Production Notes
For additional publicity materials and artwork, please visit:
www.lionsgatepublicity.com
Rating: Rated PG-13 (For violence / terror and disturbing content)
Running time: 97 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
16th floor
New York, NY 10019
T: 212-386-6874
E: akersh@lionsgate.com
THE CAST
Sydney Wells……………………………………………………………..JESSICA ALBA
Dr. Paul Faulkner………………………………………………ALESSANDRO NIVOLA
Helen Wells……………………………………………………………..PARKER POSEY
Simon McCullough…………………………………………………RADE SERBEDZIJA
THE FILMMAKERS
Directed by……………………………………DAVID MOREAU and XAVIER PALUD
Screenplay by………………………………………………...SEBASTIAN GUTIERREZ
Based on the Chinese-language motion picture “The Eye” (aka “Gin Gwai” aka “Jian
Gui”) by……………………………... Jo Jo Yuet-chun Hui, Oxide Pang and Danny Pang
Produced by…...………………………………………………………PAULA WAGNER
……………………………………………………………………….......DON GRANGER
…………………………………………………………………...MICHELLE MANNING
Executive Producers……………………………………………………...MIKE ELLIOTT
……………………………………………………………………………...PETER CHAN
……………………………………………………………………………….......ROY LEE
………………………………………………………………………….DOUG DAVISON
………………………………………………………………….MICHAEL PASEORNEK
…………………………………………………………………………….PETER BLOCK
………………………………………………………………………..TOM ORTENBERG
………………………………………………………………………...DARREN MILLER
Line Producer……………………………………………………………JACK MURRAY
Director of Photography……………………………………………..JEFFREY JUR, ASC
Production Designer…………………………………………………...JAMES SPENCER
Edited by……………………………………………………………..PATRICK LUSSIER
Costume Designer…………………………………………….….MICHAEL DENNISON
Music by…………………………………………………………....MARCO BELTRAMI
Music Supervisor…………………………………………………………….JAY FAIRES
Casting by………………………………………….NANCY NAYOR BATTINO, C.S.A.
……………………………………………………………...KELLY MARTIN WAGNER
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SYNOPSIS
Sydney Wells (JESSICA ALBA) is a renowned Los Angeles-based concert violinist.
Intelligent, accomplished, and strongly independent; she also happens to be blind, the
result of a childhood tragedy. As the story begins, Sydney undergoes a double corneal
transplant that restores her sight after more than two decades of blindness. After the
surgery, neural specialist Dr. Paul Faulkner (ALESSANDRO NIVOLA) is enlisted to
help Sydney cope with the difficult adjustment of regaining her sight and making sense of
what she begins to see. Coupled with the support of her older sister, Helen (PARKER
POSEY), Sydney’s world slowly starts to come back into focus.
But Sydney's happiness is short-lived. Inexplicable bizarre and frightening images begin
to haunt her. Are they a temporary result of her surgery? Are they caused by Sydney's
mind adjusting to sight? Are they products of her imagination? Or, are they something
horrifically worse? As Sydney's family and friends begin to doubt her sanity, Sydney is
soon convinced that her new eyes have somehow opened the door to a terrifying world
only she can see.
From Lionsgate and Paramount Vantage, THE EYE is an eerie, bone-chilling,
supernatural thriller that tests the boundaries of perception and reality. Directed by David
Moreau and Xavier Palud, the team who directed the suspenseful international hit French
film, ILS (THEM), THE EYE stars Jessica Alba, Alessandro Nivola, Parker Posey and
Rade Serbedzija. THE EYE is produced by Paula Wagner, Don Granger and Michelle
Manning with Mike Elliott, Peter Chan, Roy Lee, Doug Davison, Michael Paseornek,
Peter Block, Tom Ortenberg and Darren Miller serving as executive producers.
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ABOUT THE PRODUCTION
Cellular Memory \ ‘sel-yə-lər\ ‘mem-rē\:
A phenomenon in which transplant recipients
display the characteristics of the donor.
How do we judge what is real? Can our eyes be trusted to not mislead, to show
things as they are? How do we know that what we are seeing is really there?
Over
30,000 Americans undergo corneal transplants each year, and is quickly becoming
commonplace procedure. But, what would happen if something unforeseen occurred?
THE EYE portrays the terrifying events that befall a young woman, Sydney Wells, who
undergoes such a procedure, but she soon discovers her new eyes bring with them far
more than she ever expected.
Sydney Wells, the protagonist in THE EYE, is not your typical movie heroine.
Blinded in both eyes after a tragic childhood accident, she’s beautiful, confident, and,
despite her disability, has managed to achieve a happy, fulfilling life as a successful
concert violinist in Los Angeles. At the urging of her sister, Sydney elects to undergo a
double corneal transplant in the hopes of regaining her sight. This life-changing surgery
catapults her into a nightmarish odyssey that challenges her most fundamental notions of
sanity, identity and perception. Is she experiencing the phenomena of cellular memory,
or it something far worse that exceeds the limits of the imagination? For Jessica Alba, the
stunning star of such hits as SIN CITY and the FANTASTIC FOUR movies, tackling the
role of Sydney offered a unique and exciting opportunity to stretch as an actor and delve
into a rich, multi-faceted character.
“Sydney is a challenging part that required a lot of preparation,” says Alba. “I
was really looking for the right thriller/horror movie to do, and most of them are slasher,
gore-for-gore’s sake and vulgar. But THE EYE is very classy, elegant and beautifully
written, and Sydney is such a unique, interesting person. Her journey, the process of
regaining her sight and then everything that she faces afterwards, it really intrigued me.”
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From Lionsgate and Paramount Vantage, THE EYE is based on the 2002
Taiwanese horror film of the same name written by Jo Jo Yuet-chun Hui, Oxide Pang and
Danny Pang and directed by the Chinese filmmaking duo Danny Pang and Oxide Pang.
The film, which was an international hit, caught the attention of C/W Productions, who
bought the rights for an American remake. “Great films have at their core characters who
are trying to achieve something on either a physical or emotional level,” states Paula
Wagner.
“Alba’s character Sydney overcomes her physical disability,” continues
Wagner, “and following cornea transplant she learns that she must rediscover who she is
and her place in the world and must learn to handle the emotional changes that come with
it.”
Executive Producer Michael Paseornek commented, “The original Asian film is a
favorite among critics and horror fans alike. We are excited to be re-inventing this smart
thriller with Jessica -- our second film with her in a year -- as well as with the very
respected and creative filmmaker Paula Wager, Don Granger and her team at C/W. Our
directors Xavier and David will deliver what we are sure will be an edge-of-your-seat
thriller.” In developing the script, C/W producer Don Granger worked closely with
screenwriter Sebastian Gutierrez, saying that “there is a fine line when re-interpreting a
film that has already garnered international success. It is a constant challenge to improve
upon the original source and maintain the integrity of the story.”
While THE EYE is propelled by supernatural elements, the film’s plot hinges on
an actual scientific phenomenon known as cellular memory. Explains executive producer
Darren Miller, “People who undergo organ transplants have been known to take on
behaviors of the individual from whom they received the organ.”
Adds Wagner, “Someone may receive the organ of a smoker, and consequently,
they suddenly get this odd desire to smoke. Or, they find themselves strangely being
drawn to sports, only to discover their donor was a sports fanatic. Of course, THE EYE is
fictional, but explores the real life phenomena and takes it into the supernatural.”
In the search for a director for the project, the producers approached French
directing duo David Moreau and Xavier Palud, who gained international acclaim for ILS
(THEM), a taut thriller they wrote and directed about a young couple who is terrorized by
unseen forces in the French countryside. Of the many horror projects Moreau and Palud
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were subsequently offered, THE EYE was their favorite. “What we liked was the fact
that we could really work on what was not obviously supernatural,” explains Moreau.
“There were great opportunities to play with the audience’s minds, to show them things
that they couldn’t determine were real.”
Moreau and Palud were intent on maintaining the ambiguity of Sydney’s sanity.
Sydney is convinced that the dark and terrifying visions she sees following her operation
are real, but her doctor and her sister can’t help but conclude that she’s undergoing a
psychological breakdown. Says Alba, “This story is scary in a different way because the
audience is never sure if my character really is seeing things or if she’s just losing her
mind. Walking that line allows the audience to really put themselves in Sydney’s shoes.”
“I think it's the unseen that’s always more scary,” adds Moreau. “It’s all about
finding the right balance between showing and not showing, and letting the audience use
their imagination.”
The French directors clearly remember the moment they first met Alba. “She
came in the room and we were both so impressed with her eyes,” Moreau says.
“Physically, She was exactly how we pictured Sydney.” On set, the directors were
thrilled with Alba’s talent and preparedness. “Every day on the set she surprised us with
her commitment to the character,” recalls Moreau. “She was always on the same track as
we were.”
Faced with the daunting task of convincing audiences that Sydney is both blind
and a violin virtuoso, Alba began preparing for her role four months in advance of the
shoot. “The fact that I play a classical violinist was not why I did the movie,” laughs
Alba.
“It was definitely an interesting thing I had to tackle.” Adds Wagner, “Jessica
Alba is a gifted actress who commits to the role and stays committed throughout the
process with great integrity. She is a consummate professional and plays the character
with subtlety, grace, and authenticity, and it’s really quite an impressive performance.”
The script called for Sydney to play a number of scenes in which her violin skills
had to be shown onscreen. The directors were resolute about showing Jessica actually
playing the violin, rather than miming the musical performances. “I started taking violin
lessons while I was shooting the second FANTASTIC FOUR movie,” says Alba. “I had
to train for months just to learn how to hold the bow and violin properly and that’s only
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half the battle. I’m playing complicated classical pieces in the film, so I had to learn how
to actually play the notes.”
“The violin is one of the most difficult instruments to play,” adds Moreau, who
has a musical background and plays the piano. “Every violinist will tell you that if you
stop practicing for two days, you have to work for months to get it back. Luckily for us,
Jessica was a really good student.”
Equally challenging for Alba was playing a woman who is blind. She spent time
living at the New Mexico Commission for the Blind (NMCB), and received training
under the guidance of a certified orientation mobility instructor.
