Now Available on Ships, in Stores and Online

Holland America Line guests can now enjoy A Taste of Excellence long after their cruise has ended. Holland America Line's Master Chef Rudi Sodamin has written a new cookbook featuring nearly a hundred favorite recipes, complete with full-color photographs that instantly bring back memories of the wonderful on-board dining experience.

"A Taste of Excellence is a wonderful complement to the exquisite culinary experience on our ships," said Stein Kruse, Holland America Line president and chief executive officer. "The stunning photography replicates our innovative presentation of the dishes. With this book, our guests will be able to re- create their favorite ship-board dishes and share them with families and friends as they relive the marvelous dining experiences on their cruise."

Recipes, which have been modified for home preparation, cover everything from breakfast to late-night snacks. The 14 chapters include: Morning Meals, Breads & Quick Breads; Appetizers; Soup; Salads & Dressings; Pasta & Risotto; Fish & Shellfish; Poultry; Beef, Lamb, Veal, & Venison; Vegetarian Fare; Side Dishes; Desserts & Other Sweet Treats; Pantry Staples; and Sandwiches and Late-Night Snacks. To name but a few of the superb recipes included in this 208-page, hardcover keepsake cookbook:

* Dutch Apple Pancakes with Maple-Flavored Honey

* Apricot Glazed Salmon with Soy, Garlic and Ginger and Baby

Vegetables

* Dungeness Crab Cakes with Lime Ginger Sauce

* Rack of Veal with Roasted Vegetables and Thyme Glaze

* Parmesan-Crusted Turkey Tenderloin with Honey Mustard Sauce

* Wild Mushroom, Spinach, and Feta Cheese Strudel with Thai Red Curry

Sauce

* Chef Rudi's Famous White Chocolate Toque, Filled with Silky

Bittersweet Chocolate Mousse.

Expert Tips

In addition to the superb recipes in A Taste of Excellence, the book features culinary tips from Holland America Line's own executive chefs -- everything from how to garnish an appetizer, to how to tell when fish is cooked, to how to easily skin and seed tomatoes.

Executive Chef Thomas Krieger, for example, explains: "Fish is cooked when the flesh has turned from translucent to opaque and springs back lightly when touched. The flesh should still be juicy. If you wait until the 'fish flakes easily with a fork,' as some recipes mistakenly suggest, your fish will be overcooked."

Galley Brigade

The cookbook also provides a look behind the scenes at the galleys on Holland America Line vessels. "Most of our guests suspect that there must be an army of chefs behind the bounty of extraordinary cuisine we offer during a cruise," Sodamin says in a section of the book called A View from the Galley. "In fact, there is a veritable army chopping, stewing, and firing up the sauté pans; on a ship the military term 'brigade' is used to describe the working culinary team."

"At Holland America Line," Sodamin continued, "being a member of the culinary team is especially rewarding because as a company with such a long history, our foundation is in classical cooking technique; however, we have a profound respect for inventiveness. We continually encourage members of our culinary team to experiment, expand their training and horizons, and create an effective interchange of old and new culinary ideas to bring our guests unforgettable dishes that they could experience nowhere else but aboard our ships."

Culinary Innovations

This book is just the latest culinary innovation created by Holland America Line. Guests are filling the Culinary Arts Center to learn new cooking skills; every cruise offers guests the opportunity for small-group cooking lessons and a variety of food and wine demonstrations. The alternative dining venue, the Pinnacle Grill, provides a gracious and memorable culinary experience. Holland America Line also has introduced a clever and entertaining Signature Master Chef's Dinner, a new concept in dinner theater, featuring singing, dancing, juggling and more.

The list of culinary delights goes on. New wine lists, with an international selection of wines, have been introduced throughout the fleet. Gold Rush Baked Alaska is the star of the desert menu on Alaska cruises this season, with the traditional desert served with different toppings each of the seven nights of a cruise. And, "Going Wild for Salmon," introduced on Alaska cruises in 2005 and featuring salmon fixed 50 different ways, has been expanded this year to include Baltic cruises.

"A key element in our success in bringing our guests the finest cuisine the maritime world has to offer is our partnership with Rudi Sodamin -- the most highly decorated and celebrated master chef on the seven seas," Kruse said. "He is widely known for revolutionizing cuisine on cruise lines; his innovation and creativity have set the standard for our entire industry."

Sodamin notes that with the new cookbook and the demonstrations and classes offered in the Culinary Arts Center "guests leave our cruises not only with a memory of great meals, but equipped with the knowledge of how to re- create them at home." The cookbook also will introduce cruisers-to-be to the delights of fine dining at sea.

A Taste of Excellence Cookbook is available for $29.95 (US) or $39.95 (Canadian) on all Holland America Line ships. It also may be purchased at major bookstores such as Barnes & Noble and Borders, and on line through Amazon.com.

For more information on Holland America Line consult a professional travel agent, call 1-877-SAIL-HAL (877-724-5425) or visit www.hollandamerica.com.

- www.hollandamerica.com -

About Holland America Line [a division of Carnival Corporation and plc (NYSE:CCL) (NYSE:and) (NYSE:CUK) ]

With the introduction of the 1,918-passenger ms Noordam in early 2006, Holland America Line's fleet grows to 13 ships, offering nearly 500 cruises from more than 25 home ports. Itineraries range from two to 108 days and visit all seven continents, including new Australia/New Zealand and Asia sailings, a world cruise and popular sailings to several ports in the Caribbean, Alaska, Mexico and Europe. The ms Noordam also will offer Caribbean sailings in the winter from new homeport New York City, followed by a full summer season sailing the Mediterranean round trip from Rome.

Holland America Line's $225 million, fleetwide Signature of Excellence enhancements feature new programs and amenities including the Culinary Arts Center presented by Food & Wine magazine -- a state-of-the-art onboard show kitchen where more than 60 celebrated guest chefs and culinary experts will provide cooking demonstrations and classes -- Explorations Café powered by the New York Times, teens-only activity areas and all new cabin amenities highlighted by flat-panel TVs and plush-top Mariner's Dream Beds. For more information, consult a travel agent, call 1-877-SAIL-HAL (877-724-5425) or visit www.hollandamerica.com.

World's Leading Cruise Lines

The highest-rated premium cruise line in the world, Holland America Line is a member of the exclusive World's Leading Cruise Lines alliance, which also includes Carnival Cruise Lines, Princess Cruises, Cunard Line, Seabourn Cruise Line, Costa Cruises and Windstar Cruises. Sharing a passion to please each guest and a commitment to quality and value, these lines appeal to a wide range of lifestyles and budgets. The World's Leading Cruise Lines offer exciting and enriching cruise vacations to the world's most desirable destinations.

Cookbook06

Web site: http://www.hollandamerica.com/

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Smaller and Privately Held Companies Are at Risk

 A significant majority of global corporations currently have either a detailed avian flu pandemic readiness plan in place or are in the process of developing a plan, according to a report released today by The Conference Board, the global research and business membership organization which is celebrating its 90th anniversary this year.

Nearly three-fourths of the 553 responding global companies (including companies of all sizes from all world regions except the Middle East) either have a plan or are well into developing one, and 85 percent of the survey participants began their planning efforts within the last 12 months.

"As concern about the possibility of an avian flu pandemic becomes increasingly widespread across the globe, a large number of companies are taking steps toward adopting a risk mitigation strategy," says Amy Kao, co- author of the report from The Conference Board with David J. Vidal, Research Director, Global Corporate Citizenship, The Conference Board. Vidal says: "But the effectiveness of business plans and the quality of relationships necessary for their successful implementation in times of extreme public, private and social stress remains open to question."

NOT A PRIORITY IN SOME FIRMS

Of the one quarter or so responding companies without a specific avian flu pandemic preparedness strategy, about half of them simply do not see such planning as a current business priority; while 20% feel that their existing business continuity plan is adequate to manage the threat.

"Small and privately held companies represent the majority of those without an avian flu plan and are therefore the organizations most vulnerable to the risks of a pandemic," say Kao and Vidal.

Large and publicly held companies appear to be the most advanced in their preparations for a possible avian flu pandemic. Approximately 95% of companies with more than $5 billion in sales either have an up-to-date preparedness plan or are in the process of planning. But, 65% of companies with less than $100 million do not yet have any plans specifically in place addressing the impact of an influenza pandemic.

"The variability of business responsiveness to planning alone-with large companies more willing and able to do so than smaller companies-underscores vulnerability in the current state of pandemic readiness planning," says Vidal. "Given that successful pandemic containment would require extraordinary levels of business, social, governmental and individual awareness, knowledge, and cooperation, these gaps provide reason for pause."

According to The Conference Board report, the most significant disadvantage in not conducting formal pandemic preparedness planning may be the virtually total absence of coordination with the public sector. An overwhelming 94% of participating companies report that they have not had discussions with any level of government officials about their organization's ability to provide essential services or access to facilities, equipment, or staff during a pandemic.

In addition, the gap in readiness efforts is significantly felt between those companies in critical industries and non-critical industries. A critical industry is defined as those designated by government as vital to national economic continuity in a crisis. Companies in the healthcare, energy/utilities, chemical manufacturing, and computer/technology manufacturing industries ranked at the top for either having a plan in place or being in the process of planning. Health care and computer/technology manufacturing industries are farther along in their planning efforts, with 30% of those in both industries having a complete plan ready in the event of a pandemic.

Since most companies surveyed began pandemic preparation planning in the last 12 months, survey results showed companies in all phases of planning, from those with a completed pandemic preparedness plan (12%) to those in an embryonic stage of having identified a pandemic coordinator but not yet beginning the planning process (13%). However, the majority fall somewhere in the middle of the spectrum, either in the process of updating a plan that is already in place or assessing the impact of a pandemic prior to drafting a plan.

LEADING CONCERNS OF TOP MANAGERS

In the event of a pandemic, companies are most concerned about the health and welfare of employees (98%), operational continuity (96%), and their telecommuting capabilities to enable employees to work from home (93%).

Identifying critical positions within an organization constitutes a basic first step toward minimizing business disruptions. A third of companies have completed the task; just under half are in the process of identifying critical positions, and the remaining 20% have not yet begun the process but plan to do so in the future. Survey findings indicate that a median of 37% of the total workforce within an organization are considered critical for operational continuity. In anticipation of high absenteeism, more than two-thirds of companies plan to continue to depend upon their existing workforce to maintain normal business operations by cross-training employees to be skilled in multiple jobs. Two-thirds of survey participants don't know whether employees who are asked to cover for absentees will be offered additional compensation.

Some companies plan to gather additional human resources by pooling with other organizations (34%) and contracting retired workers to come back to work temporarily to ensure that critical positions are filled (25%).

Most companies are expected to rely on IT technologies so employees will be able to continue to work away from the workplace. Seventy percent are currently enhancing existing capabilities to allow employees to work from home or from a satellite facility during a pandemic. Firms say that they intend to use emails (82%), intranets (76%), management briefings (58%) and crisis hotlines (57%), when given a choice of which methods of employee communications they plan to use.

"While telecommuting may alleviate some business disruption, the downstream effects stemming from supply chain disruption will likely remain significant," says Kao. "In fact, about half of survey participants predict that impact from delivery and supply chain disruptions will be very serious or extremely serious."

There doesn't seem to be a strong consensus on any specific criterion that would activate an organization's pandemic preparedness plan. Close to one- third of the survey participants report that their plan will be activated when the World Health Organization (WHO) declares Alert Level 4 (increased human- to-human transmission). Eighteen percent said that their plan would go into effect when a pandemic situation is declared in a country where their organization has operating presence; while 15% simply don't know.

Almost 30% of those surveyed say they do not know whether their organization's board of directors has had any discussion about the planning for a pandemic. Ten percent say that their board has adopted a formal policy for pandemic planning; 22% say that the board has discussed planning but hasn't adopted a formal policy; 14% say that board is scheduled to discuss pandemic planning; and 21% say that their board has no plans yet.

For the time being, most companies are shunning direct healthcare intervention with regard to the avian flu. Three-fourths of the survey participants report that their organization has no plans to stockpile antiretroviral drugs, such as Tamiflu. Just over 10% indicate that they have already acquired inventories of antiretroviral drugs in anticipation of a pandemic, and an additional 15% plan to do so in the future. Almost all companies cite employee education as a critical part of their pandemic response efforts and include regular communication about the impact of influenza viruses on health and work performance as a preventative measure in their plans.

Source: Executive Action #204: Are Businesses Doing Enough to Prepare for

a Pandemic?, The Conference Board

For more information on avian flu preparedness visit:

http://www.conference-board.org/knowledge/resources/resource_avianFlu.cfm

About The Conference Board

Non-partisan and not-for-profit, The Conference Board is one of the world's leading business membership and research organizations. The Conference Board produces The Consumer Confidence Index and the Leading Economic Indicators for the U.S. and other major nations. These barometers can have a major impact on the financial markets. The Conference Board also produces a wide range of authoritative reports on corporate governance and ethics, human resources and diversity, executive compensation and corporate citizenship. Our conference and council programs bring together more than 12,000 senior executives each year to share insights and learn from each other. Visit The Conference Board website at http://www.conference-board.org/.

Source: The Conference Board

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After rising for three consecutive weeks, fixed mortgage rates took a breather in the immediate aftermath of the Federal Reserve's June 29th interest rate hike. The average 30-year fixed rate mortgage slid to 6.91 percent from 6.93 percent the day before last week's Fed announcement. According to Bankrate.com's weekly national survey of large lenders, the 30-year fixed rate mortgages had an average of 0.31 discount and origination points.

After rising for three consecutive weeks, fixed mortgage rates took a breather in the immediate aftermath of the Federal Reserve's June 29th interest rate hike. The average 30-year fixed rate mortgage slid to 6.91 percent from 6.93 percent the day before last week's Fed announcement. According to Bankrate.com's weekly national survey of large lenders, the 30-year fixed rate mortgages had an average of 0.31 discount and origination points.

The average 15-year fixed rate mortgage popular for refinancing sank to 6.54 percent. On larger loans, the average jumbo 30-year fixed rate remains above the 7 percent threshold, at 7.06 percent. Adjustable rate mortgages were mixed. The average 5/1 adjustable rate mortgage fell to 6.55 percent, and the average one-year ARM increased to 6.11 percent.

Mortgage rates backpedaled following the Fed's June 29 statement, which was initially perceived as carrying a much softer tone than in previous months. As a result, yields on ten-year Treasury notes gave ground, with mortgage rates following suit. Mortgage rates are closely related to yields on long-term government bonds. But following the July 4 holiday, rates perked up on a rosy prediction of June job growth, though not enough to erase the decline late last week. Over the next couple of weeks, any combination of strong job growth and continued inflation worries will prime the pump or an August Fed hike -- and push mortgage rates higher.

Fixed mortgage rates moved up notably in the first half of the year. As 2005 came to a close, the average 30-year fixed mortgage rate was 6.28 percent, meaning that the monthly payment on a loan of $165,000 was $1,019.16. With the average 30-year fixed rate now 6.91 percent, the same loan originated today would carry a payment of $1,087.79. Despite recent increases, fixed mortgage rates remain an attractive refinancing alternative for adjustable rate borrowers facing sharp payment adjustments.

SURVEY RESULTS

30-year fixed: 6.91% -- down from 6.93% last week (avg. points: 0.31)

15-year fixed: 6.54% -- down from 6.57% last week (avg. points: 0.3)

5/1 ARM: 6.55% -- down from 6.59% last week (avg. points: 0.32)

Bankrate's national weekly mortgage survey is conducted each Wednesday from data provided by the top 10 banks and thrifts in the top 10 markets.

For a full analysis of this week's move in mortgage rates, go to http://www.bankrate.com/mortgagerates

The survey is complemented by Bankrate's weekly forward-looking Rate Trend Index, in which a panel of mortgage experts predicts which way the rates are headed over the next 30 to 45 days. This week, respondents overwhelmingly expect mortgage rates to keep rising, with 84 percent in that camp. The remaining 16 percent forecast that rates will remain unchanged in the next 30 to 45 days. Interestingly, no one predicts mortgage rates to fall during that time.

For the full mortgage Rate Trend Index, go to http://www.bankrate.com/RTI

About Bankrate, Inc.

Bankrate, Inc. (NASDAQ:RATE) owns and operates Bankrate.com, a leading Internet consumer banking marketplace. Bankrate.com is a destination site of personal finance channels, including banking, investing, taxes, debt management and college finance. It is the leading aggregator of more than 300 financial products, including mortgages, credit cards, new and used auto loans, money market accounts and CDs, checking and ATM fees, home equity loans and online banking fees. Bankrate.com reviews more than 4,800 financial institutions in 575 markets in 50 states. In 2005, Bankrate.com had over 46 million unique visitors. Bankrate.com provides financial applications and information to a network of more than 75 partners, including Yahoo! (NASDAQ:YHOO) , America Online (NYSE:TWX) , The Wall Street Journal (NYSE:DJ) and The New York Times (NYSE:NYT) . Bankrate.com's information is also distributed through more than 400 national and state publications. In addition to Bankrate.com, Bankrate, Inc. also owns and operates FastFind, an Internet lead aggregator and MMIS/Interest.com, which publishes mortgage guides and financial rates and information.

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I now know that there is no such thing as a sporting event that is on the up and up. No wonder you have so many fights at them.

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Enron Corp. announced today that it has reached an agreement with Merrill Lynch & Co., Inc and affiliated entities (collectively "Merrill Lynch") to settle MegaClaims litigation in the Enron bankruptcy case. According to the terms of the agreement, Merrill Lynch will pay Enron $29.5 million. The settlement further provides that approximately $73.7 million in claims against the Enron Estate will be subordinated and receive no distribution from the Enron Estate and approximately $10 million in transferred claims will be allowed. The settlement reflects that Merrill Lynch was involved in fewer transactions with Enron than certain of the other MegaClaim defendants. Merrill Lynch did not admit liability or wrongdoing and both parties agreed to settle the litigation to avoid the costs and uncertainties of further proceedings.

"This settlement is a further proactive step in our efforts to settle the Enron Estate," said John J. Ray III, Enron's President and Board Chairman. "We are gratified with the progress we have made to bring the MegaClaims litigation with Merrill Lynch to a close and remain optimistic that the remaining financial institutions will put their Enron issues to rest."

Remaining MegaClaim cases include Citigroup Inc., Deutsche Bank AG, Barclays PLC, and Fleet National Bank.

The settlement remains subject to the execution of a definitive agreement and the approval of the United States Bankruptcy Court for the Southern District of New York.

Enron is represented in this matter by Susman Godfrey LLP; Togut, Segal & Segal; and Venable LLP.

Enron's Internet address is www.enron.com.

CAUTIONARY STATEMENT: Certain statements contained in this press release are "forward-looking statements" within the meaning of Section 27A of the Securities Act of 1933 and Section 21E of the Securities Exchange Act of 1934, as amended. Forward-looking statements include statements concerning plans, objectives, goals, strategies, future events or performance, and other statements that are other than statements of historical facts. Forward- looking statements are based on the opinions and estimates of management at the time the statements are made and are subject to certain risks and uncertainties that could cause actual results to differ materially from those anticipated in the forward-looking statements. Important factors that could cause actual results to differ materially from those in the forward-looking statements herein include, but are not limited to, political developments affecting federal and state regulatory agencies, and developments with respect to the bankruptcy of Enron. Except as required by law, Enron does not undertake any obligation to update any forward-looking statements.

Source: Enron

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'Help is Here Express' in Tennessee to Help Educate People About Prescription Assistance Programs; Nearly 2.5 Million Nationally Already Benefiting From Program

Montel Williams, an Emmy-winning syndicated talk show host, author and motivational speaker, will be in Memphis today with the "Help is Here Express," a traveling education center making its way across the country to raise awareness and educate people about the Partnership for Prescription Assistance, a growing national program to help eligible patients access prescription medicines.

The "Help is Here Express" is making a stop in Memphis at the National Civil Rights Museum from 10 a.m. - 1:00 p.m. to offer help to anyone who is having trouble affording their prescription medicine. There will be a news conference at 10:30 a.m. Since its launch in April 2005, the program -- sponsored by America's pharmaceutical research companies working with doctors, pharmacists, health care providers and community groups -- has matched nearly 2.5 million patients nationally, and more than 140,000 right here in Tennessee.

"The Partnership for Prescription Assistance is changing thousands of lives every day," said Karen Katen, Vice Chairman of Pfizer Inc and President, Pfizer Human Health. "No one is helped by a medicine that sits on the shelf and is out of reach financially. The Partnership for Prescription Assistance is matching the people of Tennessee who are uninsured or underinsured to patient assistance programs that may help them get the medicines they need for free or nearly free. We will keep coming back to Tennessee as long as there are people who need affordable access to our medicines."

Through its toll-free number (1-888-4PPA-NOW) and user-friendly website (http://www.pparx.org/), the Partnership for Prescription Assistance is the only program that provides a single point of access to more than 475 public and private patient assistance programs, including more than 180 programs offered by pharmaceutical companies. The "Help is Here Express" is equipped with computer terminals and phones to make it easy for patients to learn about the assistance programs on-site.

"Millions of patients are already receiving free or nearly free drugs from these programs, but it is clear that millions of other Americans from all over the country -- in cities and rural areas alike -- are not taking advantage of the help that is available to them," said Williams, who regularly addresses critically important societal issues on his show.

"The PPA is a concerted and effective effort to reach those who still need help. I'm going to do everything I can to get the word out. As a patient who must cope every day with the effects of multiple sclerosis, I understand only too well the importance of having access to the medicine you need," said Williams.

More than 70 national groups, including the American Academy of Family Physicians, Easter Seals, National Alliance for Hispanic Health, National Urban League, United Way of America, as well as a fast-growing list of state and local organizations, are working with America's pharmaceutical companies and the Pharmaceutical Research and Manufacturers of America (PhRMA) to spread the word about the program.

"NAMI Memphis is excited about the Partnership for Prescription Assistance program and the help it offers to the millions of people who cannot afford their prescription medicines," said Brad Cobb, executive director of the Memphis branch of the National Alliance for the Mentally Ill. "I encourage anyone who is having trouble paying for their medicines to call the toll-free number and find out if you may qualify for one of the hundreds of assistance programs offered by the Partnership for Prescription Assistance."

To find out if there are patient assistance programs that may meet their needs, patients should call toll-free 1-888-4PPA-NOW (1-888-477-2669) to speak with a trained specialist or visit http://www.pparx.org/.

Call today 1-888-4PPA-NOW (1-888-477-2669) or visit http://www.pparx.org/.

Source: Partnership for Prescription Assistance

Web site: http://www.pparx.org/

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 Hello Friend/Ennis William Cosby Foundation is putting into action a simple and inexpensive tool that addresses head on the specific challenges that face middle school students. Middle school (grades 6-8) represent a "make or break" time for our nation's schoolchildren. Most educators agree that high school outcomes are determined in middle school, where students either learn or fail to learn the skills which are necessary for high school completion.

 Hello Friend/Ennis William Cosby Foundation is putting into action a simple and inexpensive tool that addresses head on the specific challenges that face middle school students. Middle school (grades 6-8) represent a "make or break" time for our nation's schoolchildren. Most educators agree that high school outcomes are determined in middle school, where students either learn or fail to learn the skills which are necessary for high school completion.

The Foundation's education director, Carolyn Olivier, developed and wrote Hello Friend/What's Up?, an innovative daily student planner that helps students stay on top of their work, complete assignments, manage their projects and apply essential learning skills that will benefit them for the rest of their lives. Ms. Olivier, the Harvard-educated co-author of a highly regarded parental guidebook to education called Learning to Learn (Simon & Schuster, 1996) designed this resource to help schools and families work together more efficiently to support each child's learning.

Hello Friend/What's Up? was put into practice in nearly 200 middle schools earlier this spring. Teachers using the planners commented that they experienced dramatic increases in both homework completion and direct parental involvement. One teacher in the New York City Schools wrote, "Formerly less than half the assignments would come in every day. Now, over 80% of them are handed in." A teacher in Oklahoma shared, "Parents loved having this planner for their children. This helped tremendously with parent/teacher communication. It can make a difference."

The results were so positive that the Foundation is making Hello Friend/What's Up? available this autumn to a wider distribution. "Hello Friend/What's Up demonstrates that solutions do not have to be complicated, expensive and overwhelming," stated Joel Brokaw, executive director of the Foundation. "Our mandate is to put proven techniques into the hands of teachers and parents so that each child has the resources and support to reach their learning potential."

The launch of the planner last January was made possible thanks to the support of Scholastic Book Clubs and a gift from the Waghorne family. The Foundation hopes to continue free distribution of the books this fall to underserved schools through individual and corporate funding of "school adoptions" and through profits from the sales. "For as little as $6 per child, a donor will have a daily impact the entire school year and reinforce learning skills that have benefit for a lifetime," added Brokaw.

In another high impact program, Hello Friend has distributed more than three quarters of a million books, collated into "classroom libraries" to nearly eight thousand K-2 teachers in 533 cities and towns in 48 states over the last five years. Partners and sponsors for the project include Scholastic Book Clubs, Chase, Verizon, regional and local foundations, and a small army of volunteers from southeastern Vermont. "Many of our nation's children attend classrooms where there are few books to read, where the books are out of date or damaged, or where budget cuts have closed the school library," Ms. Olivier explained. "Many of these same children have few books at home. This project addresses the gap that exists in the opportunity to learn to read, and to learn to love reading." The Hello Friend Classroom Libraries, which consist of 75-95 brand new hard and softcover books, organized by grade level, arrive at no cost to teachers or schools.

The Hello Friend/Ennis William Cosby Foundation is dedicated to fulfilling the goals and dreams of Ennis Cosby, the son of Bill and Camille Cosby. The Foundation equips teachers, parents and students with the practical information and educational tools needed to understand and address the needs of all learners before they experience the corrosive effects of frustration and failure. Learn more about these projects and on ways to support Hello Friend's work by visiting www.hellofriend.org

Source: Hello Friend/Ennis William Cosby Foundation

Web site: http://www.hellofriend.org/

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Also: Penthouse Interviews Busta Rhymes, Paul Giamatti and Mancow

Have you ever pondered what your woman might be thinking about when you're in bed together? Have you ever imagined that perhaps she wants to be dominated, or participate in an orgy, or do both in some exotic locale? According to Penthouse's own Dr. Zdrok, women fantasize as much as men, if not more so and in this month's Vices & Vanities column, Dr. Z reveals the TOP TEN SEXUAL FANTASIES of WOMEN. Be shocked, be stimulated and get educated. Going forward, you'll be more understanding and less upset if she happens to scream out her ex's name, or Brad Pitt's -- in bed.

SOUNDS -- Busta Move and Tool Time:

Busta Rhymes is returning to the forefront of hip-hop with a fresh look and a new album titled, The Big Bang. The album has taken three years to make and features cameos from several artists including: Missy Elliot, will.i.am and Nas, but not Eminem. "When I do records with certain people who I respect and I'm a fan of, I want to treat it like an event. It got leaked that Em and I were coming together on I'll Hurt You, and it was all over the place before we could make an event out of it." So, is this Busta's best work yet? "I possess an album that has things that no other album in existence has: a Rick James cameo, a Stevie Wonder cameo and a Dr. Dre cameo!"

Five years ago, the band Tool warned of a future with political and personal strife. Now, the prog-metal men of mystery have returned, "pissed off and lashing out," on their new album, 10,000 Days.

ENTERTAINMENT -- Mancow and Mr. Giamatti

Nationally syndicated radio deejay, Erich Muller (a.k.a. Mancow) feels he's bigger than Howard Stern and bolder than Opie and Anthony. "Opie and Anthony are older than me. What they do is easy, voyeuristic radio. I think it's unsellable." A former ministry student, this Chicago mouthpiece combines sex and politics to create one of America's most popular shows, Mancow's Morning Madness. He thinks that 13-year-old girls probably have more experience at sex than him, regardless of being married with children, and he resents being labeled a "shock jock." "I'm not a shock jock. That is someone who says something simply for ratings and/or effect. I have never done that. The guy who went on the air and said we were under nuclear attack, the guy who said the president had been shot, and the guy who faked raping a Girl Scout ... that is a shock." While his job gets him in trouble on a daily basis at home, he is nonetheless an outspoken icon adored by fans, fanatics and family alike.

Paul Giamatti's father was the President of Yale University and one of the foremost scholars in Renaissance literature. So, how is it then that this leading character actor adores pulp fiction, Peckinpah Western's and B-horror movies? While he attends movie award shows and collects statues for his work, this thespian is secretly planning his escape back into the weird niche of brilliant character actor roles.

August Pet and Pennsylvania local, Olivia Kent is this month's centerfold. A resident of Hazelton, this blonde beauty has a leg up, make that a very long leg up, on the competition.

The August 2006 Penthouse issue is available at newsstands and at http://www.penthouse.com/digital, now. For a complimentary press copy, or to arrange an interview with a Penthouse representative, kindly contact the Public Relations department at: 561.912.7034

 

 

Source: Penthouse Media Group Inc.

 

 

Web site: http://www.penthouse.com/
http://www.penthouse.com/digital

 

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-- A seven week downward trend ended as consumer demand for gasoline pushed prices up across the Southland this week, according to the Automobile Club of Southern California's Weekend Gas Watch.

The average price of self-serve regular gasoline in the Los Angeles-Long Beach area is $3.253 which is 7.1 cents higher than last week, seven cents lower than last month and 77 cents higher than last year. In San Diego, the price is $3.260, 7.4 cents above last week's price, seven cents below last month and 73 cents above last year. On the Central Coast, the average price is $3.398, up 4.1 cents from last week, six cents below last month and 80 cents higher than last year. In the Inland Empire, the average price is $3.276, up seven cents from last week, eight cents below last month and 80 cents higher than last year.

