rosa A. Otero
Craft Services
Assistant Craft Services
Ronald E. Hairston
Walter Wiggins
Paul O. Wright
- 32 -

Set Medic
Construction Medic
Additional Medic
Keith E. Gallina
Bill O’Neal
Jared Nathanson
ADDITIONAL PHOTOGRAPHY UNIT
Second Unit Directors David Leitch
James McQuaide
First Assistant Director
Second Assistant Director
Script Supervisor
Ivan Kraljevic
Roger Udwin
Kelly Akers
Director of Photography
First Assistant Photographer
Second Assistant Photographer
Set Costumer
Gaffer
Best Boy Electric
Lamp Operator
Key Grip
Best Boy Grip
Dolly Grip
Assistant Props
Prosthetics
Special Effects Technicians
John Smith
Joe Solari
Jarrod Oswald
Kimberly Buckley
Peter Smith
Roger Chineirian
Thomas Burns
Jay Pope
Mike Burruel
Greg Freeman
Bob Renna
Carlton Coleman
Chris Payne
Rudy Perez
Bret Barett
Video Assist
Set Production Assistants
Stan Harrison
Aaron McNeil
Kashmire Duran
Walter Wiggins Craft Service
POST PRODUCTION
Associate Editor
Post Production Supervisor
Post Production Accountant
Post Production Assistants
Eric Potter
Steven Demko
Kathy Edwards
Kyle Andrews
Zoe Zaitzeff
- 33 -

Supervising Sound Editor
Sound Designer
Supervising First
Assistant Sound Editor
Re-Recording Mixers
Sound Mix Technician
ADR Mixer
ADR Recordists
Foley Mixer
Foley Artist
Dolby Sound Consultant
Score Produced by
Additional Music by
Supervising Music Editor
Additional Music Editors
Assistant Music Editor
Score Mixed by
Music Supervisors
VISUAL EFFECTS
Visual Effects Supervisor
Visual Effects Producer
Visual Effects and
Animation provided by
Executive Visual Effects Supervisor
Executive Producer
CG Supervisor
Visual Effects Producers
Creative Supervisor
James McQuaide
Gary Oldroyd
FURIOUS FX
David Lingenfelser
Scott Dougherty
Mark Shoaf
Tracy Takahashi
Tiffany A. Smith
Kevin Lingenfelser
Kelly Oxford M.P.S.E
Karen Vassar
David Stanke
Kevin Burns
Todd Orr
Lee Wright
Robert Deschaine
Dean St. John
Tami Treadwell
Julie Altus
Brett Voss
Diane Marshall
Bryan Pennington
Robb Williamson
And Johannes Kobilke
Stefan Ziethen
Wolfgang Amadeus
Nils Jiptner
Alan Schlaifer
Edaan Shlomo
Wolfgang Amadeus
Brian McNelis
Eric Craig
- 34 -

Compositors
CG Artists
Rotoscope Artists
Paint Artist
Computer Services Manager
Production Accountant
Visual Effects provided by
Executive VFX Supervisor
Visual Effects Supervisor
VFX Supervising Producer
VFX Producer
VFX Coordinators
Digital Effects Supervisor
CG Supervisor
Lead Lighting & Pipeline TD
Digital Compositors
Lead Texture Artist
Lead Modeler
Modeler/Texture Artist
Lead Lighter
Rigging TD
Matte Painters
Lead FX Artist
FX Artist
Animator
3D Trackers
Roto/Paint Artist
Digital Compositors
Animation Supervisor
Visual Effects provided by
Visual Effects Supervisor
Visual Effects Producer
Sean O’Connor
Kim Pepe
John Baker
Bryan Chavez
Chris Mackinnon
Erin Cullen
Kristine Lankenau
Christine Cram
Chris Serenil
Erika Abrams
Luma Pictures
Payam Shohadai
Vincent Cirelli
Steven Swanson
Glenn Morris
Juan Melendez
Ashok Nayar
Justin Johnson
Pavel Pranevsky
Chad Dombrova
Alexandre Cancado
James Waterson
Jared Simeth
Joey Sila
Ben Neall
Cajun Hylton
Safari Sosebee
Jason Yanofsky
Thanapoom Siripopungul
Christopher Sage
Jimmy Wu
Chris Bradley
David Fedele
Raphael Pimentel
John Hazzard
Jason Locke
Brett Reyenger
Giseon Kim
LOOK EFFECTS INC.
Michael Collins
Jenny Foster
Derek Bird
- 35 -

