ONE RACE FILMS Presents
A ONE RACE FILMS Production
In Association with UNIVERSAL PICTURES and RADAR PICTURES
A DAVID TWOHY Film
VIN DIESEL
JORDI MOLLÀ
MATT NABLE
KATEE SACKHOFF
DAVE BAUTISTA
BOKEEM WOODBINE
RAOUL TRUJILLO
NOLAN GERARD FUNK
and
KARL URBAN as Vaako
Executive Producers
SAMANTHA VINCENT
MIKE DRAKE
GEORGE ZAKK
Produced by
VIN DIESEL
TED FIELD
Based on Characters Created by
JIM & KEN WHEAT
Written and Directed by
DAVID TWOHY
Lionsgate International Publicity Contacts
Melissa Martinez
310-309-8436
Asmeeta Narayan
310-309-8453
Julia Benaroya
310-255-3095
Sabrina Lamb
310-255-3085
mmartinez@lionsgate.com
anarayan@lionsgate.com
jbenaroya@lionsgate.com
slamb@lionsgate.com
DDA PR Contact
Riddick@ddapr.com
PRODUCTION INFORMATION
Fresh off of the staggering worldwide success of his latest entry in the Fast &
Furious series, global action superstar and film producer VIN DIESEL returns to his
breakthrough role in Riddick, the much-anticipated new chapter of the captivating saga
that began with the hit sci-fi movie Pitch Black and the epic The Chronicles of Riddick.
In a dark thriller that reunites him with writer/director DAVID TWOHY (A
Perfect Getaway, The Fugitive), Diesel reprises his role as the antihero Riddick, a
dangerous escaped convict wanted by every bounty hunter in the known galaxy.
When last we left the infamous Riddick, he had been crowned Lord Marshal of
the Necromongers. Although he has the world at his fingertips—countless women and
limitless power—this stranger in a strange land is bored and restless. Once the
duplicitous Commander Vaako (KARL URBAN of the Star Trek series) reveals that he
knows where the elusive Furya, the long-lost planet of Riddick’s people, may be found,
Riddick’s desire to find his home overrides his reservations about Vaako. Alongside a
few loyal soldiers, Riddick takes a ship and leaves this life of comfort.
Once his ship lands upon his alleged home world—a sun-scorched planet that’s
apparently lifeless—Riddick is double-crossed and left for dead. Barely mobile, our hero
sees that the years of being Lord Marshal have softened and dulled him. He soon begins
to hone the instincts that are his birthright and fight for survival against predators more
lethal than any human he’s ever encountered. The only way off this godforsaken rock is
perhaps more perilous than staying put: He must activate an emergency beacon and alert
mercenaries who rapidly descend upon the planet in search of their bounty.
The first vessel to arrive carries a new breed of merc, more lethal and violent than
any Riddick’s encountered before. Led by the sadistic, machete-wielding Santana
(JORDI MOLLÀ of Colombiana), this crew of marauders is kept in line by Santana’s
muscle, Diaz (DAVE BAUTISTA of upcoming Guardians of the Galaxy). Also aboard
are the pious Luna (NOLAN GERARD FUNK of TV’s Aliens in America), the trigger2
happy mercs called Vargas (CONRAD PLA of Immortals), Nunez (NOAH DANBY of
TV’s Defiance), Rubio (NEIL NAPIER of White House Down) and Falco (DANNY
BLANCO HALL of Immortals), as well as their prisoner (two-time Grammy Award
nominee KERI LYNN HILSON), a hostage who is subjected to her captors’ cruelty.
But Santana’s vessel isn’t the only one with mercenaries in the game. The second
craft that lands is captained by the unflinching Boss Johns (MATT NABLE of Killer
Elite), whose hunt for Riddick is personal. His well-armed and highly trained soldiers
include his second-in-command, Dahl (KATEE SACKHOFF of Battlestar Galactica), a
Nordic mercenary and deadly sniper not to be crossed; Lockspur (RAOUL TRUJILLO of
Apocalypto), a seasoned bounty hunter and expert tracker; and Moss (BOKEEM
WOODBINE of Total Recall), a mechanic with enough good sense to fear the quarry.
Camped out in an isolated way station, the teams are too close for comfort, and
Santana makes it clear that his first-come, first-served crew needs no help from Johns—
who assures the thug he has no interest in his bounty, simply time to interrogate Riddick.
But when chaos ensues outside and bodies start falling, Santana sees that when it comes
to bringing down the last of the Furyans, two crews are better than one.
With time running out and a storm on the horizon that no one will survive, his
hunters won’t leave the planet without Riddick’s head as their trophy. What they didn’t
anticipate is that when you corner a creature that is as much animal as he is man, you are
the one who should be on the run…
Riddick is produced by Diesel and TED FIELD (Pitch Black, The Chronicles of
Riddick) of Radar Pictures and executive produced by SAMANTHA VINCENT (Fast &
Furious 6, Fast Five) of One Race Films, MIKE DRAKE (A Nightmare on Elm Street,
Dream House) and GEORGE ZAKK (xXx, Casino Jack).
Riddick is based on characters created by JIM & KEN WHEAT (The Chronicles
of Riddick, Pitch Black), and the talented behind-the-scenes team includes director of
photography DAVID EGGBY (Pitch Black, Mad Max), production designer JOSEPH
NEMEC III (A Perfect Getaway, Terminator 2: Judgment Day), editor TRACY ADAMS
(Limitless, A Perfect Getaway), visual effects supervisor GUNNAR HANSEN (The Grey,
Quantum of Solace), costume designer SIMONETTA MARIANO (Immortals, Death
Race) and composer GRAEME REVELL (Street Kings, Pineapple Express).
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ABOUT THE PRODUCTION
The Last Furyan:
Riddick Is Green-lit
In 1999, when filmmaker David Twohy cast a relatively unknown actor named
Vin Diesel to play escaped convict Richard B. Riddick in 2000’s intimately terrifying scifi film Pitch Black, neither the director nor the performer had any idea that the small
movie would garner the astonishing following it has grown to enjoy since its release.
In response to that success, Diesel and Twohy again joined forces in 2004. This
time, Diesel not only stepped back into the role of the galaxy’s most-wanted outlaw, but
also took the reins as one of the film’s producers. In the visually stunning second
installment, The Chronicles of Riddick, the team expanded our antihero’s universe by
bringing us to new worlds and introducing sentient beings, including the fanatical
Necromongers—a religious sect that simply converts or kills all who oppose them.
Diesel admits that the stoic, misunderstood felon has long been one of his favorite
characters: “I fell in love with the role on paper because Riddick is such a well-executed
character and a true antihero.” The actor believes that much of the popularity is due to
the connection that fans have with Riddick. “People identify with his plight, and that’s
why they gravitate toward him. They identify with being prejudged, ruled out, given up
on and underestimated; those are feelings we all have at some point. The fact that
Riddick is able to overcome that through action is something people welcome.”
Over the past decade, the franchise has evolved to include two popular video
games, as well as an anime DVD, but it’s long been the desire of the two men who started
the first film together to see Riddick return to the big screen. For Twohy and Diesel,
whether or not they’d create a third chapter was never a question. Simply put, the
champions of the first two movies demanded it. Explains Twohy: “We never stopped
hearing the drumbeat from the fans. Of all the movies that I’ve done, they ask me the
most about Riddick.”
With more than 45 million followers on Facebook, Diesel was likewise
questioned by those who wanted to discover additional creatures and meet new players of
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the universe that the fugitive inhabits. Shares Diesel: “People wrote, ‘When are we going
to get more Riddick? You have to make this movie.’ It was comments like this that
made us feel like we had to make it at all costs.”
Fortunately, throughout the years, Twohy and Diesel had met regularly to ponder
what should and could come next. It was during these marathon conversations that they
expanded Riddick’s universe and the mythologies and characters that reside within.
Because the two are self-described “fan boys,” they are steeped in the intimate details of
the series. As a matter of fact, they have backstories for every character that’s been
introduced and long envisioned what this franchise would look like in future iterations.
As few know the world of the last Furyan better than Twohy and Diesel, it proved
fortuitous when the chance arose to take creative control over the franchise. Their
decision to craft this third chapter as a taut, intense sci-fi thriller that hearkens back to
Pitch Black while integrating the deep mythology of The Chronicles of Riddick was met
by excitement from executives at Universal Pictures. In fact, the studio agreed to allow
Diesel’s One Race Films the rights to the franchise while Universal agreed to distribute
the film domestically.
The company, which Diesel formed in 1995 to support his directorial debut,
Multi-Facial, now has numerous divisions and produces television, film and video
games. One Race—run by Riddick executive producer Samantha Vincent—had been one
of the groups behind Diesel’s box-office smashes Fast & Furious, Fast Five and Fast &
Furious 6. With One Race at the helm of production and Universal handling distribution,
the long-awaited new chapter was ready to go full-steam ahead. Diesel sums what drove
the team: “I owed it to the fans who are so loyal and have watched and rewatched the
films over and over again.”
Alongside producer Ted Field, Diesel and Twohy proposed the idea of bringing
the saga back to the R-rated roots of the first film, supported by top-notch craftspersons
who could bring their precise, epic vision to life. Diesel explains his driving passion: “As
an artist, there is a need to have creativity without censorship. The closer you get to that
‘R’ rating, the freer you are to tell the story without holding punches. With so much of
my business being in the ‘PG’ arena, it’s nice to go unforgivingly dark.”
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In The Chronicles of Riddick, it was revealed to our hero that he was of Furyan
blood and that a Necromonger, driven by prophecy, invaded Furya and orchestrated
genocide on its people when Riddick was born. One of the themes that Twohy and
Diesel wanted to explore in the next chapter was Riddick’s quest to find out who he
really is. “There’s another huge reason why I gravitate toward this character,” says
Diesel. “We all have a quest for identity to some degree. Riddick is no exception and
wants to know more about where he’s from.”
When developing the film, Twohy wrote a stunning and uncompromising
treatment that dovetailed into a terrifying shooting script. He remembers: “We settled on
a story that was a one-world setting where we would find Riddick left for dead, and he
has to battle a hostile environment to get off the planet.” Twohy deepened this theme of
a vision quest by making Riddick’s internal search a literal, external one. Marooned on a
lost world, he is forced to search himself for who he truly is.
While Twohy crafted the script for Riddick, Diesel served as the myth-builder. “I
trust his penmanship,” commends Diesel. “David is an incredible writer, and he trusts
my mythology perspective. We talk about this story in relation to many stories, how they
weave in and out and how they relate to one another. I know that as a fan of fantasy and
of mythology, the more I can explore something, the safer I feel in that franchise.”
For Diesel, one of the highlights of the shooting screenplay was the epic first act,
which bridges the takeover of the Necromongers to the events of today. Left for dead on
an abandoned planet, Riddick struggles to stay alive and must find the man he was before
becoming Lord Marshal. Riddick, through internal monologue, looks back upon how he
lost his identity, and, ultimately, how he rebuilds himself. “We were excited about this
Jeremiah Johnson-like story of the opening act,” states the performer. “You seldom see
this in today’s movies, where you’re watching what’s going on with this character both
internally and externally, without any dialogue.”