"When prices reached record highs in May motorists cut back driving considerably. Lower demand helped push prices lower," said Auto Club spokesperson Carol Thorp. "But, declining prices and the start of summer resulted in higher demand for gas. That has put upward pressure on prices."

The Weekend Gas Watch monitors the average price of gasoline as of 12:01 a.m., July 7:

Area                         Regular   Change from      Record Price                                         last week ----------------------       -------   -----------    ----------------- Los Angeles-Long Beach        $3.253    +7.1 cents    $3.402 (5/13/2006)  Orange County                 $3.222    +4.2 cents    $3.371 (5/17/2006)  San Diego                     $3.260    +7.4 cents    $3.438 (5/15/2006)  Santa Barbara-  Santa Maria-Lompoc           $3.398    +4.1 cents    $3.491 (5/16/2006)  Riverside-  San Bernardino               $3.276    +7.0 cents    $3.445 (5/15/2006)  Bakersfield                   $3.169    +2.7 cents    $3.450 (5/16/2006)  Las Vegas, NV                 $2.963    +1.8 cents    $3.176 (5/17/2006) 

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Grammy & Oscar Winning Performer Releases New Collection of Best-Loved Songs & Lullabies for All Ages

'Into White' In Stores Tuesday, October 24

Columbia Records announces the release of Into White, a new collection of beloved pop standards and touching traditional lullabies performed by the Academy Award, Golden Globe and Grammy winning singer and composer Carly Simon.

The quintessential performer follows up Moonlight Serenade, her 2005 best-selling collection of pop music standards, with Into White, a soothing return to her primary musical roots, a pure and evocative showcase of best-loved songs, old and new, performed in the trademark dusky vocal style that's unmistakably Carly.

Taking its title from a wistful Cat Stevens song from the legendary 70's singer/songwriter's Tea For The Tillerman album, Into White conjures a series of dreamy gentle moods in a collection of unforgettable tunes drawn from a variety of sources including Cat Stevens ("Into White"), Judy Garland ("Over The Rainbow"), the Everly Brothers ("All I Have To Do Is Dream"/"Devoted To You"), The Beatles ("Blackbird"), Harry Belafonte ("Jamaica Farewell"), James Taylor ("You Can Close Your Eyes"), Stephen Foster, the 19th century father of American song ("Oh! Susanna"), and Gaelic traditional folk airs ("Hush Little Baby"/"My Bonnie," "I Gave My Love a Cherry [The Riddle Song]," "Scarborough Fair").

Carly rounds out the album with a pair of new self-penned compositions: "Love of My Life," and "Quiet Evening."

Produced by Carly Simon & Jimmy Parr (who worked on Carly's seasonal collection, Christmas Is Almost Here), the songs on Into White are performed by a small intimate ensemble including Teese Gohl (who also arranged strings on the album) on keyboards, synths, kalimba and flute; Peter Calo on guitar and dobro; Jan Hyer on cello; David Saw on guitar; and Jimmy Parr on percussion, kalimba and heartbeat.

Sally Taylor and Ben Taylor (each an accomplished songwriter and performer in her/his own right) join their mother on a familial rendition of James Taylor's "You Can Close Your Eyes," from 1971's Mud Slide Slim and the Blue Horizon. Ben Taylor contributes vocals to several other songs on Into White including an enchanting new version of "Devoted To You," the Everly Brothers classic Carly first covered in 1978 with then-husband and frequent singing partner James Taylor on her best-selling Boys In The Trees album.

In addition to her legendary status as one of America's definitive female singer/songwriters -- having penned such classic pop songs as "You're So Vain," "Anticipation," and "Let The River Run" -- Carly has also authored several award-winning children's books beginning with the best-seller "Amy The Dancing Bear" in 1989 and including "The Boy of the Bells" (1990), "The Fisherman's Song" (1990), "Nighttime Chauffeur" (1993), and "Midnight Farm" (1997).

From her sly version of "Itsy Bitsy Spider" in the soundtrack to Nora Ephron's "Heartburn" (1987) to her songs in the Disney Winnie the Pooh films, "Piglet's Big Movie" (2003) and "Pooh's Heffalump Movie" (2005), Carly Simon has shown an uncanny ability to connect with audiences of all ages.

Into White is executive produced by Jay Landers, who first worked with Carly on "Guess I'll Hang My Tears Out To Dry"/"In The Wee Small Hours of the Morning," her duet with Frank Sinatra on Ol' Blue Eyes' 1993 Grammy winning Duets album. Landers -- who has supervised records with Barbra Streisand, Bette Midler, Celine Dion and many others -- provided musical supervision for numerous original cast recordings and soundtracks including "Miss Saigon," "Carousel," "A League of Our Own," "Remember the Titans" and others. He has also worked on a number of children's recordings including Disney's Lullaby Album and the Grammy winning "Woody's Roundup" from Disney/Pixar's "Toy Story 2."

Carly Simon - "Into White" - track listing

Oh! Susanna (written by Stephen Foster)

All I Have To Do Is Dream/Devoted To You (written by Felice & Boudleaux Bryant)

Into White (written by Cat Stevens)

Over The Rainbow (written by Harold Arlen & E.Y. Harburg)

Hush Little Baby/My Bonnie (traditional, arranged by Carly Simon)

I Gave My Love a Cherry (The Riddle Song) (traditional, arranged by Carly Simon)

Blackbird (written by John Lennon & Paul McCartney)

You Can Close Your Eyes (written by James Taylor)

Jamaica Farewell/You Are My Sunshine (written by Lord Burgess/written by Jimmie Davis & Charles Mitchell)

Manha de Carnaval (from Black Orpheus) (written by Luiz Bonfa & Antonio Maria)

Scarborough Fair (traditional, arranged by Carly Simon)

Love of My Life (written by Carly Simon)

Quiet Evening (written by Carly Simon & David Saw)

Source: Columbia Records/Legacy Recordings

 

Web site: http://www.carlysimon.com/

Web site: http://www.columbiarecords.com/

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Las Vegas: Season Three

Uncut and Uncensored All 23 Episodes on DVD September 12, 2006 From Universal Studios Home Entertainment

'The Coolest Casino Crew on TV ... ' - TV Guide

UNIVERSAL CITY, Calif., July 6 /PRNewswire/ -- The glittering lights of Sin City will once again illuminate America's living rooms as Las Vegas: Season Three comes to DVD on September 12, 2006 from Universal Studios Home Entertainment. Full of hard-hitting action, fresh young talent, chart-topping music artists and footage too hot for broadcast television, the five-disc set follows the sizzling storylines of the Montecito Resort and Casino's crack security team. Josh Duhamel ("Win a Date with Tad Hamilton") and Oscar(R) nominee James Caan ("The Godfather") star as surveillance experts tracking high rollers and lowlife losers in one of the most glamorous destinations on the Vegas Strip. Vanessa Marcil ("Beverly Hills 90210"), Molly Sims ("Starsky and Hutch"), James Lesure ("The Ring Two") and Nikki Cox ("Nutty Professor II") headline the hottest cast on television, with A-list guest stars including Lara Flynn Boyle, Dean Cain, Ron Jeremy, Cheryl Ladd, Rachel Leigh Cook and Dennis Rodman. Presented in Dolby Digital 5.1 Surround Sound, all 23 episodes of Las Vegas: Season Three will bring fans instantly up to date on the team's Season Three exploits just before the premiere of Season Four on NBC. The five-disc set is priced at $59.98 SRP. Preorder close is August 8, 2006.

FIVE-DVD SET UPS THE ANTE WITH EXCLUSIVE BONUS FEATURES

Las Vegas: Season Three's sizzling bonus features include:

* In with the New -- Witness the changing face of the legendary Vegas

Strip firsthand with this special feature exclusive to the Las Vegas:

Season Three DVD. This absorbing featurette documents with time-lapse

photography the building of the brand new, state-of-the-art, Montecito

Resort and Casino.

* Hilarious Gag Reel stuffed with Season Three gags and bloopers from Las

Vegas' vaults!

SYNOPSIS

Ex-CIA operative Ed Deline (James Caan) and former Marine Danny McCoy (Josh Duhamel) lead the surveillance team at the posh Montecito Resort & Casino in Las Vegas. The pair chase down cheaters, ferret out frauds and keep tabs on high rolling "whales" in the glitziest city on earth, all to a fast-paced soundtrack from some of today's hottest musical artists. James Lesure, Vanessa Marcil, Molly Sims and Nikki Cox round out the security team of the hottest, most exciting hotel in the city.

For more information please visit: www.LasVegasOnDVD.com

TECHNICAL INFORMATION

DVD

Street Date: September 12, 2006

Pre-Order Close: August 8, 2006

Copyright: 2006 Universal Studios. All Rights Reserved.

Price: $59.98 SRP

Selection Number: 30933

Running Time: 16 Hours, 16 Minutes

Discs: 5

Layers: DVD-9

Aspect Ratio: Anamorphic Widescreen 1.78:1

Rating: Not Rated

Technical Info: Dolby Digital 5.1 Surround; English SDH, Spanish Subtitles

Universal Studios Home Entertainment is a unit of Universal Pictures, a division of Universal Studios (www.universalstudios.com). Universal Studios is a part of NBC Universal, one of the world's leading media and entertainment companies in the development, production, and marketing of entertainment, news, and information to a global audience. Formed in May 2004 through the combining of NBC and Vivendi, NBC Universal owns and operates a valuable portfolio of news and entertainment networks, a premier motion picture company, significant television production operations, a leading television stations group, and world-renowned theme parks. NBC Universal is 80%-owned by General Electric, with 20% owned by Vivendi.

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Miami HEAT 'White Hot' Season Captured in Official Miami HEAT: 2005-2006 NBA Champions DVD; Warner Home Video and NBA Bring All the Action and Exclusive Footage of the HEAT's Magical Run Through the Regular Season, Playoffs and The Finals

Collector's Edition Championship DVD Available in Retail Stores Nationwide on July 18

Less than a month after the Miami HEAT ascended to the top of the basketball world for the first time in franchise history, Warner Home Video (WHV) and the National Basketball Association (NBA) have teamed up to bring fans the HEAT's championship season in the official collector's edition DVD entitled, Miami HEAT: 2005-2006 NBA Champions, available in retail stores nationwide on July 18 for $24.98 SRP. Fans can also pre-order the championship DVD online at NBAStore.com or through the Miami HEAT's website at HEAT.com, for delivery.

The Miami HEAT: 2005-2006 NBA Champions DVD features more than three hours of content including comprehensive coverage of the best moments from the regular season, the Playoffs and The Finals along with exclusive footage that gives viewers unique behind-the-scenes access. The DVD is packed with extensive interviews of players, coaches and NBA experts.

Fans can relive the HEAT's thrilling 52-win regular season and their exciting playoff run capped off by defeating the Dallas Mavericks 4-2 in The Finals after battling back from a 0-2 deficit to win four straight. Miami HEAT: 2005-2006 NBA Champions DVD is loaded with clutch bonus features including profiles on HEAT players such as Shaquille O'Neal, Dwyane Wade and Alonzo Mourning, as well as in-depth analysis by various NBA experts. This DVD will show you what it takes to be an NBA champion!

"The Finals is the culmination of an arduous season consisting of over 100 grueling games and this DVD captures the various ups and downs of the long journey required to be the last team standing," said Norbert Hudak, WHV Executive Director, Sports Marketing. "The Miami HEAT fought hard to win their first ever NBA championship and this DVD gives fans the opportunity to share in the celebration with their beloved HEAT."

DVD Special Features:

-- Dwyane Wade "Flash" - Take a look at the evolving career of one of the NBA's brightest young superstars.

-- Gary Payton - Career Retrospective - Follow one of the NBA all-time great point guards and how he achieved his goal with the HEAT.

-- Udonis Haslem - Exceeding Expectations - Undrafted out of college, Miami native Haslem has been a key part of the HEAT's success.

-- Shaquille O'Neal - The 3rd Stage of His Career - He started in Orlando, went on to Los Angles and now took the HEAT to their first championship.

-- Alonzo Mourning - Reflections - Take a look at the trials and tribulations this NBA superstar went through during his career both on and off the court.

-- Jason Williams - Growing as a Player - Dubbed "White Chocolate," Williams' game was once all about flashiness but he has now transformed into a floor leader.

-- Training Camp Preview of the Miami HEAT's 2006 Season - A pre-season look at the HEAT's outlook for the season.

-- Dream Catches Fire - Look at the origins of the Miami HEAT and their first NBA season.

-- NBA Playbook - Getting Shaq Space in the Post - This DVD contains four vignettes that breakdown a few of the HEAT's key offensive plays.

-- The Clincher - Catch the entire 4th Quarter of Game 6 of the NBA Finals where the HEAT defeated the Mavericks to capture the title.

-- The Finals Pre-Series Analysis - Watch as NBA TV analyst's breakdown all the match-ups and key's to the series.

-- The Finals Post-Series Analysis - Watch as NBA TV analysts recap all the key moments of the NBA Finals.

About Warner Home Video

With operations in 90 international territories Warner Home Video, a Warner Bros. Entertainment Company, commands the largest distribution infrastructure in the global video marketplace. Warner Home Video's film library is the largest of any studio, offering top quality new and vintage titles from the repertoires of Warner Bros. Pictures, Turner Entertainment, Castle Rock Entertainment, HBO Home Video and New Line Home Entertainment.

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The Neways Summer Concert Series is proud to present Mark Chesnutt, legendary performer and dedicated musician, in concert on July 7th at 8:30p.m. Back in the honky-tonks of Beaumont, Texas, he developed his raw talent and passion for genuine country music. His success is manifested in his 23 top-ten singles, four platinum albums, 14 No. 1 hits and five gold records.

With country music's changing environment, Mark remains true to his time-honored style and faithful fan base. "I just make records because I want people to come see my show," he said. "Just listening to the music is great, but I've got to be out there on stage making it."

As one of Billboard's top-ten most played radio artists, Mark Chesnutt has created top-selling hits such as "Bubba Shot the Juke Box," "I'll think of Something," and "Goin' Through the Big D." When Mark was just 17 years old, he began traveling to Nashville with his father, Bob Chesnutt. After a decade of persistence, and as word spread concerning this talented boy from Texas, Mark eventually singed with MCA Nashville. Winning the CMA Horizon Award was one of his greatest accomplishments.

To see Mark live is quite the experience, since he developed a bona fide sound and crowd-pleasing flare alongside Lefty, Merle, George and Waylon. Mark Chesnutt continues to develop his talents as a performer, staying busy with a demanding tour schedule and fulfilling his desire to deliver dynamic concerts nation-wide.

Tickets can be purchased at all Smith's grocery stores or at http://www.smithstix.com for $20. Tickets are $25 at the gate if they have not sold out.

General Information

-- All concerts will take place at Springville Acres Part located at 700 South 1300 E. in Springville. Directions: from I-15, take exit 260 and go east toward Mapleton/Springville. Continue on 400 S (approximately 3 miles) to about 1300 E. Take the right curve onto South Canyon Dr. Turn right at 620 S. The park will be on your right.

-- Gates will open at 6:30 p.m. on the night of each concert.

-- For more information on this concert and upcoming concerts please go to http://www.neways.com/concertseries

-- We would like to thank our sponsors: Daily Herald, KKAT, KUBL

About Neways International

Neways manufactures and distributes personal care and nutritional products in 23 countries around the world. Neways' mission is to develop safe alternatives to potentially harmful mainstream products. These products are sold through a worldwide network of independent distributors. Neways operates manufacturing facilities in Salem, Utah, and Auckland, New Zealand. Neways' headquarters are located in Springville, Utah. Additional information about Neways can be found at http://www.neways.com

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A recent report about antimicrobial use in food production, prepared for the Institute of Food Technologists (IFT), inaccurately depicts the use of antimicrobials in organic farming and processing. The Organic Trade Association has prepared these facts to set the record straight.

"Organic farmers and processors follow all federal state, and local health standards, and do so in ways that enhance the environment and the public health," said Caren Wilcox, executive director of the Organic Trade Association and former food safety official.

Because farmers using the organic system have to concentrate on prevention of disease and maintaining the good health of the animals, a healthy and clean environment is paramount on organic farms, and the health of the animals is overseen on at least a daily basis. Organic practices prohibit the use of hormones, antibiotics or other animal drugs in animal feed for the purpose of stimulating the growth or production of livestock. Meat sold as organic cannot come from an animal that received antibiotics.

For several years, respected organizations, such as the American Medical Association and the World Health Organization, have recommended against the sub-therapeutic use of antibiotics in agriculture in order to protect the public health because they report that these uses contribute to development of antibiotic resistant strains of bacteria.

Keeping food products, such as produce and grains, safe during growing and processing is important to organic producers. Use of antimicrobial processes and materials is allowed in organic farming and processing, and specific materials and processes used in organic production are regulated by law. Pasteurization (an antimicrobial), selected use of chlorine (an antimicrobial), hydrogen peroxide (and antimicrobial) and other food safety practices also are allowed and followed in organic production.

Very little data exists about how farming practices affect the potential for foodborne illness. What is known is that organic farmers produce healthful products without the use of toxic and persistent pesticides and fertilizers, sewage sludge, or genetically modified organisms, or growth hormones, which are all allowed in non-organic production.

The report does show that bacteria that may be present in organic meat and poultry are not as resistant to antibiotics as bacteria on non-organic meat. Therefore, the use of an allowed antimicrobial on organic meat is more likely to kill bacteria than the bacteria on meat from a non-organic food animal that has been exposed to antibiotics on the farm or in processing.

A study by Mukherjee et al, published in the Journal of Food Protection (Vo. 67, No. 5, 2004), found that the percentage of E. coli prevalence in certified organic produce was similar to that in conventional samples. However, it did find a marked difference in the prevalence of E. coli between the samples from certified and non-certified organic farms. "Ours is the first study that suggests a potential association between organic certification and reduced E. coli prevalence," the authors wrote. They noted that the results of the study "do not support allegations that organic produce poses a substantially greater risk of pathogen contamination than does conventional produce."

Regardless of the methods used to grow and process the food, cooks at home need to follow safe handling procedures— store foods at the proper temperature, keep meat and vegetables separate, wash hands and utensils after handling raw meats, wash produce before eating it, and cook meats to the proper temperature.

To learn more, link to antimicrobial fact sheet.

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WALT DISNEY PICTURES

PRESENTS

A GORE VERBINSKI FILM

 

 

FOR INTENSE SEQUENCES OF ADVENTURE

VIOLENCE, INCLUDING FRIGHTENING IMAGES.

© Disney Enterprises, Inc. All Rights Reserved. Pirates.movies.com

 

WALT DISNEY PICTURES

Presents

 

In Association with

JERRY BRUCKHEIMER FILMS

 

A

GORE VERBINSKI

Film

 

PIRATES OF THE

CARIBBEAN:

DEAD MAN’S CHEST

 

Directed by . . . . . . . . . . . . . . . . . . GORE VERBINSKI

Written by . . . . . . . . . . . . . . . . . . . . . . . TED ELLIOTT

& TERRY ROSSIO

Based on Characters Created by . . . . . . TED ELLIOTT

& TERRY ROSSIO

and STUART BEATTIE

and JAY WOLPERT

Based on

Walt Disney’s

“PIRATES OF THE CARIBBEAN”

 

Produced by . . . . . . . . . . . . . JERRY BRUCKHEIMER

Executive Producers . . . . . . . . . . . . . MIKE STENSON

CHAD OMAN

BRUCE HENDRICKS

ERIC McLEOD

Director of

Photography. . . . . . . . . . . . . DARIUSZ WOLSKI, ASC

Production Designed by . . . . . . . . . RICK HEINRICHS

Edited by. . . . . . . . . . . . . . . . . . . . . . . . CRAIG WOOD

STEPHEN RIVKIN, A.C.E.

Costume Designer . . . . . . . . . . . . . . . . . PENNY ROSE

Visual Effects Supervisor . . . . . . . . . . . JOHN KNOLL

Music by. . . . . . . . . . . . . . . . . . . . . . . HANS ZIMMER

Music Supervisor . . . . . . . . . . . . . . . . . BOB BADAMI

Casting by. . . . . . . . . . . . . . DENISE CHAMIAN, CSA

UK Casting by . . . . . . . . . . . PRISCILLA JOHN, CDG

Unit Production Managers . . . . . . . . . . ERIC McLEOD

DOUGLAS C. MERRIFIELD

First Assistant Directors. . . . . . . . . . . . . PETER KOHN

DAVID H. VENGHAUS, JR.

Second Assistant

Directors . . . . . . . . . . . . . DAVID H. VENGHAUS, JR.

JEFFREY OKABAYASHI

Associate Producer . . . . . . . . . . . . . . PAT SANDSTON

ILM Animation Supervisor . . . . . . . . . . HAL HICKEL

ILM Visual Effects Producers . . . . . . . NED GORMAN

JILL BROOKS

CAST

Jack Sparrow . . . . . . . . . . . . . . . . . . . . JOHNNY DEPP

Will Turner. . . . . . . . . . . . . . . . . . ORLANDO BLOOM

Elizabeth Swann. . . . . . . . . . . . . KEIRA KNIGHTLEY

Norrington . . . . . . . . . . . . . . . . . . JACK DAVENPORT

Davy Jones. . . . . . . . . . . . . . . . . . . . . . . . BILL NIGHY

Governor Weatherby Swann. . . . . JONATHAN PRYCE

Pintel. . . . . . . . . . . . . . . . . . . . . . . . . LEE ARENBERG

Ragetti . . . . . . . . . . . . . . . . . . . MACKENZIE CROOK

Gibbs . . . . . . . . . . . . . . . . . . . . . KEVIN R. McNALLY

Cotton. . . . . . . . . . . . . . . . . . . . . . . . . . DAVID BAILIE

Bootstrap Bill . . . . . . . . . . . STELLAN SKARSGÅRD

Cutler Beckett. . . . . . . . . . . . . . . . TOM HOLLANDER

Tia Dalma . . . . . . . . . . . . . . . . . . . . NAOMIE HARRIS

Marty . . . . . . . . . . . . . . . . . . . . . . . MARTIN KLEBBA

Mercer. . . . . . . . . . . . . . . . . . . . . DAVID SCHOFIELD

Captain Bellamy. . . . . . . . . . . . . . . . . ALEX NORTON

Scarlett . . . . . . . . . . . . . . . . . . . . . . LAUREN MAHER

Short Sailor. . . . . . . . . . . . . . . . . . . . . NEJ ADAMSON

Large Sailor. . . . . . . . . . . . . . . JIMMY ROUSSOUNIS

Sunburned Sailor. . . . . . . . . . . MORAY TREADWELL

Leech . . . . . . . . . . . . . . . . . . . . . . . . . . . SAN SHELLA

Fisherman (Montage) . . . . . . . JIM CODY WILLIAMS

Cannibal Warrior . . . . . . . . . . . MICHAEL MIRANDA

Frightened Sailor . . . . . . . . . . LUKE DE WOOLFSON

Very Old Man. . . . . . . . . . . . . DERRICK O’CONNOR

Skinny Man. . . . . . . . . . . . . . . . . GEORGES TRILLAT

Crippled Man . . . . . . . . . . . . . . . ISRAEL ADURAMO

Irish Man . . . . . . . . . . . . . . . . . . . . . GERRY O’BRIEN

Maccus/Dutchman . . . . . . . . . . . . DERMOT KEANEY

Koleniko/Dutchman . . . . . . . . . . . . CLIVE ASHBORN

Shrimper (Montage) . . . . . . . . . . . . . . . . ROBBIE GEE

Cannibal Boy . . . . . . . . . . . . . . . . NEIL PANLASIGUI

Sailor/Edinburgh. . . . . . . . . . . . MATTHEW BOWYER

Burser/Edinburgh . . . . . . . . . . . . . . . . . . MAX BAKER

Quartermaster/Edinburgh. . . . . . . . . . . STEVE SPEIRS

Wyvern . . . . . . . . . . . . . . . . . . . . . . . JOHN BOSWALL

Palafico/Dutchman. . . . . . . . . . . . . . WINSTON ELLIS

Jimmy Legs/

Dutchman . . . . . . . . . . . . CHRISTOPHER ADAMSON

Clacker/Dutchman. . . . . . . . . . . . . ANDY BECKWITH

Ogilvey/Dutchman . . . . . . . . . . JONATHAN LINSLEY

Shrimper’s Brother. . . . . . . . . . . . . . . . . . . . . . SYLVER

Chaplain . . . . . . . . . . . . . . . . . . . . SIMON MEACOCK

Cannibal Women . . . . . . . . . . . . . NATSUKO OHAMA

JOSIE DAPAR

Giselle. . . . . . . . . . . . . . . . . . . . . VANESSA BRANCH

Edinburgh Cook. . . . . . . . . . . . . . . . . DAVID STERNE

Scuttled Ship Helmsman . . . . . . . . . . . DAVID KEYES

Cannibal. . . . . . . . . . . . . . . . . . ANTHONY PATRICIO

Carruthers Guard . . . . . . . . . . . . . . . BARRY McEVOY

CREDITS

1

 

 

CREDITS

Deckhand/Edinburgh . . . . . . . . . MICHAEL ENRIGHT

Sweepy . . . . . . . . HERNANDO “SWEEPY” MOLINA

Turkish Prisoners . . . . . . . . . . . . . . . . JOHN MACKEY

SPIDER MADISON

BUD MATHIS

Turkish Guards . . . . . . . . . . . . . . . . . . MARCO KHAN

DAVID ZAHEDIAN

FAOUZI BRAHIMI

Torch Native. . . . . . . . . . . . . . . . . JONATHAN LIMBO

Native Bridge Guard . . . . . . . . . . . . . . . . ALEX CONG

Ho-Kwan. . . . . . . . . . . . . . . . . . . . . . . HO-KWAN TSE

Headless. . . . . . . . . . . . . . . . . . . . . . . . . . REGGIE LEE

Lejon . . . . . . . . . . . . . . . . . . . . . LEJON O.STEWART

Parrot Voice . . . . . . . . . . . . . CHRISTOPHER S. CAPP

Stunt Coordinator . . . . GEORGE MARSHALL RUGE

Assistant Stunt

Coordinator. . . . . . . . . . . . . DANIEL W. BARRINGER

“Jack Sparrow” Stunt Double . . . TONY ANGELOTTI

“Will Turner” Stunt Doubles . . . . . . . ZACH HUDSON

MARK AARON WAGNER

“Elizabeth Swann” Stunt Double . . . . . . LISA HOYLE

“Norrington” Stunt Double/

Sword Master . . . . . . . . . . . . . . . . THOMAS DUPONT

Lead Utility Stunt Double . . . . . . . . KIRK MAXWELL

Stunts

JIM STEPHAN RICHARD L. BLACKWELL

HUGH AODH O’BRIEN WEBSTER WHINERY

J. MARK DONALDSON JACK WEST

MARC SHAFFER TRAMPAS THOMPSON

TOM MORGA JEFF WOLFE

THEO KYPRI CRAIG SILVA

KOFI ELAM PAUL ELIOPOULOS

KURT LOTT JAY CAPUTO

MARK NORBY ROB MARS

JAYSON DUMENIGO YOSHIO IIZUKA

DAVID WALD CLAY FONTENOT

NORBERT PHILLIPS ANTHONY KRAMME

THOMAS ROSALES, JR. DEREK MEARS

MARK DEALESSANDRO MICKEY GIACOMAZZI

PHILIP TAN JIM PALMER

BRIAN J. WILLIAMS VICTOR QUINTERO

KIANTE ELAM PHIL CULOTTA

RUSSELL TOWERY GENE HARTLINE

JP ROMANO GREG ELAM

JOEY ANAYA KEITH CAMPBELL

JON VALERA JOHN ROBOTHAM

KOFI YIADOM SONJA JO McDANCER

STACY HOWELL KORI MURRAY

CARYN MOWER NOBY ARDEN

ANDREW STEHLIN AUGIE DAVIS

SALA BAKER ROBERT ALONZO

ROEL FAILMA AARON TONEY

XUYEN VALDIVIA JOHN DONOHUE

JOSEPH SOSTHAND DEAN GRIMES

GARY STEARNS ANDY DYLAN

DENNEY PIERCE ALEX CHANSKY

BRIAN BENNETT STEPHEN POPE

HENRY KINGI, JR. JEREMY FRY

DON LEE CHRISTOPHER LEPS

CASEY O’NEILL BRYCEN COUNTS

SAM HARGRAVE LINCOLN SIMONDS

DANE FARWELL BRIAN DUFFY

Jack’s Crew

Moises. . . . . . . . . . . . . . . . . . . . . . . . . FELIX CASTRO

Kursar . . . . . . . . . . . . . . . . . . . . . MIKE HABERECHT

Matelot . . . . . . . . . . . . . . . . . RUDOLPH McCOLLUM

Tearlach . . . . . . . . . . . . . . . . . . . . . . GERARD REYES

Duncan . . . . . . . . . . . . . . . . . . . . M. SCOTT SHIELDS

Ladbroc . . . . . . . . . . . . . CHRIS “SULLY” SULLIVAN

Crimp. . . . . . . . . . . . . . . . . . . . . . . CRAIG THOMSON

Quartetto . . . . . . . . . . . . . . . . . . . . . . . . . . FRED TOFT

Creature Concepts by

 

CRASH McCREERY

 

Conceptual Consultant

JAMES WARD BYRKIT

 