Greg Trapp, the
executive director of the NMCB, explains, “She went through the program just like
anyone else might who has lost their vision. The staff helped her gain the confidence to
play a blind person convincingly, which is an essential part of the character.”
Impressed with the script and the character of Sydney Wells, Trapp and his staff
consulted on many details concerning Sydney’s blindness and also provided many props,
such as a Braille embosser and a note-taking device, which are commonly found in a
blind person’s home. Trapp and his staff particularly appreciated the production’s honest
portrayal of a blind woman. Explains Trapp, “What we like about Sydney is the fact that
she’s an individual who’s competent, capable, articulate – in all ways normal who just so
happens to be blind.”
Alba was particularly inspired by the time she spent with a young female
musician who has been blind since childhood. “I hung out with her and picked up on
how she interacts with people, how she gets around in the world, walks down a street,
figures out her landscape and moves around with such ease.” The experience, Alba
admits, corrected a lot of misconceptions she had about being blind. “Most people,
including myself, are ignorant of what it really means to be blind,” she says. “I had a lot
of notions of what it would be like and this woman threw that out the window. She coexists with sighted people, competes with sighted people for jobs, and she gets them.”
“Sydney’s a very, very strong character, and we wanted audiences to see and feel
that in the movie,” adds Moreau. “We never wanted to portray her as weak or helpless.
Jessica trained particularly hard to make her as real and human as possible.”
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For the role of Dr. Paul Faulkner, a neural specialist who helps Sydney with her
transition into the sighted world, the filmmakers turned to Alessandro Nivola
(FACE/OFF, LAUREL CANYON, JUNEBUG). “Dr. Faulkner gets very involved in the
case because Sydney’s condition is highly unusual,” says Nivola.
“He’s a very
scientifically oriented person, entirely skeptical about there being any kind of
supernatural reality, so he really supports the possibility that it’s just a psychological
phenomenon she’s experiencing.”
Nivola, who was a fan of Moreau’s and Palud’s first film, was excited by the
strain of realism that the directors brought to THE EYE. “In these movies where the
primary objective is to scare the audience, it’s such an added bonus if you can create a
real relationship between the characters on top of the thrill factor,” he says.
“We can rave about Alessandro for hours,” reports Moreau.
“Like Jessica,
Alessandro’s first love is the script. He really worked on turning what was a typical
doctor into a really original, smart character. He came up with a lot of ideas that added
depth to the role.”
Adds Wagner, “Alessandro brings a wonderful boyish charm to what is an
otherwise serious role. You really get a sense that he became his character.”
Like Alba, Nivola spent weeks researching, acquainting himself with neural
psychology and the details of his on-screen profession. “The research period of a movie
has always been arguably the most exciting part of the process for me,” admits Nivola.
“Having the chance to play people who have special knowledge of certain fields that I
know nothing about has always seemed to me an opportunity to educate myself about
something or have an experience that I would never have otherwise.”
“The thing that was most fascinating to me,” he continues, “was the neurocognitive tests that are run on people when they first come in with a disorder. They're
really exotic and eccentric and strange. The doctors were very reluctant to disclose what
the tests were, because it could ruin it altogether for people in the future.”
Aside from Dr. Faulkner, the person Sydney turns to for support is her sister,
Helen, who is portrayed in the film by Parker Posey (DAZED & CONFUSED, BEST IN
SHOW, SUPERMAN RETURNS). Helen feels responsible for the childhood accident
that claimed Sydney’s eyesight, and is consequently deeply invested in the surgery and
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her sister’s recovery. “There’s something kind of sad about Helen,” admits Parker Posey.
“Helen’s lived her whole life with this guilt. She always wanted to change her sister’s
fate, and when she finally does, it makes things worse and her guilt is stronger than ever.”
“Parker has deftness with character,” says Wagner. “In a film like THE EYE, you
want to draw characters that have depth and you don’t always have a lot of screen time in
which to do it, so it is always a blessing to have an actor like Parker in your film.”
Parker was also impressed by Moreau and Palud on set. She says, “They have
this passion and excitement. A lot of American directors are a little restrained. But
Xavier and David have these amazing ideas and they get what they want. I really respect
them.”
Although THE EYE takes place in Los Angeles and Mexico, in order to maximize
time and resources, the production began in Albuquerque, New Mexico. With a short
schedule and a crack artistic crew, including veteran production designer James Spencer,
who is responsible for the look of such classic films as ROCKY and POLTERGEIST,
and cinematographer Jeffrey Jur, ASC, the film was made in an abandoned semiconductor plant converted to a soundstage and on ten locations, including the Old Santa
Fe Railyard, downtown Albuquerque, the Albuquerque National Dragway and Isleta
Pueblo.
The production then moved to Los Angeles, filming in downtown and at
UCLA’s Royce Hall, among other locations.
In designing Sydney’s apartment, it was
key for James Spencer to research how a blind person would live, and also to collaborate
with the directors to create an environment of fear. Adds James Spencer “During Preproduction, Greg Trapp and his wife, who are blind, hosted 15 of us in their home for
dinner to show how normally people without sight live. They are just like you and me
which made designing Sydney’s apartment even more interesting because it was about
finding the subtle differences and then finding a way to make it scary… The hallways in
the apartment building curve just enough so that the audience can’t see what’s just around
the corner, playing with the idea that the unknown is just as frightening, if not more so,
than what is known.”
In creating the visual world of Sydney Wells, Jeffrey Jur worked closely with the
directors in trying to ascertain what her point of view would look like. Through a
combination of lighting techniques and groundbreaking lens design, Jur was able to allow
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the audience to see through the eyes of our main character, as well as establish the tone of
the film, maintaining this feeling that Sydney is constantly shrouded in darkness.
Helping Moreau and Palud facilitate the look of the unreal were make-up artists
Matthew Mungle (BEOWULF, SPIDERMAN 3, X-MEN: THE LAST STAND), Richard
Redlefsen (INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL,
PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST, UNDERWORLD) and the
Asylum Visual Effects team (DÉJÀ VU, THE ISLAND, NATIONAL TREASURE). In
creating the elements of the supernatural, it was important to adhere to the subtlety of the
story and play on the idea of questioning one’s own sanity. This created a delicate
balance between practical make-up effects and special visual effects that were later added
in postproduction. In working with Asylum and Mungle, it was important to the directors
that the effects enhance the characters’ world, but not detract from the inner mental
conflict that they are going through.
Adding the final touches to a film that is largely about a visual world and the
power of individual perception is the score by Marco Beltrami (3:10 TO YUMA, LIVE
FREE OR DIE HARD, THE OMEN) and Sound Design by three time Academy Award®
–winner Mike Minkler (DREAMGIRLS, CHICAGO, BLACK HAWK DOWN).
Beltrami’s score has an equally strong component in reflecting the mental and emotional
state of the characters.
Adds Producer Michelle Manning, “When you think about how
Sydney Wells perceives the world before her surgery, it is through the landscape of
sound. Without sight, her other senses must compensate, so through the course of the
film, it is important to give the audience the same acuity by adjusting music and sound
effect levels to draw their attention to the details that Sydney hears, that the normal ear
may not pick up.”
As THE EYE approaches its release in theaters, the filmmakers believe they have
created a vision that is both real and surreal through the careful attention to character and
storytelling, but also deliver a number of good scares. Explains Wagner, “I think THE
EYE is effective because it has elements that will appeal to both the fans of the traditional
horror genre and to those who love going to a basic thriller. It has some jump out of your
seat moments that are really scary, but on another level it has a haunting quality that stays
with you until after you leave the theatre because until the end you are never quite sure
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what is real and what isn’t. It’s truly chilling to think that this story is based on a real
phenomena and it could happen to anyone in the audience.”
For Moreau and Palud, all of the elements of THE EYE, from the performances to
the score to the visuals, were carefully layered to coalesce and build to the film’s pulsepounding final scenes, bringing the audience to the edge of their seats.
The final
moments of the film bring a sense and understanding to this young woman’s journey into
the mouth of madness and back. “I think that people will walk in with one idea of what
this might be, and walk out affected in a different way,” adds Alba. “This movie is far
richer than it might seem on the surface, and I hope people will feel more connected to
this movie than they expected.”
###
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ABOUT THE CAST
JESSICA ALBA (Sydney Wells) fell in love with acting at a very early age, becoming active
professionally at the age of 12. She began studying with acting coaches in Los Angeles and,
shortly thereafter, landed at the Atlantic Theatre Company, where she studied with founders
William H. Macy and David Mamet.
Alba first achieved worldwide recognition as the lead character in James Cameron’s “Dark
Angel,” Mr. Cameron’s first project after the history-making TITANIC and his first television
venture. In the series, Alba portrayed Max, a genetically-enhanced human prototype who escapes
from her government captors only to live out her life on the run in the underground of 21 st
Century Seattle. In the series’ first season, she was nominated for a Golden Globe and a People’s
Choice Award. She was voted the TV Guide Award as Breakout Star of the Year by readers, and
won Favorite TV Actress at the 2001 Teen Choice Awards. “Dark Angel” has been a success
around the world, helping to establish her as an international star.
Her early feature film credits include 20th Century Fox’s NEVER BEEN KISSED, starring and
produced by Drew Barrymore, as well as the thriller, IDLE HANDS for Sony Pictures. She later
starred as the title character in Fine Line Features’ romance THE SLEEPING DICTIONARY, a
period drama which co-starred Brenda Blethyn, Bob Hoskins, Emily Mortimer, Noah Taylor and
Hugh Dancy. Her first starring role in a major studio film was the 2003 release HONEY. The
contemporary urban drama from Universal Pictures grossed over $60-million worldwide.
In 2005, Alba’s film career began to catch fire. She starred opposite Bruce Willis and an all-star
cast in the provocative and critically acclaimed SIN CITY, directed by Robert Rodriguez and
Frank Miller. She next starred as Sue Storm ‘The Invisible Girl’ in Marvel Comics’ actionfranchise blockbuster FANTASTIC FOUR, which was released by 20th Century Fox in July 2005
and became a worldwide box-office success, with over $300 million in revenue. Later the same
year, she starred in the 2005 underwater action-adventure INTO THE BLUE.