No matter how deeply he was entrenched, Twohy confesses that no one knows
Riddick better than Diesel: “Vin owns it to such a degree that he double-checks me,
making sure that the character is doing Riddick-ian things.” He adds that they were
pleased with where the years of laborious myth-building netted out. “I wrote the script
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for the movie that I wanted to see, and I went out and shot that movie. Hopefully the
result is something that is dark and visceral and eye-grabbing.”
The history of collaboration between the longtime friends is one of the main
reasons that an enormous project like Riddick resulted in such a smooth production. “We
were able to come home on time and on budget because David and I have such
shorthand,” reflects Diesel. “We’ve proven to each other how much we care about the
property, the character and the franchise. We hit the ground running, knowing that we
were up against an enormous task of making such an epic movie.”
Field remains in admiration of the partnership he’s witnessed since the trio began
work on Pitch Black more than a decade ago: “Vin and David play off one another so
smoothly. It’s rare to find a director and actor who can collaborate on every aspect of the
filmmaking process and live to do it two more times. I’m proud to be a part of this third
chapter, and I commend both of them for guiding it from page to screen.”
Mercs and Necromongers:
Assembling the Cast
Having full creative control of the property enabled the filmmakers to go not only
against predictable choices, but also to take risks on undiscovered talent. Explains
Diesel: “We were able to be more liberal in our casting to find the perfect actor for each
role, which was not unlike Pitch Black. We were able to cast to the character, as opposed
to the bankability of the name.”
What interested Jordi Mollà, one of Spain’s most recognizable actors, to become
attached to the role of Santana—the volatile leader of the first ship of mercenaries to
respond to Riddick’s beacon—was exploring the backstory that could explain Santana’s
cruelty. It didn’t hurt that, even though the film is a sci-fi thriller with creatures, it has an
ensemble of performers and all of Santana’s scenes are with other cast. “This is an
actor’s film,” offers Mollà. “All the conflict, everything I do, is between human beings.”
Diesel could not have been happier with Mollà’s work, commending, “Jordi’s
portrayal of Santana brings so much to the picture. He’s our nefarious tax collector. He
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provides levity for the picture, and Santana is going to be a very memorable character. I
can’t say enough good things about Jordi.”
The casting of the role of Boss Johns, the leader of the second ship of mercs, was
challenging because the character carried a secret: He was related to one of the characters
whom Riddick bested in Pitch Black. What Boss Johns wants more than the bounty is
answers, and he knows he must find Riddick alive to get them.
Twohy discovered Matt Nable after watching an episode of an Australian
television show. Recalls the writer/director: “I was taken by the type of granite-faced
stoicism this actor had. He reminded me of Charles Bronson; he had that coolness. The
character of Boss Johns has pain in his background and Matt’s face, especially those
eyes, conveyed the pain of someone with something traumatic in his past.”
For the performer, it was not just the opportunity to play this hard-as-nails
character that appealed to him. It was the chance to be a part of the Riddick franchise. “I
saw Pitch Black when it came out because it was shot on the Gold Coast of Australia,”
recalls Nable. “It was thrilling.” Once on the job, Nable was impressed by Diesel’s
dedication to the project and his fellow actors. “Vin was so overwhelmingly passionate
about this story and his character. He made it clear that he was there for everyone if they
wanted to discuss any topic, their character or scenes within the film.”
Katee Sackhoff is well known to television fans from her role as Captain Kara
“Starbuck” Thrace on the hugely popular series Battlestar Galactica. Much like Nable,
Sackhoff was a fan of the franchise even before she read the script. “I grew up on
science-fiction with my dad. In fact, the first movie my dad showed me was Predator
when I was about five,” Sackhoff laughs. “I love movies with strong female characters,
and the Riddick series has had them the entire time.”
What attracted the performer to the role of Dahl, Boss Johns’ second-in-command
and the sniper on the crew, was that Dahl was the “toughest person I’ve ever played,”
reflects Sackhoff. “I was looking forward to taking all of the strengths of all the roles
I’ve played on TV and putting them into this one character on film.”
For Twohy, Sackhoff was an ideal fit for the part from the beginning. He
recounts: “Katee was the first person to come in the door and read for Dahl. I probably
8
read 100 other actresses after her. But I never forgot her, even though she was the first
one in. I just couldn’t imagine anybody else playing Dahl.”
When casting the role of Diaz, a brutal mercenary who serves as Santana’s
second-in-command, the filmmakers favored former WWE star Dave Bautista, who will
soon star as Drax the Destroyer in the much-anticipated Guardians of the Galaxy. With
his incredible timing, tight delivery and terrific sense of humor, Bautista was a natural fit.
The actor notes: “I wanted to do this type of movie. Sci-fi, superheroes, that’s my genre
and what I love. So when I found out that they were casting Riddick, I shoved everything
aside and went and auditioned. I crossed my fingers and sat there for months waiting.
When I got the part, I flipped out.”
Bokeem Woodbine was a performer with whom Diesel had wanted to work for
many years, and he was pleased to secure him for the role of highly trained soldier and
mechanic Moss, also one of Boss Johns’ men. Being a fan of the franchise, Woodbine
was very pleased to be involved. He says: “I’ve been waiting a long time to see this third
installment because the second was such a cliffhanger. When the opportunity came along
to be in the movie, I jumped at it.”
Twohy relays that the handling of Woodbine’s character is an example of how all
decisions came down to Riddick’s code. Twohy explains: “In an earlier version of the
script, we had Riddick killing Moss indiscriminately. Vin reminded me that Riddick kills
for one reason: because people won’t stop hunting him. The way I’d structured the
scene, Moss wasn’t a threat to Riddick, so Vin reminded me that Riddick wouldn’t kill
that way. We decided to have them encounter each other and for Riddick to choose not
to kill Moss at that moment…even though he’s got him dead in sight.”
For the role of Lockspur, the final member of Boss Johns’ highly trained soldiers
and a keen tracker, Twohy chose Raoul Trujillo, known for his standout roles in such
actioners as Apocalypto and Cowboys & Aliens. What made the production a wild card
for the performer was that he wasn’t sure who he was playing until shortly before the film
commenced principal photography. Trujillo remembers: “I got an email from David that
read, ‘It would have been obvious to put you with the ragtag mercenaries, but you
brought a bit more sophistication and poise to the read...’ I was flattered that he wanted
me to join the group of highly trained military mercs led by Boss Johns.”
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For Diesel and Twohy, it was crucial to continue to weave the mythology of the
Riddick universe throughout the picture. The return of Karl Urban in his memorable role
of Vaako, the Necromonger warrior from whom Riddick takes the title of Lord Marshal
in the second film, will have fans of the series excited. Urban states: “It was a privilege
to be able to revisit this character and this world again.”
What was interesting for Urban to discover was how Vaako has evolved since his
failed attempt to assassinate the Lord Marshal in the The Chronicles of Riddick. He felt
strongly that Vaako would have turned away from the materialism that had been a
priority for his wife, Dame Vaako, and would have become stronger internally and more
focused. Notes Urban: “This time around, Vaako is a lot less impulsive than he was
before. He’s a lot shrewder and more calculating. Rather than try and figure some brutal
way to dispatch Riddick, he has a formal, cunning plan.”
Urban feels the reason the fans are so devoted to the series is not only Twohy’s
dialogue and vivid images, but what Diesel has done with his character. Says the
performer: “What I find riveting with Riddick is that Vin brings an old-school steel to the
role. I’ve worked with a lot of leading men, but there’s something undeniably street
about Vin and he brings that to the role. I truly believe that comes across onscreen.”
Riddick also sees the addition of new talent, such as popular R&B singer Keri
Lynn Hilson. Hilson came in to audition for the role of Dahl, and though the part went to
Sackhoff, Twohy and Diesel were so impressed that they created a role for her. Offers
Twohy: “You could tell there was something cool happening there, and we thought we
should write a part for her in the movie. Now, I’ve only got 12 people on a planet. So
there’s not much wiggle room there. But I created this part of Santana’s prisoner—the
only prisoner on his ship when it arrives to find Riddick—for Keri.”
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Design and Locations:
Capturing Riddick’s World
It was crucial to Diesel, Twohy and Field that Riddick evoke the terror of the first
film and provide the visually stunning elements of the second. When it came time to
scouting locations, Montreal proved to be the ideal city in which they could open up
Riddick’s unexpected new journey. On Field: “We were fortunate to be able to shoot in
the same studios where 300 was filmed. David had created such elaborate storyboards
for every sequence of this movie, and that gave the crew a significant tool to know the
exact shots we wanted and kept production right on track.”
When it came to a cinematographer, the filmmakers opted to bring back David
Eggby, who had so masterfully served as DP on Pitch Black. “He’s a guy that I enjoyed
collaborating with because we challenge each other,” remarks Twohy. “We pushed each
other to make bold choices in Pitch Black, and again I challenged him here on a technical
level. I said, ‘We are going to create a fairly exotic-looking alien world, but I’m going to
ask you to shoot it in a train depot in Montreal.’”
The team loved the visual style and the tone that Eggby had created in Pitch
Black, a bleached bypass process that gave a beautiful light to the film. Even though they
wanted to bring back that film’s texture and graininess, shooting on stage—with a much
bigger visual effects show and many more creatures this time around—forced Eggby and
Twohy to create a new visual style.
This first consisted of determining the light source on the planet. For Twohy,
who has a keen interest in astronomy, determining the planetary arrangement is always
his starting point. In Pitch Black, Twohy chose a binary system, a planet with two suns,
which may imply an unstable planet. For Riddick, he also looked to the stars. “I begin
with real astronomy and astrophysics because that’s one of my passions,” he notes. “For
this film, one of the things that caught my eye was putting a brown dwarf star in the sky,
which is like a very big Jupiter. I try not to get too fanciful; the universe is strange
enough out there that you don’t have to add strangeness to it.”
Because many of Riddick’s scenes take place on the exterior of the planet, Eggby
had the arduous challenge of lighting inside a studio. In addition, both he and Twohy did
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not want top light, but rather chiseled, contrasting light. The solution? On a previous
film, Eggby had worked with giant reflective pieces of fabric that served as bounce
sources, and he believed that concept could again be applied here. “I knew this would be
a good way to light our four stages and it would be combined into one source,” shares the
DP. “You don’t have multi-shadows. It’s soft, and it’s like one big orb. So we
purchased 40 20-by20 gold lamés, which are gold material reflectors. We stretched them
on the ceiling and put lights into them individually. We could flip them around for a
white bounce for ambient fill, or gold, or the moon.”
On each of the soundstages, production designer Joseph Nemec III built
landscapes that filled the majority of the stage. Twohy had hired Nemec for A Perfect
Getaway and when he spoke about the possibility of Riddick, the Terminator 2: Judgment
Day veteran expressed interest in getting back to the sci-fi genre. The team found Nemec
to be an incredible collaborator, one of the critical pieces to putting this whole puzzle
together.