Associate Costume Designer . . . . . . JOHN NORSTER

Production Supervisor . . . . . . . THOMAS C. HAYSLIP

Production Controller. . . . . . . . . . . . . . . JULIE JONES

Production Coordinators . . . . . . . . . . . ZOILA GOMEZ

ROBERT MAZARAKI

Assistant Production Coordinators. . . ANNIE SCHULTZ

CARRIE B. JONES

Travel Coordinator . . . . . . . . . . . . . VICKIE M. HSIEH

Second Second

Assistant Directors. . . . . . . . . . JEFFREY SCHWARTZ

STEVEN F. BEAUPRE

Script Supervisor. . . SHARRON REYNOLDS-ENRIQUEZ

Supervising Art Director . . . . . . . . . . . JOHN DEXTER

Art Directors . . . . . . . . . WILLIAM LADD SKINNER

BRUCE CRONE

WILLIAM HAWKINS

Assistant Art Directors . . . . . . . . . . . NICK NAVARRO

DOMENIC SILVESTRI

ROBERT WOODRUFF

ERIC SUNDAHL

DARRELL L. WIGHT

GARY DIAMOND

Set Decorator. . . . . . . . . . . . . . CHERYL A. CARASIK

2

 

 

Construction Coordinator . . . . . . . . . . GREG CALLAS

Set Designers

MARK HITCHLER CLINT WALLACE

MAYA SHIMOGUCHI WILLIAM TALIAFERRO

LAUREN POLIZZI LUIS G. HOYOS

A. TODD HOLLAND ROBERT FECHTMAN

RICHARD REYNOLDS

Props Set Designer. . . . . . . . . . . . . . . BILLY HUNTER

Conceptual Artists . . . . . . . . . . . . . . . DAREK GOGOL

MATT CODD

TIM FLATTERY

Illustrators

MAURO BORRELLI JAMES CARSON

NATHAN SCHROEDER WIL MADOC REES

WARREN MANSER

Model Makers/Sculptors . . . . NAAMAN MARSHALL

DANIEL R. ENGLE

Model Maker. . . . . . . . . . . . . . . . JASON MAHAKIAN

Graphic Designer . . . . . . . . . . . DIANNE CHADWICK

Art Department Administrator . . . CARLA S. NEMEC

Researcher . . . . . . . . . . . . . . . . . . . . . . . . . MAX DALY

2nd Art Department

Administrators . . . . SHARI KARSTENSEN-RATLIFF

KYRA L. KOWASIC

Production Accountant. . . . . . . . . . . . . . . . JEFF DASH

First Assistant Accountants . . . . . . . . JOHN SEMEDIK

DAVID ATKINSON

Construction Accountant . . . . . LISA M. KITTREDGE

SPFX Accountant . . . . . . . . . . . . . . LESLIE COOGAN

Post Production Accountant . . . TANYA NIENHOUSE

Second Assistant Accountants. . . . . . KATHY DONNO

ERNST W. LAUREL

ANNA BELARO

JENNIFER LOBBAN

LISA IMHOFF

MATT DEMIER

DAX A. CUESTA

STEPHANIE SHELLEY

Payroll Accountant . . . . . . . . . . . . . . . . . . DEBI WEST

SAG Payroll Accountant . . . . MICHAEL GOLDBERG

Assistant Payroll Accountants . . . . DEBRA BURGESS

CHRIS SAMPLE

Executive in Charge of

Production for JBF . . . . . . . . . . KRISTIEANNE REED

Post Production Supervisor . . . . TAMI R. GOLDMAN

Post Production Coordinators. . YVETTE GONZALEZ

HEIDI PSYK

VFX Editor . . . . . . . . . . . . . CHRISTOPHER S. CAPP

First Assistant Avid Editor . . . . . . . SIMON MORGAN

Additional Film Editor . . . . . . . . . . LANCE PEREIRA

Assistant Editors . . . . . . . . . . . . . . . KINDRA MARRA

ALAN Z. McCURDY

Apprentice Editor. . . . . . . . . . . . . . DYLAN M. QUIRT

Post Production Assistants. . . . . . . KNAR KITABJIAN

TRANEL BLAND

Location

Manager (U.S.) . . . . . . . . LAURA SODE-MATTESON

Location Manager . . . . . . . . . . . . . . . . . . . . . VAL KIM

Assistant Location Manager . . . . . . . . . . . LINDA KAI

Camera Operators . . . . . . . . . . . . . MARTIN SCHAER

JOSH BLEIBTREU

Camera Operator/Steadicam. . . DAVID LUCKENBACH

First Assistant Camera . . . . . . . . . . TREVOR LOOMIS

JOHN ELLINGWOOD

NINO NEUBOECK

DONNY STEINBERG

Second Assistant Camera . . CHRISTOPHER J. GARCIA

RODNEY SANDOVAL

JAMES GOLDMAN

STEVEN CUEVA

JAY C. HAGER

Film Loader. . . . . . . . . . . . . . . . . . . . . . GREG KURTZ

Camera Department Assistants . . . . . . . RYAN RAKEL

JOSEPH SUTERA

Aerial Coordinator . . . . . . . . . . . . . . . . . DAVID PARIS

Aerial Unit Director

of Photography . . . . . . . . . . DAVID B. NOWELL, ASC

Aerial First Assistant Camera . . . . . . ANDREW SYCH

Underwater Director

of Photography . . . . . . . . . . . . . . PETER ZUCCARINI

Underwater First Assistant Camera . . . PETER MANNO

ANDREW FISHER

SEAN GILBERT

Underwater Second

Assistant Camera . . . . . . . . . . ROBERT SETTLEMIRE

Libra Head Technician. . . . . . . . . . . . . JOHN BONNIN

Camera Technician . . . . . . . . . DARYL HAMBLETON

Costume Supervisor (Location) . . . KENNY CROUCH

Costume Supervisor (LA) . . . . JESSICA PAZDERNIK

Costume Coordinator (Location). . . LUCY BOWRING

Costume

Coordinator (LA) . . . . . . . RENEE LEVY HAZELTON

Costumers

SCOTT R. HANKINS MARK F. HOLMES

STACY M. HORN MARINA MARIT

CIARA McARDLE SUZY ROBERTSON

JAVIER ARRIETA BRYAN BIRGE

TESS INMAN JIMMY JAY

MATT JEROME NOEL D. LEONARD

PHILIP MATTHEWS ADAM ROACH

NIKI SPINA

CREDITS

3

 

 

CREDITS

Chief Buyer (UK). . . . . . . . . . . . . . . . . . . . ROS WARD

Assistant Buyer (UK) . . . . . . . . . GEORGINA WOODS

Buyer (LA). . . . . . . . . . . . . . . . . ROSALIDA MEDINA

Chief Cutters. . . . . . . . . . . . . . CELEST CLEVELAND

LUCY DENNY

DOMINIC YOUNG

Tailors. . . . . . . . . . . . . . . . . . . . . . . LEO ARELLANES

WILLIAM B. RODDEN

Seamstresses

ELAINE MANSOURI BARBARA OHREN

GLORIA BERRA GLORIA CASTRO

HASMIG KARAGIOSIAN SEDA TUFENKJIAN

Costume Propmaker . . . . . . . . . . . . DAVID BETHELL

Costume Leather Maker . . . . . . . . . KELVIN FEENEY

Workroom Coordinator. . . . . . . JULIE MURNAGHAN

Head Agers/Dyers. . . . . . . . . . . . . . . CLARE CARTER

STEVEN A. GELL

GILDARDO TOBON

Agers/Dyers

ADA AKAJI CHANDRA M. MOORE

TYRA YOULAND TONI KEHAULANI REED

JASON RAINEY MARIA J. SMITH-BYRD

SARAH MOORE CHARLOTTE HOBBS

Milliners. . . . . . . . . . . . . . . . . . . . . JOSEPH COLLINS

BETHAN LAND

ROBYN SIMMS

JILL TOMOMATSU

Costume Construction . . . . . . . . . . RICHARD De ATH

Assistants to the Costume Designers . . SOPHIA SPINK

GORDANA GOLUBOVIC

JORDANA FINEBERG

Make-Up Effects Created by

VE NEILL

 

CREATIVE MAKE-UP CONCEPTS

 

Make-Up Effects Supervisor . . . . . . . .JOEL HARLOW

Sculptors/Painters . . . . . . . . . . . .SCOTT STODDARD

RICHARD REDLEFSEN

Silicone Prosthetic Supervisor . . . .STEVE BUSCANO

Mold Shop Supervisor . . . . . . . . . . . . . .GIL LIBERTO

Mold Maker . . . . . . . . . . . . . . . . . . . . . . .A.J. BEUNOT

Foam Latex Supervisor . . . . . . . . . .MARK VINIELLO

Mechanical Supervisor . . . . . . . .RUSSELL SHINKLE

Head Lab Technician . . . . . . . . . . .FRANK IPPOLITO

Lab Technicians

MIKE ROSS CHRIS GARNASS

PETE KELLEY ELIZABETH SILVERMAN

BETHANY GRUENENFELDER BRIANA DORNER

KERI KILGO LAURA HILL

Dental Prosthetics . . . . . . . . . . . . . .RICHARD SNELL

Facial Hair Pieces Created by . . . . . . . .JOHN BLAKE

Tattoos Designed by . . . . . . . . . . . . . . . . . .KEN DIAZ

Make-Up Department Head . . . . . . . . . . . . .VE NEILL

Key Make-Up Artist . . . . . . . . . . . . . .JOEL HARLOW

Additional Make-Up Supervisor . . . . . . . . .KEN DIAZ

Make-Up Artists

RICHARD SNELL JOHN BLAKE

JANE GALLI RICHARD REDLEFSEN

Additional Make-Up Artists

LESLIE DEVLIN ROBIN BEAUCHESNE

ANNE MAREE HURLEY BRIAN PENIKAS

JOHN DAVID SNYDER NIKOLETTA SKARLATOS

GARRETT IMMEL HEATHER PLOTT

HEATHER KOONTZ KRISTIN RYALS

LESA NEILSON MARTHA CALLENDER

ELIZABETH HOEL DEAN JONES

CORINNA LIEBEL ROBERT D. MAVERICK

KEN NIEDERBAUMER STEPHEN PROUTY

KELCEY FRY JAMES ROHLAND

JAY WEJEBE ALEX PROCTOR

Make-Up Provided by . . . . . . . . . . . . . . . . . . . . .M·A·C

Special Effect Contact Lenses

by . . .PROFESSIONAL VISIONCARE ASSOCIATES

Contact Lens Coordinator . . . . . .CRISTINA P. CERET

Contact Lens Painter

& Technician . . . . . . . . . . . . . . .TYSON FOUNTAINE

Contact Lens Technician . . . . . . . . . . . . .LAURA HILL

Dental Special Effects for

Johnny Depp . . . . . . . . .DR. RICK GLASSMAN, DDS

Make-Up Production Assistant . . . . . .JED DORNOFF

Chief Hairstylist . . . . . . . . . . . . . .MARTIN SAMUEL

Key Hairstylist . . . . . . . . . . . . . . . . . . . .LUCIA MACE

Background Supervisor . . . . . . . . .GLORIA P. CASNY

4

 

 

Hairstylists Key Grip . . . . . . . . . . . . . . . .J. MICHAEL POPOVICH

KIMI MESSINA COLLEEN LABAFF Best Boy Grip . . . . . . . . . . . . . . . . .JOHN D. MILLER

NATASHA ALLEGRO HAZEL CATMULL Dolly Grips . . . . . . . . . . . . . . .HECTOR GUTIERREZ

BARBARA CANTU CATHERINE CHILDERS EUGENE L. RIVERA

TAMMY KUSIAN ANN MARIE LUDDY Grips

NORMA LEE RANDA SQUILLACOTE RICHARD JONES JON JACOB FUNK

ANTHONY WILSON CAMMY LANGER RYAN PACHECO CHAD C. BARROW

RENEE DIPINTO AUDREY L. ANZURES STEVEN SERNA MICHAEL R. DUARTE

MICHAEL MOORE LYNDA K. WALKER TONY WIDMER

DIANNE PEPPER FRANCINE SHERMAINE Rigging Key Grip . . . . . . . . . . . . .JERRY SANDAGER

CYNTHIA ROMO MARIA VALDIVIA Best Boy Rigging Grip . . . .CHARLES “CHIP” HART

JULIA L. WALKER MIIA KOVERO Rigging Grips . . . . . . . . . . . .MICHAEL E. PACHECO

KARL WESSON PATRINA O’CONNOR CLAYTON FOWLER

LISA MARIE ROSENBERG ALPERT M.K. HINIKER

DAVID GONZALEZ

Hair Dept. Production Assistant . . . .MARY SAMUEL ALAN DOWNS

Technocrane Operators . . . . . . . .KENNY RIVENBARK

Unit Publicist . . . . . . . . . . . . . . . .MICHAEL SINGER CRAIG STRIANO

Still Photographer . . . . . . . . . . . .PETER MOUNTAIN BRIAN McPHERSON

Production Resources . . . . . . . . . . . .DAVID LEENER STEVE OLSEN

Research . . . . . . . . . . . . . . . . . .VANESSA BENDETTI

Special Effects Coordinators . . . . . . . . .ALLEN HALL

Sound Mixer . . . . . . . . . . . . . . . .LEE ORLOFF, C.A.S. MICHAEL LANTIERI

Boom Operators . . . . . . . . .KNOX GRAHAM WHITE On-Set Foreman . . . . . . . . . . . . . . .ANDREW WEDER

JEFFREY HUMPHREYS Shop Supervisors . . . . . . . . . . . . . . . .THOMAS PAHK

Cableman . . . . . . . . . . . . . . . . . . .MIKE ANDERSON JAMES REEDY

Sound Technician for Mr. Depp . . . .KEENAN WYATT Shop Foreman . . . . . . . . . . . . . . . . . . . .JIM ROBERTS

Rigging Foreman . . . . . . . . . . .DONALD R. ELLIOTT

Chief Lighting Technician . . . . . .RAFAEL SANCHEZ Gimbal Foreman . . . . . . . . . . . . . . . .MARK HAWKER

On-Set Foremen . . . . . . . . . . . . . . . . .BOB WILLIAMS

Best Boy Electric . . . . . . . . . . . .JAREK GORCZYCKI CORY FAUCHER

SCOTT FISHER

Electricians Purchaser . . . . . . . . . . . . . . . . . . . . . . . . .RYAN FAUST

SCOTT SPRAGUE ALEXANDER J. CASTILLO

JERRY EUBANKS PATRICK R. HOESCHEN On-Set Technicians

LEE AUERBACH CHRIS WEIGAND JEFF OGG JEFF KHACHADOORIAN

CHRISTOPHER ELLIOTT HARRISON M. PALMER ANTE DUGANDZIC DOUG PASSARELLI

DAVID ELLIS ED O’BRIANEN LAWRENCE DECKER JEFF ELLIOTT

JOSEPH LIVOLSI TOM SEYMOUR

Dimmer Board Operator . . . . . . . .JEFFREY M. HALL FREDRICK APOLITO FRANKIE LUDICA JR.

Rigging Chief Lighting Technician . .RODGER MEILINK JAY B. KING LOUIE LANTIERI

Rigging Best Boy DANIEL OSSELLO BOB SLATER

Electric . . . . . . . . . .MORTEN “MORTY” PETERSEN JIM ROLLINS LEO L. SOLIS

TRACY REEDY HARRY KING HURST II

Riggers LARRY ZELENAY

SEAN M. HIGGINS KEVIN “BK” BARRERA

ERIC SANDLIN ISMAEL “IZZY” GONZALEZ Gimbal Unit Technicians . . . . . .THOMAS PELTON II

KEVIN BLAUVELT MICHAEL WALSH CRAIG “TEX” BARNETT

CARSON MARINE DANA M. ARNOLD MARK KOIVU

MARC MARINO HENRY EDGAR OBRAINT III JORDON SNOWHOOK

RICK CRANK

Fixtures

SCOTT GRAVES GREG ETHEREDGE

GEORGE LOZANO FFILIP BOLTON

CHRISTOPHER PRAMPIN JAY GALBO

CREDITS

5

 

 

CREDITS

Rigging Shop Technicians Foley Editors . . . . . . . . . . . . .MATTHEW HARRISON

ROBERT ALIDON RUBEN GARCIA JAMES LIKOWSKI

JOE LOVE JOEL MITCHELL F. HUDSON MILLER, MPSE

RAYMOND HOFFMAN MATTHEW J. McDONNELL Assistant Sound Editors . . . . . . .DOUGLAS PARKER

CHRIS BAILEY PAUL DAMIEN MELISSA LYTLE

PETER DAMIEN PHILIP DIGLIO Foley by . . . . . . . . . . . . . . . . . . . . .DAN O’CONNELL

DARRYLL B. DODSON SHAUN GLENDENNING JOHN CUCCI

JACK JENNINGS BRIAN BARNHART Foley Mixers . . . . . . . . . . . . . . . . . .JAMES ASHWILL

ROY GOODE JEFF MILLER RICHARD DUARTE

STEVE MOORE RICHARD PERRY ADR Mixer . . . . . . . . . . . . . . . . . . . . . . . .DOC KANE

CARLOS M. RODRIGUEZ JAMIE REEDY ADR Recordist . . . . . . . . .JEANNETTE BROWNING

CRAIG REEDY STEVEN SCOTT WHEATLEY ADR Voice Casting . . . . . . . . . . .BARBARA HARRIS

Additional Sound Mixer . . . . . . . . . . . . . . . .JIM BOLT

Pre-Rigging Technicians Stage Recordists . . . . . . . . . . . . . . .TIM GOMILLION

CHAD VAN BAALBERGEN JOEL P. BLANCHARD DENNIS ROGERS

ROBERT CABAN CHRIS CLINE MATT PATTERSON

MICHAEL E. DOYLE KEVIN HARRIS Stage Engineers . . . . . . . . . . . . . . . . . . . . .BILL STEIN

KURT HARRIS PAUL PAVELKA

Special Effects Sound Services by

Office Coordinator . . . . . . . . . . .JASON COLUMBUS BUENA VISTA SOUND STUDIOS

Special Effects Production

Assistant . . . . . . . . . . . . . . . .JULIE HOOKER BAKER Mixing Services by

Special Effects Craft Service . . . . .MICHAEL DEKEN 20TH CENTURY FOX STUDIOS

AGUSTIN TORAL

OSCAR ORONA Additional Mixing Services by

SKYWALKER SOUND

Supervising Sound Editor/Designer

CHRISTOPHER BOYES Mix Technicians . . . . . . . .BRIAN D. MAGERKURTH

JUAN PERALTA

Supervising Sound Editor TONY SERENO

GEORGE WATTERS II JURGEN SCHARPF

Re-Recordists . . . . . . . . . . . . .RONALD G. ROUMAS

Sound Mixers NATHAN NANCE

PAUL MASSEY

CHRISTOPHER BOYES Property Masters . . . . . . . . . .KRISTOPHER E. PECK

JERRY MOSS

Sound Effects Editors . . . . . . . . . . . . . .KEN FISCHER

ADDISON TEAGUE Assistant Property Masters . . . . .MICHAEL HANSEN

SHANNON MILLS RICK CHAVEZ

TIM NIELSEN Armourer . . . . . . . . . . . . . . . . . . .CHUCK ROUSSEAU

BRENT BURGE Property Assistants . . . . . . . . . . . . . . . . .BRAD GOOD

MELANIE GRAHAM MICHAEL D. GIANNESCHI

Supervising JULIE GILCHRIST

Dialogue Editor . . . . . . . . . . . . . . .TERI E. DORMAN MIKE CUNNINGHAM

Dialogue Editors . . . . . . . . . . . . . . . .DAVID ARNOLD Property Painter . . . . . . . . . . . . . . . . . . . . .NICK JOHN

GLORIA D’ALESSANDRO Prop Shop Foreman . . . . . . .THOMAS R. HOMSHER

ULRIKA AKANDER Prop Shop . . . . . . . . . . . . . . . . . .GREGORY BRYANT

Supervising ROBIN REILLY

ADR Editor . . . . . . . . . . . . . . . .JESSICA GALLAVAN BRYSON H. GERARD

ADR Editors . . . . . . . . . . . . . . . . . . . .LISA J. LEVINE Property Dept. Coordinator . . .ZACHARY M. HEATH

JULIE FEINER Shipping Coordinator . . . . . . . . . . . . .MARK DAVIES

HOWELL GIBBENS Assistant Shipping

MICHELLE PAZER Coordinator . . . . . . . . . . . . . . . .“LJ” LAURENT JEAN

Assistant Sound Designer . . . . . . . . . . . . .DEE SELBY

Supervising Foley Editor . . . . . .VICTORIA MARTIN Leadman . . . . . . . . . . . . . . . . .ERNEST M. SANCHEZ

6

 

 

On-Set Dressers . . . . . . . . . . . .CAROL ANN NAPIER

MARILYN MORGAN

Set Dressers

CHRISTOPHER CASEY CHRISTOPHER KENNEDY

DEAN LAKOFF STEVEN LIGHT-ORR

RYAN RITTMILLER CHARLIE MONTOYA

CHRIS PETERSON MICHAEL SEAN O’DONNELL

Drapery Foreman . . . . . . . . . . . . . . . . .STEVEN BAER

Buyers . . . . . . . . . . . . . . . . . . . . . . .WENDY WEAVER

KATHLEEN ROSEN

Gang Boss . . . . . . . . .CRAIG ALLEN ZIMMERMAN

Set Decorating Coordinator . . . . . . . .ROBIN MOORE

General Foremen . . . . . . . . .PETER “PACO” ALVAREZ

RICHARD HOFFENBERG

STEVE THAYER

Lead Welding Foreman . . . . . . . . .ARTHUR CLEVER

Location Foreman . . . . . . . . . . . .RICHARD MARTIN

Welding Foreman . . . . . . . . . . . . . . .ERNIE ALVAREZ

Lead Paint Foreman . . . . . . . . .GIOVANNI FERRARA

Paint Foremen . . . . . . . . . . . . . . . . .ADRIAN VALDES

MIKE VALDES

Toolman . . . . . . . . . . . . . . .LEO “NOOSE” MOUNEU

Labor Foremen . . . . . . . . . . . . . . . . .RAUL ROSARIO

GEOVANNI CAMPOS

Lead Plaster Foreman . . . . . . . . . . . . . .MICKY CRUZ

Lead Sculptor . . . . . . . . . . . . . . . . . . .JAMES MILLER

Lead Model Maker . . . . . . . . . . . . . . . . .JEFF HOUSE

Construction Foremen

RICHARD BIRCH PHIL COFFMAN

STEVEN FEGLEY JOHN FORWALTER

STEPHEN GINDORF TEDD KEITH

HENRY MENDOZA PETE OLEXIEWICZ

JAMES ONDREJKO MICHAEL O’NEAL

KENNETH RICE DENNIS RICHARDSON

BERT RODRIGUEZ DAVE ROZO

DALE SNYDER STEVE SOLA

THOMAS A. WHITE

Propmakers

LEN BORGGREBE JOHN BRYANT

JOHN BULLARD ROBERT COYLE

GREG ELIOT JEFF GOLDBERG

STEVEN KALLAS DAVID KEIR

JUSTIN LAPRESLE CALVIN MANGUM

ED MIRASSOU CHRIS PEREZ

JAMES REYNOLDS PAUL ROBERTS

BRUCE SARTORIUS SHAWN STEPHENSON

TOMMY STURGEON JIM THOLEN SR.

ROBBIE WATTS DAVID WHITTAKER

Welders

GABRIEL BENAVIDEZ JEFFERY BERRINGTON

CLINT FEGLEY DAVID BOUCHER

SAMUEL DEAN GREG DIGGINS

RICK FIGALAN TERRY HAMBELTON

DARREN McCORMICK RON PEAKE

Stand-By Painter . . . . . . . . . . . . . .A.J. LEONARDI JR.

Painters . . . . . . . . . . . . . . . . . . . . . .JOHN BUGARCIC

ANDREW CARTER

FRANCESCO “FRANCO” FERRARA

DANA ROSEN

GEORGE STUART

Model Makers . . . . . . . . . . . . . . . . .JEFFERY COBOS

RALPH COBOS

ARTURO GUZMAN

LUIS RODRIGUEZ

Sculptors . . . . . . . . . . . . . . . . . . . . .TRAVIS CRAVEN

YANN DENOUAL

KEVIN MARKS

STEVE PINNEY

CHRIS TOWLE

Plasterers . . . . . . . . . . . . . . . . . . . . . . . .JASON SOLES

JACK WORDEN

Greensmen . . . . . . . . . . . . . . . . . . . . . .CRAIG AYERS

FRANK CAPPIELLO

RENEE VAN DEN BERGHE

MIKE NEEDHAM

CLYDE “LOA” WONG

Laborers

ROB ALVAREZ ALAN F. CAUTHRON

JOE GARCIA EDWARD “ALEX” GIRON

ARMANDO GONZALEZ JOSE OLIVA

JOHN POKIPALA CARLOS SCALLY

TOMMY SCRIBNER MAX SOTO

JESSE VERETTE

Video Engineer . . . . . . . . . . . . . . . . . .DAVE DEEVER

Marine Coordinator . . . . . . . . . . . . . . .DAN MALONE

Marine Foreman . . . . . . . . . . . . . . . . .BRUCE A. ROSS

Picture Boat Coordinator . . . . . . . .J. WILFRID WHITE

Marine Office Coordinator . . . . . . .CARRIE ROSLAN

Asst. Marine Office

Coordinator . . . . . . . . . . . . .KRISTEN McLAUGHLIN

Water Safety . . . . . . . . . . . . . . . . . . . . .MIKE BRADY

TIM CALVER

JAMES MITCHELLE CLYDE

KRIS A. JEFFREY

Boat Captains

DANIEL C. BAILEY JAKE T. HICKS

JOHN MILLER DAVID PEARSALL

O.B. PETTIT DANIEL V. TREFTS

ROBERT WONG STEVE WROE

CREDITS

7

 

 

CREDITS

Dock Master . . . .DOUGLAS “KINO” VALENZUELA

Marine Technicians . . . . . . . . . . . . . .MIKE BRIDGER

DOUGLAS P. SILVERSTEIN

CURT SIVERTS

Sailmaster . . . . . . . . . . . . . . . . . . . . . .IAN McINTYRE

Assistant Sailmaster . . . . . .CHARLES HAMBLETON

Black Pearl Captain . . . . . . . . . .MICHAEL WATKINS

Black Pearl First Mate . . . . .LANCE M. BROZOZOG

Black Pearl Technician . . . . . .GLENN “KIWI” HALL

Black Pearl Crew . . . . . . . . . . . . .LISA L. BURNSIDE

JIM BARRY

Master Ship Technician . . . .COURTNEY ANDERSEN

Ship Technicians

PETER MARSHALL JENNIFER REILLY

PRAIRIE PIPES JAMES L. BRINK

LEAH KEFGEN SHANNON SMITH

DVD/EPK Field Producers . . . . . . . . . . . .JACK KNEY

STEPHEN MORRISON

Catering . . . . . . . . . . . . . . . . .HATTRICK CATERING

Key Craft Service . . . . . . . . . . . . . . .TED YONENAKA

Craft Service Assistant . . . . . . . . . . .LEA ANDERSON

Executive Assistant to Mr. Bruckheimer . .JILL WEISS

Assistants to Mr. Bruckheimer . . .JOHN CAMPBELL

DAN CAMINS

CHRISTINA NORTHRUP

STEPHANIE DECOURCEY

Assistant to Mr. Verbinski . . . . .LINDSAY GREITZER

Assistant to Mr. Elliott

& Mr. Rossio . . . . . . . . . . . . . . . .SUSAN LEE SMITH

Assistant to Mr. Stenson . . . . . . . . . . . . .PAUL LYONS

Assistant to Mr. Oman . . . . . . . . . . . . . . .SARAH LIN

Assistant to Mr. Hendricks . . . . .KARITA BURBANK

Assistant to Mr. McLeod . . . . . . .DANA KRUPINSKI

Assistant to Ms. Reed . . . . . . . . . . .ROBBIE SALTER

Assistant to Mr. Merrifield . . . . .LAURA SCHWARTZ

Executive Assistant

to Mr. Depp . . . . . . . . . . . . .CHRISTI DEMBROWSKI

Assistant to Mr. Depp . . . . . . . .STEPHEN DEUTERS

Assistant to Mr. Bloom . . . . . . .MICHAEL LAGNESE

Assistant to Ms. Knightley . . . . . . .DEREK DIBIAGIO

Assistant to Mr. Rush . . . . . . . . .STEPHEN J. YOUNG

Mr. Depp’s Stand-In . . . . . . . . . . . . . . .SCOTT SENER

Mr. Bloom’s Security . . . . . . . . . . . .GUY FRIEDMAN

Mr. Bloom’s Trainer . . . . . . . . .ANTONIO DI CECCO

Dialogue Coach . . . . . . . . . . . .BARBARA BERKERY

Dialect Coaches . . . . . . . . . . . . . . . . .CARLA MEYER

PETER LADEFOGED

Casting Associate . . . . . . . . . . .SCOUT MASTERSON

Casting Assistant . . . . . . . . . . . . . . . .ANGELA DEMO

Production Secretaries . . . . . . . . . .OSCAR J. FLORES

MICHAEL LACORTE

Set Staff Assistants

MARIKE ZOE JAINCHILL KEVIN BERLANDI

TASHA PROTHRO FRANCINE DICHIARA

BRANDY D. POLLARD

Production Assistants

MARY SMITH PATRICK WYMORE

PETER JABLONSKI PEDRO CHAVEZ

ALLISON MEADOWS PARKER PHILLIPS

KRISTOPHER GIFFORD SARAH CONTANT

LINDSEY GARY JEREMY WORTZMAN

MEGAN ROMERO JOANNA CALLAS

BECKS WELCH JESSICA C. DIMARTINO

Film Runners . . . . . . . . . . . . . . . . . .CHRISTY BUSBY

MATTHEW HAGGERTY

Studio Teacher . . . . . . . . . . . . . . . . . . . .LAURA GARY

Assistant Script Supervisor . . .STACIE LIVINGSTON

Technical Advisor . . . . . . . . . . . . . . . . .PETER TWIST

Transportation Coordinator . . . . . . . .DAVE ROBLING

Transportation Captain . . . . . . . . .JEFF WOODWARD

LA Captain . . . . . . . . . . . . . . . . . .FRANK ROUGHAN

Transportation

Administrator . . . . . . . . . . . .THOMAS R. SWEENEY

Mr. Depp’s Drivers . . . . . . . . . . . . .BUCK HOLLAND

TERRY REECE

Drivers/Operators

GLEN MARYGOLD MICHAEL ALLEGRO

THOMAS BARR O’DONNELL WILL DREHER

TOM PROVENZANO BRUCE ROZENBERG

CLINT COYLE ROBERT ENRIQUEZ

THOMAS M. MAWYER CURTIS RANDOLL

NEIL SCOGNAMIGLIO MAXIM APERIAN

VAUGHN BLADEN STEVE BURING

SCOTT FAIR GARY GRAY

MARK HOLMES JIMMY JONES

SCOTT A. KENNEDY MICHAEL W. McCLURE

DENNIS V. McKEEHAN LEO MOUNEU

TONY MOURADIAN DAVID MOIR

ALAN L. MYERS JAMES PERRY

SANDRA POWELL RICK PURDY

BILL M. PULUTI BRETT ROUND

MARVIN LAROY SANDERS PETER SCHWIETZER

ROBERT R. SEGLETES MIKE SHAW

JAMES SHERWOOD GORDON A. SPENCER

MICHAEL A. STEVENS MICHAEL P. SULLIVAN

STEVE SURABIAN JOHN E. THOMAS

JORGE VASQUEZ LAUNI VARBEL

JOHN R. WOODWARD ROGER YOUDS

PAUL JOHN YOUDS

8

 

 

Extras Casting . . . . . . . . . . . .SANDE ALESSI, C.S.A.