In 2005, the combined worldwide box office for FANTASTIC FOUR, SIN CITY and INTO THE
BLUE totaled over half a billion dollars. There is talk of a sequel to SIN CITY and the next
installment of the popular comic book adaptation, FANTASTIC FOUR: RISE OF THE SILVER
SURFER, opened worldwide in June 2007 to international box-office success.
Alba was seen most recently in the psychological thriller AWAKE with Terrence Howard,
Hayden Christiansen and Lena Olin. She recently starred opposite Dane Cook in the romantic
comedy GOOD LUCK CHUCK and has completed filming Paramount Pictures’ THE LOVE
GURU, opposite Mike Myers, which will open in Summer 2008.
Alba has appeared in a several iconic and lucrative endorsement campaigns including the famous
Got Milk? “milk mustache” campaign and was featured in a star-studded 30th Anniversary
campaign for The Gap, as well as other prestigious campaigns in the U.S. and internationally.
She recently signed a global endorsement contract representing Revlon, joining an elite group of
beauties representing the brand, including Halle Berry, Eva Mendes and Sheryl Crow.
She showcased her comedic talents as host of the 2006 MTV Movie Awards and she has
appeared on countless prestigious magazine covers in the United States and throughout the world.
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Although many would describe her as an exotic beauty, Alba was raised in a traditional American
family in California. Her mother’s family has a French-Danish heritage, while her father is from
Mexican-Indian and Spanish lineage.
ALESSANDRO NIVOLA (Dr. Paul Faulkner) first gained attention and a Drama Desk Award
nomination for his first professional leading role opposite Helen Mirren on Broadway in “A
Month in the Country.” He was honored again in 2004 when is his performance as the rock
singer Ian McNight in Lisa Cholodenko’s LAUREL CANYON earned him an Independent Spirit
Award nomination. Nivola continues to star in leading roles opposite today’s hottest film actors
and directors.
Nivola can currently be seen on the big screen in GRACE IS GONE opposite John Cusack, which
premiered in competition at the 2007 Sundance Film Festival. GRACE IS GONE has received
critical acclaim and has proven to be a major awards contender.
Nivola was last seen in Ridley Scott’s mini-series “The Company” based on the bestselling novel
by Robert Little. The all-star cast included Chris O’Donnell, Alfred Molina and Michael Keaton
and follows CIA activities over a 40 year period. “The Company” premiered on TNT and was
recently nominated for a 65th Annual Golden Globe Award for Best Mini-Series or Motion
Picture Made for Television.
In addition, Nivola can soon be seen in director David Auborn’s debut THE GIRL IN THE
PARK opposite Kate Bosworth and Sigourney Weaver. The film recently premiered at the
Toronto Film Festival to rave reviews.
Nivola was last seen starring on the silver screen in JUNEBUG, which premiered in competition
at both the 2005 Sundance and the Cannes Film Festivals. JUNEBUG opened to critical acclaim,
followed by various award nominations and victories for the film in 2006.
Earlier in his career Nivola drew critical acclaim and a Blockbuster Award nomination for his
role as Nicolas Cage’s genius brother in FACE/OFF. He starred opposite Reese Witherspoon in
BEST LAID PLANS and played leading roles in JURASSIC PARK 3 and Mike Figgis’ TIME
CODE. Nivola returned to the theater to play Orlando to Gwyneth Paltrow’s Rosalind in “As
You Like It” at Williamstown before being reunited with Helen Mirren in Peter Jan Brugge’s film
THE CLEARING, where he played Robert Redford’s son.
Nivola currently resides in New York with his wife and fellow actor Emily Mortimer and their
son Sam.
PARKER POSEY (Helen Wells) has appeared in over fifty films including the recent
blockbuster SUPERMAN RETURNS, where she costarred as Kitty Kowalski, Lex Luther's
partner-in-crime. She was most recently seen in BROKEN ENGLISH directed by Zoe Cassavetes
for which she has been nominated for an Independent Spirit Award. She will next star in Warner
Bros.' SPRING BREAKDOWN. She will also star in the new television series "The Return of
Jezebel James" created by Amy Sherman-Palladino premiering in March on Fox.
For her work, Parker has received numerous accolades, including Golden Globe and Independent
Spirit Award nominations. Films from her vast repertoire include four films with Christopher
Guest (WAITING FOR GUFFMAN, BEST IN SHOW, A MIGHTY WIND and FOR YOUR
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CONSIDERATION), Rebecca Miller’s PERSONAL VELOCITY (Independent Spirit Award
nomination), the CBS film “Hell on Heels: The Battle of Mary Kay” (Golden Globe
nomination) opposite Shirley MacLaine, THE SWEETEST THING, THE ANNIVERSARY
PARTY, SCREAM 3, YOU’VE GOT MAIL, SUBURBIA, DAZED AND CONFUSED,
CLOCKWATCHERS, THE DAYTRIPPERS, THE EVENT and four films with Hal Hartley
(AMATEUR, FLIRT, HENRY FOOL and FEY GRIM). For her performance in THE HOUSE
OF YES, she received a Special Jury Prize at The Sundance Film Festival.
On stage, Parker most recently starred off-Broadway in the acclaimed revival of “Hurlyburly” for
which she received a Lucille Lortel Award for Outstanding Featured Actress, and in Lanford
Wilson’s “Fifth of July” (a Lortel nomination for Lead Actress). She also starred in the Los
Angeles premiere of John Patrick Shanley’s “Four Dogs and a Bone,” directed by Lawrence
Kasdan, and starred on Broadway opposite Matthew Broderick in Elaine May’s “Taller Than A
Dwarf.”
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ABOUT THE FILM MAKERS
DAVID MOREAU AND XAVIER PALUD’s (Directed by) debut film, the Canal Plus French
language horror film ILS, initially screened at the Berlin Film Festival in March 2006. The film
thereafter screened at film festivals throughout the world, including the Edinburgh Film Festival
and Cognac Film Festival. ILS was released in theatres in France in July 2007 where it was a box
office smash and garnered rave reviews.
In his Film Comment review, David Cox called ILS "a lean horror machine designed to simply
wring the audience dry across barely 75 minutes of almost real-time action." He further
complimented David and Xavier: "The confidence with which the first-time directing duo wield
their sharp instruments recalls early Carpenter, resulting in the ultimate home-invasion
nightmare—FUNNY GAMES by way of ASSAULT ON PRECINCT 13. Avoiding the overt
nastiness of so many recent French genre offerings, this is instead a slightly show-offy master
class in timing, staging, and pacing; you may catch yourself trying to peer around the edge of the
screen to see where the next shock is coming from."
Prior to directing ILS, David and Xavier worked in commercials and television in France,
building an impressive resume of credits including writing, directing, and editing. The success of
ILS led to their move to the United States. For their first American project, David and Xavier
directed THE EYE, which stars Jessica Alba and Alessandro Nivola, for Lionsgate and
Paramount Vantage.
SEBASTIAN GUTIERREZ (Screenplay by) was born and raised in Caracas, Venezuela. His
first script, THE BIG BOUNCE, based on the Elmore Leonard novel, was turned into a movie
starring Owen Wilson and Morgan Freeman. His first original script, the noir caper JUDAS
KISS, became his directorial debut and starred Emma Thompson and Alan Rickman. Other
screenplay credits include GOTHIKA and SNAKES ON A PLANE. He is currently working on
a screenplay under the tutelage of Pedro Almodovar.
PAULA WAGNER (Producer) and partner Tom Cruise founded C/W Productions in 1993 after
fifteen years at Creative Artists Agency as one of the entertainment industry’s top talent agents.
While at C/W, she and Cruise produced a wide range of pictures that earned numerous awards,
widespread critical praise and global box office success. The first film released under the C/W
banner was the international hit MISSION IMPOSSIBLE, the success of which brought the
company the 1997 Nova Award for Most Promising Producers in Theatrical Motion Pictures.
Cruise/Wagner Productions went on to produce such critically acclaimed films as WITHOUT
LIMITS, SHATTERED GLASS, NARC, THE OTHERS, VANILLA SKY, THE LAST
SAMURAI, ELIZABETHTOWN and ASK THE DUST, not to mention such international
blockbusters as Steven Spielberg’s WAR OF THE WORLDS (which Wagner executive
produced) and MISSION IMPOSSIBLE II and MISSION IMPOSSIBLE III (which Wagner
produced). In all, in the decade that separated MISSION IMPOSSIBLE and MISSION
IMPOSSIBLE III, films produced by Cruise/Wagner Productions earned more than $3 billion in
worldwide box office receipts.
In 2001, Wagner was honored by Premiere magazine with the Women in Hollywood Icon Award.
- 15 -
The following year she was featured in Bravo’s “Women on Top,” a documentary which profiled
exceptional women in entertainment. In 2004, she and Cruise were honored by Daily Variety as
“Billion-Dollar Producers.” That same year Wagner and Cruise received the UCLA/Producers
Guild of America Vision Award. In 2006, Wagner was the recipient of the Excellence in
Producing Award at Sarasota Film Festival and served as the President of the First-Time
Directors Jury at the Venice Film Festival.
After thirteen years of producing films for C/W Productions, Paula Wagner has taken on a new
role as co-owner and CEO of United Artists Entertainment, LLC (along with Tom Cruise and
Metro-Goldwyn-Mayer Inc.). She oversees all of the day-to-day operations. She and Cruise, her
longtime business partner, took charge of United Artists in November 2006, with the aim of
reviving the venerable studio founded nearly 90 years ago by movie legends Charlie Chaplin,
Douglas Fairbanks, Mary Pickford and D.W. Griffith. Since then, the reborn studio has released
its first film, the political thriller LIONS FOR LAMBS, directed by Robert Redford and costarring Redford, Meryl Streep and Cruise, and is set to release the World War II thriller
VALKYRIE, directed by Bryan Singer and starring Cruise in 2008.
In the nineteen years DON GRANGER (Producer, United Artists Senior Executive) has been
involved in the motion picture business, he has rapidly established himself as one of the
industry’s consummate creative forces.
From 1987 to 1988, Granger was a Creative Executive at Weintraub Entertainment Group. He
then joined Touchstone Pictures, where as Creative Executive and later Director of Motion
Picture Production, he worked on such films as PRETTY WOMAN, THREE MEN AND A
LITTLE LADY, and THE DOCTOR.