Though Riddick required many visual effects, it was important to the production
team to not have the entire film shot on green screen. Indeed, they wanted sets that could
anchor the actors in their environment. After discussing with Twohy how the two suns
would affect the planet’s environments, Nemec designed the various environs that
Riddick and the bounty hunters would experience. Eight unique landscapes were needed,
but with only four soundstages, Nemec had to carefully plan when to tear one down to
build another.
The landscapes depicted different aspects of the hostile planet’s terrain, from its
badlands—filled with steaming sulfur pools and yellow sand that whipped about—and
huge reddish rock walls with large mud pits to hoodoo rock formations and a vast,
desolate savanna-like tundra. Discussing his production designer, Twohy commends:
“Joe is a quick-change artist, and few people could have pulled off what he did.”
This set was where, on one end, Nemec built a full-scale way station—at which
Riddick activates a beacon—and at the other end, a full-scale spaceship. “Most of the
outdoor environments we were looking at were architecturally geological, generally more
barren or monumental,” says Nemec. “The topography we chose for the look of the way
12
station exterior is in Northern Quebec. It’s called Kuujjuaq, and it’s very barren with low
arctic scrub and lichen-colored granite—not something people normally see.”
Nemec explains what was required of his crew to create this barren tundra inside a
giant soundstage: “It took about nine truckloads of dirt and rubble to shape the ground.
Then we came back and poured concrete over all of that. Then we came back again with
more dirt and gravel and ground materials over the top; that began to suggest the tundra.
To finish, we used a combination of Styrofoam coated with plaster, other wood structures
with fiberglass and plaster rocks over the top. Finally, we gave them all the same scenic
treatment to match the rocks of the Kuujjuaq area.”
In order to expand Nemec’s tundra landscape in the film, visual supervisor
Gunnar Hansen, who had previously worked on such topographically challenging films
as The Grey, traveled to Kuujjuaq to shoot plate photography. “We were helicoptered in
to an area that has probably never had a human set foot in it before; the terrain was too
rough to drive through. We didn’t see any wildlife at all in this stark, desolate
landscape,” says the VFX supervisor. For this special shoot, Hansen’s team built an
elaborate rig to hold the three high-resolution digital still cameras needed to capture the
visuals. After stitching the images together, this gave a 180-degree point of view, a
perspective one might guess would prove helpful to a Furyan relying upon eye shine…
Riddick, after he has been left for dead on the desolate planet, takes refuge in
ancient burial ruins. As Nemec drew the ruins, he imagined what culture would have
influenced them. “We felt the burial ruins had to be an architectural environment,” says
the production designer. “We decided to take our influence from Petra in Jordan. The
idea was that in a great deteriorated mountain, some ancient civilization would have
carved out a shrine or ceremonial place that gave homage to the creatures on the planet.”
When researching the inner carvings and the stone that was used in Petra, the art
department learned that the main colors where mainly shades of terra-cotta. Fortunately,
it was a perfect complement to the palette that Nemec was working with, so he kept them.
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Building Fear:
Way Stations and Vehicles
At the other end of the soundstage where Nemec created the tundra set, he built a
way station where the mercs were intended to take shelter when they arrived on the
planet. Designed with the idea that it was dropped off a decade earlier, the way station
was a flat pack station that could be reassembled by a couple of people. It was set up
with everything one needs to survive on the planet for long stretches of time—a comm
center, maps, kitchen, latrine, berthing area, maintenance space and a recreation area.
Once assembled, the station would be usable by research scientists, explorers
and/or mercenaries on a stopover. “It was designed to be utilitarian, somewhat military,
with bits of old-school hard stuff, just in case everything fails,” says Nemec. “It was
definitely not a place that one stays in for a comfortable getaway. We kept it relatively
monochromatic with color accents here and there, such as yellow handrails, orange fire
extinguishers and such. We wanted it to feel the effects of the elements in the
environment, so we tried to let that inside in a way that affected the general patina in the
way station. Everything is a bit dulled down.”
Outside the way station is the location where the mercenaries’ spaceships land.
Again, wanting to stay away from green screen, Nemec had a fully equipped spaceship
commissioned, complete with functional doors and ramps. It even used actual landing
gear from a large 747 jet. Like the way station and some of the other large props, there is
a certain futuristic-retro feel to the design. The spaceships were no different.
Designed to be tactical cargo ships, they were built with everything from
instrumental panels and controls in the cockpit to power modules and sleeping harnesses.
“We went through a lot of permutations,” recalls the production designer. “We started
out with a design that was very sleek, but we weren’t finding a balance. We then looked
back into some of the Necromonger warships, but we didn’t feel that was right either.
We wanted to stay with something that was real, yet futuristic: a ship that seemed as if it
could fly, do vertical takeoffs and landings, as well as travel through space.”
What many of the cast enjoyed on set was hopping on the jet hogs, the vehicles
that Boss Johns’ crew off-load from their ship and use to travel short distances on the
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planet’s terrain. In keeping with the retro-futuristic theme, Nemec designed the jet hogs
to be reminiscent of a chopper motorcycle, but instead of wheels, the machines hover and
are powered by air turbines and jet propulsion. “In the beginning, the idea was to go very
sleek—much more of a Yamaha approach—but nothing fit with the hog world,” recalls
Nemec. “We’re very happy with the way the jet hogs turned out.”
Alien Jackals and Mud Demons:
Creatures of the Desolate Planet
In the planet upon which our hero is stranded, there are two main creatures: the
alien jackal and razor-tailed mud demons. Scenes involving the creatures were shot in
part with live puppets and in part with visual effects. Twohy explains: “In terms of
creatures, I followed what I did in Pitch Black, meaning that I would do puppet pieces
when the actor had to engage with, touch, pick up, duck, dodge or weave the creature.
But for the most part, they’re CG creatures or a combination of the two. I try not to do
animatronics anymore with things that are articulated and have eye movements and
mouth movements because they ultimately come up short on some level.”
The alien jackal is introduced early in the film when Riddick finds it as a pup and
they create a bond as it grows into a beast. Designed by Mokko Studio in Montreal, it
was built by Tinsley Studio in Los Angeles. The life-size jackal puppet was made of
foam rubber and fiberglass with movement mechanisms inside. Covered in shaved
cowhide with neck hair from boar bristles, hackles from porcupine quills and with sharp
acrylic teeth, it took three puppeteers to work the beast.
Riddick discovers that the deadly alien creatures on the planet live and thrive in
water. Because the planet is mainly dry and barren, they lie dormant under the earth and
may only be found in the odd watering hole. That is, until the rainy season comes, and
they awake and wreak havoc. In the thriller, Riddick must pass by one of these creatures
living in a giant mud hole, a scene that proved to be one of the most challenging for the
puppeteers to film. Recalls puppeteer ERIC FIEDLER: “The mudflats were one of the
most difficult places we worked in because we were in mud up to our waists for about
two weeks. It was sticky and hot and sweaty and bubbly.”
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To breathe life into the puppets, Twohy chose to work with one of Canada’s topnotch VFX shops. “Mokko Studio is this great house that was ready to step up and do a
significant 3D character animation,” he says. “They proved themselves with the jackal
and the other creatures in this movie.”
****
Production wrapped, Diesel reflects upon his dream for what is arguably the most
personal chapter in the epic series that the team began so long ago: “Any artist hopes that
he affects people. With this film, I just want audiences to escape for a couple hours.” As
for Riddick’s next move? “He just wants to go home and discover his identity. A lot of
people that come out of the movie feel like it’s an homage to Pitch Black, and yet, keeps
the question alive: Where is Riddick from, and where is he going?”
One thing we do know for certain: It’s time to once again fear the dark.
****
Universal Pictures and One Race Films present a One Race Films production—in
association with Radar Pictures—of a David Twohy film: Vin Diesel in Riddick, starring
Jordi Mollà, Matt Nable, Katee Sackhoff, Dave Bautista, Bokeem Woodbine, Raoul
Trujillo and Karl Urban as Vaako. The casting is by Anne McCarthy, and the music is by
Graeme Revell. Riddick is edited by Tracy Adams, and its production designer is Joseph
Nemec III. The film’s director of photography is David Eggby, ACS. The film’s
executive producers are Samantha Vincent, Mike Drake, George Zakk. Riddick is
produced by Vin Diesel, Ted Field, and it is based on characters created by Jim & Ken
Wheat. The film is written and directed by David Twohy. © 2013 Universal Studios.
www.riddickmovie.com
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ABOUT THE CAST
A native of New York City, VIN DIESEL (Riddick/Produced by) has become
one of Hollywood’s most sought-after film stars. In addition to his huge box-office
success, Diesel is a prominent producer and filmmaker. Most recently, he starred in and
produced the box-office smash hit Fast & Furious 6, which has grossed more than $670
million worldwide.
In 2011, Diesel was seen in Fast Five, the fifth installment of the blockbuster The
Fast and the Furious series, as well as Fast & Furious, in 2009. He wore multiple hats
on both projects as he reprised his role as Dominic Toretto and produced the films, along
with Neal H. Moritz. He also wrote and directed the original short film Los Bandoleros.
The short, which was showcased on the Fast & Furious DVD, tells the intriguing
backstory of the characters and events leading up to the explosive oil-truck heist in the
film.
Diesel previously starred alongside Michelle Yeoh in 20th Century Fox’s Babylon
A.D., for director Mathieu Kassovitz. In this thriller, Diesel played a veteran-turnedmercenary who takes the high-risk job of escorting a woman from Russia to China. He is
unaware that she is carrying an organism that a cult wants to harvest to produce a
genetically modified messiah.
Diesel was also seen in the courtroom drama Find Me Guilty, directed by
renowned filmmaker Sidney Lumet. Set in the ’80s, the film documents the famous threeyear trial of 20 members of a mob family. Diesel earned critical acclaim for his portrayal
of Jackie DiNorscio, the one mobster who chose to forgo his rights to an attorney and
defended himself. To play this role, Diesel transformed himself into the 47-year-old
Italian mobster by putting on 20 pounds.
Diesel will play the title role in Hannibal the Conqueror, which tells the story of
the Carthaginian general who rode an elephant across the Alps to attack Rome in the third
century B.C. In addition to this film, Diesel’s One Race Films will produce Hannibal the
Barbarian, a children’s animated series based on the stories of Hannibal, for the BET
network. Diesel’s future projects include Touchstone’s Player’s Rule. The film, written
by Ron Bass and Jen Smolka, will be Diesel’s first role as the lead in a romantic comedy.
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Diesel will star in The Wheelman, which is in development by MTV Films, Paramount
Pictures and One Race Films. Diesel’s Tigon Studios and Midway Games will
collaborate to release the film and video game simultaneously.