KRISTAN BERONA

JENNIFER ALESSI

Extras Casting Coordinator . . . . . . . . . . . .J.R. KEHOE

Animal Coordinator . . . . . . . . . . . . . . .BOONE NARR

Head Trainer . . . . . . . . . . . . . . . . . . .MARK HARDEN

Trainers

JOE SUFFREDINI URSULA BRAUNER

PHIL SMITH PATRICIA PEEBLES

MARK JACKSON MICHAEL BOYLE

DENNIS GRISCO CODY SMITH

APRYL CROSBY

First Aid . . . . . . . . . . . . . . . . . . . . . . .JONAS C. MATZ

DAVID O’DELL

ROBERT ALLEN

Supervising Music Editor . . . . . . . . .MELISSA MUIK

Music Editor . . . . . . . . . . . . . . . . . . . .JULIE PEARCE

Assistant Music Editor . . . . . .KATIE GREATHOUSE

Additional Music by

LORNE BALFE TOM GIRE

NICK GLENNIE-SMITH HENRY JACKMAN

TREVOR MORRIS JOHN SPONSLER

GEOFF ZANELLI

Featured Musician . . . . . . . . . . . .MARTIN TILLMAN

— cello

Supervising Orchestrator . . . . . . . . .BRUCE FOWLER

Orchestrations by

WALT FOWLER RICK GIOVINAZZO

KEN KUGLER SUZETTE MORIARTY

Music Preparation . . . . . . . . . . . . . .BOOKER WHITE

WALT DISNEY MUSIC LIBRARY

Score Recorded & Mixed by . . . .ALAN MEYERSON

Additional Recording by . . . . . . .SLAMM ANDREWS

JEFF BIGGERS

AL CLAY

On-Camera/Pre-Record

Musicians . . . . . . . . . . . . . . . . . . . .CRAIG EASTMAN

JAMES S. LEVINE

MICHAEL LEVINE

FRANK MAROCCO

Orchestra Conducted by . . . . . . . . . .PETE ANTHONY

Orchestra

Contractors . . . . . . . . . . . . . .SANDY DE CRESCENT

PETER ROTTER

Ambient Music Design . . . . . . . . . . . . .MEL WESSON

Technical Music Assistants . .THOMAS BRODERICK

LARRY MAH

PETER OSO SNELL

GREG VINES

MATT WARD

Score Recorded

at . . . . . . . . .SONY SCORING STAGE, Los Angeles, CA

Scoring Stage Crew . . . . . . . . . . .ADAM MICHALAK

GREG LOSKORN

MARK ESHELMAN

BRYAN CLEMENTS

Music Production Services . . . . . . .STEVEN KOFSKY

Music Mixed

at . . . . . . . . . .REMOTE CONTROL PRODUCTIONS

Studio Coordinator . . . . . . . . . . .CZARINA RUSSELL

Featured Vocalist . . . . . . . . . . . . . . . .DELORES CLAY

Choir Master . . . . . . . . . . . . . . . . . .JENNY O’GRADY

Choirs . . . . . . . . . . . . . . . . . . . . . . . . .METRO VOICES

THE CHOIR OF THE KING’S CONSORT

Choir Conducted by . . . . . . . . . . . . . .ALISTER KING

Choir Contractor . . . . . . . . . . . . .ISOBEL GRIFFITHS

Choir Recorded by . . . . . . . . . . . . . . .GEOFF FOSTER

Choir Recorded at . . . . .AIR LYNDHURST STUDIOS

ABBEY ROAD STUDIOS

Production Coordinator

for Mr. Zimmer . . . . . . . . . . . . . . . . .ANDREW ZACK

Main Titles . . . . . . . . . . . . . . . . . . . . . . . . . . .METHOD

End Titles . . . . . . . . . . . . . . . . . .SCARLET LETTERS

Negative

Cutter . . . . . . . . .BUENA VISTA NEGATIVE CUTTING

Color Timer . . . . . . . . . . . . . . . . . . . . . .KURT SMITH

Digital Intermediate Provided by . . . . . . .COMPANY 3

Executive Producer/Colorist . .STEFAN SONNENFELD

On-Line Editor . . . . . . . . . . . . . . . . .DYLAN CARTER

Digital Intermediate Producers . . . . . . .ERIK ROGERS

DES CAREY

Producer . . . . . . . . . . . . . . . . . .MISSY PAPAGEORGE

Dailies Colorist . . . . . . . . . . . . . . . .MARK OSBORNE

Dailies Assistant Colorist . . . . . . . .ADRIAN DELUDE

Digital Intermediate Assistant . . . . . . . .DAN GOSLEE

Digital Intermediate Technologist . . . .MIKE CHAIDO

Original Negative Preparation

for DI . . . . . . . . . . . . . . .US COMPUTAMATCH INC.

Special Visual Effects and Animation by

INDUSTRIAL LIGHT & MAGIC

a Lucasfilm Ltd. Company

San Francisco, California

 

Digital Production Supervisor . . . . . . . .DAVID MENY

Compositing Supervisor . . . .EDDIE PASQUARELLO

TD Supervisor . . . . . . . . . . . . . . . . .PATRICK MYERS

CREDITS

9

 

 

CREDITS

Creature Development

Supervisor . . . . . . . . . . . . . . . . . . . . .JAMES TOOLEY

Digital Model Supervisors . . . . .GEOFF CAMPBELL

BRUCE HOLCOMB

STEVE WALTON

Additional Visual Effects Supervisors . .BILL GEORGE

ROGER GUYETT

Visual Effects Art Director . . . . . .AARON McBRIDE

Visual Effects Associate Producer . . . .LORI ARNOLD

Associate Animation Supervisor . . . . . . . .MARC CHU

Sequence Supervisors

THOMAS FEJES NEIL HERZINGER

JEFF SUTHERLAND CHAD TAYLOR

SUSUMU YUKUHIRO JASON SNELL

JACK MONGOVAN MARIO CAPELLARI

IAN CHRISTIE MICHAEL HALSTED

SHAWN HILLIER POLLY ING

KATRIN KLAIBER FRANCOIS LAMBERT

KIMBERLY LASHBROOK ROBERT MARINIC

TOM MARTINEK TORY MERCER

GREG SALTER DOUG SMYTHE

DAMIAN STEEL JEFF WOZNIAK

Animators

STEVE NICHOLS JAMY WHELESS

PETER DAULTON ISMAIL ACAR

GEORGE ALECO-SIMA CHARLES ALLENECK

SCOTT BENZA MICHAEL BERENSTEIN

SAMATI BOONCHITSITSAK DERRICK CARLIN

MICKAEL COEDEL SEAN CURRAN

JENN EMBERLY C. MICHAEL EASTON

CAMERON FOLDS LESLIE FULTON

TIMOTHY HEATH GEOFF HEMPHILL

KEITH JOHNSON PAUL KAVANAGH

MAIA KAYSER PETER KELLY

RONNIE KIM MAKOTO KOYAMA

PATRICIA KRAUSE SCOTT KRAVITZ

NADINE LAVOIE JONATHAN LYONS

KEVIN MARTEL THAI NGUYEN

RICK O’CONNOR JAKUB PISTECKY

MARK POWERS ELLIOT ROBERTS

TOM ROTH DAVID SHIRK

ANDREW SCHNEIDER DAVID SIDLEY

GREG TOWNER DELIO TRAMONTOZZI

CHI CHUNG TSE TIM WADDY

CHRIS WALSH HUCK WIRTZ

ANDY WONG STEPHEN WONG

SYLVIA WONG ROLAND YEPEZ

JOHN ZDANKIEWICZ

Digital Artists

MIMI ABERS JON ALEXANDER

JOEL ARON OKAN ATAMAN

TRANG BACH LANCE BAETKEY

AL BAILEY KEN BAILEY

KATHARINE BAIRD MICHAEL BALOG

MISTY BARBOUR CASEY BASICHIS

MICHAEL BAUER KATHLEEN BEELER

JEFFREY BENEDICT DUNCAN BLACKMAN

MATTHEW BLACKWELL STELLA BOGH

ARON BONAR TIMOTHY BRAKENSIEK

SAM BREACH TRIPP BROWN

JASON BROWN T.J. BURKE

MICHAELA CALANCHINI CARTER COLIN CAMPBELL

MARSHALL CANDLAND TAMI CARTER

MARK CASEY JOE CEBALLOS

LANNY CERMAK PETER CHESLOFF

TERRY CHOSTNER PAUL CHURCHILL

BRIAN CLARK ZACHARY COLE

TIM COLEMAN JAY COOPER

MICHAEL CORDOVA MARTIN COVEN

KEVIN COYLE CASEY DAME

MICHELLE DEAN PETER DEMAREST

KARIN DERLICH DAVID DEUBER

NATASHA DEVAUD RICHARD DUCKER

LEANDRO ESTEBECORENA DAN FEINSTEIN

BRIAN FLYNN CHRISTIAN FOUCHER

AIDAN FRASER ALEC FREDERICKS

DAVID FUHRER WILLI GEIGER

HOWARD GERSH MAURIZIO GIGLIOLI

GREG GILMORE JEREMY GOLDMAN

SUSAN GOLDSMITH MARIA GOODALE

DAVID GOTTLIEB BRYANT GRIFFIN

CAMERON GRIFFIN BRANKO GRUJCIC

TYLER HAM CRAIG HAMMACK

TREVOR HAZEL DAVID HIRSCHFIELD

ADAM HOWARD JEN HOWARD

PAUL HUSTON CYRUS JAM

MICHAEL JAMIESON SARAHJANE JAVELO

SCOTT JONES GREG KILLMASTER

WOONAM KIM DREW KLAUSNER

ED KRAMER ERIK KRUMREY

JEROEN LAPRE KELVIN LAU

KERRY LEE SUNNY LEE

SEUNG HUN LEE JOHN LEVIN

JOSHUA LIVINGSTON LUKE LONGIN

ANDREA MAIOLO GREG MALONEY

DAVID MARSH KEVIN MAY

VICKY McCANN WILL McCOY

REGAN McGEE JENNIFER McKNEW

JOSEPH METTEN LAUREN MORIMOTO

DAVID MORRIS KATIE MORRIS

MICHELLE MOTTA MELISSA MULLIN

MYLES MURPHY KEN NIELSEN

TIMOTHY NAYLOR JENNIFER NONA

BRETT NORTHCUTT KAORI OGINO

MAGGIE OH MASAYORI OKA

HIROMI ONO KHATSHO ORFALI

KEVIN PAGE SCOTT PARRISH

BENOIT PELCHAT BRUCE POWELL

JANET QUEN SCOTT PRIOR

10

 

 

TRACEY ROBERTS ELSA RODRIGUEZ

ALAN ROSENFELD ANDREW RUSSELL

JUAN-LUIS SANCHEZ MIKE SANDERS

STEVE SAUERS FREDERIC SCHMIDT

RENE SEGURA JERRY SELLS

ANTHONY SHAFER JOHN SIGURDSON

JASON SMITH SCOTT SMITH

JAMES SOUKUP SAM STEWART

CHRIS STOSKI DAVID SULLIVAN

HENRI TAN MASAHIKO TANI

STEPHANIE TAUBERT RENITA TAYLOR

MEGHAN THORNTON ALEX TROPIEC

KATE TURNER BRUCE VECCHITTO

ERIC VOEGELS JOHN WALKER

DAVID WASHBURN PATRICK WASS

TALMAGE WATSON GREGORY WEINER

ERIN WEST JOHN WHISNANT

JEFF WHITE DOUG WRIGHT

SIMON WICKER BARRY WILLIAMS

KEVIN WOOLEY KEIJI YAMAGUCHI

DANIEL ZIZMOR

Digital Models

LEIGH BARBIER SCOTT BONNENFANT

SIMON CHEUNG CATHERINE CRAIG

GUS DIZON DAVID FOGLER

JOHN GOODSON FRANK GRAVATT

JACK HAYE REBECCA HESKES

JUNG-SEUNG HONG LANA LAN

JEAN-CLAUDE LANGER LENNY LEE

SCOTT MAY TERRY MOLATORE

MARTIN MURPHY GIOVANNI NAKPIL

RUSSELL PAUL SUSAN ROSS

MARK SIEGEL KIM SMITH

JOSEPH SUEN LARRY TAN

HOWIE WEED SUNNY LI-HSIEN WEI

RON WOODALL

Visual Effects Editor . . . . . . . . . . . . . .GREG HYMAN

Lead Location Data Capture . . . . . .MARLA NEWALL

Visual Effects Coordinators

AMBER KIRSCH PAULA NEDERMAN

DAVID GRAY JULIE CREIGHTON

AMY SPANNER BRIAN BARLETTANI

 

Model & Miniatures Unit Supervisors

CARL MILLER PAT SWEENEY

CHARLIE BAILEY MARK ANDERSON

GEOFF HERON

Model & Miniature Unit

CARL ASSMUS CAROL BAUMAN

GREG BEAUMONTE DON BIES

LANCE BRACKETT MARTY BRENNEIS

THOMAS CLOUTIER BRYAN DEWE

ROBERT EDWARDS JON FOREMAN

JOE FULMER STEVE GAWLEY

NELSON HALL PEGGY HRASTAR

DAVID JANSSEN ROD JANUSCH

RICHARD MILLER WENDY MORTON

DAVID MURPHY BUCK O’HARE

MICHAEL OLAGUE LORNE PETERSON

CHUCK RAY DENNIS ROGERS

MITCH ROMANAUSKI

Research and Development

TOMMY BURNETTE BRICE CRISWELL

DON HATCH JULIAN HODGSON

ZORAN KACIC-ALESIC CARY PHILLIPS

NICO POPRAVKA PHILIP SCHNEIDER

STEVE SULLIVAN ALAN TROMBLA

Production & Technical Support

COURTNEY WARD MELISSA DE SANTIS

SUSAN MACKE SEBASTIAN FELDMAN

LOUISE HELENIUS JAMES MILTON

NICK PROVENZANO RYAN SMITH

DANIEL CAVEY SHANE O’CONNOR

ILM Senior Staff . . . . . . . . . . . .LYNWEN BRENNAN

CHRISSIE ENGLAND

MARK MILLER

CLIFF PLUMER

Additional Visual Effects

Visual Effects Supervisor . . . . . . .CHARLES GIBSON

ASYLUM

Senior Visual Effects

Supervisor . . . . . . . . . . . . . .NATHAN McGUINNESS

Compositing Supervisors . . . . . . .JOHN FRAGOMENI

PHIL BRENNAN

Visual Effects Producer . . . . . . .KIMBERLY COVATE

Visual Effects Coordinator . . . . . . . . .FRANK SPIZIRI

Compositors . . . . . . . . . . .ANDY RAFAEL BARRIOS

STEVE MUANGMAN

HILARY SPERLING

ANDREW MUMFORD

JOHN STEWART

Rotoscope/Paint Supervisor . . . . . . . .ELISSA BELLO

Rotoscope/Paint Artists . . . . . . . . . . . . . . .JAMES LEE

ERIC EVANS

CG Supervisor . . . . . . . . . . . . . . . . . . . .SEAN FADEN

Lighting . . . . . . . . . . . . . . . . . . . . . . . . .AARON VEST

CREDITS

11

 

 

CREDITS

Matte Painting . . . . . . . . . . . . . . . .TIMOTHY CLARK

THE ORPHANAGE INC.

Visual Effects Supervisor . . . . . . . . .RYAN TUDHOPE

Visual Effects Producer . . . . . . . . . . .PAUL HETTLER

Digital Production Manager . . .LESLIE VALENTINO

Computer Graphics Supervisor . . . . .KIRK McINROY

Digital Artist . . . . . . . . . . .DANIELA CALAFATELLO

Compositor . . . . . . . . . . . . . . . . . . .ALEX PRICHARD

The Creative and Technical Team at

METHOD

 

CIS HOLLYWOOD

 

Visual Effects Supervisor . . . . . . . . . .BRYAN HIROTA

Visual Effects Producer . . . . . . . . . . . . .LISA MAHER

Visual Effects

Production Manager . . . . . . . . . . .JULIA GAUDETTE

Digital Compositing

Supervisor . . . . . . . . . . . . . . .PATRICK KAVANAUGH

Color and Lighting Supervisor . . . . . . . .DIANA MIAO

Compositors . . . . . . . . . . . . . . . . . . . . . . . .TOM DAWS

MATHIAS FRODIN

DAVID REY

MATT WILSON

CG Animator . . . . . . . . . . . . . .GARY ABRAHAMIAN

PACIFIC TITLE AND ART STUDIO

Visual Effects Supervisor . . . . . . . .DAVID SOSALLA

ExecutiveProducer . . . . . . . . . . . . . . . . .JOE GARERI

Digital Coordinator . . . . . . . . . . . . .JAMES D. TITTLE

Inferno Compositors . . . . . . . . . . .BRIAN HANABLE

CESAR ROMERO

Digital Compositors . . . . . . . . . . . .OZZIE CARMONA

JIM O’HAGAN

PATRICK KEENAN

TOM LAMB

ROBERT MONTGOMERY

Previsualization by

PROOF, INC.

 

Previs Supervisor . . . . . . . . . . . . . . . . . . . . .RICH LEE

Previs Artists . . . . . . . . . . . . . . . . .SCOTT MEADOWS

MARC CHU

PEI PEI YUAN

ROBIN ROEPSTORFF

MICHAEL MAKER

CARIBBEAN UNIT

Additional 2nd Assistant

Director—Bahamas . . . . . . . . . . . . .CLARK CREDLE

Second Assistant

Director—Dominica . . . . . . . . . . . . .GEOFF DIBBEN

Make-Up Lab Technicians . . . . . .STEVE BUSCAINO

CHRIS GARNAAS

FRANK IPPOLITO

MIKE ROSS

Make-Up Artists

TYM BUACHARERN MARTHA CALLENDER

LEO COREY CASTELLANO FIONAGH CUSH-KEPLAR

GABRIEL DE CUNTO KRIS EVANS

GARRETT IMMEL HEATHER KOONTZ-EATON

HEATHER PLOTT ALEX PROCTOR

JILL ROCKOW MICHELLE VITTONE-McNEIL

Tattoo Illustrator . . . . . . . . . . . . . . . . .KENTRO YAHO

Tattoo Make-Up Artist . . . . . . . . . . .RICK STRATTON

Hairstylists

LAUREL VAN DAYKE LINDA DE ANDREA

LANA HEYING CAMILLE FRIEND

YVETTE PEREZ GIANNA SPARACINO

PINKY CUNNINGHAM TERESSA HILL

ROBIN MAGINSKY DAY

Hair P.A. . . . . . . . . . . . . . . . . . . . . .MAXINE GIBSON

Prop Assistants . . . . . . . . . . . . . .MORRIS WILLIAMS

NATE HENFIELD

Set Dressing Assistant . . . . . .A. BROOKE BRUNSON

Assistant Production

Coordinators . . . . . . . . . . . . . . . . .KELLY DETAMPLE

BARRETT LEIGH

KATHLEEN SWITZER

Production Secretaries . . . . . . . . . . . . . . .GAIL WOON

RACHEL JENNER-YOUNG

ROHAN COOKE

VALINA ETIENNE

MARVA BROWN

Production Assistants

SIOBHAN C. ANTONI JAMES McKAY

MEGAN CALLENDER DARRY WARRINGTON

ANDREA ANSELM SHAUN REID

SEAN TOUSSANINT MARY SAMBA BRUNEY

CURTICE ST. JOHN MAYFIELD JOSEPH

MICHEL RODGERS ROHAN TONEY

LUCIANN WILSON

Production Interns . . . . . . .DOMINQUE LOCKHART

VIDYA BARTLETT

HARVEYANN NEWBOLD

12

 

 

Shipping Coordinators . . . .LEROY V. CHARLES “WADIX”

TELLY ONU

AMIE BOWE

Co-Shipping Coordinator . . . . . . . .MARVA BROWNE

Broker . . . . . . . . . . . . . . . . . . . . .JASON MORANCIE

Shipping Assistants . . . . . . . . . . .TAMEE FERGUSON

RYAN CARROLL

Extras Casting . . . . . . . . . . . .THOMAS GUSTAFSON

KATE BURGESS

Extras Casting Assistants . . . . . . .BRADLEY GRANT

JENNIFER M. MERRIMAN

SAMANTHA WILLIAMS

GARY YOUNG

Casting Assistants . . . . . . . . . . . . . . . . . . .VAL CUFFY

IRVINCE AUGUISTE

Location Managers . . . . . . . . . . . . . . . .ROBIN HIGGS

STEVE HART

ALAN TOUSSAINT

Assistant Location

Managers . . . . . . . . . .MARTINA LOUISE CARROLL

PAUL TOULON

RICHARD ROBERTS

Location Assistants . . . . . . . . . . . . . . . .JOHN SMART

RICO BAILEY

DAVID COTE

JANET MAYCOCK

CASSIUS CRUICKSHANK

BAIN GOLSON

Location Runner . . . . . . . . . . . . . . .RONALD BRUNO

Marine Coordinator . . . . . . . . . . . . . . . .ED NYERICK

Assistant Marine Coordinators . . . . . . . .RICK HICKS

J.P. GENASI

Marine Logistics Coordinator . .MICHAEL DOUGLAS

DiveSafety Officer . . . . . . . . . . . . . .BRIAN KAKUK

Water Safety Coordinator . . . . . . . . . . .ALEX KRIMM

Water Safety . . . . . . . . . . . . . . . . . . . . .NEIL ANDREA

CHUCK HOSACK

DURK TYNDALL

DAN WEBB

LARRY RIPPENDROEGER

Boat Captains

CARLOS “CUAKS” APEY M. EUGENE FLIPSE III

GARY LOWE MARTY McNARY

LAWRENCE OTT JAY ALBURY

CHRIS McGEOUG KEVIN MULRINE

SIMON WORLEY GLEN YRIGOYEN

CHRIS PAPAJOHN BRAD THOMPSON

MARK ALBURY WILLIAM BRAITHWAITE

ROBERT CORDES JUSTIN GAPE

BRANDFORD JONES ADAM LONG

RON PAGLIARO DAVID ROSE

PETER ROSE MICHAEL BRACKIN

WILLIAM DEBREO EDGAR COREA

TRAVIS COREA BRIAN CRUICKSHANK

VERBIN SUTHERLAND ROGGER THOMAS

REYNOLD WILLIAMS

Sail Handlers . . . . . . . . . . . . . . . . . . . .PETER BAILEY

LOUIE S. LAMBIE

MERELITA REVEL

Local Technician . . . . . . . . . . . . . . . .JAMES HUGHES

Technicians . . . . . . . . . . . . . . . . . .CHARLES GRANT

DENNIS “FACEMAN” GURLEY

Shipwrights . . . . . . . . . . . . . . . . . . . .CHUCK HANDY

MARK McLELLAN

Location Accountants . . . . . . . . . .ROBERT GEORGE

SHAUNA KROEN

JAMES BREITHAUPT

First Assistant Accountants . .PHAEDRA CHARLTON

SANDY YEARY

MICHELLE RAMEZ

HOPE WHITE

Second Assistant Accountants

KRISTIN KRUGER COLEEN “COCO” AIELLO

MICHELLE WRIGHT LORRAINE PROCTOR

ESTER SKANELL

Construction Accountant . . . . . . . . . . . .ANIL PATADE

Payroll Accountants . . . . . . . . . . . .JUDITH WALDER

RICK J. ROESCH

Accounting Clerks . . . . . . . . . . . . . . . .ERICA CURRY

ERICKA McINTOSH

SILE PINARD-BYRNE

MARK BILAS

Transportation Captains . . . . . . . . . . .RON KUNECKE

TONY LOGUZZO

JIM ALFONSO

LIONEL HOWARD

Local Captains . . . . . . . . . . .GREGORY AUGUSTINE

RONALD CHARLES

Office Administrator . . . . . . . . .JENNER ROBINSON

Transportation Secretaries . . . . .JACQUELINE DAVIS

CHRISTON AZZILLE

MAHALA ANDRE

Craft Service Assistant . . . . . . .RENDAL MUNNINGS

Housing Coordinators . . . . . . . . . . . . .BASHIE ALLIE

LISA ALLEN

Housing Assistants . . . . . . . . . . . .ALLYSON GIRAUD

LAURA HADAWAY

Sound Assistant . . . . . . . . . . . . . . . . . . . . .SAM GRAY

SECOND UNIT

Director . . . . . . . . . . . . . . . . . . . . .CHARLES GIBSON

First Assistant Director . . . . . . . . .PHILIP HARDAGE

Second Second Assistant Director . . .ERIC GLASSER

Director of Photography . . . . .PATRICK LOUNGWAY

First Assistant Camera . . .STEPHEN BUCKINGHAM

JOHN GAZDIK

Second Assistant Camera . . . . . .MATTHEW C. BLEA

LORNA LESLIE

CREDITS

13

 

 

CREDITS

Libra Head Techs . . . . . . . . . . . . . . . .LANCE MAYER

TIM DEAN

AARON YORK

Grips . . . . . . . . . . . . . . . . . . . . . . . . . .GARY SCHWAB

EVAN NELSON

SCOTT A. FEBBO

Gaffers . . . . . . . . . . . . . . . . . . . . . . . . . . . .JEFF HALL

BRIAN TILDEN

Aerial Platform Technician . . . . . . .RICHARD JONES

Electrician . . . . . . . . . . . . .STEVE “ZIGGY” ZIGLER

Property Master . . . . . . . . . .JAMES “STITCH” CRISP

Script Supervisor . . . . . . . . . .SAMANTHA KIRKEBY

Video Assist . . . . . . . . . . . . . . . . . . .DAVE SCHMALZ

MIKE LEWIS

Set Production Assistants . . . . .INDIA SALVY GUIDE

DENNIS BRITTON, JR.

SECOND UNIT/DOMINICA

Director . . . . . . . . . . . .GEORGE MARSHALL RUGE

First Assistant Director . .GARY ROMOLO FIORELLI

Second Assistant Director . . . . . . . . .GEOFF DIBBEN

Director of Photography . . . . . . . .JOSH BLEIBTREU

Camera Operator . . . . . . . . . . . . . . . . . . . . . .IAN FOX

1st Assistant Camera . . . . . . . . .DONNY STEINBERG

DAN TEAZE

2nd Assistant Camera . . . . . . . . . . . .STEVEN CUEVA

ROBERT SETTLEMIRE

Key Grip . . . . . . . . . . . . . . . . . . .ANDY BERTELSON

Best Boy Grip . . . . . . . . . . .LAWRENCE ESCOBEDO

Props Assistant . . . . . . . . . . . .BRYAN D. GAROFALO

Video Assist . . . . . . . . .M. SCOTT BLYNDER, C.A.S.

Stand-By Painter . . . . . . . . . . . . . . . . . .JIMMY DIGGS

Production Assistants . . . . . . . . . . . . .BECKS WELCH

DIONE WOOD

Stunt Assistant . . . . . . . . . . . . . . . . . . .JESSICA HART

Special Thanks to

 

JONATHAN PALMER

IRVINCE AUGUSISTE

KEVIN MONROE

DOUG CARTER

VICKI GABOR

HARRY HUMPHRIES

NICHOLAS L. TETA

HARRY MARGARY PUBLISHERS

© CORBIS

BRIAN CURY, EarthCam, Inc.