As Senior, and then Executive Vice President of Motion Picture Production at Paramount Pictures
from 1990 until 2001, Granger was responsible for bringing most of the large budget actionadventure movies made at the studio during this period to the screen and some of today’s most
powerful filmmakers to the fore.
Granger was the supervising studio executive on the MISSION IMPOSSIBLE, STAR TREK,
TOMB RAIDER franchises, PATRIOT GAMES, SLIVER, CLEAR AND PRESENT DANGER,
VARSITY BLUES, THE SAINT, KISS THE GIRLS, ALONG CAME A SPIDER, SUM OF
ALL FEARS, SAVING PRIVATE RYAN (which was nominated for 11 Academy Awards® and
the winner of five). In 2004, Granger joined C/W Productions, headed by Tom Cruise and Paula
Wagner, as their senior executive. While at C/W, Granger was in charge of all production,
development, and operational aspects of the company, helping bring WAR OF THE WORLDS,
MISSION IMPOSSIBLE III and ELIZABETHTOWN to the screen. Granger also served as a
producer with Cruise and Wagner on the C/W production of ASK THE DUST, and also served as
one of the producers of New Line’s SNAKES ON A PLANE, under Granger’s former partnership
with Mutual Films.
Don Granger grew up in Woodbridge, Connecticut. He received a BA in Political Science from
Yale University in 1985. Before moving to Los Angeles and entering the motion picture
business, Granger worked on Wall Street as a financial analyst.
Granger lives in Los Angeles with his wife and young son and daughter.
- 16 -
MICHELLE MANNING (Producer) is currently the owner of MM Productions, a feature film
and television production company. She is also the former President, Production for the Motion
Picture Group of Paramount Pictures. As President of Production, she was responsible for
overseeing all aspects of the development and production of Paramount’s motion pictures.
Ms. Manning joined Paramount in 1991 as Senior Vice President of Production, bringing with her
extensive experience as a producer, director and studio executive, and was promoted to Executive
Vice President, Production in 1993. She oversaw such Paramount films as FORREST GUMP,
which won the 1994 Academy Award® for Best Picture, THE HOURS, which was nominated in
2002 for nine Academy Awards®, CHANGING LANES, THE TALENTED MR. RIPLEY,
SLEEPY HOLLOW, SOUTH PARK: BIGGER, LONGER, UNCUT, THE TRUMAN SHOW,
IN & OUT, BEAVIS & BUTTHEAD DO AMERICA, MOTHER, PRIMAL FEAR, THE
INDIAN IN THE CUPBOARD, CLUELESS, NOBODY’S FOOL, SEARCHING FOR BOBBY
FISCHER, THE FIRM, and ADDAMS FAMILY VALUES. Just prior to stepping down from
her position with Paramount, Ms. Manning oversaw the production on THE ITALIAN JOB,
SCHOOL OF ROCK and THE MANCHURIAN CANDIDATE.
Before joining Paramount, Ms. Manning was Vice President of Production at Orion Pictures,
where she served as production executive on THE ADDAMS FAMILY, THE SILENCE OF THE
LAMBS and DANCES WITH WOLVES, the latter two both having won the Best Picture
Academy Award®. As an executive of Ned Tanen’s Channel Productions, she produced THE
BREAKFAST CLUB and was associate producer of SIXTEEN CANDLES, both directed by
John Hughes. She began her career with Zoetrope Studios, where she was production supervisor
of THE OUTSIDERS and RUMBLE FISH, both directed by Francis Ford Coppola. Ms.
Manning made her feature directing debut in 1986 with BLUE CITY for producers Walter Hill
and William Hayward. She also directed musical sequences for Paramount’s 1990 release,
ANOTHER 48 HRS. In television, she directed episodes of “Miami Vice” and the series “Friday
the 13th.”
JEFFREY JUR’s ASC (Director of Photography) film credits include YOU KILL ME, MY
BIG FAT GREEK WEDDING, JOY RIDE, PANIC, HOW STELLA GOT HER GROOVE
BACK, THE LAST SEDUCTION, THE BIG PICTURE and DIRTY DANCING.
On the small screen, Jur’s credits include episodes of “Carnivale” (Emmy), “Dirty Sexy
Money,” “Invasion,” “Tales from the Crypt” and the pilot for “Grey’s Anatomy.”
A native of Los Angeles, JAMES SPENCER (Production Designer) studied commercial art
and photography at the Art Center College of Design.
He began his film career as a set designer in television which led to his first feature film credits as
set designer on Peter Bogdanovich’s PAPER MOON, Asst. Art Director on Martin Ritt’s
CONRACK and Art Director on Hal Ashby’s BOUND FOR GLORY. And then came his big
break.
Michael Haller, the Production Designer of BOUND FOR GLORY recommended Spencer for a
low-budget boxing film that became the box office smash of 1976 -- ROCKY. Next came
STRIPES which provided Spencer with his first taste of big budget mechanical effects films.
Few can forget his design of the E.M. 50 Urban Assault Vehicle. This led to yet another film that
- 17 -
has become part of cinematic zeitgeist. Produced by Frank Marshall and Steven Spielberg,
Spencer was enlisted to design POLTERGEIST.
Together with effects-oriented movies and the tools to make them real, Spencer’s reputation as a
Production Designer was gathering speed. At the same time, his work on the “Nightmare at
20,000 Feet” segment of TWILIGHT ZONE—THE MOVIE and GREMLINS caught the eye of
executives at Ad agency BBDO who were enlisting talent to create a series of ambitious
commercials for Dodge.
Spencer designed four spots and then was asked to design and direct four more. A new career
launched, Spencer spent the next four years directing 40 plus spots for various agencies around
the world. Awarded by the industry for his creative interpretations, he garnered three CLIO
Awards and the prestigious London International Advertising Award for Excellence in
Animation.
Spencer added 2nd Unit directing to the films INNERSPACE, GREMLINS II, RICHIE RICH and
FAIR GAME. Somewhere in there he designed LETHAL WEAPON III. This led to an offer to
direct “Kidnapper,” an episode of “Tales From the Crypt.”
Tailing “Tales” Spencer opted to design and direct 2nd Unit on OUT TO SEA where he met
director Martha Coolidge. A superb working relationship ensued. Together they filmed
“Introducing Dorothy Dandridge” which garnered The Art Director’s Guild Award and
Production Design EMMY for 1999. Eudora Welty’s “The Ponder Heart” for Mobile
Masterpiece Theatre and Hallmark Hall of Fame’s “The Flamingo Rising” followed rounding out
a trio of refined films set in the thirties, forties and fifties.
For Lookout Entertainment/Busch Gardens’ Sea World, Spencer designed the 3D adventure “The
Haunted Lighthouse” which employed unique design techniques for the medium.
THE PRINCE & ME, shot in Toronto, Prague and Denmark, tasked the use of five castles to
make look like one.
The comedy MATERIALS GIRLS followed and was shot entirely in Los Angeles. Not home for
long, Spencer was off to Hawaii designing The Hatch, which opened the second season of the hit
series “Lost.”
PATRICK LUSSIER (Editing) is a virtuoso of suspense who has collaborated with horror
master Wes Craven on a dozen productions. Recently Lussier completed directing and editing
the Rogue Pictures / Gold Circle Films production of WHITE NOISE: THE LIGHT (aka WHITE
NOISE 2) starring Nathan Fillion and Katee Sackhoff. Lussier also directed and co-wrote the
vampire trilogy WES CRAVEN PRESENTS DRACULA 2000, DRACULA II: ASCENSION
and DRACULA III: LEGACY, and has edited a slate of Craven's films.
After studying film at Capilano College in North Vancouver, Lussier began his career as an editor
of episodic television on series such as “MacGyver” and “Highlander.” In 1991, he was hired to
edit episodes of the NBC anthology series “Nightmare Café.” Craven produced the series and
directed an episode that Lussier cut. The two have worked together since. Lussier has edited
WES CRAVEN'S NEW NIGHTMARE, VAMPIRE IN BROOKLYN, MUSIC OF THE
HEART, all three SCREAM movies, CURSED and RED-EYE. Lussier's many editing credits
- 18 -
also include Guillermo del Toro's MIMIC, Steve Miner's HALLOWEEN: H20 and comedies
such as David Zucker's MY BOSS'S DAUGHTER and D3: THE MIGHTY DUCKS.
Lussier made his directorial debut with the horror/thriller PROPHECY 3: THE ASCENT, the last
installment to feature Christopher Walken as the Archangel Gabriel. He went on to co-write and
direct Dimension Films' DRACULA trilogy, with Gerard Butler in his first starring role in
DRACULA 2000, and its two sequels which featured Jason Scott Lee, Jason London, Roy
Schieder and Rutger Hauer. Lussier also works as a visual consultant, enhancing films for
various studios. In this capacity he has worked on DARKNESS FALLS, 54, BROTHERS
GRIMM, EXORCIST: THE BEGINNING/DOMINION, THE RETURN and WHISPER.
MICHAEL DENNISON (Costume Designer) recently designed the costumes for WILL
EISNER’S THE SPIRIT, MARRIED LIFE, MIRRORS, KING OF CALIFORNIA, WORLD
TRADE CENTER, MONA LISA SMILE, starring Julia Roberts and an ensemble cast, and for
THE CHRONICLES OF RIDDICK following a long and distinguished industry career.
Dennison’s more than twenty credits as wardrobe supervisor or costumer have included THE
WORLD ACCORDING TO GARP, SOPHIE'S CHOICE, MOSCOW ON THE HUDSON, THE
FALCON AND THE SNOWMAN, JAGGED EDGE, HEARTBURN, THE MOSQUITO
COAST, BEACHES, JACOB’S LADDER, CHAPLIN, TV’s “Rogers and Hammerstein’s
Cinderella” for The Disney Channel, STARSHIP TROOPERS, SNOW FALLING ON CEDARS,
WHAT WOMEN WANT and UNFAITHFUL.
Upon completing undergraduate study at Brown University, MARCO BELTRAMI (Music)
entered the Yale School of Music on a scholarship. His pursuit of music composition then led him
to Venice for a period of study with the Italian master, Luigi Nono and then finally to Los
Angeles to undertake a fellowship with Academy Award®-winning composer, Jerry Goldsmith.