Diesel starred in his first comedy feature for Disney, The Pacifier, opposite Faith
Ford, Brad Garrett, Lauren Graham and Brittany Snow. The 2005 film, directed by
Adam Shankman, followed an undercover agent who, after failing to protect an important
government scientist, learns that the scientist’s family is in danger. In an effort to redeem
himself, he agrees to take care of the man’s children—only to discover that child care is
his toughest mission yet. The Pacifier was a huge box-office success.
In the highly anticipated science-fiction feature The Chronicles of Riddick, Diesel
reprised the title role of Richard B. Riddick. Produced by One Race Films, it was the
follow-up to the cult favorite Pitch Black. Diesel previously starred in the action-thriller
A Man Apart, which he also produced.
Topping Diesel’s list of credits is his star turn in 2001’s The Fast and the Furious,
for which he won an MTV Movie Award for Best On-Screen Team, along with co-star
Paul Walker, and was nominated for Best Male Performance. He starred in the
blockbuster XXX, which he also executive produced. Diesel appeared in Saving Private
Ryan, for which he was nominated for a Screen Actors Guild Award as part of the film’s
ensemble cast. His other credits include roles in Boiler Room the action-thriller A Man
Apart, which he also produced; and the voice of the title character in The Iron Giant,
which won an Annie Award for Best Animated Feature.
Upcoming projects for Diesel include producing and starring in Universal
Pictures’ upcoming seventh installment of the Fast & Furious series, as well as Kojak.
He will re-team with Shankman on The Machine and star in and produce World’s Most
Wanted with Moritz.
Diesel wrote, produced, directed and starred in the independent short MultiFacial, which explored the issue of being multiracial in today’s society. The film follows
Diesel, whose biological mother is Caucasian and biological father is African-American,
on several auditions in which he is told he is either “too black” or “too white” for the
part. It was after seeing this short at the 1995 Cannes Film Festival that director Steven
Spielberg created the role of Private Adrian Caparzo in Saving Private Ryan specifically
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for Diesel. Diesel wrote, produced, directed and starred in the full-length feature Strays,
which he described as a “multicultural Saturday Night Fever.” The drama was selected
to compete at the 1997 Sundance Film Festival.
Another endeavor in Diesel’s entrepreneurial rise was the creation of his
successful video game company, Tigon Studios, which created and produced 2004’s topselling Xbox game, The Chronicles of Riddick: Escape From Butcher Bay
As an actor, director, painter and writer, JORDI MOLLÀ (Santana) is one of
Spain’s most recognizable artistic personalities. Having trained as an actor at
Barcelona’s Institut del Teatre, Mollà has studied acting in Italy, Hungary and England.
As an actor, he has worked on numerous films for such prestigious directors as Bigas
Luna, Pedro Almodóvar, Peter Greenaway, Montxo Armendáriz, Ricardo Franco and
Fernando Colomo.
Mollà made his Hollywood debut as Colombian drug smuggler Diego Delgado in
the critically acclaimed film Blow, opposite Johnny Depp and Penélope Cruz. He was
next seen in Michael Bay’s comedy-crime thriller Bad Boys II, opposite Martin Lawrence
and Will Smith; John Lee Hancock’s The Alamo, opposite Dennis Quaid, Billy Bob
Thornton and Jason Patric; and Olivier Megaton’s Colombiana, with Zoe Saldana.
Additionally, he portrayed King Philip II of Spain in Elizabeth: The Golden Age,
opposite Cate Blanchett.
Mollà first received acclaim in Luna’s Jamon Jamon in 1992 and went on to star
in three other films by the director including Volavérunt and Sound of the Sea. He has
appeared in films including Armendáriz’ Stories from the Kronen; Almodóvar’s The
Flower of My Secret; and Gerardo Vera’s La Celestina and Second Skin, in which he
earned a Goya Award nomination for Best Supporting Actor and Best Leading Actor,
respectively.
Mollà’s role as Daniel in Franco’s La buena estrella, which co-starred Maribel
Verdù, garnered him a Goya Award nomination for Best Leading Actor and a Butaca
Award for Best Catalan Film Actor. Mollà shared the Best Actor award at the Mar del
Plata Film Festival and the Ondas Awards.
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Mollà has starred in all three parts of Greenaway’s The Tulse Luper Suitcases
series; Colomo’s Los Años Bárbaros; Daniel Calparsoro’s Ausentes; Antonello Belluco’s
Anthony, Warrior of God and Mateo Gil’s Nobody Knows Anybody, for which he was
nominated for the Fotogramas de Plata’s Best Movie Actor award. Mollà’s credits
include Angelo Longoni’s telefilm Caravaggio, Renzo Martinell’s The Stone Merchant,
Miguel Courtois’ GAL and Steven Soderbergh’s Che: Part Two.
Most recently, Mollà starred in Cesc Gay’s award-winning Gun in Each Hand,
and will be seen next in the upcoming independent films I Brake for Gringos and
Geography of the Heart.
MATT NABLE (Boss Johns) is an Australian actor and writer. In 2007, Nable
wrote and played the lead in Paramount Pictures’ first Australian acquisition, the
critically acclaimed The Final Winter. Following that success, he headed to the U.S. to
play the lead role in the television pilot SIS. Nable went on to star in such feature films
as Killer Elite, with Jason Statham, Clive Owen and Robert De Niro, 33 Postcards, with
Guy Pearce, and K-11.
On the small screen, Nable starred as Travis in the third season of the
international award-winning Australian drama, East West 101. He played Detective
Sergeant Gary Jubelin in the fifth installment of the critically acclaimed Australian series
Underbelly. Recently, Nable starred as Jock Ross in Bikie Wars: Brothers in Arms, the
gritty, six-part series about the war between two of Australia’s most notorious biker
gangs.
Up next, Nable will be seen starring in Around the Block, with Christina Ricci; the
horror-thriller In Cold Light; Son of a Gun, alongside Ewan McGregor; and a chronicle of
short films based on stories by Australian writer Tim Winton, The Turning, alongside
Hugo Weaving, Cate Blanchett and Rose Byrne.
As a writer, Nable has published two books with Penguin: “We Don’t Live Here
Anymore” and “Faces in the Clouds.” Nable will release his third novel, “It Happened to
Us,” at the end of the year.
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KATEE SACKHOFF (Dahl) is perhaps best known for her role as hotshot pilot
Starbuck in the critically acclaimed Syfy series Battlestar Galactica, for which she
earned a Saturn Award in 2006 for Best Supporting Actress on Television. In addition to
winning a prestigious Peabody Award, Battlestar Galactica was honored as one of the 10
Outstanding Television Programs by the American Film Institute (AFI) for two
consecutive years. Currently, Sackhoff can be seen starring as Deputy Vic Moretti in
A&E’s original drama series Longmire, based on Craig Johnson’s mystery novels about
Wyoming Sheriff Walt Longmire.
This year, Sackhoff starred in Lionsgate’s The Haunting in Connecticut 2: Ghosts
of Georgia, a horror-thriller set in the rural South where a family is terrorized by
supernatural entities in their home and Lionsgate’s multigenre film Sexy Evil Genius, a
dark comedy about an eclectic group of strangers invited to a downtown bar by a mutual
ex-lover, Nikki Franklyn (Sackhoff). Recently, Sackhoff wrapped production on Intrepid
Pictures’ Oculus. The spine-chilling supernatural tale tells the story of two damaged
siblings who reunite as adults to destroy the culprit of their parents’ demise, which they
witnessed as children.
Upon graduating high school, Sackhoff moved to Los Angeles and quickly
commanded attention as she secured leading roles in a variety of film and television
projects. Her burgeoning career began with a lead role in the MTV pilot Locust Valley,
which led to a lead role in the FOX family series The Fearing Mind, as well as the lead
role portraying Richard Dreyfuss’ daughter on CBS’ The Education of Max Bickford.
On the small screen, Sackhoff has starred opposite Kiefer Sutherland on the hit
FOX television series 24, as Dana Walsh, an expert data analyst at CTU with a secret and
dark past. She was cast in the highly anticipated NBC series Bionic Woman, in which she
played Sarah, the original bionic woman and nemesis of the new bionic woman.
Sackhoff had recurring roles on the FX series Nip/Tuck as the duplicitous Dr. Theadora
“Teddy” Rowe, and CBS’ CSI: Crime Scene Investigation, as Detective Frankie Reed.
Her past film credits include Halloween: Resurrection, White Noise 2: The Light and The
Last Sentinel.
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DAVE BAUTISTA (Diaz) is an actor, a former professional wrestler and a
mixed martial artist best known for his time in World Wrestling Entertainment (WWE) as
a six-time world champion and an international spokesman for the organization. Bautista
retired from the WWE to focus on his acting career in 2010.
Bautista was recently seen in RZA’s feature-film directorial debut The Man With
the Iron Fists, in which he played the villainous Brass Body and starred opposite Russell
Crowe and Lucy Liu. His other credits include Roel Reiné’s The Scorpion King 3: Battle
for Redemption, where he played Argomael; the action film House of the Rising Sun; and
Wrong Side of Town, opposite professional wrestler Rob Van Dam, martial artist Marrese
Crump and rapper Ja Rule.
Bautista has appeared on television’s Chuck, Head Case and Smallville. He’s
appeared on Iron Chef America, as a judge; an episode of Extreme Makeover: Home
Edition; and MTV Cribs, showing his house and cars; and he made a cameo appearance
on the Australian soap opera Neighbours.
Bautista can next be seen in Marvel Studio’s Guardians of the Galaxy as Drax the
Destroyer.
RAOUL TRUJILLO (Lockspur) is an accomplished actor, director,
choreographer and dancer whose career spans more than 30 years and five continents.
Trujillo has appeared in numerous feature films, including Jon Favreau’s Cowboys &
Aliens, which starred Daniel Craig and Harrison Ford; Taylor Hackford’s Love Ranch,
opposite Helen Mirren; Mel Gibson’s critically acclaimed Apocalypto, in which he
played Zero Wolf; and Terrence Malick’s epic The New World, for which he also
choreographed native dances.
Trujillo has starred in television miniseries and movies, including Neverland,
which starred Anna Friel and Rhys Ifans; Moby Dick, opposite William Hurt and Ethan
Hawke; the award-winning Into the West; and the Syfy miniseries Tin Man, with Zooey
Deschanel and Alan Cumming. Tin Man averaged more than 6.3 million viewers for
Syfy, making it the most-watched telecast in the network’s history. It also garnered a
Saturn Award nomination for Best Television Presentation and a Critics’ Choice Award
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nomination for Best Picture Made for Television. Trujillo has guest-starred in television
series including Lost Girl, CSI: NY, In Plain Sight, The Unit and HBO’s True Blood.
When he’s not on a film set, Trujillo divides his time among Toronto, Los
Angeles and his beloved New Mexico desert.