 

MUSIC

“Two Hornpipes”

Written by Skip Henderson

 

Soundtrack Available on

 

PIRATES OF THE CARIBBEAN:

DEAD MAN’S CHEST

Available on

ALL VIDEO GAME HANDHELD PLATFORMS

 

AMERICAN HUMANE ASSOCIATION

MONITORED THE ANIMAL ACTION.

NO ANIMAL WAS HARMED IN THE MAKING

OF THIS FILM. (AHA 01082)

 

 

FILMED ON LOCATION IN THE BAHAMAS

 

THIS FILM WAS SUPPORTED BY AN

INCENTIVE PROVIDED BY

THE GOVERNMENT OF THE BAHAMAS

 

ALSO FILMED ON LOCATION IN THE

COUNTRIES OF

ST. VINCENT AND THE GRENADINES

and DOMINICA

 

GFCI Shock Protection by

BENDER

 

Production Equipment Provided by

LEONETTI COMPANY

 

Camera Support Provided by

 

J.L. FISHER, INC.

Camera Cranes and Dollies by

CHAPMAN/LEONARD STUDIO EQUIPMENT

 

Filmed with PANAVISION®

Cameras and Lenses

 

Prints by

TECHNICOLOR®

 

 

14

 

 

MPAA #42793

 

Copyright ©2006 DISNEY ENTERPRISES, INC.

All Rights Reserved

 

This motion picture was created by

Second Mate Productions, Inc. for purposes of

copyright law in the United Kingdom.

 

JERRY BRUCKHEIMER FILMS™, JERRY

BRUCKHEIMER FILMS Tree Logo™ and JERRY

BRUCKHEIMER FILMS Moving Image Design® are all trademarks. All rights reserved. Unauthorized use  is prohibited.

 

Distributed by

BUENA VISTA PICTURES DISTRIBUTION

 

FOR INTENSE SEQUENCES OF ADVENTURE VIOLENCE, INCLUDING FRIGHTENING IMAGES.

CREDITS

15

 

 

PIRATES OF THE CARIBBEAN:

DEAD MAN’S CHEST

 

PRODUCTION INFORMATION

Captain Jack is back…and so are Will Turner and Elizabeth Swann, joined by a roistering shipload of characters both new  and familiar, in PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST— the epic second installment in the Pirates of the Caribbean saga. Once again we have JOHNNY DEPP starring in his Academy Award®-nominated role,

ORLANDO BLOOM and 2005 Best Actress Oscar® nominee KEIRA KNIGHTLEY.

Produced by JERRY BRUCKHEIMER and directed by GORE VERBINSKI, Captain Jack sets sail on this all-new adventure. In this swashbuckling and spectacular follow-up to the blockbuster 2003 film, the decidedly eccentric Captain Jack Sparrow is caught up in another tangled web of supernatural intrigue. Although the curse of the Black Pearl has been lifted, an even more terrifying threat looms over its captain and scurvy crew: it turns out that Jack owes a blood debt to the legendary Davy Jones (BILL NIGHY), Ruler of the Ocean Depths, who captains the ghostly Flying Dutchman, which no other ship can match in speed and stealth. Unless the ever-crafty Jack figures a cunning way out of this Faustian pact, he will be cursed to an afterlife of eternal servitude and damnation in the service of Jones. This startling development interrupts the wedding plans of Will Turner and Elizabeth Swann, who once again find themselves thrust into Jack’s misadventures, leading to escalating confrontations with sea monsters, very unfriendly islanders, flamboyant soothsayer

Tia Dalma (NAOMIE HARRIS) and even the mysterious appearance of Will’s long-lost father, Bootstrap Bill (STELLAN SKARSGÅRD).

Meanwhile, ruthless pirate hunter Lord Cutler Beckett (TOM HOLLANDER) of the East India Trading Company sets his sights on retrieving the fabled “Dead Man’s Chest.” According to legend, whoever possesses the Dead Man’s Chest gains control of Davy Jones, and Beckett intends to use this awesome power to destroy every last Pirate of the Caribbean once and for all. For times are changing on the high seas, with businessmen and bureaucrats becoming the true pirates…and freewheeling, fun-loving buccaneers like Jack and his crew threatened with extinction.

PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST is a fantastical epic adventure which, like its successful predecessor, will take audiences on the ride of their lives. The writers are TED ELLIOTT and TERRY ROSSIO, co-writers of the first film, who also have such hits on their resume as Aladdin”and “Shrek.” The film’s executive producers are MIKE STENSON, CHAD OMAN, BRUCE HENDRICKS and ERIC MCLEOD.

With his Academy Award®- and Golden Globe®-nominated and Screen Actors Guild Award®-winning portrayal of Captain Jack Sparrow, Johnny Depp instantaneously created an authentic motion picture icon embraced by the entire world. Depp is one of the world’s most popular and acclaimed actors, with a hugely versatile range of performances marking his outstanding career. He has received Academy Award® and Golden Globe® nominations for both “Pirates of the Caribbean: The Curse of the Black Pearl” and 2004’s “Finding Neverland,” in which he portrayed “Peter Pan” writer J.M. Barrie. Depp’s extraordinary range of credits since the late 1980s have included “Cry-Baby,” “What’s Eating Gilbert Grape?,” “Ed Wood,” “Benny & Joon,” “Edward Scissorhands,” “Don Juan DeMarco,” “Donnie Brasco,” “Fear and Loathing in Las Vegas,” “Sleepy Hollow,” “Chocolat,” “Blow,” “Once Upon a Time in Mexico,” “Charlie and the Chocolate Factory” and “Tim Burton’s Corpse Bride.”

Orlando Bloom became a major international star with his portrayal of Legolas in Peter Jackson’s award-winning “The Lord of the Rings” trilogy. Since then, the increasingly popular actor has starred in Jerry Bruckheimer’s production of “Black Hawk Down,” directed by Ridley Scott, Wolfgang Petersen’s “Troy,” Scott’s “Kingdom of Heaven” and Cameron Crowe’s “Elizabethtown.”

Keira Knightley is the recipient of 2005 Academy Award® and Golden Globe® nominations as Best Actress for her starring role as Elizabeth Bennet in “Pride & Prejudice.” She was first brought to the attention of international audiences in the sleeper hit “Bend It Like Beckham.” In addition to “Pirates of the Caribbean: The Curse of the Black Pearl,” she has also starred in “Love, Actually,” Jerry Bruckheimer’s production of “King Arthur,” “The Jacket” and “Domino.”

With only five features to his credit thus far, Gore Verbinski’s highly acclaimed films have totaled more than $1 billion worldwide. His films have included the immensely successful “Pirates of the Caribbean: The Curse of the Black Pearl,” the chilling horror film “The Ring” and the recent ragicomic character study “The Weather Man.”

Jerry Bruckheimer is one of the most successful producers in the history of both motion pictures and television. First in partnership with Don Simpson, and then as the chief of Jerry Bruckheimer Films, he has produced an unprecedented string of worldwide smashes, hugely impacting not only the industry, but popular culture as well. Bruckheimer’s films have included “American Gigolo,” “Flashdance,” “Days of Thunder,” “Bad Boys,” “Dangerous Minds,” “Crimson Tide,” “The Rock,” “Con Air,” “Armageddon,” “Enemy of the State,” “Gone in 60 Seconds,” “Coyote Ugly,” “Remember the Titans,” “Pearl Harbor,” “Black Hawk Down,” “Pirates of the Caribbean: The Curse of the Black Pearl,” “Bad Boys II,” “Veronica Guerin,” “King Arthur,” “National Treasure” and “Glory Road.”

In the 2005-6 season, Jerry Bruckheimer had nine series on network television, a feat unprecedented in nearly 60 years of television history. JBTV’s series have included “C.S.I.: Crime Scene Investigation” and its spinoffs, “C.S.I.: Miami” and “C.S.I.: NY”; “Without a Trace”; “Cold Case”; and “The Amazing Race.”

Jerry Bruckheimer Films and Television have been honored with 35 Academy Award® nominations,

five Oscars®, eight Grammy® award nominations, five Grammys®, 23 Golden Globe® nominations, four

Golden Globes®, 43 Emmy® award nominations, seven Emmy® awards, 16 People’s Choice nominations,

six People’s Choice Awards and numerous MTV Awards, including one for Best Picture of the Decade.

Along with Depp, Bloom and Knightley, cast members returning to PIRATES OF THE CARIBBEAN:

DEAD MAN’S CHEST include JACK DAVENPORT as disgraced British Commodore James

Norrington; JONATHAN PRYCE as Elizabeth’s aristocratic father, Governor Weatherby Swann; KEVIN

R. McNALLY as often-soused sailor Joshamee Gibbs; LEE ARENBERG and MACKENZIE CROOK as

eternally bickering and philosophizing piratical best mates Pintel and Ragetti; DAVID BAILIE as the

silent Cotton, whose parrot does all the talking; and MARTIN KLEBBA as the diminutive but tough

18

 

 

Marty, unafraid to go up against

adversaries three times his size.

They’re joined by a group of

distinguished international stars in other

major roles, including BILL NIGHY

(“Love, Actually,” “The Hitchhiker’s Guide

to the Galaxy”) as Davy Jones, daunting

Lord of the Deep; STELLAN

SKARSGÅRD (“King Arthur,” “Good

Will Hunting”) as Bootstrap Bill Turner,

Will’s long-lost father; NAOMIE HARRIS

(“28 Days Later,” “Miami Vice”) as Tia

Dalma; TOM HOLLANDER (“The

Libertine,” “Pride & Prejudice”) as Lord Cutler Beckett, who, as head of the East India Trading Company,

seeks to forever destroy the age of the pirates; and DAVID SCHOFIELD (“The Last of the Mohicans,”

“Gladiator”) as Mercer, Beckett’s ruthless enforcer.

A large contingent of the award-winning “Pirates of the Caribbean: The Curse of the Black Pearl”

creative team reunites for DEAD MAN’S CHEST, including director of photography DARIUSZ

WOLSKI (“The Mexican,” “Dark City,” “The Crow”); costume designer PENNY ROSE (“The Weather

Man,” “King Arthur,” “Evita”); film editors CRAIG WOOD (“The Ring,” “The Mexican” and “Mouse

Hunt”) and STEPHEN RIVKIN (“Ali,” “The Hurricane”); visual effects supervisor JOHN KNOLL (who

received an Oscar® nomination for his work on the first film); stunt coordinator GEORGE MARSHALL

RUGE (“The Lord of the Rings” trilogy); and three-time Academy Award®-winning key makeup artist VE

NEILL (“Ed Wood,” “Mrs. Doubtfire,” “Beetlejuice”) and key hairstylist MARTIN SAMUEL (“Evita,”

“Little Buddha”), both of whom shared an Academy Award® nomination for their work on “Pirates of the

Caribbean: The Curse of the Black Pearl.” Oscar®-winning composer HANS ZIMMER, who produced the

score for the first film, has written the music for PIRATES OF THE CARIBBEAN: DEAD MAN’S

CHEST. Zimmer also scored Gore Verbinski’s “The Ring” and “The Weather Man” and has written music

for several of Jerry Bruckheimer’s previous productions, including “Days of Thunder,” “Pearl Harbor” and

“Black Hawk Down.”

Joining this world-class team on the new

film are a number of other celebrated Academy

Award® winners and nominees, including

production designer RICK HEINRICHS, who

garnered an Oscar® for “Sleepy Hollow” and

was a 2004 nominee for “Lemony Snicket’s A

Series of Unfortunate Events”; supervising art

director JOHN DEXTER, also nominated for

his work on “Lemony Snicket”; set decorator

CHERYL CARASIK, who has been nominated

for four Academy Awards® (including “Lemony

Snicket” and “Men in Black”); visual effects

supervisor BILL GEORGE (Oscar® winner for “Innerspace” and nominee for “Harry Potter and the

Prisoner of Azkaban”); and special effects coordinators ALLEN HALL (Academy Award® winner for

“Forrest Gump” and double nominee for both “Backdraft” and “Mighty Joe Young”) and MICHAEL

LANTIERI (winner for “Jurassic Park” and nominee for “Back to the Future Part II,” “Hook,” “The Lost

World: Jurassic Park” and “Artificial Intelligence: AI”).

 

PRODUCTION INFORMATION

19

 

 

ABOUT THE PRODUCTION

ABOUT THE PRODUCTION

In art, as in life, history has a strange way of turning full circle. The first on-screen image ever to

appear in an all-live-action Walt Disney Studio feature was none other than a closeup of the skull-andcrossbones Jolly Roger flag in the classic 1950 version of Robert Louis Stevenson’s “Treasure Island.”

Some 53 years later, it took the very same studio’s “Pirates of the Caribbean: The Curse of the Black

Pearl” to spectacularly reinvent and reinvigorate a moribund genre which once again is delighting

millions. From childhood classics like Treasure Island and Howard Pyle’s Book of Pirates, to such classic

films as “The Black Pirate,” “The Buccaneer” and “The Crimson Pirate,” the swashbuckling tales of high-

seas derring-do, both nefarious and noble, were seemingly neverending.

Alas, as far as filmmakers were concerned, pirates were forgotten as subjects worthy of contemporary

moviemaking. It took Jerry Bruckheimer, Gore Verbinski and a brilliant company of actors and behind-

the-scenes artists to breathe new life into the Jolly Roger’s sails, inspired by the great Disney Theme Parks

attraction which has enchanted generations since its 1967 debut at Disneyland in Anaheim. The Pirates of

the Caribbean attraction, which utilized the then-brand-new technology of audio-animatronics which Walt

Disney and his Imagineers magnificently developed, soon became a major part of pop culture, with its

cheery refrains of “Yo ho yo ho, a pirate’s life for me” (and the less cheery warning that “Dead men tell

no tales”) sung and quoted by millions.

Using the ride as a springboard, with clever references to the attraction’s content sprinkled throughout,

“Pirates of the Caribbean: The Curse of the Black Pearl” was a smash hit everywhere it played, amassing

a domestic U.S. gross of $305,413,918 and, including its record-breaking overseas engagements, a

worldwide total of $653,913,918. The film also received five Academy Award® nominations, including

Best Actor for Johnny Depp. Like the ride itself, “Pirates of the Caribbean: The Curse of the Black Pearl”

appealed to the little bit of pirate that lives within us all, the desire for freedom, adventure and not a small

amount of mischief. While paying affectionate homage to the cinematic adventures which preceded it,

“Pirates of the Caribbean: The Curse of the Black Pearl” sailed into entirely new territory, breaking with

tradition by linking its high-seas tale with lashings of irreverent humor, as typified by Johnny Depp’s

original and brilliantly inspired creation of Captain Jack Sparrow…a pirate the likes of which audiences

had never seen before.

That success was never a sure thing, Bruckheimer now admits. “There were limited expectations for

the first ‘Pirates.’ Lots of people thought we were making a Disney ride movie for toddlers, and what’s

more, the pirate genre had been dead for 40 years, and every attempt to revive it had bombed miserably.

But then ‘The Curse of the Black Pearl’ was

released and caught everybody by surprise,

which is the best way to do it. The artistry

that Gore and the writers brought to it, and

the performances by Johnny, Orlando, Keira

and Geoffrey, just captured everybody’s

imagination and it became a huge success

internationally.

“Everything that we set up in the first

movie gets pushed forward in the second,”

Bruckheimer continues, “and of course we

have the same creative team. Gore is such a

brilliant director, with a wonderful sense of

humor and a great visual sense. Often, strongly visual directors aren’t great storytellers because they focus

so much on the physical look of the movie. But Gore has both the visual acumen and the understanding

of storytelling and characterization.

“Johnny, Orlando and Keira are all back for the ride,” adds Bruckheimer, “plus some wonderful and

interesting new faces. The Black Pearl will, of course, be back, along with a new mystery ship, the Flying

 

20

 

 

Dutchman, which is crewed by a very exciting and unusual group of sailors under the command of

Davy Jones.

“It all comes down to the imagination of the director, writers and the hundreds of people working on

the movie,” says the producer. “Everybody’s excited about making an enormous piece of entertainment

that audiences will love.”

“Pirates of the Caribbean: The Curse of the Black Pearl” not only revived the genre, but kicked off a

groundswell of fascination for all things piratical which resulted in everything from a spate of new books

about the seafaring scalawags, to a boom in pirates-themed children’s (and adult’s) parties, to pirate dinner

shows, not to mention “I (Heart) Jack Sparrow” stickers plastered onto schoolgirls’ binders all over the world.

Clearly, there was a worldwide mandate for more “Pirates,” and Jerry Bruckheimer and Gore

Verbinski, along with Walt Disney Pictures, decided that just one sequel would not be enough. It made

practical sense, economically, to film two follow-ups simultaneously, taking full advantage of locations,

sets and availability of its increasingly in-demand stars. It also made sense creatively, because with the

characters so well established in the first film, taking them on further voyages was an exciting prospect.

“We were hoping for the success of ‘The Curse of the Black Pearl’ so that we could make more ‘Pirates’

movies,” notes Bruckheimer, “and when you see the second and third films you’ll see that everything

relates back to what started everything off in the first. It’s a true trilogy.”

“You really need to have some substance behind it,” confirms executive producer Mike Stenson. “You

need to not only deliver the entertainment value, the roller-coaster ride and the laughs, but if you’re going

to ask people to stay around for three movies, you have to feel like there’s something thematically

significant that you’re going to explore.”

Says screenwriter Terry Rossio, “Whereas in the first film, the theme park attraction was a wellspring

for ideas, for the second and third films we actually went back to the first movie.” Adds Rossio’s writing

partner Ted Elliott, “There was a richness to the characters that we felt we could explore, but you don’t

want to just go through the same paces with the characters. You don’t want to see them doing the same

thing. One of the things we liked about the characters in the first film was that there’s a certain moral

ambiguity to them, and we wanted to explore that…we wanted to put Jack Sparrow into a situation where

he has to do something that, in fact, puts

his goals in opposition to Will and

Elizabeth’s goals. It was all about

expanding the characters and taking them

in a further direction.”

“Similarly,” Rossio continues, “much of

the basis of the first movie was the

romantic story between Will and

Elizabeth, and we knew we wanted to get

into more of a mature examination of the

relationship between the two of them.

What happens to Will and Elizabeth after

that wildly romantic final kiss with the

beautiful sunset at the end of ‘The Curse of the Black Pearl’?”

DEAD MAN’S CHEST also dips deeply into the treasure trove of pirate and seagoing lore and

mythology, from Davy Jones, he of the famous “locker,” to the legendary Kraken, a sea monster fabled

since the 12th century. “You think of the sea,” says Elliott, “and there are a lot of supernatural stories

you’ve heard. But nobody had actually done those stories as part of a larger pirate movie or swashbuckler,

so there was a wealth of legends to draw from. We touched on some of those in the first movie: there’s a

line of dialogue in which Will talks about sending himself down to Davy Jones’ Locker. So, in DEAD

MAN’S CHEST, we decided to explore who Davy Jones is, and then we brought in another well-known

legend of the seas, the Flying Dutchman, and combined them together.”

Elliott and Rossio also cleverly utilized one of history’s greatest economic and political powers—the

 

ABOUT THE PRODUCTION

21

 

 

East India Trading Company—as a pivotal entity in the plot of DEAD MAN’S CHEST. Like much else

in the “Pirates” movies, historical reality is used as a springboard for fun and fantasy. The real British East

India Company was a tool of imperialist domination, economically and politically, from 1600 to its

dissolution in 1858, essentially ruling India and spreading its tentacles as far as the Persian Gulf,

ABOUT THE PRODUCTION

Southeast Asia and East Asia. Even the most

generous contemporary histories describe the

East India Company’s activities as

extraordinarily greedy and inhumane. “What

we like about pirates,” states Elliott, “is that

they represent freedom. And the East India

Company, as a giant multi-national

corporation, represents the end of individual

freedom. They’re defining the world as they

want it to be, and there will be a lot of people

they’re going to leave out. The more dominance

they have, the less room there is for people like

Captain Jack Sparrow.”

And Captain Jack Sparrow, it can be said with some degree of authority, is the only truly iconic screen

character to have yet come out of this new millennium. A wholly original and thrillingly eccentric creation

conjured up by a famous shape-shifter named Johnny Depp, this ducking, weaving, highly superstitious

pirate captain of equally dubious morality and personal hygiene became the screen anti-hero for a new

century. With his long dreadlocks and braided beard adorned with a wild assortment of beads and baubles,

various and sundry amulets hanging from his attire, and teeth studded with gold and silver, Captain Jack

Sparrow, like the film itself, appealed to audiences that ran the gamut in age, gender and nationality.

Depp’s performance as Jack Sparrow was recently named one of the 100 greatest performances of all time

in the May 2006 edition of Premiere magazine, which, tellingly, featured the good Captain’s visage on the

cover more prominently than anyone else’s (Depp made the list a second time, for the title role of “Edward

Scissorhands”).

“If you ask most people what they loved most about the first movie,” says Mike Stenson, “it’s usually

this completely iconoclastic Jack Sparrow character. In a 500-channel universe, where you have so many

different opportunities to be entertained in so many ways, you have to give the audience something that’s

unique and different. That’s exactly what Johnny did with Captain Jack Sparrow in ‘The Curse of the

Black Pearl.’ He created this character and had absolutely committed to it, and both Jerry and Gore had

to tell the powers that be to trust them on it after they saw the first dailies. At the end of the day, Johnny

took a risk, and Jerry and Gore backed him 100 percent.”

“Johnny is one of our greatest actors,” says Bruckheimer. “He invented Jack Sparrow in the first

movie, and he’s not somebody who wants to rest on his laurels for the second and third. He takes a

character to even newer heights. None of us would be back if Johnny had not wanted to play this character

again. He loved making the first movie, and audiences loved him right back.”

As for Depp, the actor claims that “It is beyond me how such a character has sort of taken root in some

people’s hearts. It’s still shocking to me. I was handed this opportunity to make something of this

character, and I had pretty solid ideas about who he was and what he should be like. There were a number

of people who thought I was nuts. But I was committed to the guy, and I think that’s what happened to me

in terms of finding the character.

“What I set out to do,” continues Depp, “was to try and make Captain Jack appeal to little kids as well

as the most hardened adult intellectuals.”

Notes Terry Rossio, “One of the archetypes that is really underused in American cinema is the trickster

character. Most American movies tend to celebrate the warrior who does the right thing at the right time.

But the fun thing about Jack, who is definitely a trickster, is that he’s not particularly good at avoiding

getting caught. He will get caught…you just can’t hold on to him for very long. Jack knows that if he can

22

 

 

just bide his time, eventually the world will come over to his side, and that gives him this sort of supreme

confidence that he can handle just about any situation.”

“The other fun thing about the trickster character,” continues Ted Elliott, “is that he basically is just

out to have his own good time. He’s following his own self-interests. The things he does will affect other

people—the mortals, if you will—and sometimes it will be to good benefit, and sometimes it will be to

their detriment. So that goes back to the whole question posed in the first movie: is Jack Sparrow a good

guy or is he a bad guy? Is he a pirate hero or pirate villain? Well, it really kind of depends on the

perspective you have.”

With “The Curse of the Black Pearl” having been crucial in launching both actors to major

international stardom, Orlando Bloom and Keira Knightley were enthusiastic to return alongside Depp as,

respectively, young lovers Will Turner and Elizabeth Swann. (The fourth member of the original quartet,

Geoffrey Rush, is not in the second film, his character of Captain Barbossa having been dispatched to the

underworld by Jack Sparrow at the climax of the first film.) Jerry Bruckheimer, who has a knack for

discovering young talent before the rest of the world catches on, secured Bloom as a young U.S. Ranger

in “Black Hawk Down” before the “Lord of the Rings” trilogy was released and cast Knightley in the first

“Pirates” film when she was only 17 years old and “Bend It Like Beckham”—which was her

breakthrough movie in the international arena—had not yet been released. “We could see that Keira was

an extraordinary actress when we cast her in ‘The Curse of the Black Pearl,’ Bruckheimer recalls. “She’s

not afraid of anything. In the two years

between the shooting of the first film and

the start of the second, her skills had

heightened with the work that she did and

the experience she gained.” (This experience,

incidentally, included her performance of

Guinevere in Bruckheimer’s production of

“King Arthur.”)

“As for Orlando,” continues the

producer, “he also did an enormous amount

of hard work between the first and second

‘Pirates,’ working with some wonderful

directors, like Ridley Scott and Cameron

Crowe. Orlando started out as a really terrific screen actor and has only gotten better with time.”

At the hands of screenwriters Elliott and Rossio, Will and Elizabeth were to undergo considerable

development in the story of DEAD MAN’S CHEST.

Says Bloom, “I wanted Will to be less of the kind of earnest, upright young guy of the first movie and,

this time, to see his darker shades. Will’s real journey throughout the second movie is his concern for his

father, Bootstrap Bill, who is an important element of the first film without actually being seen. Will

needs to rescue his father from the fate that he’s been destined to live on the Flying Dutchman with Davy

Jones and his frightening crew. So Will’s objective is to reconnect with his father and, at the same time,

somehow maintain his relationship with Elizabeth. Each of the main characters in DEAD MAN’S CHEST

have their own objectives, which are to some extent in conflict with each other’s. There’s a real sense of

young lovers’ tension between Will and Elizabeth.”

Keira Knightley, like much of the rest of the world, had been happily surprised by the massive success

of the first film. “We were doing a movie based on a Disney theme-park ride in a genre that hadn’t been

successful in something like 50 years,” she recalls. “But we had Gore Verbinski, whose vision is quite

extraordinary, and Johnny Depp, whose portrayal of Jack Sparrow kind of brought the film into a whole

new phenomenal world.

“What’s nice about this movie,” adds Knightley, “is that the characters have evolved. When we first

meet Elizabeth at the beginning of the story, she’s on the brink of getting married to Will, which falls to

pieces because a character named Lord Cutler Beckett comes into the equation, and he wants to annihilate

ABOUT THE PRODUCTION

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ABOUT THE PRODUCTION

piracy from the world. He’s determined to arrest Will for being a pirate and Elizabeth for aiding in the

escape of Captain Jack Sparrow. Elizabeth becomes a woman on a mission, and there are some quite nice

undertones to her relationship with Will, as well as to Jack Sparrow…which grows into something very

interesting.”

Also returning from “The Curse of the Black Pearl” is Jack Davenport as James Norrington, the British

naval officer who loses Elizabeth Swann to Will Turner and gets one-upped time and again by Captain

Jack Sparrow. “Jack Davenport is such a superb actor that we wanted him back in the party,” says

Bruckheimer. “He’s fun to work with and created a wonderful character which becomes more embellished,

richer and adds to the story. Jack is a major player in both the second and third films.”

“When we last saw Norrington,” says Davenport, “he was losing big-time on all fronts. He was losing

girls, he was losing people out of jail, being humiliated in every way. Hopefully, whilst he was being

humiliated, you kind of got a sense of him making mature decisions at difficult times. The thing that always

interested me about the role in the first film was that you have this character who’s a leader of men in a

very public role. And at the end of the first story, he’s in a situation where he’s having to deal with things

which are very private in an incredibly public arena, with something like 200 people standing around.

“When I read the script for DEAD MAN’S CHEST,” Davenport continues, “I was delighted to see how

they developed his character. Norrington has fallen on hard times. He doesn’t look the way he looked

before. He’s lost his job, his girl and his self-respect. And suddenly, he has a chance to sign up as a crewman

with none other than Captain Jack Sparrow. The question is, what’s Norrington after? Revenge? Elizabeth?

Or something else?”

(Coincidentally, Jack Davenport’s

father—the distinguished British stage

and screen actor Nigel Davenport—was

one of the stars of Alexander

Mackendrick’s “A High Wind in

Jamaica,” made some 40 years ago and

one of the best examples of the genre

before it vanished from theater screens.)

One by one, Bruckheimer and

Verbinski began to assemble the major

players of a huge cast, including new characters which add so much new life and texture to DEAD

MAN’S CHEST. To portray Davy Jones, who is as much sea creature as he is human, the filmmakers

selected the extraordinarily versatile British actor Bill Nighy, knowing that he would find the humanity

beneath the character’s beastly veneer. “Davy Jones is a deeply damaged and isolated individual,” says

Nighy. “He’s wounded so deeply that he determines that he will live a kind of semi-life, as long as it means

he doesn’t have to feel anything anymore. And so, he’s torn out the center of all feeling—his heart—and

locks it in a special chest. He also has control of a ‘pet,’ as it’s sometimes referred to, which is the

Kraken—a sea monster which is the likes of which you’ve never seen before, entirely malevolent, evil and

powerful beyond expression. If you possess Davy Jones’ heart, you control not only him, but the Kraken

as well, which in effect gives you control of the oceans.”

Nighy’s primary challenge would be that because of Davy Jones’ astonishing physical appearance, he

would be acting throughout the film in what resembles a gray track suit and matching cap with reference

marks for Industrial Light & Magic’s computer wizards, who would embellish it with the amazing details

as imagined by Gore Verbinski and famed conceptual artist Mark “Crash” McCreery. But Nighy was game

to take it on. “The first movie was not only successful,” he notes, “but is actually beloved, and has entered

the language in a way that I think few movies do. To be part of this was a very satisfying notion. As for

playing a character which will be physically embellished by computer wizardry, as an actor you use your

imagination. The same things are required of you, generally speaking.

“Of course,” adds Nighy dryly, “in DEAD MAN’S CHEST I’m playing a man who has an octopus

growing out of my chin, which I must admit, has thus far been outside of my experience.”