Shortly after arriving in Los Angeles, Beltrami landed Wes Craven’s SCREAM embarking on
what would become the wildly successful terror trilogy. In his approach to scoring the film, he
threw away conventional horror music clichés. Instead, he likened the film to a western and
calling upon the influences of his idol Ennio Morricone went on to write one of the most
unexpected and imaginative scores in recent memory. The score would gather much attention for
the young composer and the sound would become SCREAM’s signature. Wes Craven would
remark in the liner notes of the last soundtrack, “Without Marco’s genius, SCREAM would have
been little more than a whisper."
Marco was chosen from amongst top composers to score the blockbusters LIVE FREE OR DIE
HARD and TERMINATOR 3: RISE OF THE MACHINES. Marco found his way back to
western compositions when Tommy Lee Jones chose him to score his directorial debut THE
THREE BURIALS OF MELQUIADES ESTRADA. The film was produced by Luc Besson and
won the best director and writer awards at The Cannes Film Festival. IN THE ELECTRIC MIST,
starring Tommy Lee Jones and directed by acclaimed filmmaker Bertrand Tavernier, will be the
next film to feature a score by Beltrami. Before composing for THE EYE, Beltrami scored the
Russell Crowe-Christian Bale western 3:10 TO YUMA.
- 19 -
Academy Award® winner MATTHEW W. MUNGLE (Special Makeup Effects/Prosthetics
Designed by) 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.
Mungle arrived in Hollywood in 1977. In 1978 he applied and was accepted into Joe Blasco's
Make-up Center --- the premier academy responsible for training many of the film and television
industry's elite make-up artists. His dedication to the art form and rapid ability to master the craft
led to Mungle being hired as an instructor following his graduation from the school in 1978. He
stayed on-staff until his own popularity as a working make-up artist became too demanding.
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 Academy
Award® 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 third Academy Award® nomination in 1996.
Aging has become one of Matthew's strongest calling cards and an area of make-up effects that's
definitely challenging. 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, earned 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. He followed with three more nominations and another award for
TRACEY ULLMAN: TRAILER TALES.
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 “CSI: 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 “CSI: Las
Vegas” (CBS), “House” (FOX) and “Navy: NCIS” (CBS).
Matthew's impressive list of film credits includes box office hits such as THE FAST & THE
FURIOUS, COLLATERAL, MEET THE FOCKERS, FAMILY STONE, THE OMEN, X-MEN
3: THE LAST STAND, HOLLYWOODLAND, ROCKY BALBOA and KNOCKED UP.
Current projects include LOVE IN THE TIME OF CHOLERA, UNTRACEABLE and
MIDNIGHT MEAT TRAIN.
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.
- 20 -
In 1999, Matthew conducted a three-day seminar on advanced prosthetics for FÁS 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 been interviewed
for “Turner Entertainment Report,” “E! Entertainment News,” “The Morning Show,” “FX
Dailies,” CNN, “Good Day L.A.” and Japan's Ch. 5 News Network. His interview can also be
seen on the behind-the-scenes trailer for the eighth and ninth season episodes of "X-Files" for
video and DVD release. Matthew's recent appearances include “Inside Edition” and
“Entertainment Tonight.”
ASYLUM (Visual Effects by) is a premier visual effects and design company, handling highprofile features, commercials, music videos, and emerging media content for web and mobile
platforms. Asylum created the visual effects for such films as MASTER AND COMMANDER:
THE FAR SIDE OF THE WORLD (Academy Award® and BAFTA nominated), MOULIN
ROUGE, MINORITY REPORT, THE PHANTOM OF THE OPERA, PIRATES OF THE
CARIBBEAN II and III, NATIONAL TREASURE, Mel Gibson’s APOCALYPTO, Tony Scott’s
DÉJÀ VU, MAN ON FIRE and DOMINO, Ridley Scott’s BLACK HAWK DOWN and most
recently Disney’s NATIONAL TREASURE 2: BOOK OF SECRETS. Asylum has done spot
work for brands such as Nike, Sony PlayStation, Coke, BMW, Gatorade, Levis, Propel and Visa.
In addition, Asylum Design has created award winning title and graphic design work for such
films as Tim Burton’s CHARLIE AND THE CHOCOLATE FACTORY, X-MEN I & II, THE
ISLAND, BAD BOYS II, XXX, HAIRSPRAY and NATIONAL TREASURE I and II.
KELLY MARTIN WAGNER (Casting by) grew up in Los Angeles and always had a passion
for filmmaking. In 1994 she began her professional career as a voice over actress before realizing
how much she enjoyed working with filmmakers to bring to life their on page characters, through
the casting process. She has established herself as a well respected casting director specializing
in the thriller and horror genre with such films as THE GRUDGE, MIDNIGHT MEAT TRAIN,
HOSTEL and THE MESSENGERS.
NANCY NAYOR BATTINO (Casting by) 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 a slate
of films for Steven Spielberg, Spike Lee, Ron Howard, Oliver Stone and John Hughes. 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. Upcoming films include NIM’S ISLAND with Jodie Foster and THE
CODE with Morgan Freeman and Antonio Banderas.
- 21 -
FINAL END CREDITS
Cast
Sydney Wells
Dr. Paul Faulkner
Helen Wells
Simon McCullough
Ana Christina Martinez
Rosa Martinez
Dr. Haskins
Miguel
Alicia
Shadowman
Tomi Cheung
Mrs. Cheung
Nurse
Mrs. Hillman
Nurse Room Attendant
Jim
Brett
Alex
Cousin Sarah
Cynthia
Richard
Amanda
Kisha
Peekaboo
Café Waiter #1
Café Waiter #2
Sickly Woman
Burned Hallway Man
Teenage Girl
Kam Lam Yuen Cook
Kam Lam Yuen Waitress
Elevator Ghost
Children's Nurse
Village Kid
Emilio
Factory Foreman
Driver at Border
Little Girl
Little Girl's Mother
Bus Driver
Teenage Girl on Bus
Jessica Alba
Alessandro Nivola
Parker Posey
Rade Serbedzija
Fernanda Romero
Rachel Ticotin
Obba Babatunde
Danny Mora
Chloë Grace Moretz
Brett A. Haworth
Kevin K
Tamlyn Tomita
Esodie Geiger
Karen Austin
Ryan J. Pezdirc
James Salas
Brett Omara
Landall Goolsby
Sarah E. Baker
Laura Slowinski
Richard Redlefsen
Amanda Shamis
Kisha Sierra
Mark Bankins
David Milchard
Kimani Ray Smith
Heather Doerksen
Peter King
Tegan Moss
Kam Hing Chau
Jasmin Dring
James Spencer
Ingrid M. Nelson
Daniel Romero
Zak Santiago
Juan Carlos Cantu
Mike Elliott
Mia Stallard
Jane E. Goold
Tone Forrest
Danielle Lozeau
Stunt Coordinator
Second Unit Stunt Coordinator
Stunt Coordinator (Vancouver)
Peter King
Mic Rodgers
Scott Ateah
- 22 -
Ms. Alba's Stunt Double (New Mexico)
Ms. Alba's Stunt Double (Vancouver)
Mr. Nivola's Stunt Double
Stunts
Luca R. Ispirescu
Taryn Dakha
Carl Paoli
Mike Carpenter
Laurence Chavez
Garvin Cross
Ryan Ennis
Lance Gilbert
Jim Halty
Alex Haxby
Mirela R. Ispirescu
James Michalopoudos
Rene Mousseux
Edson T. Ribeiro
Mike Runyard
Darryl Scheeler
Con Schell
Kimani Ray Smith
Quinn Star
Ian Bruce Thompson
Sabine Varnes
Owen Walstrom
Alan Purwin
Aerial Pilot
Ms. Alba's Stand-In
Mr. Nivola's Stand-In
Ms. Stallard's Photo Double
Mr. K's Photo Double
Kisha Sierra
Peter Huck
Jessica McLeod
Tony Der
Crew
Unit Production Manager
Jack Murray
First Assistant Director
Eric Tignini
Second Assistant Director
Sunday Stevens
Executive in Charge of Production
Donna Sloan
Associate Producer
Sarah E. Baker
Visual Consultant
Patrick Lussier
Supervising Sound Editor
Tom Myers
Re-Recording Mixers
Michael Minkler CAS
Tom Myers
- 23 -
Production Supervisors
Lisa Looney
Eric Hedayat
Supervising Set Decorator
Art Director
Brenda Meyers-Ballard SDSA
Naython Vane
A-Camera Operator
First Assistant A-Camera
Second Assistant A-Camera
Don Devine
Lisbeth Storandt
Sam Mares
B-Camera Operator
First Assistant B-Camera
Second Assistant B-Camera
Philip Pfeiffer
Steve Banister
Chris Flurry
Steadicam Operator
Film Loader
Bob Gorelick
Shane "Goose" Duckworth
Video Assist and Video Playback
Still Photographer
Dale G. Waseta
Richard Foreman SMPSP
Additional Editor
Jeff Gullo
Additional Editor
Cynthia Ludwig
Assistant Editor
Apprentice Film Editor
Post Production Assistant
Cynthia Ludwig
Devin C. Lussier
Eunice Choi
Post Production Supervisor
Post Production Manager
Post Production Coordinator
Carl Pedregal
Mark W. McCoy
Cortney Haile
Post Production Accountants
Emily Rice
Liam Hearne
Script Supervisor
Jan Rudolph
Sound Mixer
Boom Operator
Sound Utility
Bayard Carey CAS
Matthew Halbert
John Weitz
First Company Grip
Second Company Grip
Dolly Grip Operators
Saul Cute
Michael Warren
Peter Weidenfeller
Otis Mannick
Jeff Bettis
Edward A. Duran
Evan Martinez
Louie Martinez
Nicolas Angelo Trujillo
Grips
- 24 -
Jacob Vernon
Dan Nordquist
Lance Shryock
Marcia A. Woske
First Company Rigging Grip
Second Company Rigging Grip
Rigging Grip
Chief Lighting Technician
Assistant Chief Lighting Technician
Electricians
Steven Litecky
S. Mark Mims
Ben Estrada
William Miles
Robert Mongiello
Lee Nakagawa
Frank O. Tapia
Chief Rigging Technician
Assistant Chief Rigging Technician
Rigging Electricians
Sean Mallon
Steve B. Jones
Steven A. Brown
Jack Jones
Jason Smith
Cody West
Lightboard Operator
Night Light Technician (Bebee Technician)
Mark A. Lewis
Lloyd Campbell
Lead Person
Shopper/Buyer
Set Dressers
Michael Flowers
Kelly D. Miller
Jess Coffer
Ralph Diaz
Ram Goradia
Paul Haag
Ester Kim
Josiah O'Neil
Juan "Diablo" Souter
Dennis Riewerts
Mark Bankins
Draper
On Set Dresser
Sign Writer
Paul Harman
Art Department Coordinator
Vicki M. McWilliams
Property Master
Assistant Property Master
Property Assistant
Third Property Assistant
Benjamin C. Lowney
Brett Andrews
Forrest A. Haag
Wende Lowney
Storyboard Artists
Timothy Burgard
Jarid Boyce
Dan Fitzgerald
Construction Coordinator
General Foreperson
Forepersons
Jamie Archer
Mark Purtill
Richard W. Belosic
- 25 -
Christopher Dowling
Darren Gibson
Michael Maloney
Gary "Mongo" Petersen
Charles W. Chesser
Satchmo
Jonathan Lehn
José Mendoza
Brian Stinson
Eddie Jimenez
Lead Persons
Propmaker
Key Set Painter
Paint Forepersons
Randy E. Ortega
George A. Kruft
Randy Paul Ortega, Jr.