At age 19, Harlem native BOKEEM WOODBINE (Moss) secured the lead role
in HBO’s Strapped, Forest Whitaker’s directorial debut. Woodbine moved to Los
Angeles shortly after completing the film Jason’s Lyric, with Jada Pinkett Smith. Since
then, Woodbine has pursued a dream of becoming a noteworthy film actor while
balancing a passion for music. Along the way, he has worked with Oscar®-winning
actors and many of today’s top directors, producers and networks.
To date, Woodbine has appeared in films of all genres, including Ray, with Jamie
Foxx; Life, with Eddie Murphy and Martin Lawrence; Devil; and, most recently,
Stephenie Meyer’s sci-fi thriller The Host, with Saoirse Ronan.
Woodbine’s other selected film credits include Len Wiseman’s recent remake of
the cult classic Total Recall, in which he starred opposite Colin Farrell, Bryan Cranston,
Jessica Biel and Kate Beckinsale; Scott Sanders’ Black Dynamite; Michael Bay’s The
Rock; and the Hughes brothers’ Dead Presidents.
Woodbine has appeared in numerous television series and movies, including
recurring roles on Saving Grace and the gripping police drama Southland.
Woodbine will next be seen starring in the independent films Five Thirteen and
1982.
KARL URBAN (Vaako) is best known for his vibrant roles in two big action
blockbuster franchises: the second and third installments of Peter Jackson’s Academy
Award®-winning The Lord of the Rings trilogy, as Eomer, a bold leader from the
kingdom of Rohan; and J.J. Abrams’ acclaimed 2009 reboot of Star Trek and 2013’s Star
Trek Into Darkness, in which he portrayed the iconic Dr. Leonard “Bones” McCoy. He
also brought to life the villainous Russian assassin Kirill in Paul Greengrass’ The Bourne
Supremacy, opposite Matt Damon.
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Born in Wellington, New Zealand, Urban made his feature film debut in Heaven.
He garnered critical acclaim in the fantastical comedy The Price of Milk. The latter
spurred Jackson to offer Urban the role in The Lord of the Rings: The Two Towers.
Urban’s film credits include the sci-fi thrillers The Chronicles of Riddick and
Priest 3D; the crime drama Out of the Blue, for which Urban received a New Zealand
Film and Television Award for Best Supporting Actor; the 2010 action comedy Red, in
which he starred opposite Bruce Willis, Helen Mirren and Morgan Freeman; and the title
role in 2012’s Dredd.
ABOUT THE FILMMAKERS
As both a writer and a director, DAVID TWOHY (Written and Directed by) has
contributed much to the world of adventure, science fiction and fantasy, helping elevate
genre films to such a degree that Entertainment Weekly named him “one of the 100 most
creative people in Hollywood.”
Twohy first gained attention with The Fugitive (story by and screenplay by),
which starred Harrison Ford and Tommy Lee Jones. He was nominated for the WGA
Award in 1993 for Best Screenplay Based on Material Previously Produced or Published.
Twohy’s writing credits include the cult classic Warlock; Terminal Velocity, which
starred Charlie Sheen and Nastassja Kinski, for which Twohy also served as executive
producer; Waterworld (written by), which starred Kevin Costner; Ridley Scott’s G.I. Jane
(screenplay by), which starred Demi Moore; and Impostor (screenplay by), which starred
Gary Sinise and Madeleine Stowe.
Twohy made his directorial debut in 1992 with the Showtime original movie
Timescape, which starred Jeff Daniels and which Twohy adapted for the screen from
Henry Kuttner and C.L. Moore’s haunting novella “Vintage Season.” Timescape
received the Golden Raven Award from the Brussels International Fantastic Film Festival
and a Saturn Award nomination for Best Science Fiction Film. He was honored again in
1996 with a Saturn Award for his feature-film directorial debut The Arrival, which he
wrote and directed.
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In 2000, Twohy’s next writing/directing venture was one of the most unexpected
films, Pitch Black. Released by Universal Pictures, this modestly budgeted movie, shot
in the Australian outback, startled critics and audiences alike with its chilling mood and
deep characters. It was also the film that helped usher actor Vin Diesel into stardom.
In 2002, Dimension Films released Twohy’s Below, which was co-written with
Darren Aronofsky (Pi, Requiem for a Dream) and Lucas Sussman. The film followed a
series of haunting and inexplicable occurrences on a World War II submarine and starred
Bruce Greenwood and Olivia Williams.
In 2004, Twohy wrote and directed the follow-up to Pitch Black, The Chronicles
of Riddick. In addition to Diesel, Twohy’s cast boasted the likes of Dame Judi Dench,
Thandie Newton, Colm Feore and Karl Urban.
Released in August 2009, Twohy’s twisted thriller A Perfect Getaway was based
on his original script. It was financed by Relativity Media and marketed by Universal
Pictures. The film starred Milla Jovovich, Timothy Olyphant, Steve Zahn and Kiele
Sanchez.
Twohy attended California State University, Long Beach, receiving his BA in
Film and Electronic Arts, with a minor in Theater Arts.
Born and raised in Northern California, JIM & KEN WHEAT (Based on
Characters Created by) started shooting Super 8 films together in their teens. After
graduating from Occidental College in Los Angeles, the Wheat brothers moved from
educational films and shorts to producing Martin Scorsese’s highly regarded
documentary American Boy: A Profile of Steven Prince in 1978. The following year,
they produced and scripted the low-budget horror film Silent Scream, which opened at
No. 1 at the box office and remains a cult favorite.
The Wheat brothers’ first shot at directing came in 1985’s Lies, a mystery-thriller
they also wrote and produced. The film caught the eye of George Lucas, who then hired
them to write and direct Ewoks: The Battle for Endor, an effects-filled film for children
that ran on ABC domestically and played as a feature overseas.
Throughout the ’80s and ’90s, the Wheat brothers scripted numerous feature and
television projects, including The Fly II and A Nightmare on Elm Street 4: The Dream
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Master, both of which took the top box-office spot on opening weekend. Along the way,
they wrote the never-completed Nicol Williamson/Ricky Schroder version of Stephen
King’s Apt Pupil in 1987, and produced and directed their screenplay After Midnight for
MGM in 1989.
The new century brought Pitch Black, an original script that has spawned two
sequels as well as video games and an animated short. Although other scripts by the
Wheat brothers have been commissioned and sold since then, none of them have made it
off that planet with three suns known as Development.
TED FIELD (Produced by) is a proven and respected icon in the entertainment
industry, with a 30-year career as a creative and business executive.
Field has produced more than 60 films that have generated nearly $7 billion in
worldwide revenue, including The Last Samurai, Runaway Bride, Jumanji, Three Men
and a Baby, Mr. Holland’s Opus, The Hand That Rocks the Cradle, Bill & Ted’s
Excellent Adventure, Cocktail and The Texas Chainsaw Massacre. Currently, Field
serves as chairman and CEO of Radar Pictures, a film production company he founded in
1999.
As a music executive, Field cofounded Interscope Records, operating as a top
creative and management force behind one of the most successful record labels in history.
Albums produced under Field’s label have sold more than 300 million copies worldwide,
driven by some of the industry’s top-selling artists, including Dr. Dre, Eminem, Tupac
Shakur, Snoop Dogg, Nine Inch Nails, The Wallflowers, No Doubt, Limp Bizkit and
Marilyn Manson.
Field’s long history of success as a businessman, investor and entrepreneur
predates his creative success in producing hit movies and music. He was the co-owner of
Field Enterprises, legacy of the iconic Marshall Field’s department store chain in
Chicago. Field was actively involved in the management of Field Enterprises’ diverse
operations, which included real estate, the Chicago Sun-Times and several television
stations. Field has successfully executed and integrated numerous strategic transactions
outside of his involvement in Field Enterprises, including Panavision, Crown Zellerbach
and Goodyear Tires.
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Field has lent his support to nonprofit organizations, including amfAR, the
Alzheimer’s Disease and Related Disorders Association, the Sundance Institute and the
Rape Treatment Center.
SAMANTHA VINCENT (Executive Producer) is the president of production for
One Race Films and cofounder of Tigon Studios, Vin Diesel’s film and video-game
production companies, respectively. Founded in 1995, One Race Films has produced
award-winning films like Strays, along with the hit titles xXx and The Pacifier. Tigon
Studios was created in 2002 to bring a unique filmic perspective to the video-gaming
industry. The Chronicles of Riddick: Escape From Butcher Bay and the original title
Wheelman represent two of the company’s most successful gaming endeavors.
Vincent’s experiences in commercial and independent production have inspired a
new era in the company’s evolution. Vincent most recently executive produced the boxoffice hits Fast & Furious, Fast Five and Fast & Furious 6. In addition to films and
games, Vincent has shepherded the company into the digital arena with the
groundbreaking micro-budget series The Ropes, which featured a cast of newcomers and
promoted diversity in front of and behind the camera.
MIKE DRAKE (Executive Producer) began his career at film school at Cal State
Northridge. Upon graduating, Drake quickly began producing independent films with
budgets big and small, and veteran and first-time filmmakers alike.
Over the last 16 years, Drake has produced more than 20 films, including Warner
Bros. Pictures’ hit comedy The Whole Nine Yards, which starred Bruce Willis and
Matthew Perry; Paramount Pictures’ boxing drama Against the Ropes, which starred Meg
Ryan; and Warner Bros.’ open-wheel racing action film Driven, which starred Sylvester
Stallone.
In 2004, Drake produced the HBO film Something the Lord Made and won the
Primetime Emmy Award for Outstanding Made for Television Movie. The critically
acclaimed film was also nominated for a Golden Globe Award and won numerous
accolades, including the Peabody Award for Excellence in Broadcasting, an NAACP
Image Award and an American Film Institute Award. Drake was nominated by the
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Producers Guild of America for the prestigious David L. Wolper Award for Outstanding
Producer of Long-Form Television.
Drake had two films released in 2007 by New Line Cinema, the drama Martian
Child, which starred John Cusack, and the psychological thriller The Number 23, which
starred Jim Carrey. In 2009, Drake served as an executive producer on the New Line
Cinema reboot of A Nightmare on Elm Street and on Universal Pictures’ Repo Men, a
science-fiction thriller that starred Jude Law and Forest Whitaker.
Drake most recently executive produced Universal Pictures’ thriller Dream
House, which starred Daniel Craig, Rachel Weisz and Naomi Watts and was released in
2011.
GEORGE ZAKK’s (Executive Producer) films, including Sony Pictures’ XXX,
Walt Disney Pictures’ comedy The Pacifier and Universal Pictures’ The Chronicles of
Riddick, have grossed nearly $550 million at the domestic box-office and more than $910
million worldwide.
For more than 10 years Zakk was president of One Race Films, where he worked
on building the brand of action star Vin Diesel along with co-producing partner
Revolution/Sony Pictures. During his tenure at One Race, Zakk was instrumental on
such films as Pitch Black, The Fast & the Furious series and The Iron Giant. His first
film as a producer was Strays, Diesel’s directorial debut, which premiered at the 1997
Sundance Film Festival and was nominated for the Grand Jury Prize. Zakk produced
Sydney Lumet’s Find Me Guilty, the 2006 film by the late winner of an Academy
Award®, and co-produced F. Gary Gray’s A Man Apart for New Line Cinema.