Adam Avitabile
Chad Schott
Marha Soehendra
Visual Effects provided by
VFX Supervisor
VFX Producer
Executive Producer
VFX Artists
Digital Intermediate provided by
CO3 Executive Producer
Colorist
BARBEDWIRE FX
Avi Das
Bridget Allen
Sarote Tabcum Jr.
Huyen Minh Dang
David Liu
Wolf Maschin
Raena Singh
John Cornejo
Michael Cashore
Bill Phillips
Ron Anantavara
Carlton Hinds
Production Manager
Production Coordinator
Visual Effects provided by
Previs Lead
Previs Artists
SUB/PAR PIX
VFX Artists Gary Oldroyd
Justin Daneman
Previsualization Services provided by PROOF, INC.
Alexander Vegh
Jotham Herzon
Mary Manning
Parker Sellers
COMPANY 3
Digital Intermediate Producer
DI Assistant Producer
Senior On-Line Editor
DI Technologist
Data Management
Digital Intermediate DRS
DI Assistants
Stefan Sonnenfeld
Dave Hussey
Des Carey
Amanda Weir
Rob Doolittle
Mike Chiado
Liam Ford
Tanja Coronado
Dan Goslee
James Cody Baker
Todd Crawford
Main and End Titles Designed by Ignite Creative
- 36 -

Eric Ladd
Sam Louie
End Titles
Dailies Telecine Transfer
Scarlett Letters
Voice Casting Caitlin McKenna-Wilkinson
Post Production Services provided by Orbit Digital
RIOT
Script Clearance by Joan Pearce Research Associates
TM & Copyright © 2008 by LAKESHORE ENTERTAINMENT GROUP LLC And
LIONS GATE FILMS INC.
All Rights Reserved
SONGS
“Catching Up To You”
Written by Joe Diaco
Performed by Alt-Ctrl-Sleep
Courtesy of Lakeshore Records
“Song For April”
Written by Joe Diaco
Performed by Alt-Ctl-Sleep
Courtesy of Lakeshore Records
“Mind Candy”
Written by Jaime Wyatt and Gregory C Butler
Performed by Jaime Wyatt
Courtesy of Lakeshore Records
“Moving Toward Something”
Written by Jaime Wyatt and Gregory C Butler
Performed by Wyatt Butler
Courtesy of Lakeshore Records
“I Am Controlled By Your Love”
Written by Willie Clarke & Clarence Reid
Performed by Helene Smith
Courtesy of The Numero Group
By arrangement with Bank Robber Music
“Big Black Sky”
Written by Jason Harsin
Performed by Chaser
Courtesy of Lakeshore Records
- 37 -

“Insomnia”
Written and Performed by James Calvin Wilsey
Courtesy of Lakeshore Records
“Luna (Instrumental)”
Written by Lori DeManche, Dedric Moore,
Delaney Moore, John Bergin
Performed by Lolo
Courtesy of Lakeshore Records
SOUNDTRACK AVAILABLE ON:
Insurance Provided by
DEWITT STERN OF CALIFORNIA INSURANCE SERVICES
Completion Guaranty Provided by
INTERNATIONAL FILM GUARANTORS
Production Financing Provided by
JP MORGAN CHASE BANK
FILMED ON LOCATION IN LOS ANGELES, CALIFORNIA
THE PRODUCERS WISH TO THANK
THE FOLLOWING FOR THEIR ASSISTANCE:
Robert Benun
Christine Buckley
Rob Burke David Dinerstein
Mike Lechner Marc Reid
Jennifer Brooks Lynn Hobensack Cedric Sobers
Toby Midgen Vicki Roker Diane Paylor
Gallery paintings by Rocco Peverelli as played by Clive Barker
COLOR BY [LOGO]
CAMERAS CRANES AND DOLLIES
BY CHAPMAN/LEONARD STUDIO EQUIPMENT, INC.
- 38 -

FILMED WITH CAMERAS BY THE CAMERA HOUSE DOLBY DIGITIAL
[SRD LOGO]
CAMERAS AND LENSES [LOGO] [SDDS AND DTS LOGOS IF APPLICABLE]
++++++++IN SELECTED THEATERS
No. 44086 [MPAA GLOBE] I.A.T.S.E.
MOTION PICTURE ASSOCIATION OF AMERICA [ORIGINAL LOGO/SEAL]
The persons and events in this motion picture are fictitious.
Any similarity to actual persons or events is unintentional.
This motion picture is protected under laws of the United States and other countries. Unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution.
[LAKESHORE ENTERTAINMENT STATIC LOGO]
[LIONSGATE LOGO]
THIS FILM HAS BEEN RATED R
[RATING CARD]
05/22/08
- 39 -