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The other new villain of DEAD MAN’S CHEST—perhaps even more villainous than Davy Jones,

whose viciousness stems from his all-too-human heartbreak from a thwarted love from the past—is the

cold, calculating and utterly ruthless Lord Cutler Beckett. Invited to inhabit this dastardly soul was Tom

Hollander, who so brilliantly portrayed Reverend Collins, the diminutive and hapless suitor of Keira

Knightley’s Elizabeth Bennet, in “Pride & Prejudice.” Hollander was attracted to playing Beckett because,

like the other characters developed for both the first and second films, he was multi-dimensional. “Soft

glove, hard fist,” notes the actor of his Beckett. “On the outside, he’s very arrogant and charming, but the

inside is incredibly hard.” Hollander also saw some similarities between the East India Trading Company,

as depicted in the story, and the modern world. “There’s a modern parallel to how Lord Cutler Beckett and

the East India Company operates in the story, with the pirates—who symbolize absolute freedom—being

squeezed out ruthlessly.

“Especially Jack Sparrow,” Hollander continues, “who in Beckett’s view is naughty, messy, has

dreadlocks, could do with a few more baths and, worst of all, is a pirate. To Cutler Beckett, Jack Sparrow

is a stray dog.”

Stellan Skarsgård, who has been a major star in his native Sweden since the 1970s and has become an

international player of considerable reputation and abilities, was pleased to be asked by Verbinski and

Bruckheimer to portray Bootstrap Bill Turner…a character much discussed in “The Curse of the Black

Pearl” but heretofore unseen. Skarsgård was well known to Bruckheimer, who had previously cast the

actor as a marauding Teutonic in “King Arthur.” “Stellan is a world-class actor,” says Bruckheimer, “and

Johnny and Orlando wanted to work with him. We knew that with Bootstrap Bill, Stellan would create a

wonderful, compassionate and interesting portrait of a man who’s losing himself bit by bit.”

“You could see in the first film that there was a lot of space for the actors to expand and bloom within

scenes,” says Skarsgård. “You also felt like they had a lot of fun doing it, which is very endearing.”

Another compelling new character in DEAD MAN’S CHEST, the mysterious Caribbean soothsayer

Tia Dalma, is essayed by one of Britain’s brightest young talents, Naomie Harris. “Tia Dalma’s a gypsy

queen, a free spirit, someone who has magic powers and the ability to see through people and understand

their deepest desires,” explains Harris. “She’s a very powerful woman, which I really like. She has

associations with the elements of nature, and she’s fiery and temperamental.”

David Schofield, the noted British character actor cast as Mercer, Lord Cutler Beckett’s merciless

enforcer, was delighted at the prospect of working with Keira Knightley. The last time he had seen her in

person was when she was three years old, and Schofield was performing on stage at the Chichester

(England) Festival with her father, actor Will Knightley. Schofield was also amazed at how many of his

countrymen (and -women) were to be performing in the second “Pirates” film. “It’s like there are all these

English theater actors being floated on a very luxurious Walt Disney mattress to exotic places. And they

can chat away happily about their English lives and their English feelings about things. But they’re

supported by this American structure. It’s a bit like an English glove with an American hand in it.”

Then there are the returnees who have come back to take yet another fantastic voyage on the Black

Pearl. “I never expected to be back,” says Jonathan Pryce, who indeed is back as Port Royal Governor

Weatherby Swann, Elizabeth’s loving if slightly befuddled father. Having missed all of the original

screenings and premieres of the first film because of his busy schedule, Pryce finally bought himself a

ticket to a cinema in London, “and could barely get a seat, which I thought was ironic. It was four or five

weeks after its initial opening, but the cinema was packed. It was a wonderful experience seeing the film

with a real audience, watching them laughing and watching the screen in amazement. It was very

gratifying to be in a commercial film that audience, young and old, responded to so well.”

Returning as Pintel and Ragetti—who endeared themselves to audiences as a sublime comedic pairing

in “The Curse of the Black Pearl”—are, respectively, Lee Arenberg and Mackenzie Crook. “Pintel and

Ragetti are marvelous characters to begin with,” says Jerry Bruckheimer, “but Lee and Mackenzie did a

brilliant job of taking something that was on the page and amping it to the nth degree.”

True to their roles, the U.S.-born Arenberg and British native Crook genuinely hit it off during the

filming of the first “Pirates” film, inseparable off as well as on screen. “We sort of stick together like some

ABOUT THE PRODUCTION

25

 

 

A PIRATE ODYSSEY

sort of 18th-century piratical Laurel and

Hardy,” notes Arenberg. “I always say that

the luckiest thing that happened to me is that

they couldn’t find short, bald and crazy in

London who was the right match for

Mackenzie. So they had an audition for

short, bald and crazy guys in Hollywood, and

that was a little bit of Kismet for me.”

Adds Crook, “Pintel and Ragetti are

pirates who, like most pirates, can swing

either good or bad depending on who’s

paying the best fee. They’re the classic

double act—one thinks he’s intelligent, and

the other one appears stupid—plus Pintel and Ragetti had the foresight to stick their hands up and

surrender at the end of the first movie.”

Jokes Crook, “We were smiling then because we knew we were making the sequel, and all the other

guys fooling around on deck didn’t!”

“I don’t know what the expectations were for the first film,” admits Kevin R. McNally, whose

Joshamee Gibbs has an encyclopedic knowledge of the lore of the seven seas and an epicurean taste for

rum. “Working on it, I had no idea what I was in, really, until I watched it with a group of friends in the

cinema. It came as a pleasant surprise to see just how good it was, adventurous, funny and character-rich.

I thought my pirate days were over, but when I was shooting ‘The Phantom of the Opera’ I met Mike

Stenson from Jerry Bruckheimer Films, who said ‘Pack your bags, Kevin, we’re going pirating again.’”

“I went into a state of bliss when I heard

they wanted me back for the second and

third movies,” says David Bailie, who

portrays the speechless pirate Cotton. “I’m

in my mid-60s, and not many actors can

round off their career doing three major

movies and all that it implies.”

When the filming of “The Curse of the

Black Pearl” finished, actor Martin

Klebba—who plays his namesake, Marty, a

Black Pearl crew member of short stature

but tall spirit—recalls that when he heard a

second (and third) “Pirates” movie was to be

made, “I thought, if they bring me back, cool. If they don’t, you know, I had a great time and enjoyed the

opportunity. When I got a call asking me to come in for a costume fitting for DEAD MAN’S CHEST and

‘Pirates III,’ I thought, ‘Wow! How often does this happen to an actor?!’”

2005 (and ’06): A Pirate Odyssey

If the filming of “Pirates of the Caribbean: The Curse of the Black Pearl” was an epic, then the

shooting of PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST could only be described, in the

ancient sense, as an odyssey. Journeying from location to location, island to island, production was, in

every sense, bigger than life, fraught with fantastic adventures, Promethean ambitions, Sisyphean

challenges, Herculean triumphs. More than a year of filming (albeit with occasional breaks, and with

much time devoted to the concurrent shooting of “Pirates of the Caribbean III”), a good part of it in the

Caribbean, inspired the cast and crew—many of them grizzled veterans of dozens of productions—to

redefine the parameters of their own experiences.

 

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“A movie like this becomes the pinnacle of your career,” notes executive producer Bruce Hendricks,

who is also Walt Disney Pictures’ president of physical production. “More than any other movie I’ve been

involved with—and I think now I’ve been involved with almost 300 of them in one way or another—the

‘Pirates of the Caribbean’ movies are the ones that you look back on and say, wow, we really accomplished

something.”

“It was like fighting a war,” recalls Eric McLeod, also an executive producer on the film. “We had to

build roads into places where people never filmed before, up mountainsides, through jungles, down into

beaches. In Dominica we had 500 cast and crew spread out in 80 different hotels, condos and houses. We

had 150 drivers spread out through the island every day to go pick up all those people. There were 40

accountants working out of offices in Los Angeles, Mobile, Alabama, St. Vincent, Dominica, the Bahamas

and the United Kingdom, working with seven different currencies. It was a moving army. The focus is

what’s happening in front of the camera, but there’s a massive circle of support required to get to that place.”

Serious preparation for PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST and “Pirates of the

Caribbean III” got underway in June 2004. Based upon the script by Elliott and Rossio, the production

team knew that one island location—as it was in the first film—would not suffice. “From the early

meetings with Jerry, Gore, Ted and Terry, we started to get a sense from the logistic standpoint of where

we were going,” recalls unit production manager Doug Merrifield, who served in the same position on

“The Curse of the Black Pearl.” “We knew that this time, we were going to be on various islands, versus

just St. Vincent. We were going to have more ships to deal with. It was becoming apparent that we were

going to be a road movie…although those roads were actually vast bodies of water between the different

locations. Beginning in late spring/early summer ’04, we began to thoroughly scout the Caribbean once

again.”

The pirate strongholds of Port Royal and Tortuga, familiar to viewers of “Pirates of the Caribbean: The

Curse of the Black Pearl,” were newly designed by Rick Heinrichs and reconstructed in St. Vincent’s

Wallilabou Bay, which also served as the location for the first film. Dominica, a green and unspoiled

paradise of burgeoning eco-tourism that’s just 29 miles long and 16 miles wide with a population of only

71,000, served as the backdrop for an extraordinary range of locations, from its palm-studded beaches,

jungles and rain forests to a lofty plateau. And in the Bahamas, the company would film in both The

Exumas and, further north in the chain, in an oceanfront facility on Grand Bahama Island.

“Some of these islands have few hotels, not many restaurants, little infrastructure,” says executive

producer Chad Oman. “That’s Gore having a huge imagination and a tough gut to choose those locations

despite the challenges, and you’ve got to give credit to the studio for allowing him to do that. Dick Cook,

Nina Jacobson and Bruce Hendricks all put a lot of confidence in both Gore and Jerry.”

At highest ebb, nearly 1,000 people were working in various departments during pre-production of

PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST, ranging the world from Los Angeles to

London to the Caribbean. It was an effort which defined “synergy,” as artists and craftsmen pooled their

skills to invent the impossible. And writers Ted Elliott and Terry Rossio did not just deposit the splendid

screenplay with the filmmakers and sail off into the sunset. Instead, they sailed off with the company to

every single location, a constant presence on the set, constantly creating and reinventing whenever the

need arose. “The reason our writers are here is because we have such a creative director and cast,” explains

Jerry Bruckheimer. “They come up with such imaginative ideas, and Ted and Terry can incorporate those

into the script before we actually shoot a particular scene. Plus, we’re always finding new things and

nuances when we film. Ted and Terry are so easy to work with, they love being on location, and they’re

very fast on their feet.”

Throughout filming, Bruckheimer, Verbinski, Elliott and Rossio would relentlessly pick over the script

with the minute attention to detail and seriousness of Talmudic scholars, which may come as something

of a surprise, considering the rambunctious humor of the “Pirates” movies. “There’s no heavier burden

than great potential,” sighed Ted Elliott at one point in the Caribbean, quoting that great American

philosopher, Charlie Brown. The filmmakers were aware of how high the expectations were for the new

“Pirates” films and were absolutely determined not to take any easy shortcuts.

27

A PIRATE ODYSSEY

 

THE VOYAGE BEGINS

Los Angeles: The Voyage Begins

Principal photography of PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST and the third

entry of the trilogy began on February 28, 2005 with studio and location work in L.A., and although the

first few sets were relatively modest—the rum locker of the Black Pearl and the interior of the Port Royal

jailhouse—production designer Rick Heinrichs’ large-scale masterworks were yet to be seen.

The natural locations and sets designed by Heinrichs unleashed his limitless imagination, providing

PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST with vastly scaled and richly imaginative

backdrops…not to mention a small fleet of new ships, including a redesigned, rebuilt and fully seaworthy

Black Pearl; Davy Jones’ magnificently detailed and terrifying Flying Dutchman; and the sleek 18thcentury British merchant ship Edinburgh Trader. Heinrichs and his creative team designed a huge range

of settings, from a massive swampland built on a Burbank soundstage, to the small but intricate dead

man’s chest of the subtitle.

“An amazing, creative individual,” says Jerry Bruckheimer of Heinrichs. Adds Johnny Depp, “I’ve had

the pleasure of working with Rick Heinrichs a number of times now over the years. And boy, oh boy, talk

about somebody outdoing themselves. He’s really gone far into the stratosphere and done some

monumental work. My initial reaction to much of the sets was…can I get the blueprints? ’Cause I want to

build this somewhere and live in it. Rick is a very gifted, talented artist, and we’re super lucky to have him.”

“I got excited when I first spoke to Gore,” recalls Heinrichs, “because he was sitting there drawing these

images of pirate ships and monsters, saying that he was taking what he had established in the first film to

a whole other level of mythology. We’re going to attempt to strike a similar balance in this film of scary

and humorous elements, which really goes back to the original theme-park attraction.

“Hopefully, people will be going home

from this movie with the same kind of

excitement that audiences got from the

Douglas Fairbanks and Errol Flynn movies

in the earlier part of the 20th century…but

with the kind of technology that we can

bring to bear on it now,” continues

Heinrichs. “We’re trying to take the first

‘Pirates’ film to the next step of virtuosity

so that we can walk that line between horror

and humor that gives you a great sense of

tingling excitement.”

Heinrichs was also intrigued by the fact

that although Verbinski’s “Pirates” films are to some degree rooted in history, they’re not imprisoned by

it. The films’ exact period is deliberately nebulous, but more or less the 1720s during the golden age of

piracy in the Caribbean. “One of the things I like to do when I’m approaching a project that’s offered to

me and when I’m trying to figure out whether to do it or not is—for instance—if it’s a period piece, is it

something that I can bring something to, or is the director trying to simply retell something historically

and wanting absolute period accuracy. That doesn’t particularly interest me. What I love about ‘Pirates’

and working with Gore is the fact that the history and period are backdrops, something that gives us a

sense of time and place. But everybody is excited to take that to the next level of stylization and re-

imagining. It’s like taking the elements and shaking them up and creating something different out of

them.”

Heinrichs, along with supervising art director John Dexter, three art directors, seven assistant art

directors, nine set designers, a props set designer, three conceptual artists, six illustrators, three model

makers, and various and sundry graphic designers, coordinators, researchers and assistants—not to

mention affiliated departments headed by set decorator Cheryl Carasik, property master Kris Peck and

construction coordinator Greg Callas—would achieve wonders on land and sea for DEAD MAN’S

 

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CHEST. A visit to the “Pirates” art department at Walt Disney Studios during pre-production revealed

detailed models, mountains of reference books, conceptual illustrations, blueprints and walls plastered

from one end to the other with reference artwork, from old paintings and etchings of ships, sea and

landscapes to ethnographic photographs, design sketches and reproductions of Howard Pyle illustrations

from his classic Book of Pirates (which both Verbinski and Heinrichs found “highly inspirational”).

While respecting, and often building upon, the designs of the first “Pirates” film, Heinrichs and his

team sought to “take things as far as we could to make the settings real, living things,” according to

supervising art director John Dexter. “That’s why so much of the research we do is from natural forms.”

Already under construction in Bayou La Batre,

Alabama—famed for its shipyards and expert

shipbuilders—was the brand-new, fully seaworthy and

subtly redesigned Black Pearl. “Because of the

importance of the ships, it’s almost like we had our own

mini art department that was dedicated just to their

design,” notes Rick Heinrichs. “We had the best guys

available, some of whom had worked on other ship

pictures in the past, ‘Master and Commander’ and

others. We were also aided by visual technology. All of

our ships were modeled in the computer as well, which

allowed us to transfer files back and forth between the

marine architect and engineers, who would tell us what

was going to be stable and not fall over in the water, and

that could withstand the kinds of speeds and stresses that

these ships were going to be in. The struggle was to

attain a certain look, and to do within a practical

package as well. They had to be affordable, they had to be floatable, and they had to be something that

looked good at the same time.

“We took the Black Pearl and gave it a little bit more of a swoop,” continues Heinrichs. “The Black

Pearl in the first film was established, to some degree, by the set of circumstances that they had. They built

the ship directly onto a barge and were limited by the dimensions of that barge. We’ve had a little more

freedom in this. I think that Gore discovered what he liked and what he didn’t like in the first film, and

he wanted a much more flexible Black Pearl that could move faster than one or two knots.”

The answer was for the production to build the new Black Pearl around an existing 109-foot-long boat

called the Sunset, an unglamorous craft which once serviced oil derricks in the Gulf of Mexico. It took

eight months of construction to build the new Black Pearl around the old Sunset, and by the time work

was finished, something familiar, yet brand-new, had been created. “The result was that from the waterline

up you had this beautiful pirate ship, the Black Pearl,” notes picture boat coordinator Will White. “But the

Sunset is still in there somewhere, with engines, fuel and water tanks, a galley and bunks.”

“In this movie, the Pearl is a much sexier, cool, edgier ship than last time,” adds supervising art director

John Dexter. True to its name, the Pearl has to appear black, but as Dexter points out, “it can’t just be

black…it has to have life to it. There are some metal pieces on the ship that rust. There’s certainly the sea

spray. We started with flat black and moved to something that was a little more interesting.”

Also under construction at this point for filming later in both Dominica and the Bahamas was the

stupendous Flying Dutchman. 170 feet long, 420 tons of brute nautical force, her rotting wooden decks

overgrown with barnacles, mussels and other detritus of the seven seas, the skeletal, crocodilian figure on

the foremast resembling a terrifying predator, her sails shredded into shards, her halls decked with boughs

of seaweed, 36 sealife-encrusted but fully operative cannons on either side of her hull, and two lethal

revolving cannons emerging from her bow threatening any and all who dare to stray into her path. The

Flying Dutchman and her crew have become so organically bound that it’s difficult to tell where one ends

and the other begins. The ship becomes more alive as her crewmen become more a part of her.

THE VOYAGE BEGINS

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THE VOYAGE BEGINS

“When we were designing and building a set,” says Rick Heinrichs, “we tried to get a sense of reality,

place and history to that set by using color and texture which hopefully adds up into character. Something

that behind the actors will make it feel like they’re really in the environment. I think that reaches its zenith

with the Flying Dutchman. We wanted it to be an actual character in the film. We’ve put a lot of sea forms

everywhere—ferns, mollusks, barnacles and all the stuff that grows underwater. Whenever it’s being shot,

they’re wetting down the boat to make sure it feels alive.

“The Dutchman was developed with an

eye towards history and a sense of the

architecture of ships in the 17th century,”

Heinrichs continues. “I wanted it to already

feel old in the period that the story takes

place in the early 18th century. I think the

Flying Dutchman has a combination of

historical elements, layered with fantastical

elements.”

The Flying Dutchman was partially

inspired by old Dutch “fluyts”—17th

century vessels which resembled galleons—

and more specifically, the Vasa, a massive

Swedish warship which sunk in Stockholm’s harbor upon its maiden voyage in 1628 (the ship was

salvaged in 1961 and is now housed in a special museum in the Swedish capital). With its high, heavily

ornamented stern, the ship provided a rich foundation for Rick Heinrichs’ wilder and more fantastical

designs.

“Rick and I tossed ideas back and forth for the Dutchman six months before we started filming,”

explains supervising art director John Dexter. “About three months after that, we got engineers involved

and our marine department, who let us know what we could and could not do with its design. Luckily, we

were very close. Then we hired set designers, model makers and illustrators to help us flesh those ideas

out and get them ready for construction. We built the ship simultaneously in Los Angeles and Grand

Bahama Island.

“It was such an incredibly challenging, beautiful piece,” continues Dexter, “and since it’s such a central

icon for the picture, we wanted it to look great. We started with a stiffened hull, a watertight compartment,

then a steel structure off of that. Then our guys stepped in and applied a lot of wood structure from there,

some steel to strengthen it, and then sculpted spray foam over that, followed by plaster.”

Working closely with Heinrichs, as he had done for years, was construction coordinator Greg Callas,

at the head of a department which, at its height, included some 450 craftsmen, encompassing carpenters,

plasterers, painters, landscapers and sculptors.

“I’d never built a ship before, and there’s a whole glossary of terms that you have to learn to understand

a wooden pirate ship,” explains Greg Callas. “We had to manufacture the capstan and the wheel, fife rail,

mizzenmast, mainmast, foremast…all of these things that I’d never imagined. There were a lot of people

involved in making the Black Pearl. We have a marine department which helped make the vessel run with

diesel motors. A rigging department to outfit everything with sails…rigging today is done with cables, but

on the Pearl, as well as the Flying Dutchman, it’s all period rigging with ropes, and then everything had

to be aged to look old. The sails had to be created according to 18th-century period. You just don’t go

down to a marine store and buy this stuff. Everything we did had to be manufactured.”

The Black Pearl and the Flying Dutchman were each constructed up to their first set of fighting tops,

with four complete sets of sails. The remainder of the masts and sails would be supplied later by the ubertech wizards of Industrial Light & Magic.

On the expansive grounds of what was once the aquatic theme park Marineland in Palos Verdes, with

an endless view of the Pacific Ocean, Heinrichs designed and built a Port Royal church for one of the

opening scenes of DEAD MAN’S CHEST, in which Will and Elizabeth’s wedding is rudely interrupted

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by Lord Cutler Beckett and a troop of East India Trading Company militiamen. Not so coincidentally, it

was on this exact spot nearly three years earlier that Port Royal’s Fort Charles was constructed for the first

“Pirates” epic.

Constructing the Port Royal church in Palos Verdes was the first of many struggles that the production

had against the most unpredictable and uncontrollable of production challenges: Mother Nature. “When we

started to build the church exterior, we got 35 inches of rain,” recalls Greg Callas. “We lost 11 days to rain

at that location, so we worked 24 hours a day for the last two weeks before shooting to complete that set.”

How coincidental that the three scheduled days of filming in the church set required torrential rain,

which had to be provided by the special effects department!

Filming then shifted back to Stage 1 at Walt Disney Studios in Burbank, where the gun and hold decks

of the Black Pearl were designed and constructed with extraordinary realism, the burnished wood looking

like it had been weathered on rough seas for 50 years rather than a few weeks old. When outfitted by set

decorator Cheryl Carasik with the appropriate accoutrements—such as criss-crossing hammocks on the

hold deck and period-correct baskets, ropes, and gently swinging lanterns—the illusion of reality was

complete. Mounted on a gimbal, four hydraulic pistons on opposite sides of the set provided a rolling

motion which effectively mimicked the sea, providing the cast and crew with a milder sneak preview of

what would come later on the real Black Pearl while shooting in the Caribbean.

Also at Disney Studios, the captain’s cabins of both the Black Pearl and Edinburgh Trader were

constructed on Stage 5 for interior sequences. Filled with lustrous period detail, much of Captain Jack’s

cabin interior was constructed of solid, beautifully grained mahogany. Leaping a few miles to the

Universal Studios backlot, Rick Heinrichs, John Dexter, Cheryl Carasik and their teams accomplished an

extreme makeover of the legendary “Europe Street” area, originally built for the 1939 Charles Laughton

version of “The Hunchback of Notre Dame,” converting it into the atmospheric streets and back alleys of

Port Royal and Tortuga. Authentic-looking early-18th-century signage appeared on the shopfronts, and

with the addition of a massive overhanging silk, an open courtyard was converted into a large Tortuga

tavern, where Captain Jack and Will Turner search for a crew of souls to man the Flying Dutchman.

This sequence culminates in a boisterous brawl meticulously choreographed by stunt coordinator

George Marshall Ruge, with the help of his second-in-command, Dan Barringer. This provided the

physically fearless Keira Knightley with

her first opportunity to shine. “I had about

two weeks’ training for that in an L.A.

studio. When we actually came to shoot it,

it was slightly different because, rather than

an open studio, we were in a location just

crammed full of people, and it was a night

shoot as well. I didn’t get to do my bit until

about four in the morning, which isn’t

really the best way to do a fight sequence. I

just drank a lot of coffee.”

“Keira is a real quick study,” confirms

Ruge, “and a true athlete. We’re pretty

jaded in this business, but the crew was pretty amazed at what Keira accomplished. When you get

applause like that on set, it’s a good sign.”

Ruge, who also coordinated the amazing stunts on the first “Pirates” film, was delighted to reunite

with so many of the same personnel…particularly the stars. “Johnny’s a natural who doesn’t let on that it

comes so easily to him,” says the stunt coordinator. “He’s a very good athlete who colors all of the action

with character. DEAD MAN’S CHEST is my fifth film with Orlando, and they’ve all been big action

movies. He’s also a fantastic athlete and loves performing action. I keep telling Keira that if it ever falls

apart for her, we’ll give her a T-shirt and a hat and bring her on the stunt team. Her physicality is fantastic.”

Hundreds of colorful extras authentically attired by costume designer Penny Rose in perfectly filthy

 

THE VOYAGE BEGINS

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THE VOYAGE BEGINS

and worn clothes, and carefully made up and coiffed to look like the scurvy knaves they were, populated

the tavern, flickering with candlelight and roistering with noise. Inside of the tavern, various foods fit for

a pirate’s palette were displayed on long wooden tables, including scooped-out bread loaves filled with

stew and soup…curiously resembling a dish served in Disneyland’s New Orleans Square just near the

entrance of the “Pirates of the Caribbean” attraction. The food stylists working on DEAD MAN’S CHEST

insisted that the resemblance was entirely coincidental.

Throughout the filming of DEAD MAN’S CHEST, Penny Rose was like a master builder, only with

fabrics rather than bricks and mortar. Rose approved of every single costume that went on every single body,

whether one of the stars or an extra who’s the sixth pirate from the left. Notes Lee Arenberg, “Penny is

amazing because she’ll have a pile of clothes sitting there, and with her keen eye she’ll pick a garment out,

have it distressed, aged, dyed, and suddenly, it becomes more than a costume. It becomes your character.”

“Penny Rose is a force of nature,” says Tom Hollander, who portrays Lord Cutler Beckett. “She’s a very

important person on the film, with boundless energy. In her wardrobe warehouse, Penny is like an empress

in a sort of tent of fabrics, with a lot of assistants rushing around, bringing this and that. “No, the brocade.

No, the gold. Bring the blue. I’m sick of the red. No, take it out. Bring it back. Take it in. Pull it down.”

Rose supervised a department which under her expert supervision literally combed the world for

fabrics and materials from which to create the more than 8,000 costumes required for DEAD MAN’S

CHEST and “Pirates III,” all of which she designed with the aid of associate costume designer John

Norster, costume supervisor Kenny Crouch (both whom she refers to as “the most important men in my

life”), and a large staff of costumers, cutters, ager/dyers, buyers, painters, leathermakers and various

assistants. Of paramount importance to Rose was for the costumes to look as if they were created in the

18th century in every detail. “I only do real,” says Rose. “There’s a lot of fantasy in the story, but not in

the costumes. We want these clothes to look like they’ve been slept in and worn forever. Aging and dyeing

for a period film are absolutely vital. I don’t like people to look as if they’ve just walked out of a shop.

It’s a really specialized field and very underestimated and undervalued, and the people who do it are

geniuses because it’s very subtle. And all of the shoes go into a cement mixer with a few rocks, and by the

time they come out they’ve aged five years.”

Penny Rose’s costumes for the leading

players indicate their transitions as

characters. For DEAD MAN’S CHEST,

there are virtually no changes at all in

Johnny Depp’s Jack Sparrow costume.

“Johnny just feels dead right,” notes Rose.

“He’s added a few things this time. He’s a

very thoughtful, caring actor in terms of

how he looks in character.” Captain Jack

Sparrow’s now-famous look was a

collaboration in the first film between

Penny Rose, key makeup artist Ve Neill,

key hairstylist Martin Samuel, and Depp himself. “Having spent some time with Keith Richards was

certainly a huge part of the inspiration for the character,” says the actor, invoking the name of the great

guitarist for The Rolling Stones. “I spent a little time with Keith here and there, and each time I’d see him

he’d have a new thing tied into his hair. ‘What is that hanging?’ I’d ask, and Keith would say, ‘Ah yeah, I

got that in Bermuda,’ or wherever. So it felt to me like Jack, on his travels and adventures, would see

something and go, ‘Oh yeah, I’ll keep that,’ tie it in his hair or have someone else do it. Each little trinket

would have a story. For example, the bone that hangs just above the bandana is a shinbone from a reindeer.

Then Jack has the dangly bits, beads, a chicken foot, a fertility symbol, weird animal tails. There’s no

telling where he got those, and it might have been lunch!”

“In the first film, Will Turner was a blacksmith with a crush on the Governor’s daughter. Now he’s

matured and has a more exciting look,” continues Rose. “Orlando and I got together and had a bit of a

 

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back-and-forth, and I thought we would make Will look a little more sophisticated. For a good deal of the

film he’s wearing an olive-green leather pirate coat that makes him look more powerful.” Says Bloom,

“Penny has done an amazing job of taking Will to another level and loosening him up. The leather coat

we chose for Will to wear is kind of like a biker jacket for pirate times. Doing swordfights and getting wet

in a long leather coat has posed a few challenges, to say the least, but it’s worth every moment because

Penny’s vision for Will, and all of the characters, has helped them come alive.” Bloom’s main costume, it

might be added, includes a cream embroidered waistcoat which Rose constructed using antique table

linens found in Paris, a perfect example of her determination to use whatever works to accomplish her

design goals.

“Keira has at least three different looks in DEAD MAN’S CHEST,” Rose continues, “because

Elizabeth is really changing and maturing as well. Keira is very gung ho and will have a go at anything,

so she really took to the boy’s clothing that she wears for part of the film. She also wears a beautiful

wedding gown, but we only see it drenched in the rain!”