Through his current company An Olive Branch, Zakk served as producer with
Cybill Lui on Casino Jack, which starred Kevin Spacey. The film won an Audience
Choice Award at the 2010 St. Louis International Film Festival and held its world
premiere at the 2010 Toronto International Film Festival as a Special Gala presentation.
In addition, the film was screened at the 2010 AFI Fest at the famous Grauman’s Chinese
Theatre.
Up next for An Olive Branch is The Philosophers, starring James D’Arcy, Bonnie
Wright, Sophie Lowe and Rhys Wakefield. The film tells the story of a philosophy
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teacher who challenges his class of 20 graduating seniors to choose which 10 of them
would take shelter underground and reboot the human race in the event of a nuclear
apocalypse. Olive Branch is currently beginning production on The Girl Who Invented
Kissing, with writer/director Tom Sierchio.
TRACY ADAMS (Edited by) first worked with director David Twohy in 2004
on The Chronicles of Riddick. They collaborated next on A Perfect Getaway, which
starred Milla Jovovich, Steve Zahn and Timothy Olyphant.
Most recently, Adams worked with director Robert Luketic on the upcoming film
Paranoia, which stars Liam Hemsworth, Harrison Ford and Gary Oldman. Additionally,
he teamed with director Neil Burger on Limitless, which starred Bradley Cooper and
Abbie Cornish.
Adams’ other feature film credits include The Flock, with Richard Gere and
Claire Danes, and Tony Ching Siu-Tung’s epic An Empress and the Warriors.
DAVID EGGBY, ACS (Director of Photography) originally collaborated with
David Twohy on the first film in the Riddick trilogy, Pitch Black, for which he was
named Cinematographer of the Year by the Australian Cinematographers Society and
won the ACS Golden Tripod for Feature Productions Cinema.
Over the last 30 years, Eggby has worked with director George Miller on the
iconic film Mad Max; six films with director Simon Wincer, including Quigley Down
Under and Lighting Jack; and three films with director Rob Cohen, Dragon: The Bruce
Lee Story, DragonHeart, which starred Dennis Quaid and Sean Connery, and Daylight
with Sylvester Stallone. For the hit film Predator, which starred Arnold
Schwarzenegger, Eggby was the director of photography for the visual effects and
thermal unit. The film went on to receive an Academy Award® nomination for Best
Visual Effects.
Eggby has been the director of photography on a variety of family films,
including The Secret of Moonacre, Underdog, Racing Stripes and Scooby-Doo. His other
film credits include Harley Davidson and the Marlboro Man, Blue Streak, Virus,
Ironclad and the popular comedy EuroTrip.
29
In 2012, Eggby was inducted into the Australian Cinematographers Society Hall
of Fame.
JOSEPH NEMEC III (Production Designer) reteams with David Twohy on
Riddick, having previously worked with the writer/director on the thriller A Perfect
Getaway.
Over the past 20 years, Nemec has been a production designer on a range of films,
including two films for director Phillip Noyce: The Saint, which starred Val Kilmer and
Patriot Games, which starred Harrison Ford; as well as Jan de Bont’s box-office hit
Twister and Speed 2: Cruise Control.
Nemec was the production designer on James Cameron’s Terminator 2: Judgment
Day; Alexandre Aja’s Mirrors and The Hills Have Eyes; The Medallion, which starred
Jackie Chan; Wild Bill, which starred Jeff Bridges; Another 48 Hrs., which starred Eddie
Murphy; Safe; Ironclad; The Little Vampire; Mad Cows; The Shadow; The Getaway; and
Judgment Night.
Nemec’s television movie credits include A Perfect Day and Christopher Reeve’s
The Brooke Ellison Story.
Before SIMONETTA MARIANO (Costume Designer) became a costume
designer, she gained invaluable experience as a cutter, wardrobe supervisor and costume
illustrator.
Mariano most recently designed the costumes for The Words, which starred
Bradley Cooper and Zoe Saldana. Mariano previously designed costumes for Immortals,
Tous les autres, sauf moi, Mack Sennett, roi du comique and The Best Bad Thing.
Mariano’s selected credits as a costume supervisor include Punisher: War Zone,
Death Race, Godsend, Gothika, The Core and The Adventures of Pluto Nash. Mariano
has designed for a diverse list of television projects, such as the series Defiance and the
2010 miniseries Ben Hur.
30
GRAEME REVELL (Music by) made his first appearance on the film scene
with the chilling score to Dead Calm. Since then, Revell has gone on to score films for
such high-profile directors as John Woo, Wim Wenders, Robert Rodriguez, Ted Demme
and Michael Mann. Most recently, he scored The Experiment, Unthinkable, Days of
Wrath and Pineapple Express. Revell composed the music for the political documentary
Darfur Now. His work can be heard in the popular film adaptation of the “Sin City”
graphic novel series as well as in Blow, Grindhouse, The Chronicles of Riddick,
Daredevil, Lara Croft: Tomb Raider, The Insider, The Siege, The Negotiator, From Dusk
Till Dawn, The Crow and The Hand That Rocks the Cradle. Proving that his sound can
successfully cross genres and platforms, Revell scored the first season of the television
series CSI: Miami.
A native of New Zealand, Revell received classical training in piano and French
horn, but it was in an Australian psychiatric hospital where his career as a composer
began. Working as an orderly, he incorporated recordings of the sounds and rhythms of
patients at the hospital into the songs of his band, SPK, whose music landed him his first
film scoring gig on Dead Calm. Since then, Revell has written scores for more than 100
projects and earned an American Society of Composers, Authors and Publishers
(ASCAP) award and seven Broadcast Music, Inc. (BMI) Film Music Awards. In 2005,
he was honored by BMI with the Richard Kirk Award for Outstanding Career
Achievement.
31
CAST
Riddick
Santana
Boss Johns
Dahl
Diaz
Moss
Lockspur
Vargas
Falco
Nunez
Rubio
Luna
Vaako
Krone
Santana’s Prisoner
Consorts
VIN DIESEL
JORDI MOLLÀ
MATT NABLE
KATEE SACKHOFF
DAVE BAUTISTA
BOKEEM WOODBINE
RAOUL TRUJILLO
CONRAD PLA
DANNY BLANCO HALL
NOAH DANBY
NEIL NAPIER
NOLAN GERARD FUNK
KARL URBAN
ANDREAS APERGIS
KERI LYNN HILSON
CHARLIE MARIE DUPONT
JAN GERSTE
ANTOINETTE KALAJ
ALEXANDRA SOKOLOVSKAYA
TROY ROBINSON
MICHAEL SCHERER
GUILLERMO GRISP
FELIX FAMELART
CHARLENE FRANCIQUE
FRANÇOIS GAUTHIER
ZANDARA KENNEDY
PATRICK KERTON
DENNIS LAFOND
YAN LECOMTE
WARREN SCHERER
PHILLIPPE SOUVAY
MARTIN ST. ANTOINE
LEE VILLENEUVE
MAX WHITE
Stunt Coordinators
Fight Coordinator
Stunts
CREW
Directed by
Written by
Based on Characters Created by
Produced by
DAVID TWOHY
DAVID TWOHY
JIM & KEN WHEAT
VIN DIESEL
32
Executive Producers
Director of Photography
Production Designer
Edited by
Music by
Costume Designer
Casting by
Co-Producers
Associate Producers
Production Manager
1st Assistant Director
2nd Assistant Director
Visual Effects Supervisor
Visual Effects Producer
Creature Designer
Postproduction Supervisor
Art Director
Assistant Art Directors
Art Department Coordinators
Key Set Decorator
Set Decorators
Assistant Set Decorators
On-set Dresser
Set Dressers
A Camera Operator/Steadicam
B Camera Operator
1st Assistant A Camera
TED FIELD
SAMANTHA VINCENT
MIKE DRAKE
GEORGE ZAKK
DAVID EGGBY, ACS
JOSEPH NEMEC III
TRACY ADAMS
GRAEME REVELL
SIMONETTA MARIANO