Robert Ortega
Jason Critchfield
Jorge Reyes
Eric Gallegos
Jesus M. Ornelas
"Mano" Garifallakis
Paul R. Berg
Leonard J. Sanchez
Max Ortiz
Ian Hanna
Jean E. Jacobson
Janice B. Jacobson
Heather Kilness
Krista Tindell
Paint Lead Person
Painters
Plasterer
Utility Technician Foreperson
Lead Utility Technicians
Utility Technicians
Construction Production Assistants
Construction Medics
Art Department Production Assistants
Derrick D. Ballard
Aric Grauke
Patrick Melvin
Michele Spiro
Art Department Intern
Costume Supervisor
Key Costumer
Key Set Costumer
Set Costumer
Costume Assistants
Melissa Moody
Frances Vega
Jennifer Jesse Smith
Brad Booth
Brenda Cook
Jenna Gingery
Daniel Caudill
Ms. Alba's Costume Stylist
Department Head Makeup Artist
Ms. Alba's Makeup Artist
Makeup Artist
Blair Leonard
Evelyne Noraz
Cheryl Voss
Department Head Hair Stylist
Key Hair Stylist
Ms. Alba's Hair Stylist
Hair Stylists
RaMona Fleetwood
Lorraine N. Alex
Michelle Johnson
Yvette Meely
Sharon Perry
- 26 -
Special Makeup Effects and
Prosthetics Designed by
Key Special Makeup Effects Artist
Lab Prosthetics
Matthew W. Mungle
Richard Redlefsen
Carlton Coleman
Ryan McDowell
Eddie Vargas
Koji Ohmura
Kotmangul Kim
Sara Bozik
Laura Hill
Prosthetic Makeup Artist
Contact Lens Technician
Special Effects Supervisors
Allen L. Hall
Robert Williams
Arlen J. Johnson
Matthew A. Hall
Victor A. Chavez
Jeff Elliott
Johnny Franco III
Caylen F. Johnson
Stephen D. Moore
Jesus Ornelas, Jr.
David W. Phillips
Frank Toro
Steve Vigil
Kelly J. Meenen
Special Effects Foreperson
Special Effects On Set Foreperson
Special Effects Technicians
Special Effects Production Assistant
Location Manager
Key Assistant Location Manager
Assistant Location Manager
Location Scouts
Becky Brake
Rowan Stanland
Jason Bonnell
Saul Rodriguez-Garcia
Will Ruvalcaba
Andrew Bateman
Location Production Assistant
Stage Manager
Facility Manager
Gary W. Morris
Bob Sanders
Transportation Coordinator
Transportation Captain
Transportation Co-Captain
Honeywagon Driver
Set Decorating Drivers
Prentis E. Woods
Ken Plumlee
John D. Hicks
James W. Ray
William Ray
Lucas Mathew Stein
Gary Armstrong
Alfonso Atencio
Norman Austin
Mary B. Borg
Curtis D. Bronner
Ronald Diem
Randy Kinyon
David L. Long
Robert "Red" Maxwell
Drivers
- 27 -
Jared Meador
Pete Meda
Todd Sopher
Anthony Wamego
James Everett
Mechanic
Animal Wrangler
Dog Handlers
Russ Dillen
H.L. Candelaria
Tyra Dillen Schneider
Assistant Production Coordinators
Denise Ann Beale
Crystal McAlerney
Sean Cardinalli
Brady "Wonderboy" Kephart
Dustin DellaVecchia
Kasey Christie
Lisa Alsop
Sandy Meade
Production Secretary
Key Office Production Assistant
Post Production Assistant (New Mexico)
Office Production Assistants
Office Production Assistant (Los Angeles)
Second Second Assistant Director
Additional Second Assistant Director
Set Production Assistants
Eric Glasser
Francesco Tignini
Thomas Cosolito
Ian Dickinson
Michael Feldman
Richard Galli
Lily Garcia
Anthony Giancola
Keith Jones
Christine No
Devon Pollard
Anna C. Ramey
Rowananne Green
Cynthia Gates Fujikawa
Jenny Ann Cobb
Amy S. Hawkins
Amy Smolev
Kerry Yancheski
Gabriel DellaVecchia
Andrea Vestrand
Cast Assistant
Production Accountant
First Assistant Accountant
Second Assistant Accountant
Assistant Accountants
Payroll Accountant
Accounting Clerk
Ms. Wagner's Assistants
Daria Cercek
Conor Welch
Chrissie McLean
Mitchell Krause
Marissa M. Gonzales
Denny Lee
Eunice D. Choi
Allison K. LeQuin
Ryan J. Pezdirc
Mr. Granger's Assistant
Ms. Manning's Assistants
Mr. Miller's Assistant
Mr. Elliott's Assistants
Mr. Moreau and Mr. Palud's Assistant
Ms. Alba's Assistant
Carol Lindsey Woodall
- 28 -
Ms. Alba's Security
Erich Saylor
Guillermo Lozano
Brett Omara
Violin Instructor
Studio Teachers
Kathleen Breton-Collier
Josie Batorski
Julie "Dia" Hahn
Caterer
Chef Driver
Chef Assistants
Roland R. Gonzalez
Jaime Ramirez
Joel Guzman
Javier Ramires
Pablo Ramos
Key Craft Service
Craft Service Assistants
Carl W. Lucas
Timothy E. Harger
Carl Arnold III
Medics
Paul "Cow" Baca
Jerome Martinez
Catherine Boyd
Clearance Supervisor
Amanda Shamis
Rights & Clearances by
ENTERTAINMENT CLEARANCES, INC.
Laura Sevier, Cassandra Barbour
Unit Publicist
EPK Producer
Louise A. Spencer
Jonas Stolpe
New Mexico Casting by
Casting Assistant
Background Casting
Angelique Midthunder
Jill Dupont
Gwyn Savage
Casting Associate (Los Angeles)
Casting Assistant (Los Angeles)
Dominika Posseren
Chris Gehrt
Second Unit - New Mexico
Second Unit Director
Mic Rodgers
Additional Second Unit Director
Jack Murray
First Assistant Director
Albert Cho
Second Assistant Director
Jeff Bilger
Second Unit Director of Photography
Michael A. Benson
A-Camera Operators
Joseph F. Valentine SOC
Bob Gorelick
- 29 -
R. Scott Ransom
Lynn Lockwood SOC
Brad Edmiston
John Kairis
Kevin McGill
Allan Keffer
Don Duffield
Jerry Patton
Scott A. Whitbread
Jeremiah Kent
James R. Powell
First Assistant A-Camera
Second Assistant A-Camera
Film Loader
Video Playback
Video Assist
Christina Fiers
C. Free
Josiah O'Neil
Script Supervisor
Liliane McCarthy
Sound Mixer
David J. Brownlow
First Company Grip
Second Company Grip
Dolly Grip Operator
Grips
Chris Espeset
Christopher H. Sipes
Robert M. Johnston
Javier Arellano
Anthony "Tone" DeHosse
Tobin Espeset
Kevin Jojola
John Sneesby
John N. Ward
Rigging Grips
Matthew Halbert
David A. Lente
Chapman Crane Operator
Technocrane Operators
John Loveless
Jeff Curtis
Troy Underwood
Matthew Hebert
Anthony Consolario
Technocrane Assistant
Cranetech
Chief Lighting Technician
Assistant Chief Lighting Technician
Electricians
Dante Cardone
Lamarr "Gooch" Gray
Jason Linebaugh
Jason Smith
Jack Jones
Rigging Electricians
Mike Pesce
Brendan Clark
Brian P. Shaffer
Pony Vigil
George Rizzo, Jr.
Lamp Operator
- 30 -
On Set Dressers
Rhonda Paynter
Bobbi Jo Gonzales
Drivers
Natalie Casados
Robert Franck
Melissa Malcom
Isaac Martin
Santino Montoya
Michael B. Russell
Production Assistants
J.J. Dalton
David Dorn
Lewis Liu
Chef Driver
Chef Assistants
Arturo Padilla
Ruben Padilla
Hector Alvarez
Craft Service
Jim L. Giesler
Los Angeles Unit
Set Decorator
Amy Botefuhr Vuckovich SDSA
First Assistant A-Camera
Second Assistant A-Camera
Brad Edmiston
Jeremiah Kent
First Assistant B-Camera
Second Assistant B-Camera
John Kairis
Mark Connelly
Film Loader
Carrie Lazar
Video Playback
Video Assist
Brett Cody
Glenn Cannon
Sound Mixer
Boom Operators
Coleman Metts
Ace Williams
Allister Mann
Scott Jason Farr
Sound Utility
First Company Grip
Second Company Grip
Dolly Grips
Bob Gray
Rick Colosimo
Seong Dilg
Mike Shaw
Brian Branton
Greg Clark
Mitch Lookabaugh
Al Smitty
Fritz Weber
Paul D. Williams
Grips
- 31 -
First Company Rigging Grip
Second Company Rigging Grip
Rigging Grips
Ronald A. Miller
James Alden
Chris Duffy
David Hersey
Ryan Kirk
Travis Pafford
Chief Lighting Technician
Assistant Chief Lighting Technician
Electricians
Jim Crawford
James J. Keys
Jay Galbo
Norman P. Nash
Lance R. Nicholls
Coby Ray Nissen
Daniel Ochoa
Christopher Ramos
David Warfel
Rigging Electrician
Daniel Dorowsky, Jr.