“Having worked with Penny on ‘Pirates’ and ‘King Arthur,’ I feel like I’ve spent my life with her, and I

love it,” says Knightley. She is, in the best possible way, a perfectionist. One of my favorite parts of the film

is before we start, having costume fittings with Penny and seeing her in charge of hundreds and hundreds

of costumes. Yet, as soon as you get into her

fitting room, she just cuts right to it. If you’ve

got a button that’s two millimeters out of

place, Penny will move it. If something needs

a bit of embroidery to be brought out, she

sees it immediately. She’s a forceful lady, and

one that I’m very glad to have around.”

The wedding gown is a fine example of

Penny Rose’s minute attention to detail. It’s

comprised of a deep-ivory silk and raffia

fabric embellished with a leaf, floral and fan

design. Rose used the fabric as is for the

skirts, but created her own design on the bodice by cutting around and repositioning the raffia details. The

stomacher (front of the dress) looks almost embroidered, with layer upon layer of this raffia design sewn

into it. The veil is an ivory silk chiffon, with delicate pearls sewn into the silk, attached to a wired tiara

that also contains the raffia fabric from the dress. And the petticoat of the dress was actually constructed

from an antique quilted cotton bedspread from Rome!

Some of the new characters also enticed Rose to new heights of creativity. “I loved doing Tia Dalma,

which was difficult, because the character lives in a swamp and she’s both glamorous and repulsive at the

same time. You wouldn’t want to sit too close to her, yet we still want to feel her power as a woman. I

thoroughly enjoyed it and working with the lovely Naomie Harris.”

“I absolutely love everything about how they’ve created Tia Dalma,” enthuses the beautiful Naomie

Harris, who is unrecognizable in her full makeup, hair and costume as the mysterious soothsayer. “Penny’s

costumes, the makeup that Ve Neill designed, the hair by Martin Samuel. I think it’s all absolutely

fabulous. I didn’t recognize myself at all when I looked in the mirror, and that’s the way it should be. I

love the fact that Tia Dalma is such a rugged, earthy, crazy kind of character, because I’ve never played

anything like this before. It’s really liberating.”

Although the physical details of Bill Nighy’s Davy Jones would be created through computer-

generated imagery, Rose nonetheless created an actual costume which served as a model for the Industrial

Light & Magic artists to work from. “They photographed Bill in his costume in minute detail, because

you can’t superimpose a concept onto a gray reference suit,” she says.

Rose had previously worked with Stellan Skarsgård on “King Arthur” and was happy to collaborate

with him again for his role as Bootstrap Bill. And unlike Bill Nighy, Skarsgård’s costume, makeup and

hair were shot “live” on camera, which required key makeup designer Ve Neill, key hairstylist Martin

THE VOYAGE BEGINS

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THE VOYAGE BEGINS

Samuel and Penny Rose to collaborate on his amazing look, which necessitated the actor to spend some

three to four hours a day in the makeup and hair trailers, being transformed into his character.

Neill and Samuel’s extensive work would contribute greatly to the film’s overall look and atmosphere.

For example, Ragetti’s wooden eye has almost become a character unto itself. Actor Mackenzie Crook has

to wear not one but two contact lenses for this effect, sandwiched one on top of the other. “It’s

uncomfortable,” he admits, “but not painful. And it helps the character, because without it, I’m just any

other pirate.” Coincidentally, in real life, Crook has never worn contacts, “so this is into the deep end,” he

laughs. As for the shocking condition of the pirates’ teeth—which would delight contemporary dentists—

it’s all just carefully designed appliances and paint.

Also at Disney Studios, the company spent a week shooting on the huge “Pantano River” set, with Tia

Dalma’s tumbledown but richly decorated tree house as its centerpiece. Filling up almost every inch of the

240-foot-long, 130-foot-wide Stage 2, this set was a truly magical evocation of a Caribbean swampland

river, lined with stark, overhanging trees and brush and rickety lean-tos. The set was also the most

deliberate tip of the hat to the original Disneyland “Pirates of the Caribbean” attraction. “I remember as

a kid watching the episode of ‘The Wonderful World of Color’ which introduced the ‘Pirates’ ride,” recalls

Rick Heinrichs, “and being totally blown away by it at the time. The opportunity to be involved with

something that references this is, in my mind, a tribute to designers like Marc Davis and others who did

such incredible work. It was such a pleasure to be able to do that.”

(In fact, Heinrichs’ first job in Hollywood was at Disney’s WED Enterprises when many of the original

“Pirates of the Caribbean” attraction creators were still working there.)

It was no coincidence, then, that it was this set which drew a visit from the legendary Francis Xavier

“X” Atencio, the “Disney Legend” who wrote the script for the original theme-park attraction—working

from concepts and storyboards by another Disney great, Marc Davis—as well as the lyrics to George

Bruns’ music for what is now the world’s most famous sea chanty, “Yo Ho (A Pirate’s Life for Me).” The

DEAD MAN’S CHEST company rolled out the red carpet for “X,” honoring him with his own director’s

chair and with Jerry Bruckheimer, Gore Verbinski, Johnny Depp, Orlando Bloom, Keira Knightley and a

long parade of cast and crew paying due homage. “Without this man,” spoke Verbinski for one and all,

“none of us would be here right now.”

Tia Dalma’s shack is lined from end to end and top to bottom with the bric-a-brac of Tia Dalma’s artful

profession. “I’ve never done a hoodoo voodoo, scary 1720s-ish bayou interior before,” laughs set

decorator Cheryl Carasik. “Gore wanted a lot of texture hung from the ceiling, so we prepped bottles

encrusted with jewels, along with dried herbs. Inside of the bottles were spiders, eyeballs and mushrooms

which actually started growing over a

period of time. And a lot of taxidermy all

over the place.”

The combined work of Heinrichs, art

director John Dexter and Carasik was

inspirational to the actors as well. “I think

one of the nicest compliments I ever

received was from Johnny when he walked

into Tia Dalma’s and told me that he didn’t

really know what he was going to do in

there, but there was so much great stuff to

play with that he was like a kid in a candy

store. You know, Johnny can take a simple

little trinket from a desk and turn it into the most amazing prop.”

“The Pantano River set at Disney was also designed to match the actual location chosen in Dominica

for the sequence, the Indian River,” explains construction coordinator Greg Callas. “The bloodwood trees

that border this river are so extraordinary, and we had to replicate them on stage from steel and car foam

and plater with silk leaves on them, which required a lot of work. We also built an above-ground tank

 

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above the stage floor, which we filled with half a million gallons of water, which actually created the right

sense of humidity.”

Following the completion of the Pantano River sequence, the “Pirates” company hopscotched back to

Universal Studios, where a sneak preview of the “real” Flying Dutchman could be glimpsed in an exact

replica of its main deck for sequences with Orlando Bloom, Bill Nighy, Stellan Skarsgård and actors—

clad in similar gray reference suits as that worn by Nighy—portraying the ship’s bizarre crew.

On to the Caribbean: Return to “Vincy”

On February 28, 2005, the cast and crew of DEAD MAN’S CHEST packed their bags, kissed their

loved ones, and wedged themselves into a chartered L-1011 jet bound for the distant West Indies…and a

location journey of nearly a year’s duration which would prove to be as much of an adventure as anyone

could have predicted, and as much of a challenge as

anyone could have imagined.

First destination: the island republic of St. Vincent

and the Grenadines, 13 degrees north of the equator.

Because it’s not highly developed for tourism, which is

one of its great charms, St. Vincent’s airport cannot

contain anything bigger than a two-engine prop

commuter plane. Thus, the “Pirates” jet had to land on

the neighboring island of St. Lucia, situated between St.

Vincent and Martinique, and ferry the company, over

rough seas for two hours, to their destination. And if

seasickness was to become something of a motif

throughout production, the “Pirates” crew had some

good practice on that initial voyage.

Meanwhile, a monumental amount of equipment and

material were already on their way to the islands via air

and sea in a deployment which again echoed a military

campaign. “Priority equipment went by air,” recalls unit production manager Doug Merrifield, “but we also

chartered a freighter, loaded it up with all of our rolling stock and containers, and it sailed to St. Vincent,

and later to Dominica and then to the Bahamas. It became afternoon entertainment for the island people to

watch a procession from one end of the island to the other as our equipment came out of the port.”

Some 300 crew members were imported to St. Vincent from Los Angeles, Great Britain and many

other home bases, with their numbers considerably increased by local islanders also employed in a myriad

of departments. As St. Vincent lacks large resorts, crew members were housed at 43 different hotels, inns,

bed and breakfasts, condos and apartments sprinkled across the western part of the island. For many in

the company, it was old home week, as the first “Pirates” film shot in St. Vincent for nearly two months.

Also making the journey to the Caribbean was a veritable menagerie trained and accompanied by

Boone Narr and Mark Harden from Animals for Hollywood, which included two capuchin monkeys, two

macaws, a dozen goats, three pigs, two white horses, two carriage horses, three dozen chickens, six cows

and 14 ravens. In the first “Pirates” film, some of the on-screen creatures—including the Prison Dog, Jack

the Monkey and Cotton’s parrot—had their moment of stardom, which was about to be repeated. The

silent Cotton’s parrot is actually portrayed by two macaws, spicy and spirited avian creatures appropriately

named Chip and Salsa. “One’s a good flyer, the other’s a good sitter,” notes David Bailie, who portrays the

tongueless pirate. “God, if you heard him squawk! You have no idea what that squawk is like at a two-inch

range. Your head just rings.”

The Prison Dog, a beloved character both in the original Pirates of the Caribbean attraction and the

first film, is now played by Chopper, a friendly and unbelievably smart eight-year-old terrier mix. Twister,

who portrayed the role in “The Curse of the Black Pearl,” is now enjoying a well-deserved retirement after

RETURN TO “VINCY”

35

 

 

RETURN TO “VINCY”

years of film and television work. However, like many stars, Chopper needed time in the makeup trailer

to correctly align the color of his coat with Twister’s. “Chopper has an air-conditioned little trailer that he

stays in, and sometimes he allows me to go inside,” says Boone Narr ruefully. “Then, on his day off, he

expects me to run around and take care of him. Usually, I’m at his bark and call. He’s got me well trained.”

Once again, the beautiful inlet of Wallilabou Bay, due north from the island’s small capital of

Kingstown, would be the locale for both Port Royal and Tortuga exteriors. Rather than take the long and

winding (and sometimes treacherous) road from Kingstown to Wallilabou, most in the company preferred

to shuttle there on the water, a beautiful journey which skirted the lush shoreline dotted with palm trees,

banana plantations, mountains often shrouded by clouds and brightly colored little houses. Some

landlubbing crew members spent more time

on the water in the first weeks of Caribbean

filming than they had in their entire lives,

careening back and forth from one of the

three starting points in and around

Kingstown to Wallilabou, enjoying the

warm tropical breezes, sunshine and

spectacular views. Of course, there was the

occasional downpour and heavy ocean

swells to deal with as well.

If someone with no connection or

knowledge of DEAD MAN’S CHEST

found themselves sailing into Wallilabou

during filming, they would have felt like they had slipped into a time tunnel and out the other end. The

clock had seemingly been turned back nearly 300 years to the days when European hegemony over the

Caribbean was constantly being challenged by the pirates who freely roamed the waters. Rick Heinrichs

and his team re-created Port Royal in even greater detail than the first film, with the added structures of

the East India Trading Company dock and offices. Anchored in the bay was an impressive array of period

vessels, dominated by the 169-foot, full-rig H.M.S. Bounty, which in DEAD MAN’S CHEST is seen as

the Edinburgh Trader.

The Bounty, like its real-life namesake, has had an extraordinary history of its own. She was built for

Metro-Goldwyn-Mayer’s 1962 version of

“Mutiny on the Bounty,” which starred

Marlon Brando, Trevor Howard and

Richard Harris. The first ship ever built

from the keel up especially for a motion

picture, construction of the Bounty began in

Lunenburg, Nova Scotia in February 1960,

and spent seven months being constructed

with more than 400,000 board feet of

lumber in the Smith and Rhuland Shipyard

before sailing for Tahiti and the production

of the blockbuster feature. Although the

historical Bounty was 85 feet long, its

cinematic reconstruction was 118 feet in length so as to allow the cameras more free movement during

shooting, and her total height from deck to the top of the mainmast is 103 feet. For “Mutiny on the

Bounty,” the ship made the 7,327-mile voyage from Lunenburg to Tahiti via the Panama Canal in 33

sailing days. Forty-three years later, the Bounty, under Captain Robin R. Walbridge, would be required to

sail a mere 2,096 statue miles (1,821 nautical miles) in 14 days from Bayou La Batre—where she was

being refitted and repainted as the “Edinburgh Trader”—to St. Vincent, with stops along the way in

Miami, Florida and Mayaguez, Puerto Rico for fuel and provisions.

 

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The Bounty was joined in Wallilabou Bay by several more “picture boats” from near and far, under the

supervision of marine coordinator Dan Malone, assistant coordinator Bruce Ross and picture boat

coordinator Will White and their team, who were aided and abetted by boat captains, water safety

personnel, technicians, sailmasters and handlers, the rigging crew under Courtney Andersen, and

dockmaster Douglas “Kino” Valenzuela, who was often like a waterbound traffic director. Among them

were: Sloop Providence, a 110-foot topsail fighting sloop, a replica of Rhode Island’s first naval vessel,

seen in DEAD MAN’S CHEST as the “Perseverance” (the Providence departed its Rhode Island home

for the Alabama shipyard in a blizzard in January 2005 and sailed from Bayou La Batre to St. Vincent in

a swift 15 days); St. Peter, a 74-foot schooner from Antigua; and Unicorn, a 145-foot barque from its home

base of St. Lucia, portraying “Terpsichore.” The support flotilla in “Walli” included 12 support boats of

various kinds, not to mention some dozen British longboats faithfully reconstructed from original 18thcentury plans.

The primary set in the new and improved Port Royal was Lord Cutler Beckett’s imposing headquarters,

with a huge map of the world clearly dictating his “today, the Caribbean; tomorrow, the world” philosophy.

“We were revisiting the Port Royal set from ‘The Curse of the Black Pearl,’” says Rick Heinrichs, “and

the challenge was to let the audience know they were in the same place, but also that some period of time

had passed. Ironically, the original set was still there at Wallilabou two years after they shot the first film,

and we were going to use what was left. Not two months before we shot there on DEAD MAN’S CHEST,

a tremendous surge came up and knocked the remaining sets into the water. So we had to do a complete

reconstruction.”

On the East India Company dock, set

decorator Cheryl Carasik and her assistants

created an array of cargo and goods. “We

researched all of it, trying to imagine what

they would be importing and exporting. We

had special ivory tusks—not the real thing,

of course—molded in Los Angeles, because

ivory was highly coveted at that time. We had

tea boxes, silk, chickens in cages, bundles. At

the last minute, Gore wanted a little fishing

village off to the side of where Lord Cutler

Beckett’s office was on the Port Royal set, so

I actually went to the next village from Wallilabou Bay and saw how they dried their fish on mats made

of sticks and bamboo. We bought fishing nets from them, as well as about 40 fresh fish!”

“I’ve never seen anything like it,” says Tom Hollander of his days of filming in Wallilabou Bay. “Only in

this production can you turn around, look out of the window of the set, and see 850 people pulling up rigging

on a huge old ship, with another ship sliding in behind it. It’s hyper-real, in a way. The production design is

wondrous, the level at which they’re working is remarkable. We just wander into the sets and go, ‘Oh yeah,

this looks good,’ but obviously the most enormous kinds of work go into all this detail, and scale that I’ve

never seen before. These people are all experts at what they do, it’s the most inspired sort of creativity.”

“The sets for this film support everything you do,” adds Jonathan Pryce, “because the authenticity and

attention to detail are quite extraordinary. When we shot the scene in Beckett’s Port Royal office with me

and Tom Hollander, normally that would be a kind of fairly intimate scene probably shot inside of a studio

soundstage. But in our film, you look out of the window and there’s a whole world of life on the dockside

going on. Ships are being loaded. Bananas are going up and down the gangplank. Boats are coming in and

out. It’s a great approach to filmmaking. It’s a great mix of old-fashioned filmmaking and modern

technology.”

Typical of the film’s attention to minute detail was the enormous amount of goods that spilled out from

property master Kris Peck’s truck like a cornucopia. At one point, Peck and assistant propmaster Michael

Hansen had eight prop trucks in all four countries in which DEAD MAN’S CHEST was filmed, waiting to

 

RETURN TO “VINCY”

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ADVENTURES IN DOMINICA

supply whatever necessary to appropriately outfit an actor, extra or stuntplayer. Much of Peck’s work was

done in collaboration with Rick Heinrichs’ art department or, if there were mechanics involved, with special

effects and other technical divisions. For the pistols, swords, daggers and other weaponry, Peck worked

closely with armorer Kelly Farrah, an expert in the field who’s also quite an historian, as well as historical

adviser Peter Twist, who served in the same capacity on the first film. Although many of the weapons are

replicas or realistically fabricated from latex, Captain Jack Sparrow’s sword is the real 18th-century deal

(although obviously, less lethal versions were used for the swordfighting sequences). “We have 300 swords,

and they were all manufactured for this movie,” notes Peck. “The pirates’ swords are down, dirty and

grungy. We have dress swords for characters like Commodore James Norrington and Governor Weatherby

Swann. Our Flying Dutchman crewmen have swords that are encrusted with oceanic life.”

Perhaps the most important prop of all, however, was the titular object—the dead man’s chest itself,

designed with intricate nautical motifs.

“Gore made it very clear to us that since

this was the title that was going to be on

every billboard, poster, bus-stop bench and

grocery store line, he wanted us to get it as

right as possible,” says Peck. “This

integrated more departments than any prop

I’ve ever worked on. The writers, the

illustrators, the production designer, the

sculptors, the molders and then onto the

prop shop for the mechanics. It had to look

unbreakable, like a cast-iron skillet.”

As it was on the first go-round, the

shooting in “Walli” was the biggest show in town for Vincentians. Just outside of the gates which ran

across the perimeter of the set from the main road, hundreds of people were just “limin’,” island patois for

“hanging out,” chatting, partying and peering at the grand spectacle. From a distance, the huge helium

lighting balloons prepared by chief lighting technician Rafael Sanchez and his team, suspended in the

night sky, presented a surreal sight to islanders and tourists alike. “Vincys” are fiercely proud of their

country and took an almost proprietary joy in the fact that one of the most successful films in history had

been partially filmed on their small but vibrant island…and now it was happening all over again.

“‘Pirates’—Our Movie!” was the headline of an article written by St. Vincent lawyer Vynnette A.

Frederick for a local newspaper: “‘Pirates’ brought Hollywood home,” she wrote. “It put money in our

coffers, brought jobs for our people, and above all else, we now have the right to brag that St. Vincent and

the Grenadines, just like Trinidad and Jamaica, can be considered a ‘movie location.’ Every time you drive

along the Leeward Coast, it is almost impossible not to look out to the horizon and hope for a glimpse of

the Black Pearl.”

Beware of Falling Coconuts: Adventures in Dominica

So little known is the “isle of beauty, isle of splendor,” as its national anthem justly boasts of the

Commonwealth of Dominica, that some personal effects equipment of the company wound up in the more

familiar, but very far-flung, Dominican Republic! Only 29 miles long and 16 miles wide, with a

population of 71,000 souls, the former British colony—wedged between the French islands of

Guadeloupe to the north and Martinique to the south—has become an exciting new destination for

adventurous eco-tourists, but is hardly developed for mass tourism…or, for that matter, filmmaking on a

grand scale.

But after scouting the magisterial visual sites of the island, Gore Verbinski was determined that

Dominica would provide the majority of the land-based Caribbean backdrops for DEAD MAN’S CHEST,

and Jerry Bruckheimer was willing to back his director up so as to give the film a completely fresh look.

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“We selected Dominica as a major location because it’s beautiful and virtually untouched,” notes

Bruckheimer. “Because it has such a jagged coastline, they can’t get cruise ships in, which prevents the

island from becoming overly developed. You’re not seeing the same landscapes, jungles and mountains as

you have in other movies. Dominica is one of the most picturesque places in the world, but totally

undiscovered by filmmakers.” Verbinski and production designer Heinrichs decided that Dominica would

serve as location for two major settings in DEAD MAN’S CHEST: the humorously terrifying native

island and Isla Cruces, both wholly fictitious settings located only in the imagination of the filmmakers.

A large amount of the DEAD MAN’S CHEST action sequences take place on those locations, which

meant that actors and stunt players would be

performing their daring feats in difficult

environments and intense heat. Perfect for a

pirate movie!

“Dominica is a gorgeous island, but

some of the amenities aren’t there,” explains

Jerry Bruckheimer. “We employed a lot of

people on the island, and they were brilliant

and wonderful to work with. But if a piece

of equipment breaks down, it takes at least

two days to get it replaced from off-island,

so we had daunting production challenges.

The hotels weren’t exactly fancy, but

everybody bonded together. It was like going to camp. A lot of cast and crew lived in cabins, slept in

mosquito netting and had dinners on the beach. We really had to make do.”

“If Gore found a location that was inaccessible, that was usually his favorite one,” laughs executive

producer Bruce Hendricks. “Dominica is what the Caribbean looked like 200 years ago. You needed the

wildness and natural beauty that some of the more offbeat and remote places, like Dominica, offer. Gore,

like any great director, pushes you to go a step beyond. The great ones have to be leading the charge up

the hill, they have to be the ones with the vision to push frontiers and boundaries, both artistically and

technically. A rational person would not go there, and they wouldn’t take along 500 of their closest friends

and hundreds of tons of equipment. It takes a purpose and single-mindedness to pull something off like

that, and Gore is all of that, and more.”

“Dominica doesn’t have a history of big film production,” adds Caribbean production supervisor Tom

Hayslip. “They’ve hosted documentaries and nature films, but in terms of being able to handle the amount

of people we had to bring in—just the accommodations alone—was a challenge for the island.” Adds first

assistant director Peter Kohn (who later handed the reins of that position to second A.D. Dave Venghaus

when the time came close for his wife to give birth to their new child), “Dominica has its own weather

system. It rains in one part of the small island, and not in the other, and somehow it always seemed to rain

on us!”

Dominica would present massive challenges for Rick Heinrichs and construction coordinator Greg

Callas. “The first time I saw those locations, I was wondering how we were going to do it,” admits Callas.

“The island is small, but because of the road conditions it can take you three hours to get from one end to

the other. Logistically, it was incredibly difficult, but we had to satisfy the wants and needs of Gore. The

art department worked very hard to design things that would fit into certain spaces, and then we had to get

to those spaces. Because supplies are so limited on islands like Dominica, we had to bring in everything,

like an entire hardware store: every nail, piece of wood, sack of cement and plaster, gallon of paint. The

equipment we take for granted, like scissor lifts, boom lifts and forklifts, don’t really exist in Dominica, so

we imported them from other countries in the Caribbean and South America. We implemented a lot of old-

school construction, because we didn’t have the luxury of the 21st century there.”

DEAD MAN’S CHEST began shooting in Dominica smack in the middle of a campaign for the

island’s prime ministry so heated that it made the last U.S. elections look like a polite tea party. “You

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figure that a remote Caribbean island would be nice and quiet,” says actor Kevin R. McNally. “But on the

first night I was in Dominica, I went to bed at about ten at night, and all of a sudden hell broke loose in

the street. They started campaigning at midnight and continued until 7:00 in the morning with whistles,

rattles, music, cars revving up and down the street. Back home in England, there’d be, perhaps, a man in

a suit coming around once during the campaign at 4:00 in the afternoon so he doesn’t disturb your tea.”

But the film’s company had much else on their minds other than whether or not incumbent Roosevelt

Skerrit or challenger Edison James would win (by the way, it was Mr. Skerrit who emerged the victor).

For cast and crew, the great challenges were defying the island’s unpredictable weather, with intense heat,

humidity and sudden rain showers and thunderstorms, circumnavigating the perilous, narrow mountain

roads, hardly big enough for two compact sedans traveling in opposite directions let alone 16-wheel

equipment trucks, avoiding constrictor snakes (non-poisonous but with mighty hugs) and other unfamiliar

flora and fauna.

The production team spearheaded the

creation of an entire infrastructure for the

DEAD MAN’S CHEST company, including

towers for cellular telephones and wireless

internet. More than 600 members of the

“Pirates” crew invaded a welcoming

Dominica, which provided some 400 more

workers to the company working in a vast

array of behind-the-scenes and on-camera

positions. And if it’s true that an army travels

on its stomach, the same could be said for a

movie company. On the biggest shooting

days in Dominica, caterer Paul Kuzmich and his hard-working crew would have to feed anywhere from

780 to 840 people. For breakfast alone, the hungry company would consume 1,100 to 1,500 eggs, 100 to

160 pounds of bacon, 80 loaves of bread, 50 pounds of sausage, 400 pastries and 10 to 12 cases of fruit.

And except for some delicious local produce, everything else had to be shipped in from the United States.

Meanwhile, it was incumbent upon craft service maestro Ted Yonenaka and his equally energetic assistant

Lea Anderson to haul food carts into the most unlikely places to keep the company watered and fortified

between Kuzmich’s meals.

Filming in Dominica began on Monday, April 18th on the island’s Hampstead Beach, a bucolic stretch

of sand overlooking a glistening turquoise sea on the island’s northeast coast, backed by a lush, tangled

jungle and coconut palm groves. In fact, some of it had been created just for the film, with art director

William Ladd Skinner bringing in some 7,000 plants, primarily non-edible dasheen and transplanted

palms. Several sequences were shot in and around Hampstead, including the three-way swordfight

between Jack Sparrow, Will Turner and James Norrington on a huge, runaway mill wheel, which promises

to be one of the most complex sequences yet seen on film. Among the dangers of this remarkable scene

was the fact that heavy coconuts were occasionally dropping from nearly 100-foot-tall palms while it was

being filmed, with some of the crew donning hardhats and Gore Verbinski wearing a good, old-fashioned,

“Gunga Din”-style pith helmet!

“The wheel was a very difficult set piece for all concerned,” explains stunt coordinator George

Marshall Ruge. “There were extreme physical demands and a number of safety concerns involved.” The

mill-wheel sequence is a perfect example of the symbiosis between departments that characterized the

entire production. Recalls Ruge, “Many departments and people were involved in making the wheel

sequence a reality. I specifically worked in collaboration with the special effects and visual effects

coordinators, production designer, art director, propmaster, construction coordinator, director of

photography, camera operators and more. But most notably, it was Gore’s grand vision, commitment and

enthusiasm that inspired the sequence for all of us, and I worked closely with him in every aspect to help

bring it to life.”

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The wheel was constructed of steel with

art-directed layers, weighing more than

1,800 pounds and reaching 18 feet tall.

There were two versions, one a “cart”

version supported by “training wheels,”

with the actual mill wheel pulled by cables

on a winch system, with camera platforms

built onto the training wheel cart that

surrounded it. “The other version,” notes

Ruge, “was affectionately called the ‘paint

roller.’ The wheel was attached to steel tow

bars and literally towed by a flatbed truck

that also served as a makeshift camera

platform at times.”

To enable the wheel to roll more smoothly, paths were created through the jungle, because if the terrain

were too tough, “it made it impossible for the performers to stay on the wheel or maintain the necessary

hand-eye coordination for the swordfight.”

Before the sequence went in front of the cameras, there were several pre-production rehearsals within

a five-week span and a series of location rehearsals over the course of three weeks whenever time

permitted Ruge to muster the three actors and his stunt team.

“Oh boy, I’ll never forget the faces on Gore and George when it was time to load me into that massive

wheel,” recalls Johnny Depp. “Gore just started laughing, because it was such an absurd and bizarre

request for grown men to ask of each other: ‘Okay, what we’d like to do now is bind you inside the wheel,

tether you to the walls of this thing, give you a sword, and as the wheel is rolling you’re gonna go upside

down several times.’

“It was so bizarre that it was completely appealing,” Depp laughs. “I’ve done some really obtuse and

strange things in this movie, at some point there are no surprises. But because of who Gore and George are,

and how brilliant they are at their jobs, you have complete trust, which is the whole key to filmmaking.”

“It’s a truly remarkable sequence that only Gore, Ted and Terry could have come up with and that

George could have made work,” says Orlando Bloom. “We spent many days harnessed inside of that wheel,

doing crazy fights up and down, around and around. It would make a fun ride in an amusement park…if it

weren’t so uncomfortable.” Also occasionally harnessed inside of the wheel doing 360-degree revolutions

were camera operators Martin Schaer and Josh Bleibtreu, just one of the extremely unusual positions in

which they and their compatriots often found themselves during the DEAD MAN’S CHEST shoot.

Jack Davenport points out that although there are CGI elements which enhanced the scene, most of it

was live on-camera. “It’s a classical swordfight scene with shots which can’t be faked. When you see us

upside down, with the veins in our forehead popping out, it’s real.”

But the boys weren’t the only ones who got to have all the fun. The sequences shot in Dominica also

gave Keira Knightley ample opportunity to flex her action muscles, and the fearless performer was up for

anything stunt coordinator George Marshall Ruge wanted to throw at her. “On the first movie, I was

begging for a swordfight, but I never got one. This time, I’ve got two big ones, and two swords as well,

so I was very happy.”

A sequence shot both in Dominica and later, the Exumas, called upon Knightley to take swords in hand

and kick some serious Flying Dutchman crewmen butt. “The weather was absolutely boiling, and we were

in this amazing coconut grove,” she recalls. “George and his stunt team were completely fantastic. They’re

so patient and really take you through the action one step at a time. I’m a huge believer that if this is

something that my character has got to do, then I want to really know how to do it. And if you’re shooting

an action movie, it’s really boring if you don’t actually do the action. When you’re doing the fight

sequences, a lot of the time we’re having a full run at it, so you can really get into it, and that’s fantastic.