ANNE MCCARTHY
JIM FINKL
MIKE WEBER
T.J. MANCINI
DAVID ORTIZ
THYRALE THAI
RONALD J. GILBERT
MYRON HOFFERT
RENATO DECOTIIS
GUNNAR HANSEN
DUSAN STRUGAR
PATRICK TATOPOULOS
LISA RODGERS
JEAN ANDRÉ CARRIÈRE
JOSEPH GAGNÉ
LOUIS-RENÉ LANDRY
ROBERT PARLE
ANNIE ST. PIERRE
ASUKA SUGIYAMA
DANIEL CARPENTIER
EVE BOULONNE
MARTINE KAZEMIRCHUK
FRANCOIS SENECAL
DAVID LARAMY
JOSÉ VARELA
MARC LABRIE
PATRICK BOULIANNE
LOUIS-FREDERIC DENOMMÉ
MARCO LAVALLÉE
OSCAR LOPEZ
MARTIN LUSSIER
DOUGLAS IAN MACLEAN
FRANCIS MORIN
STEPHANE ROBITAILLE
FRANCOIS DAIGNAULT
GEOFFROY ST. HILAIRE
NICOLAS MARION
33
1st Assistant B Camera
2nd Assistant A Camera
2nd Assistant B Camera
Remote Head Technician
Digital Imaging Technician
Data Wrangler
1st Assistant Editor
VFX Editor
Assistant Editor
Assistant VFX Editor
Postproduction PA
Supervising Sound Editor & Designer
Supervising Sound Editor
Production Sound Recordist
Boom Operator
Sound Department Assistant
Property Master
Props Buyers
On-set Props
Weapons Supervisor
Senior Armorer
Head Armorer
Armorer
Assistant Costume Designer
Costume Supervisors
Leather Master
Costume Buyers
Key Wardrobe Dresser
Mr. Diesel’s Dresser
Wardrobe Dresser
Assistant Wardrobe Dresser
Key Makeup Artist
Mr. Diesel’s Makeup Artist
Makeup Artist
Assistant Makeup Artist
Makeup Design/Makeup FX Dept. Head
Makeup FX Artists
ÉRIC GODBOUT
ROCH BOUCHER
ISABELLE LECOMPTE
DANIEL MOÏSE
JULIE GARCEAU
IAN MONGRAIN
BLAKE HARJES
TOM BRYANT
CHARLIE GREENE
CHRISTOPHER HILLS-WRIGHT
NOELLE HORELIK
SCOTT MARTIN GERSHIN
BECKY SULLIVAN, MPSE
PATRICK ROUSSEAU
MAXIME FERLAND
JONATHAN LAFOND
SIMONE LECLERC
ANNIE CARPENTIER
BENOIT JOLIVET
DENIS HAMEL
KATHLEEN SPEIGHT
CHRISTIAN LABRIE
PAUL BARRETTE
BRENT RADFORD
PIERRE LEBLANC
EUGENIE CLERMONT
SUZANNE CANUEL
LINDA LEDUC
AUGUSTO GRASSI
CAROLINE BRÉARD
KATINA KORDONOURIS
VALERIE LÉVESQUE
SOPHIE BEASSE
NATHALIE CHRETIEN
JULIE AMYOT
JEAN-DAVID SERAFINO
NICOLE LAPIERRE
ROXY D’ALONZO
CATHERINE LAVOIE
FANNY VACHON
ADRIEN MOROT
CAROLINE AQUIN
BRUNO GATIEN
JONATHAN LAVALÉE
KATHY TSE
MARK UNTERBERGER
34
Makeup FX Chief Sculptor
Makeup FX Sculptor
Key Hairdresser
Hairdresser
Script Supervisor
Key Lighting Technician
Best Boy Electrician
Best Boy Technician
Electricians
Key Rigging Gaffer
Rigging Gaffers
Best Boy Rigging Electricians
Rigging Electricians
Board Operators
Generator Operator
Key Grip
Best Boy Grip
Crane Operator/Dolly Grip
Dolly Grip
Grips
MICHEL BOUGIE
NIKO DRESIOS
MICHELLE COTÉ
ROCCO STALLONE
ELIZABETH TREMBLAY
JOHN LEWIN
DAN GOYENS
DANIEL SCHWARTZBERG
CHRIS BERTRAND
STEPHEN GOYENS
JOHN J. HARRIS
JEAN-SIMON LAFLAMME
SEBASTIEN LAUZON
CONSTANT LAVALLÉE
GILLES FORTIER
SYLVAIN BERGEVIN
JACOB FORTIER
PIERRE BEAULIEU
DANIEL GAGNON
MARCO VENDITTO
CHRISTIAN BERGERON
MICHAEL BOULONNE
SEBASTIEN BOURBONNIÈRE
CHRISTIAN CHABOT
CHRISTINE CHU
FREDERIC DEMERS
ALAIN DENIGER
NICOLAS HOEHN
MARC LABELLE
ERIC LEFEBVRE
MARCO LEVESQUE
SERGE RAYMOND
DAVID BERGERON
FRÉDÉRIC MARTIN
JEAN DÉCARIE
ROBERT BAYLIS
PAUL TREMBLAY
RICHARD BOUCHER
ALAIN BISSON DOYAL
DENIS BOIS
PAT BOURBONNIÈRE
YAN BRABANT
JOOST CLERINX
ALEXANDRE DE ERNSTED
JACYNTHE LABROSSE
STEVEN MCMAHON
35
Supervising Rigging Grip
Key Rigging Grips
Best Boy Rigging Grips
Rigging Grips
Production Coordinator
Assistant Production Coordinator
Travel Coordinators
Production Secretary
Third Assistant Directors
Storyboard/Concept Artist
Storyboard Artist
Concept Artists
Graphic Artist
Video Assist
Financial Controller
1st Assistant Accountant
Payroll Master
2nd Assistant Accountants
Accounting Clerk
Post Accountant
ANDRE POTVIN
CLAUDE SAUVAGEAU
STÉPHANE PILON
JEAN-FRANCOIS DUBÉ
STEPHANE SORENSEN
DAVID DINEL
SYLVAIN GIROUARD
PATRICE TREMBLAY
CHARLES BEACH
ALEX BOUCHARD
DANY BOURQUE
FRANCIS COMEAU
NICOLAS D’ANNUNZIO
PAUL DUCHESNE
MAXIME LANGLOIS
JF LARIVIERE
SANDRA LEBLANC
PIERRE-LUC L’ESPÉRANCE
MELANIE MORIN
JOËL POISSON
JEAN-CLAUDE ROBICHAUD
STÉPHANE ST. PIERRE
MAUDE TURCOT
SIMON TOUZIN
YANIE SALVAS
ESTEBAN SANCHEZ
YVES DESJARDINS
GABRIEL LAVINA
MELISSA HALARIDES
STEPHANE BYL
NATHALIA ORTELLI
CHARLES RATTERAY
DAVID HOGAN
VANCE KOVACS
EDWIN NATIVIDAD
MAURICE ROY
YANNICK CHAMPAGNE
FRANK ELLISON
NATHALIE LAGACÉ
LISE SERVANT
MAGGY BELZILE
NICOLE CHOW
NATHALIA COLETTE
CATHERINE GAGNON
PATRICIA GOMEZ ZLATAR
DIANA ASCHER
36
Assistant to Mr. Twohy
Assistant to Mr. Diesel
Assistant to Mr. Field
Assistant to Producers
Assistant to Mr. Mollà
Special Effects Supervisor
Special Effects Best Boy
Key Special Effects Technicians
Sr. Special Effects Technicians
Special Effects Technicians
SFX Assistant Technicians
Key Special Effects Rigger
Special Effects Rigging Technicians
Creature Effects Created by
Creature Effects Designed by
Creature Effects Production
Coordinator
Creature Effects Lead Artist
Creature Effects Lead Mechanic
Creature Effects Lead Mold Maker
Creature Effects Lead Painter
Puppeteers
Casting Associates
Casting Assistant
Extras Casting
Mr. Diesel’s Stand-in
Construction
Key Scenic Painter
Assistant Scenic Painter
On-set Painter/Scenic Painter
Key Sculptor/Molder
Assistant Sculptor/Coordinator
Assistant Sculptors/Molders
AMALIA SEMAAN
TARA AUSTIN
ALLISON BERGSTRAND
VALERIE DI PAOLO
GIUSEPPE FERLITO II
RYAL COSGROVE
PHILIPPE SOUVAY
DANA CAMPBELL
DAVID POLLAK
GUILLAUME MURRAY
MARC TRISTAN REICHEL
ANDY ANTOINE
VINCENT MARION
TIM WINCHESTER
MARC GODDING
STACEY GODDING
DEAN ROBINSON
MARTIN ST. ANTOINE
ALESSANDRO GALLIZZI
PASCAL SOUVAY
TINSLEY STUDIO
DHRISTIEN TINSLEY
ROBIN MYRIAH HATCHER
JASON HAMER
ERIC FIEDLER
MICHAEL EZELL
JULIAN LEDGER
ERIC FIEDLER
JASON HAMER
ANNE LALANCETTE
CLEA MINAKER
VICKI VEENSTRA
FREDDY LUIS
WAYNE MORSE
MORGAN ROBBINS
JOHANNE TITLEY
ROBERT BASTENS
MICHEL BROCHU
REJEAN BROCHU
ALAIN GIGUÈRE
MICHEL ROBICHAUD
LUC DE SCHUTTER
LUCIE FOURNIER
ANNE-MARIE FISETTE
GILLES DAVID
37
Key Greensperson
Assistant Greensperson
Unit Manager
Assistant Unit Manager
Set Production Assistant
Production Assistants
Art Department Production Assistant
Transportation Coordinator
Transportation Captain
Mr. Diesel’s Driver
Stills Photographer
Publicist
EPK Cameraman
Catering by
Key Craft Service
Craft Service
Medics
Re-recording Mixers
Sound FX Editing and Design
Dialogue Editors
Supervising Assist. Sound Editor
Sound Services by
Dubbing Services by
ADR Mixer
ADR Recordist
CLAUDE MASSICOTTE
ROBERT TINO PETRONZINO
MARIE CLAUDE BOLDUC
DYLAN LA FRENIÈRE
DAIEL ROSS
PATRICK LAMARRE
DENIS VERRETTE
CHANTAL ALLARD
MARTIN BRISEBOIS
GUENAEL CHARRIER
GABRIEL GUÉRIN
LOUIS-ETIENNE HÉBERT
MAXIME MERCIER
JEAN-PHILIPPE CARIGNAN
DANIEL MATTHEWS
JOHN BOBER
NICK CARASOULIS
JAN THIJS
STEPHANIE KEATING
ANDRÉ PAUL THERRIEN
SILVER SCREEN CATERING
ARRÊT DE BUS
ETIENNE POULIN
ROLAND CHAPUT
SYLVAIN CHAPUT
ROBERT HARRISON
DANIEL LEPAGE
STEVEN MESQUITA
LOUIS-PHILIPPE PARENT
GINETTE TRAVERSY
MARC FISHMAN
CHRISTIAN P. MINKLER
KRIS FENSKE
STEPHEN P. ROBINSON
KAREN TRIEST
CSABA WAGNER
TIM WALSTON, MPSE
SCOTT WOLF, MPSE
PETER ZINDA, MPSE
JULIE FEINER
MARGIT PFEIFFER
DAVID STANKE
SOUNDELUX
TODD-AO
MICHAEL MILLER
KYLE KRAJEWSKI
38
Foley Artists
Foley Recording Mixers
Foley Recordists
Foley Recorded at
Music Editor
Music Programming
Music Mixer
Visual Effects Coordinator
VFX Assistant Coordinator
On-set VFX Coordinator
On-set VFX Technicians
VFX Post Visualization
2nd Unit VFX Supervisor
GORO KOYAMA
ANDY MALCOLM
JACK HERREN
IAN RANKIN
DON WHITE
STEPHEN MUIS
JENNA DALLA RIVA
FOOTSTEPS POST-PRODUCTION
SOUND INC.