Lead Person
Set Dressers
Eric Hulett
Andrew "Papi" Rael
Sam Rhymes
Jessica McDonald
On Set Dresser
Property Master
Assistant Property Master
Property Assistant
Ben Lewis
Ronnie Lombard
William Small
Greenspersons
Ray Fernandez, Jr.
Johnny Torres
Costume Supervisor
Costumer
Sara O'Donnell
Ricki Fournier
Makeup Artists
Elena Arroy
Kimberly Felix Burke
Key Hair Stylist
Patricia Budz
Special Effects Technicians
Anthony Ray Herrera
Richard Jacobs
Captain Driver
Co-Captain Driver
Honeywagon Driver
Drivers
Gary W. Schamber
Joe Taggart
Darius Guerrero
Scott "Q-Ball" Bourke
Michael Lee Callahan
Jerry Crimeni
Troy Guerrero
Michael W. LeMaster
Raymond A. McLaughlin
- 32 -
Tommy "Two-Tone" Padilla
Justin Price
Michael Rossi
Thomas M. Sanford
Assistant Production Office Coordinator
Office Production Assistants
Paul Jaconi-Biery
Joseph Aspen
Julian Oliver Meiojas
Jake Niklas
William F. Reed
Jason Retana
Second Second Assistant Director
Additional Second Assistant Director
Set Production Assistants
Michael Curtis
Michael Winter
Lindsay Brayden
Christopher Carroll
Christian Luedke
Nicholas Sparks
Savitri Young
Chef Drivers
Christian Gonzalez
Cesar Trujillo
Arturo C. Velasco
Craft Service
Assistant Craft Service
Alma Weaks
Barry L. Weaks
Medic
Larry Ballard EMT-P
Background Casting
David Anthony
Judy Cook
Additional Photography
Production Manager
Simon Abbott
First Assistant Director
John McKeown
Second Assistant Director
Cindy Smith
Line Producer (Vancouver)
Ogden Gavanski
Director of Photography
Set Decorator
Art Director
Brian Pearson
Louise Roper
Catherine Ircha
A-Camera/Steadicam Operator
First Assistant A-Camera
Steven A. Adelson
Patrick Stepien
Christopher Dyson
Jiri Kucera
Nathan McTague
- 33 -
Second Assistant A-Camera
Christopher Moone
Andre Gheorghiu
Dwight Hartnett
Aki Shigematsu
B-Camera Operator
First Assistant B-Camera
Second Assistant B-Camera
Glen Dickson
Doug Lavender
Mark A. Gordon
Film Loader
Camera Trainee
Jenny Madsen
Christian Stevens
Still Photographer
Joe Lederer
Script Supervisors
Christine M. Wilson
Tammy Bentz
Sound Mixer
Sound Assistants
Patrick Ramsay
Neil McBride
George Widule
Brad Kita
Dave Griffiths
Kevin Hemmingson
B&M Sound
Boom Operator
Cable Person
First Company Grip
Second Company Grip
Dolly Grip Operators
Tony Whiteside
Matt Almas
Russell Hawkes
Neil McBride
Farhood Dadaszadeh
Dean Reca
Bryce Shaw
Trevor J. Williams
Grips
Chief Lighting Technician
Assistant Chief Lighting Technician
Electricians
David Tickell
Sean Davis
Stuart Haggerty
Bill Kassis
Pascal Pillot-Bruhat
Todd Turner
Chief Rigging Technician
Assistant Chief Rigging Technician
Rigging Electricians
Sean Oxenbury
Kurt Zelmer
Joe Peters
Kris Tobiasson
Set Wireperson
Roger Bailey
Genny Operator
Tom Watson
Lead Person
Buyer
H. Chuck Robinson
Ignacio McBurney
- 34 -
Set Dressers
Steve Tex Killi
John Mackie
Shayne Robinson
Cynthia Rose
Clare Wilkening
Cody Larson
Patrick Kearns
On Set Dressers
Art Department Coordinator
Art Department Assistant
Art Department Production Assistants
Simone Gore
Carie Wallis
Shannon Corrie
Carole Diepold
James McBurney
Property Master
Assistant Property Master
Property Buyer
Clive Edwards
Levi Woods
Alfio R. Berardo
Greensperson
Art Green
Storyboard Artist
Ling Yang
Construction Coordinator
Clare Davis
Paint Coordinator
Paint Foreperson
Paint Lead Person
Standby Painter
Jean-Paul Costaz
Peter Kennedy
Jeff Bender
Rena Van Steele
Assistant Costume
Prep Costumer
Set Costumers
Jana Rayne Macdonald
Melissa Bienvenue Woods
Luisa Dal Magro
Oriana Graber
Helena Prentice
Department Head Makeup Artist
First Assistant Makeup Artists
Makeup Effects Artist
Contact Lens Technician
Monica Huppert
Megan Davies
Fern Levin
Clinton Wayne
Beverly Moncrief
Department Head Hair Stylist
Ms. Alba's Hair Stylist
Assistant Hair Stylist
Robert Pandini
Robert Ramos
Sandy Monesmith
Special Effects Coordinator
Special Effects Technician
Jak Osmond
Josh Benjamin
Lance Smith
Bleau Fortier
Gordon Alarie
Colin Osmond
Special Effects First
Special Effects Assistant
Special Effects Buyer
- 35 -
Location Manager
Assistant Location Manager
Location Scouts
Rino Pace
Michael J. LeGresley
Mark Gamache
Nancy McMurchy
Susan Peck
Jon Raitt
Paisley Shaw
Location Production Assistants
Brendan Gonty
Ithon Harrison-Jones
Sue Kittler
Sean McLeod
Michael Russell
Olesya Sadouskaya
Johnny Torres
Transportation Coordinator
Transportation Captain
Transportation Co-Captain
Construction Driver
Rigging Lighting Driver
Set Decoration Driver
Cable Truck Driver
Drivers
Gord McMillan
Robert W. Buxton
Bernhard Lachkovics
Brett H. Smith
Cliff Brown
Dwayne Isert
Richard J. Giles
Thea Brown
A. Earle
Dan Groseclose
Glen Hunter
Leslie Joyner
John Ronald Kennedy
Sylvia Nablo
Tracy John Domich
Mechanic
Production Coordinator
Assistant Production Coordinators
Jennifer Metcalf
Brett Davies
Cara E. Anderson
Spencer Hon Lui
Tamara Grace Wiebe
Office Production Assistant
Third Assistant Directors
Chad Belair
Jennifer Lum
Shaun Moskie
Dino Arsens
Esther Kang
Sue Kittler
Otto Mak
Rocko Buzzkill
Stephen Chan
Sean Meade
Josée Brodeur-Melrose
Nerissa McCormack
Assistant Director Trainee
Prep Production Assistants
Set Production Assistants
Production Accountant
First Assistant Accountant
- 36 -
Payroll Accountant
Accounting Clerk
Jason Elsworth
Melonie Lloyd-Jones
Mr. Lussier's Assistant
Mr. Gavanski's Assistant
Consultant
Faria Khan
Laura Obenaus
Peter DeLuise
Caterer
Chef
Chef Assistants
Geoff The Chef Ltd.
Geoff Titcomb
Gabriel C. Cross
Grant Peters
Michael Riley
Dal Watson
First Aid/Craft Service
Second Craft Service
Ken Forsberg
Monica McKenzie
Set Security
Rick Imeson
Script Clearances & Product Placement
Peter Cummings
Additional Canadian Casting by
Additional Casting by
Casting Assistants
Coreen Mayrs, CSA and Heike Brandstatter, CSA
Wendy O'Brien
Tiffany Mak
Chrissie Armstrong
Kailey Patton
Sandra-Ken Freeman
Alicia Scott
Background Casting
Background Coordinators
Carol Korm
Dylan Staniforth
Chris Anderson
Katherine Keizer
Ntsikie Kheswa
Background Wranglers
Editorial Sound Services
by
Skywalker Sound
A Lucasfilm Ltd. Company
Marin County, California
Co-Supervising Sound Editor
Dialogue Editor
Sound Effects Editor
ADR Editor
Foley Editor
Additional Sound Design
Assistant Supervising Sound Editor
Assistant Sound Effects Editor
Foley Artists
Al Nelson
Marilyn McCoppen
David Hughes
Steve Slanec
Pascal Garneau
Steve Boeddeker
Stuart McCowan
Dan Scolari
Jana Vance
Denise Thorpe
- 37 -
Foley Mixer
Foley Recordist
Digital Transfer
Frank Aglieri-Rinella
Sean England
Jonathan Greber
Christopher Barron
John Countryman
Ed Dunkley
John "J.T." Torrijos
David Hunter
Leffert Lefferts
Mike Lane
Eva Porter
Gordon Ng
Rene Russo
Video Services
Client Services
Post Production Sound Accountant
Re-recorded at Todd AO-West
Recordist
Craig Mann
Stage Engineer
Michael Novitch
ADR Voice Casting
Axel Alba
Vicki Davis
Peggy Flood
Barbara Iley
Daniel Mora
Levi Nunez
Vernon Scott
Ruth Zalduondo
Barbara Harris
ADR Cast
Catherine Cavadini
Jeffrey Todd Fischer
Cesar Flores
Erica Jones
David Michie
David Randolph
Andreana Weiner
Dolby Sound Consultant
Jim Wright
High Definition Dailies Transfers
Technicolor Creative Services Hollywood
Dailies Colorist
Project Manager
Mark Sachen
Kim Balsillie
Main Titles by Modern VideoFilm, Inc.
Elona Culwell
Nick Hasson
Casey Leming
Post Project Manager
iQ Artist
Electronic Graphics
Stock footage courtesy of Bill Mitchell/Blue Sky Stock Footage
Digital Intermediate by Technicolor Culver City
A Technicolor Company
Digital Film Colorist
Digital Intermediate Producer
Digital Conform & Opticals
Stephen Nakamura
Michael L. Holland
Brian Birkland
- 38 -
Technicolor Executive
Christian Zak
Main Title Card Designed and Produced by PIC
Pamela Green
Jarik Van sluijs
Julio Ferrario
Gary Hebert
Sarah Coatts
Visual Effects by Asylum Visual Effects, LLC
Senior Visual Effects Supervisor
Nathan McGuinness
Visual Effects Supervisor
Marc Varisco
Executive Visual Effects Producer
Kathy Chasen-Hay
Visual Effects Producer
Andrew Foster
Compositors
Patrick Ferguson
Kevin May
Rob Blue
Mark Peter Renton
Joe Ken
Cesar Romero
John Stewart
Steve Muangman
Max Harris
CG Artists
Sean Faden
Rob Stauffer
Aaron Vest
Greg Stuhl
3D Tracking
Michael Lori
Matte Painter/Texture Artist
Roto/Paint Artists
Tim Clark
Meredith Hook
Deke Kincaid
Eric Evans
Junko Schugardt
Kosta Saric
Brian Cuscino
Chris Spears
Asylum Visual Effects Editor
I/O
Visual Effects XY&Z Visual Effects
Visual Effects Supervisor
Compositors
Mike Uguccioni
Jamie Baxter
Trinh Baxter
AVID Editing Systems Provided by Electric Picture Solutions
Negative Services by Negative People, Inc.
Color by
Prints by
Lab Contact
Color Timer
Technicolor
Technicolor
Josh Moore
Terry Haggar
- 39 -
Senior Vice President, Production
Supervisor of Production
Supervisor of Production
Manager of Production
Assistant to John Sacchi
Assistant to Donna Sloan
FOR LIONSGATE:
John Sacchi
Curtis A. Miller
Rosemary Lara
Bree Bailey
Jina Jones
Ami Cohen
Executive Vice President, Business Affairs
Vice President, Business & Legal Affairs
Assistant to Robert Melnik
Robert Melnik
Charlyn Adkins
Megan Hughes
Contract Administrator
Manager of Production Accounting
Credits Coordinator
Bill Jacks
Mark Pedante
Amanda M. Ellis
Co-President, Theatrical Marketing
Co-President, Theatrical Marketing
Supervisor, Assets and Production Publicity
Tim Palen
Sarah Greenberg
Yon Elvira
President of Music
Music Executive
Music Business Affairs
Music Consultant
Music Clearance
Copyrights & Administration
Budget Supervisor
Soundtracks
Jay Faires
Tricia Holloway
Lenny Wohl
David Falzone
Jeanne Fay
Diana Beas
Chris Brown
Chris Fagot
Additional Music by
Violin Solos Performed by
Scored Mixed by
Digital Score Recordist
Music Arrangements by
Synth Sound Design by
Vocal Solos Performed by
Music Editor
Marcus Trumpp
Mark Robertson
IL MITICO
Kevin Globerman
Dana Nui and Ceiri Torjussen
Buck Sanders
Carla Commagere
Philip Tallman
Camera Provided by
Chapman Camera Dollies Provided by
Camera Cranes by
Lighting and Grip Equipment Provided by
Panavision Woodland Hills
Serious Grippage & Light, Co.
Chapman/Leonard Studio Equipment, Inc.
Cinelease, Inc.
Insurance Provided by
AON/Albert G. Ruben Insurance Services, Inc.
Brian Kingman
Completion Guaranty Provided by
International Film Guarantors, Inc.
Michael Levine
Lieve Jansen
- 40 -
Michael Harker
Production Financing Provided by
City National Bank
Norman Starr, Senior Vice President
Production Services Provided by
Capital Arts Entertainment
“SONATA FOR VIOLIN & PIANO NO. 5 IN F MAJOR (“SPRING”), OP. 24”
Written by Ludwig van Beethoven
Arranged by Ceiri Torjussen
“VIOLIN CONCERTO NO. 3 IN G MAJOR (“ADAGIO”), K. 216”
Written by Wolfgang Amadeus Mozart
Arranged by Ceiri Torjussen
“HAPPY BIRTHDAY TO YOU”
Written by Mildred Hill and Patty Hill
“DENVER BOOT” (from “THE DRESDEN FILES”)
Written by Robert J. Kral
Courtesy of Lionsgate
"PURPLE BAMBOO"
Traditional Arrangement by Cheng Yu
Courtesy of Extreme Production Music USA
"EYES WIDE OPEN"
Written by Olivia Broadfield
Performed by Olivia Broadfield and Josh Crocker
Courtesy of Olivia Broadfield
"STARS"
Written by Alex Stiff and Marc Cazorla
Performed by The Frequency
Courtesy of The Frequency
SCORE SOUNDTRACK AVAILABLE ON LIONSGATE RECORDS
[logo]
The Producers Wish to Acknowledge the Assistance of:
New Mexico Governor Bill Richardson
Albuquerque Mayor Martin Chávez
New Mexico Film Office
Lisa Strout
Albuquerque Film Office
Ann Lerner
New Mexico Commission for the Blind Consultants
Greg Trapp, J.D.
- 41 -
James Salas, M.A.
Virginia Murphy, M.Ed.
Gail Melpolder, COMS, C.R.C., Orientation & Mobility
Kelly Burma, Assistive Technology
Sarah Villavicencio, On Set Consultant
Linda Mascarenas, On Set Consultant
Dave Pena, On Set Consultant
Jamison Blickenstaff, Assistive Technology
Kevin Lightfoot, Braille Instruction
Edward Vigil, Assistive Technology
Zed Burnett, Assistive Technology
The staff and teachers of the Commission for the Blind,
Orientation Center, Alamagordo, New Mexico
Special Itinerant Blindness Consultant, Jessica Bachicha
Toniya Trapp
Virginia M. Murphy
Fortune Zuckerman
Thuc Kien Lieu
Madeline Dunn
Michele Spiro
Gaye Hirsch
Dr. Robert Maloney of the Maloney Vision Insititute
The Engine Room
Jonathan Shore
Special Thanks to:
Airzooka
Amnesty International USA
Anheuser-Busch, Inc.
Apple
Arm & Hammer
Barry’s Boards
Belinda
Joshua Bell
Ben & Jerry’s
Jennifer Berkley
Bertolli
Brillo
Buttermist
Cameo
Caress
Carl Fischer Music
Carla Mancini
Cattier Champagne
Chock Full O’Nuts Coffee
Chrisha Creations, Ltd.
- 42 -
Church & Dwight
Jennifer Cobb
Cumberland
Degree
Don Francisco’s Gourmet Coffee
Dove
Easy Grammar Systems
EMI Music Marketing
Fiesta Sides
Fisher Price
Eduardo Flores
Flow Lab
Eugene Fodor
Eye Associates of New Mexico
Fairbanks Cellars – Sheffield Sherry
Ana Gabriel
Gavina Gourmet Coffee
Gevril
Ghiradelli
Vanessa Gonzalez
Yolanda Gonzalez
Hallmark
Heck Estates
Hellmann’s
Jeff Hoch
Idahoan Potatoes
Independent Living Aids
Inotcable
Jell-O
Warren Kimble
Kraft Foods
Nancy Kraskin Jewelry
Kumbia All-Starz
L.A. Weekly, LP
Langers
Library of Congress
Lever Brothers
Lipton
Lovelace Hospital
Bruce Lowney
Lumber Lquidators
M&M Mars
Steve Maes
Mentadent
Mental Floss Magazine
Kelly Miller
Kenneth R. Miller
Miranda!
Mizkan Americas, Inc. – Holland House Cooking Sherry
Carmela M. Morales
Mott’s
- 43 -
Noelia
Nokia
Nu-Salt
Nutrisoda
Kisha Olsen
Orville Redenbacher
Road Runner Waste Service
Pepsi Co.
Itzhak Perlman
Phillips Consumer Electronics
Phoenix Brands
Planter’s
Playstation
Pond’s
Rachel Popowcer
Post Cereals
Q-Tips
Radio Flyer
Ragu
Rain Vodka
RBD
Ritz
RE/MAX International, Inc.
Road Runner Waste Service
Robert Morris College
Robertson and Sons Violin Shop
Fernanda Romero
Ron Rundo
Naila Safont
Nutrisoda
Ana Maria T. Salas
Mariana Salas
Rocio Salas
Bertina Salazar
School Specialty Publishing
Seattle’s Best Coffee
Seventh Generation Products
Simon & Schuster
Skippy
Kyle Sloan
Sno Bol
Soft Scrub
Sony BMG
Southwest Respiratory
Sunbeam, Oster, Mr. Coffee
Superior Ambulance
Sweet ‘N Low
Teacher Created Resources
Thermasilk
Time Out New York
Topcon Medical Equipment
- 44 -
Darlene Trujillo
Monyssha Trujillo
Trumer Pils
Ty, Inc.
Twinings Teas
Uncle Ben’s
Unilever Best Foods
Unilever HPC
U.S. Mills
U.S.A. Today
Vanderbilt University
Vans
Vaseline
Sylvia Vassileva
Voss Water
Wise Snacks
Wishbone Italian
Zoe
American Humane Association monitored the animal action.
No animal was harmed in the making of this film.
(AHA 01655)
[logo]
KODAK
Motion Picture Film
[logo]
Color by
Technicolor
[logo]
Filmed with
PANAVISION
Camera and Lenses
[logo/spherical]
TEAMSTERS
[logo]
DGC
[logo]
UBCP
[logo]
DOLBY DIGITAL®
[logo]
DTS®
[logo]
SDDS
[logo]
IATSE
[logo]
MPAA # 44048
[logo]
- 45 -
MOTION PICTURE ASSOCIATION OF AMERICA
© 2008 Lions Gate Films Inc.
And Paramount Vantage, a division of Paramount Pictures Corporation. All Rights Reserved.
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.
THE EYE
C/W [logo]
PARAMOUNT PICTURES [logo]
LIONSGATE [logo]
###
012808
- 46 -