GORDON FORDYCE
BORIS ELKIS
ROBERT REVELL
MARK CURRY
SVETLANA TESNES
TIM BRODSKY
CHARLES-DAVID DESCHÊNES
PAUL GILLOT
MARK MORGENSTERN
ALBERT ANG
JONATHAN LEGRIS
VISUAL EFFECTS BY MOKKO
VFX Executive Producer
VFX Producer
VFX Supervisor
Creature Designer
CG Supervisor
VFX Line Producer
VFX Coordinators
Modeling Artists
Lead Texture
Texture Artist
Matte Painting
3D Artists
Lead Rigging
Lead Layout/Tracking
Animation Supervisor
Animators
DANNY BERGERON
MARC A. ROUSSEAU
ALAIN LACHANCE
ARNAUD BRISEBOIS
LOUIS PARE
PATRICK GUEVIN
SABRINA GAGNON
MATHIEU TREMBLAY
COMINIC PICHE
YVES RAINVILLE
MAJORIQUE ARCHAMBAULT
SARA FONTAINE
RON BOWMAN
DHAMINDRA JEEVAN
LINO KHAY
PASCALE ST. PIERRE
LOUIS DESROCHERS
PIERRE-OLIVIER LEVESQUE
FREDERIC FORTIN
ANDREI SAVU
MICHAEL ARCHAMBAULT
EMILE GHORAYEB
ADIREN ANNESLEY
39
Lead Lighting
Lighting TD
Lighting Artists
Lead VFX
FX Artists
Compositing Supervisor
Compositors
TDs
MARC-ANDRÉ BENOIT
CLAIRE DEBERLE
MARCO FOGLIA
JEAN-RENAUD GAUTHIER
BRENT GEORGE
JEAN-FRANCOIS GIGNAC
DOMINIC MARCOTTE
TARANJEET MATHARU
OMAR MORSY
DAVID ROUX
ANNE-MARIE VAILLANCOURT
PHILIPPE ZEROUNIAN
PATRICK COITEUX
DOMINIC GUILMETTE
IAN ALLARD
SÉBASTIEN BEAULIEU
BRUNO CHAMPAGNE
PHILIPPE DAVID
BRUCE GAGNE
SAMUEL JACQUES
LUDOVIC LEBART
ERIC NOEL
SÉBASTIEN QUESSY
KEVIN SEIVEWRIGHT
ALEXANDRE AILLET
ANTONIN FISETTE
VINCENT FORTIN
ANTHONY FRISTOT
THOMAS HULLIN
KEVIN LANDRY
BENJAMIN RIBIÈRE
ELOI BRUNELLE
LEE BRUNET
ANDREA ESPINAL
MICHEL FRENETTE
THOMAS HALLE
ALEX JADFARD
PETER KOSS
LOUIS LAFLAMME-FILLION
YANN LALIBERTÉ
MARTIN LARRIVÉE
PHILIPPE ROBERGE
LAURENT SREY
VALENTIN TRASNEA
GUY DUBOST
MARC-ANTOINE PAQUIN
40
MARK VISSER
VISUAL EFFECTS BY METHOD
VFX Supervisor
VFX Producer
Production Manager
VFX Coordinator
CG Supervisors
Animation Lead
3D Animators
3D Lighting Lead
3D Lighting
Modeling Lead
3D Modelers
FX Lead
FX Artists
Compositing Supervisor
Compositing Leads
Compositors
VFX Supervisor (Vancouver)
VFX Producer
VFX Coordinator
Compositing Supervisor
NORDIN RAHHALI
P. WHITNEY GEARIN
JACK LILBURN
LAUREN GUERARD
CHARLES ABOU AAD
OLIVIER PRON
SEAN SCHUR
JORDAN HARRIS
BENJAMIN MATTERN
JAMES PARRIS
CHRIS PERKOWITZ
AARON SCHULTZ
RUEL SMITH
BILL WRIGHT
KEVIN SEARS
ALEXANDER LEE
JUSTIN LLOYD
DAVID LO
AARON VEST
LERSAK BUNUPURADAH
SUNG-CHURL KIM
ALEX WHANG
JONATHAN VAUGHN
ARREV CHANTIKIAN
SERGEY KOSAREFF
JONATHAN MACK
DAVID REY
SANDRO BLATTNER
DONALD STUBLER
KRISTA BENSON
MATHIAS FRODIN
SAMUEL JØRGENSEN
NICHOLAS KIM
TOM MCHATTIE
KAMA MOIHA
CARLOS MORALES
MARC NANJO
MATT WELCH
OLLIE RANKIN
KOREY CAUCHON
LAUREL MONTGOMERY
ANDREAS JABLONKA
41
Lead Compositor
Lighter
Pipeline TD
VFX Producer (London)
Concept Artist
NORBERT RUF
CHRISTOPHER STEWART
GEOFF HARVEY
CATHERINE DUNCAN
PAUL CHANDLER
VISUAL EFFECTS BY RAYNAULT VFX
VFX Supervisor
VFX Producer
CG Supervisor
3D Artist
MATHIEU RAYNAULT
WENDY GIPP
SYLVAIN THEROUX
STÉPHANIE MORIN
VISUAL EFFECTS BY OBLIQUE FX
VFX Executive Producer
VFX Supervisor
CG Supervisor
VFX Coordinator
Compositors
Texture Artists
CG Artists
BENOIT BRIÈRE
PIERRE-SIMON LEBRUN-CHAPUT
JEAN FRANÇOIS LAFLEUR
CYNTHIA CARRIER
MICHAËL BEAULAC
VANESSA DELAROSBIL
PATRICK DION
AÉLIS HÉRAUD
FÉLIX LAFONTAINE
LOUIS-ALEXANDRE LORD
ANTOINE WIBAUT
CATHERINE HÉBERT
ANTOINE ROULEAU
GABRIEL MORIN
DAVID RAYMOND
VISUAL EFFECTS BY ENTITY FX
Senior VFX Supervisor
VFX Supervisor
VFX Executive Producer
VFX Producer
VFX Associate Producer
VFX Coordinators
I/O Manager
CG Supervisor
3D Artists
MAT BECK, ASC
RYAN EPP
DANIEL RUCINSKI
PERSIS REYNOLDS
JOHN OWENS
AMY BRUNOLLI
NICOLA WILLIAMSON
MICHAEL ARMSTRONG
DAVID ALEXANDER
LUIS ALBERT CAYO
LESLIE CONOVER
SAMANTHA HOWZE
MICHAEL NICOLAS
42
Lead Compositors
Matte Painters
Compositors
Paint/Roto Artists
ADEDUNMOLA OLANREWAJU
JAMES ROBERTS
RIK PANERO
KAZUYO YOSHIDO
MARTIN HALL
CHRIS POUNDS
MAXX BURMAN
MAX GABL
DARK HOFFMAN
EDWARD ANDERSON
MICHAEL BALZER
GIADA BRUSCHINI
KAELEN COHEN
JADAN DUFFIN
KORNEL FARKAS
BELINDA FUNG
SETH HELPAP
STU HUNTER
GREG PILON
CHAD REDER
JEREMY RENTERIA
PAUL SANTAGADA
MARTHA SOEHENDRA
CAROL YOUNG
YUN MI AHN
IAN BLOUGH
JACOB DEBBS
NINELI KHANIAN
SHAWN LOPEZ
KELLY MCSWAIN
BILLY ROBINSON
FELIPE VENEGAS
VISUAL EFFECTS BY PROOF
Previsualization Producer
Compositing Supervisor
Previsualization Artist
Postvisualization Artists
RON FRANKEL
RAUL MORENO
JEREMY BROWN
MONTY GRANITO
LONG-HAI PHAM
VISUAL EFFECTS BY MODUS FX
VFX Supervisor
VFX Executive Supervisor
VFX Producers
MARTIN PELLETIER
YANICK WILISKY
JANICE JACOBS
43
VFX Executive Producer
VFX Project Manager
Lead Matte Painting
Lead Modeler
Lead Rigger
Lead TD
Lead Tracking and Layout
Animation Lead
Lead TD Lighting
Lead FX
Compositing Supervisor
ANOUK DEVEAULT MOREAU
MARC BOURBONNAIS
JEANNE-ÉLISE PRÉVOST
NICOLAS CLOUTIER
MATHIEU PHANEUF
BRUNO BLAIN
ALOK GANDHI
AKIE PRAPAS
HIROYUKI DAVID YABU
FRANÇOIS GENDRON
DANNY LÉVESQUE
MARC MASSICOTTE
VISUAL EFFECTS BY COMEN VFX
VFX Supervisor
VFX Producer
Lead Compositor
VFX Scanning
TIM CARRAS
JOSH COMEN
BRANDON CRISWELL
XYZ RGB, INC.
SPLINTER UNIT
Director of Photography
1st Assistant Director
2nd Assistant Director
Camera Operators/Steadicam
Camera Operator
1st Assistant Camera
2nd Assistant Camera
Key Wardrobe Dresser
Wardrobe Dresser
Key Makeup Artist
Makeup Artist
Hairdresser
Key On-set Props
On-set Props
Digital Imaging Technician
Data Wrangler
Script Supervisors
Gaffer
Best Boy Electrician
Electricians
ROBERT MATTIGETZ
SEAN DWYER
BETHAN MOWAT
FRANCOIS ARCHAMBAULT
DANIEL SUAVÉ
FRED CHAMBERLAND
PAT BEAULAC
RENÉ FRÉCHETTE
CATERINA CHAMBERLAND
SABRINE CANUEL
SOPHIE LEBEAU
GILLIAN CHANDLER
GHISLAINE SANT
IAN LAVOIE
SYLVAIN JOYAL
JEAN-FRANCOIS GRAVEL
COLIN BEAUDRY
ISABELLE FAIVRE DUBOZ
NATHALIE PAQUETTE
CHARLES BEETZ
PETER MATHYS
MITCHELL MATHYS
MICHAËL OHAYON
DANIEL VACHON
44
Board Operator
Generator Operator
Key Grip
Best Boy Grip
Dolly Grip
Grips
Key Special Effects Technician
Assistant Unit Manager
Set Production Assistant
Craft Service
Digital Intermediate by
Digital Film Colorist
Digital Intermediate Producers
Digital Intermediate Editors
Dailies Project Manager
Dailies Colorist
Main Title Design and End Credits by
Camera Cranes by
Equipment Supplied by
Clearances by
Production Legal Services by
Dolby Sound Consultant
MAXIME ARCHAMBAULT
ERIC MORIN
BERTRAND DUPUIS
AMELIE DOUVILLE
SIMON HÉBERT
ETIENNE GEOFFRION
HUGO LONGTIN
RODOLPHE PAQUEREAU
MICHEL GAGNON
CHANTAL DESGAGNÉ
PAULO QUINTANS
ZOHRA SEBBAR
TECHNICOLOR CREATIVE SERVICES,
MONTREAL
MICHAEL UNDERWOOD
BRUCE LOMET
CATHERINE SAINT-HILAIRE
SERGE HARVEY
MARK SAHAGUN
STEFANIE GUADAGNINO
TREVOR WHITE
PJF PRODUCTIONS, INC.
GRIPWORX, INC.
LOCATIONS MICHEL TRUDEL, INC.
HOLLYWOOD SCRIPT RESEARCH
WENDY HELLER
THOM EHLE
SOUNDTRACK ON BACK LOT MUSIC
Special Thanks to:
Québec Film and Television Council
FILMED WITH PANAVISION CAMERA AND LENSES (Logo)
DATASAT Logo
SDDS Logo
MPAA Certificate # 48005 Logo
IATSE 514 Logo
DGC Logo
Dolby Digital Logo
ACTRA Logo SAG Logo
ITASE 667 Logo
Quebec Film and Television Council (Logo)
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COPYRIGHT © 2013 RIDDICK CANADA PRODUCTIONS, INC.
All Rights Reserved.
Animated Universal Studios Logo © 2013 Universal Studios
Riddick Canada Productions, Inc. is the author of this motion picture for purposes
of the Berne Convention and all national laws giving effect thereto.
THE CHARACTERS AND EVENTS DEPICTED IN THIS PHOTOPLAY ARE FICTITIOUS.
ANY SIMILARITY TO ACTUAL PERSONS, LIVING OR DEAD, IS PURELY COINCIDENTAL.
THIS MOTION PICTURE IS PROTECTED UNDER THE LAWS OF THE UNITED STATES
AND OTHER COUNTRIES. UNAUTHORIZED DUPLICATION, DISTRIBUTION OR EXHIBITION MAY
RESULT IN CIVIL LIABILITY AND CRIMINAL PROSECUTION.
Credits as of Monday, November 19, 2012
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