It’s nice to feel like you’re a part of the team. What George and his people do is invite you into the team.

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And my stunt double, Lisa Hoyle, is absolutely brilliant.”

As were the other stunt doubles for the stars, including Tony Angelotti, Theo Kypri, Zach Hudson and

Thomas Dupont, who leapt, fought and achieved truly death-defying feats when common sense (and

insurance policies) prevented an often-willing Depp, Bloom and Knightley from accomplishing the stunts

themselves.

South of the Dominican capital of Roseau

is an aerie appropriately called High Meadow,

which, along with a nearby spot overhanging

the main road called Twin Peaks, was selected

as the location for the richly and wittily

designed native village of the “Pelegostos,” a

wholly tongue-in-cheek and fictitious creation

(as is the island they live on) inspired by pirate

folklore.

“One of the great things that Gore and the

writers have done with the concept of the

Pelegostos village,” says Rick Heinrichs, “is

to create this wonderful escape episode, which puts the pirates into a completely absurd but funny set of

circumstances which becomes a comedy of errors. Part of the physical comedy is that the village is set way

up in the mountains, with the huts on top of different pitons with rope bridges between one and the other.

The huts themselves are an organic riff on a skull, with eye and mouth holes, and everything brought up into

a bun at the top. It gives a kind of animus to the entire village.

“The overall look of the Pelegostos and their environment is an example of a lot of early-on design

exploration and consultation between Gore, Penny Rose, Cheryl Carasik, Ve Neill and Martin Samuel’s

makeup and hair departments and myself,” Heinrichs continues. “We were exploring a lot of different avenues

to go with the natives, and we ended up with this kind of crazy pastiche which is completely imaginary.”

And imaginative. Throughout the film, Ve Neill and Martin Samuel—both of whom were nominated

for Academy Awards® for their work on the first “Pirates” film—headed large teams of some of the

industry’s most accomplished makeup and hair artists to transform perfectly reasonable human beings into

gnarly unwashed pirates, foppish, bewigged aristocrats and, in the case of the Pelegostos, wildly painted,

tattooed and accessorized natives. Some 130 members of the great Kalinago Nation, the original

inhabitants of many Caribbean islands (including Dominica), participated as extras in these scenes,

thoroughly enjoying their brush with stardom with good humor and a sense of fun at the film’s

inventiveness (numerous other Kalinagos worked on the production in various occupations as well).

There was even an invented language for the Pelegostos called “Umshoko” that was developed by

dialect coach Carla Meyer and UCLA linguist Peter Ladefoged. “Gore didn’t want the natives to be

identified as anything in particular,” says Meyer. “So Peter drew from several international languages,

mixed with Pig Latin and English words spelled backwards.” A few examples of this brand-new tongue?

“Rah rah rah fi fi” means “big, big, big fire.” “Bugo” means “please.” “Kamino” means “come back.”

The Pelegostos village is a highly inventive pastiche of primitive designs laced with a mordant sense

of humor. In addition to the twined branches which compose the native huts, much of the village is

constructed and decorated with the materials left over from the Pelegostos’ enemies…that is, bones and

other residue. Instead of beaded curtains in the entrance of the circular doorways to give their inhabitants

some privacy, they’re fabricated with small bones instead. Skulls are a major motif, used in all sorts of

ways that Martha Stewart never even imagined (but might very well admire). The long and very rickety-

looking rope bridge linking one side of the village to the other looks treacherous—in fact, feels

treacherous when walking over it and viewing the sheer 60-foot drop below—but it’s a marvelous illusion.

In fact, strong steel pilings supported the bridge, making it as safe as crossing the Golden Gate.

Construction coordinator Greg Callas actually imported a construction team from Las Vegas which has

built suspension bridges at theme parks and zoos throughout the world.

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“For the Pelegostos huts, we had to build a shell, a superstructure, of very lightweight material to get

its initial shape,” explains Callas. “Then we manufactured some fiberglass skins to put over the top that

looked like roots and tree limbs. Then we wrapped the whole thing with real roots and tree limbs, so these

huts became incredibly heavy when we had to move them.” To get the trucks up to the Pelegosto village

location, Callas had to build a 15-degree road up the hillside. “There’s no road in Dominica that’s 15

degrees,” he notes. “That’s almost straight up! It’s pretty radical, but we got all our trucks and crew up

there, we even got portable toilets up there. One of the local Dominican contractors was incredible in

helping us accomplish that feat.”

“What goes through my mind when I remember the Pelegostos village is 385 skulls,” laughs Cheryl

Carasik. “On a location like that, it just becomes your daily life. It was so beautiful, and the resources were

so magnificent, that you just became part of that set. The local people we hired were so fantastic. We had

two guys who didn’t miss a beat, they were really enthusiastic. We’d say that we needed some vines to

wrap on the joints of Pelegostos furniture that we’d made, and off they’d go into the bush and come back

two hours later with an armful of them.”

A section of the comedy-action village sequence, in which Will Turner and other Black Pearl pirates

are imprisoned in large circular cages made of human bones (which were actually fabricated from latex

and foam), was shot in Dominica’s remarkable TiTou Gorge, part of the magnificent Morne Trois Pitons

National Park in Dominica’s south-central

interior. The icy waters necessitated the

crew to don wetsuits, and matters were not

helped when drenching storms threatened to

derail the day’s filming…but as many

pointed out, hey, it’s a rainforest! “Just

when I was thinking that I had forgotten

what it was like to be cold in sizzling hot

Dominica, ‘Pirates of the Caribbean’ has a

way of granting your every wish,” says

Kevin R. McNally. “So for the scene in

which the bone cage drops into a gorge, they

found the coldest water in Dominica and

kept us there for two days! But TiTou Gorge was a fantastic place, only 10 feet wide and a sheer drop

from the rock face to the beautiful, clear, cold water that we were in.”

The bone-cage scene was another singular event which required the expertise of a whole range of

departments, including, of course, stunt coordinator George Marshall Ruge. “The reality of putting people

into these things, rolling them down hills, off cliffs, swinging between cliff walls, proved extremely

problematic. How do you build a cage that’s structurally sound but light enough for people to pick it up

and run with? There was a lot of research and development, and we came up with various versions of the

cage. One made of lightweight foam to run with, another built from more substantial materials for rolling.

“The running joke was that if you’re in the cage, you don’t come out unbattered and unbruised,”

continues Ruge. “It was pretty difficult to navigate with six people and 12 legs sticking out of this thing,

but we got it done.”

And then there was Captain Jack Sparrow’s mad dash down the beach to escape from a highly agitated

group of islanders, which was filmed on Hampstead Beach. “It was utterly exhausting,” admits Johnny

Depp. “Two hundred people dressed as natives chasing me down the shoreline on the beach while in full

Jack Sparrow regalia. It felt like days and days of that. But the end result was worth it.”

The Indian River, a gorgeous stretch of shallow water flowing into the ocean at Portsmouth on the

northeast part of Dominica, “portrayed” the Pantano River, which our (anti) heroes must navigate to reach

Tia Dalma’s treehouse. The Indian River—which was actually explored by Christopher Columbus in the

15th century—is lined with beautifully gnarled terra carpus officinalis (bloodwood) trees, whose roots

sometimes spread up to 20 feet. This is the real-life location which was re-created on the Pantano River

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set constructed months before on Stage 2

at Walt Disney Studios in Burbank. With

the art department’s contribution of

wooden shacks on the banks of the river,

the location took on the same feeling as

both the stage set and the swamp area of

the “Pirates of the Caribbean” ride. “We

prefabricated those shacks in our

warehouse, disassembled them, put them

on these little boats, took them out to the

locations and set them up in a couple of

days,” explains Greg Callas.

Because of the Indian River’s

ecological sensitivity, all cast, crew and equipment had to be sent upriver in boats which were either

manually rowed or utilized electric motors only (no outboards), taking upwards of 45 minutes to an hour

to reach the filming area. Once again, stormy weather interrupted filming, but the skies ultimately cleared

enough to allow Gore Verbinski and the stars to complete their designated work. And for anyone heading

back upriver at dark after wrap, the massive fireflies doing circle eights in the night sky reminded one

again of the ride that started it all.

Atop a ridge with a magnificent unspoiled view of the Caribbean, Verbinski and Bruckheimer

discovered another wonderful location as a backdrop for the spectacular three-way swordfight in Vielle

Casse, which is situated on the island’s northern tip. It’s here that Rick Heinrichs designed a ruined,

abandoned church and adjacent graveyard on Isla Cruces, and the broken-down mill wheel which

becomes a runaway vehicle. “When we were scouting back in October 2004,” recalls production manager

Doug Merrifield, “we were literally going all the way around the island with the Dominican Coast Guard.

At one point we had transferred into a small inflatable craft, and we suddenly looked up at this fabulous

site. Some of us jumped over the sides and swam to shore, and then walked the location.”

“The location is like a peninsula, surrounded on three sides by the ocean,” explains Greg Callas. “I asked,

‘Where’s the equipment going to go?’ They said, ‘Don’t worry about that, just build the set.’” It took Callas

and company four months to construct the dilapidated church, which stands at the height of a six-story

building. Forty U.S.-based workers were joined by another 40 Dominican laborers. “What a hard-working

people the Dominicans are,” praises Callas. “They gave us everything they had and were a big asset.”

The fieriest location on Dominica—which is saying something of a place where the mean temperature

during filming usually hovered around 93-95 degrees Fahrenheit—Vielle Casse is on the dry side of the

island, hence little cloud cover and a merciless sun with nary a breeze coming off the water to offer blessed

relief. For many days of filming in Vielle Casse, the heat index sent the temperatures soaring well over

100 degrees. Depp, Bloom and Davenport—as well as Bruckheimer, Verbinski and the entire company—

had to grin and bear it, sweating through the sword-swinging action.

To access the Vielle Casse location, one actually had to walk down a 30-degree-graded road from the

main thoroughfare, which was not accessible by most vehicles. The downhill walk in the intense heat wasn’t

so bad…but going up again, especially after a 12-hour day of sizzling in the tropical sun, was something else

again. “This is all part of the ‘Pirates’fitness program,” said Merrifield. “You don’t need a gym membership.

You just need to work on ‘Pirates of the Caribbean.’ Gore and Jerry will get you into great shape!”

The physical rigors obviously presented nearly impossible challenges to director of photography

Dariusz (Darek) Wolski and his crew, as well as his longtime associates, key grip Mike (Pop) Popovich

and chief lighting technician Rafael (Raffi) Sanchez. “Darek is a brilliant artist,” states Jerry

Bruckheimer. “I’ve worked with him a number of times, not only on the first ‘Pirates’ movie, but also

‘Crimson Tide’ and others. He’s very quick, gets things done, and does very complex lighting in a minimal

amount of time.”

Wolski knew what the challenges were on DEAD MAN’S CHEST and faced each one of them with

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insurmountable energy and true grit, along with his entire crew, which included units both under the sea

(headed by Pete Zuccarini) and in the skies above (led by David B. Nowell). “You just have to understand

that you don’t have complete control over the elements, and once you accept that, you can get creative,”

says the cinematographer. “When you’re dealing with forces of nature—the sun going in different

directions, clouds coming in, wind blowing—there are just so many variables. You have to be flexible, and

maybe come up with an idea at the last minute. There’s so much beauty in coincidence. I don’t believe in

rules. I believe in intuition. No matter how many discussions, storyboards of pre-visualizations were

created, we were still dealing with things that we couldn’t conceive and we had to adapt constantly.”

Wolski utilized the full panoply of equipment available to contemporary filmmakers, some of which

was specifically invented for DEAD MAN’S CHEST. Richard Jones, a resourceful member of Rafael

Sanchez’s grip department, designed and built a complex camera platform, mounted on a crane, and

capable of holding an entire Super Technocrane. Together, the unit stood at 80 feet tall, right up to the

highest mast of the Edinburgh Trader and thereby giving Verbinski and Wolski freedom to film the Kraken

attack from any conceivable angle. But Wolski also had no problem scaling down to the basics when the

scene called for it. “We’re basically using every tool to get what we want, but when it comes to simple

performance pieces, we can do a lot of it handheld, or with a simple dolly move. But then you have shots

which are bigger than life, like when Captain Jack falls 300 feet down through three hanging bridges while

attached to a pole.”

Following the completion of nearly eight tough but rewarding weeks of filming on the island on May 26th,

the cast, crew and their island hosts enjoyed what was humorously called the “Dominica Survivor Party.”

“One of the best things we do in our industry is to travel the world, but we don’t do it as tourists, it’s

almost as if we become semi-locals,” says Lee Arenberg. “Dominica is an incredibly beautiful place, but

it’s definitely off the beaten path, and to find yourself living that way for a few months will change your

life and inspire you. It may have been some of the hardest living, because we all like to have a nice bed,

a little cable T.V., internet access and the like. But sometimes you’ve just got to do the best you can, and

I think that once we got through that part of the journey, we all realized just how special that was.”

“Please Do Not Feed the Iguanas”: The Exumas, and an L.A. Sojourn

By this point in production, the crew had become not unlike pirates themselves, albeit of a kinder,

gentler nature. The Jolly Roger was proudly flown from many a production vehicle and support crafts,

several crew members sprouted tattoos and sported pierced ears or noses, wore head scarves and

bandanas, and several proudly wore silver or gold skull-and-crossbones rings especially designed by

makeup artist Joel Harlow.

The Bahamas, in times past, had seen the likes of such legendary pirates as Henry Jennings, Henry

Morgan, Edward “Blackbeard” Teach, Charles Vane, Stede Bonet, Captain Benjamin Hornigold, Woodes

Rogers, “Calico Jack” Rackman, Captain John Wyatt, Thomas Austis, Henry Every, Richard Worley,

Samuel Belamy and Bartholomew “Black Bart” Roberts. But the Bahamas hadn’t seen nothin’ yet…for

it was about to receive a long visitation from Captain Jack Sparrow and company!

From Dominica, the DEAD MAN’S CHEST company flew to the Exumas, one of the southernmost

chains in a pearly string of some 700 islands which comprise the Bahamas. “I think the Exumas were the

most beautiful of all the islands,” says Jerry Bruckheimer. “It’s got these white beaches and sand bars,

gorgeous aquamarine water, just amazing to look at. When you see it on screen you won’t believe it’s real,

you might think it was digitally created. But that’s actually the way it is.” Here, a sand spit of almost pink,

fine sand called White Cay was discovered, serving as yet another location for the three-way swordfight

and other sequences. White Cay was only accessible by water, so the company was required to drive

southeast from the hotel zone and board one of many boats which brought them some 30 minutes later to

a floating base camp comprised of two 200-foot barges, tethered together, on which one could find actors’

trailers, equipment trucks, catering tent, tables and chairs, an entire floating base of operations. From here,

one had to travel in a small Carolina Skiff or shallow draft inflatable craft to make a wet beach landing on

45

THE EXUMAS, AND AN L.A. SOJOURN

 

THE EXUMAS, AND AN L.A. SOJOURN

the cay. Gore Verbinski required 360-degree

angles on the cay, hence the necessity of

keeping it clear of trucks, vehicles and

equipment. The company could only shoot in

specific tidal conditions, which limited the

number of hours available for filming. “What

an organization that was,” recalls assistant

director Peter Kohn, “for everybody to be

able to have their breakfast burrito, get their

equipment, load it onto another boat and then

be transported to an island. You don’t get

experiences like that…it’s just phenomenal.”

“Please do not feed the iguanas,”

implored the call sheets while shooting on White Cay, so as to protect the friendly sole inhabitants and

indigenous population from the affectionate attentions of the company. (The company called upon

wildlife biologist Joseph A. Wasilewski, based in Homestead, Florida, to make certain the iguanas weren’t

disturbed.) Human and reptile respected each other’s space, but the iguanas seemed as fascinated by the

filming as the DEAD MAN’S CHEST company were by them. The crew also received an unexpected

visitation from another, somewhat more threatening creature while filming on White Cay. “A hundred

yards from land a little nurse shark showed up,” recalls marine coordinator Dan Malone. “Most of the

crew wasn’t familiar with sharks, so they found it a little unnerving, but we told them, ‘Don’t worry about

them, they’re just curious. They’ll swim by and check you out.’ Production shut down for a minute while

everyone focused on the shark, and then we got back to work.”

A scheduled summer break in filming brought the company back to hearth and home in early June

following the initial spate of shooting in the Exumas, resuming once again in early August back in Los

Angeles. Back at the former Marineland site in Palos Verdes, Verbinski continued directing the Pelegostos

island bone-cage sequence, and this time, some of the stars—including Orlando Bloom, Kevin R.

McNally, David Bailie and Martin Klebba—found themselves in a bone cage set loose from a 100-foottall crane, swinging freely in long, wide arcs. Bloom definitely enjoyed the ride, while some others were

looking a bit green in the gills when emerging from their “E”-ticket adventure.

“The bone-cage sequence was crazy,” recalls Bloom. “The first time we dropped from the crane, nobody

knew what to expect, and it was like a bungee-jump feeling…your stomach completely leaves you. Believe

me, moments like that will never be forgotten!”

Palos Verdes also saw the construction of a

100-foot-long, 50-foot-high cliff wall, also used

in the bone-cage sequence, which was required

to be maneuverable from a 90-degree angle

down to a 45-degree angle. “We had to build a

steel wall that’s hinged,” explains Greg Callas,

“and incredibly heavy. To make it work, I have

two 160-ton cranes to move this wall from point

A to point B, and then brace it off.”

Filmed at Disney Studios were sequences

inside of Davy Jones’ extraordinary Flying

Dutchman captain’s cabin. “Davy Jones’ cabin certainly has a very operatic feel to it,” says Rick Heinrichs. “He

plays an enormous pipe organ that we had to design and build from scratch. It plays as a normal organ would,

but the pipes have grown fantastically into all of these underwater shapes, with steam coming out of them. The

organ itself has shell and sea life textures, backed up to the window of the stern. We also designed a painting

above the organ keys which has a weirdly sweet and romantic feel to it. That was intentional, because we were

trying to give Davy Jones’ character some pathos, because he’s mourning the loss of a lost love.”

 

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Back to the Bahamas, Hurricanes and All

After several weeks of filming a spectacular opening sequence for “Pirates of the Caribbean III,” the

company once again boarded a chartered jet on September 19th and flew off to its fourth and final location

destination of Grand Bahama Island to begin work at The Bahamas Film Studio at Gold Rock Creek. The

start-up studio provided the company with the necessary space in which to shoot extensive seagoing

sequences with the numerous ships assembled for DEAD MAN’S CHEST, including a limitless horizon

from a semi-enclosed marina for filming, as well as temporary floating barges in which the vessels could

be safely moored, or filmed upon, when not out at sea. A vast, empty concrete space which had been

vacant for years now became the production’s base camp for months, housing a motley conglomeration of

some 57 assorted trailers and equipment trucks shipped in from Los Angeles, 72 freighter containers

utilized to hold and store material of every kind, 11 cranes and Condors and four office trailers. One of

the shipping containers was humorously and creatively converted into “Prop the Pyrate,” through which

extras walked through to become suitably “propped out” as pirates, including swords, pistols, baldrics and

other lovely accoutrements of the profession. “Enter a lubber, leave a pyrate,” announced a sign painted

in period style at the entrance of the container. “Come board, grab your gear, and set course to the sea

through the exit!” And indeed, the blue-green Atlantic was no more than 10 steps away from that exit.

Following an initial week of literal smooth sailing in beautiful weather, Mother Nature threw her first

knuckleball at the DEAD MAN’S CHEST company for a week thereafter, drenching Grand Bahama

Island in buckets of torrential rain and stirring up the seas until the Atlantic resembled a Jacuzzi with the

switch turned on “high.” “When you’re working on water,” explains Bruckheimer, “the weather changes

constantly, the wind shifts, the waves go in different directions, which makes it difficult to work. We’re

very conscious of safety, and we had our marine unit move the vessels, shepherd us back and forth from

land to sea, get food out to cast and crew working on the ships and take them back to shore at night. Along

with our marine unit, we also had expert divers.”

“The boat-to-boat transfers were the most dangerous thing we dealt with on a daily basis,” notes Dan

Malone. “On one day, while holding the Black Pearl against the wind, we had a four-foot swell rolling in

there, and although we’ve designed these nice little ramps that we use to bring people on board from the

inflatable boats, you still worry about that misstep. If someone tries to step from the inflatable to the Pearl

without judging the waves and listening to the captain, they can take a header between the boat and the

ramp. Thankfully, we never had a serious accident.”

On rougher days, many in the crew were reminded of the familiar amusement-park rides in which a

pirate ship swings back and forth, faster and faster…except, this time, it was real!

But for the actors filming on the new, improved Black Pearl, a sense of nostalgia was tinged with a

new excitement. “I think the new Pearl is all of our favorites,” says Keira Knightley. “It’s much more user-

friendly than the first one, because it’s bigger. I remember on the first film, you couldn’t seem to get out

of the way and there was no way to sit. The ship is very beautiful, which is always helpful when you’re

fighting Krakens.”

“The first and second Black Pearls are both beautiful works of art,” adds Lee Arenberg, “but the actual

physical filming on the new ship is much more exciting. You’re actually moving at speed, and when you

come around doing these passes at the Flying Dutchman, it’s just thrilling. We’re on a seaworthy craft now,

as opposed to the barge that sort of bobbed in the water and would take forever to line up. The bar has

been raised.”

The weather and sea conditions presented more challenges to Gore Verbinski and company as they

filmed, with great detail and a plethora of stunts and action, the attack of the monstrous Kraken on the

Edinburgh Trader. For this purpose, Rick Heinrichs’ art department constructed an exact replica of the

Bounty without, of course, the “guts” of the ship. Stunt coordinator George Marshall Ruge and his second

in command, Dan Barringer, put their fearless team through their paces, with major contributions from

the special effects and visual effects departments.

The Kraken is inspired by a thousand years of seagoing mythology, with, perhaps, a tip of the hat to

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BACK TO THE BAHAMAS

the famed giant squid in Walt Disney Pictures’ own 1954 classic “20,000 Leagues Under the Sea.” The

word “Kraken” was first heard in 12th-century Norwegian legends, referring to a creature the size of an

island, and usually depicted as a giant squid. In these legends the Kraken’s many arms or tentacles could

reach to the top of a ship’s mainmast and could without any great effort capsize a full-rig vessel. So great

was the creature’s fame that it was even immortalized in British poet Alfred, Lord Tennyson’s “The

Kraken,” scribed in 1830. In the 20th century, stamp collectors could find the Kraken’s image on postages

from such diverse countries as Canada and even the Commonwealth of Dominica, one of the DEAD

MAN’S CHEST host countries.

For the Kraken attacks on both the

Edinburgh Trader and Black Pearl, stunt

coordinator George Marshall Ruge and

his team of stuntplayers and riggers had

to create multiple ratchets which

simulated people getting whacked or

pulled into the air by the monster’s

tentacles. “The reality of doing the stunt

rigging on these ships is that there’s a

mast here, or ropes hanging down there,

or grates in the middle of the deck. So we built an overhead system on both of the ships that ran their full

lengths in between the yardarms, with travelers on the cables which allowed us to move pick point

virtually anywhere in between the masts. We were on water, so everything was moving, but the multilayered system gave us the ability to move things around pretty freely.”

Among the stunt heroes was Orlando Bloom himself, who, as often as feasible (and as he would be

permitted by production), performed his own feats of derring-do, sometimes more than 30 feet up in the

rigging of the high masts of the Edinburgh Trader. “There’s one scene in which I’m on the mast, jump into

a sail, slash it with a dagger and slide down. This is like real Errol Flynn stuff, which is every boy’s dream.

I really do feel like I am living a lot of these boyhood dreams on a movie like this. And I’ve trained hard to

be fit and agile enough to do things like this so I don’t hurt myself. It’s a major part of who Will Turner is.”

The Kraken is masterfully brought to life in DEAD MAN’S CHEST by a phalanx of visual effects

artists at Industrial Light & Magic, the live-action elements meticulously calibrated with the visual effects

plans. “The Kraken sequences were extensively pre-visualized,” notes visual effects supervisor John

Knoll, “and we were literally shooting specific pieces to conform to that animatic blueprint. The Kraken

scenes are technically very complex, because there’s a lot of interaction with water and we see shots

looking down the whole of the ship, with a dozen tentacles swarming around, picking characters off the

deck. Putting the composites together are very difficult…every shot takes months of effort.”

The mandate set by Jerry Bruckheimer and Gore Verbinski for DEAD MAN’S CHEST was for ILM

to raise the bar higher once again, as they had on the first “Pirates” film. DEAD MAN’S CHEST required

three times as many visual effects shots as did “The Curse of the Black Pearl,” which itself represented a

quantum leap of visual effects technology.

Despite the fact that the film traffics in pure fantasy, Verbinski was absolutely insistent that the

unbelievable look believable in every way. “CGI is not a verb,” Verbinski has been known to say. Rather,

he sees it as a tool to be used to embellish and enhance.

“Because Gore has been through the process and understands every nut and bolt of what ILM is

doing,” says visual effects supervisor Charlie Gibson, “he can put that aside and just charge forward,

knowing that ILM will eventually be able to catch up and meet his vision somewhere near the very end

of the schedule. What’s unique about the visual effects in this film, for me, is how freely Gore is able to

use what ILM can offer. The net result of that confidence and understanding is that the discussions move

on past the technical to the creative.”

“Gore is great visually,” notes visual effects supervisor John Knoll—who served in the same capacity

on the first film and works alongside fellow ILM supervisor Bill George on DEAD MAN’S CHEST—

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“and he has a really strong technical background. Gore comes in with very strong opinions of how he

wants to do things. This film is not just a rehash of the last one. Gore and the writers have come up with

a lot of really great and fresh ideas.” Knoll and George sought to free Verbinski up as much as possible to

shoot as he wanted without worrying about the visual effects which would come later. “I have enough

confidence in our crew that we could track those cameras, and that if we need to put computer-generated

characters behind the live actors, we can just rotor that edge and not have to worry about having a blue

screen in there.”

Although Davy Jones and his crew are digitally enhanced, “it was important to have good actors cast

at playing those roles,” notes Knoll. “Because a really good actor brings soul to the whole process, and it

helps everybody on the set. Gore works with the actor in a very normal way like every other part of the

picture. Bill Nighy and all of the actors playing Davy’s crew really own the roles. They’ve thought the

characters through, and they’re bringing everything they can to these CG characters.”

Because Verbinski insists that fantasy look as authentic and real as possible, ILM developed new

technologies for DEAD MAN’S CHEST, including the creation of Davy Jones and his crew. Explains Bill

George, “We’re trying something new and challenging on this project. In the past, when you’ve done a

CG character—especially one that’s supposed to move like a human—you shoot a clean plate that the

character will go into, and at a later time on a different stage you shoot what’s called motion capture. This

is a process where you’ve got a number of cameras, perhaps 12 or 15, all focused on a character who’s

wearing a black skintight suit with little markers on it. Then, as that character moves, using the cameras

the computer triangulates where each point is in space and therefore the movement. You can then take that

animation file and plug it into a character so that it will move as the actor did on stage. It’s a very long

and laborious process.

“The technology has evolved to the point now where we’re trying to capture that exact same data by

only using two video cameras as we’re shooting the actual shot,” continues Bill George. “The difference

now is that instead of splitting it into two separate shoots, it’s happening all at the same time. There’s a lot

of advantages to that. In the first ‘Pirates’ film, when an actor was fighting one of the cursed skeleton

pirates, he was basically fighting with thin air, pretending that someone was there. Now the ‘live’ actors

are actually interacting with a real person, which is much more realistic and natural.”

“The impact of this is really profound,” says Charlie Gibson, “because so much of the character

animation is about nuances of performances, particularly Bill Nighy. The film is edited based on very

subtle facial expressions, attitudes, and even the less tangible things, like his mood and the feeling behind

his eyes, all of these things that you get from a great actor. Bill is a fountainhead of amazing variety. He

never repeats himself, there’s always some interesting aspect to his performance.”

Nighy himself was highly amused by the process in which ILM converted him into the fully tricked-

out Davy Jones. “The first thing they did was cyber-scan me, which they did in a sort of mystery truck

lined with screens and computers. Then, on set, I wore a gray suit which had reference points comprised

of white bubbles and strips of black and white material, so that when they come to interpret your physical

performance, they’re better placed to do so. I don’t understand any of it, but I’m currently the world-record

holder for playing the organ with an imaginary octopus beard. This is pioneering stuff, state-of-the-art.”

Knoll and George were a tag team on set, either one present at all times on all locations, as the other

one returned to ILM headquarters in San Francisco to work with their team of artists and technicians on

bringing it all to life. “One of our tasks on set was to deal with improvisation and change,” notes Knoll,

“because no matter how much you’ve thought these things out in advance, the situation is always different

in front of the camera. Or there’s an opportunity to do something that’s creatively better, which might

mean that the camera will be in a different position, or that there’s some other technical challenge that you

didn’t anticipate. It’s important that someone from visual effects is there to make decisions quickly.”

Also helping to keep things atmospheric throughout the shoot on every location were special effects

coordinators Michael Lantieri and Allen Hall. Whether creating steam and smoke rings from Davy Jones’

massive musical organ, smashing full-sized ships in half, firing off batteries of cannons, or laying down

massive amounts of smoke and fog around the Black Pearl and Flying Dutchman, these physical “in-

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BACK TO THE BAHAMAS

camera” effects were no less magical than that conjured by the ILM experts. So much fog was required

for the sequences shot in the Bahamas that Hall had two large boats equipped with large jet pulse engines,

not to mention an actual aircraft jet engine mounted on a larger craft. “We actually bought out the world’s

supply of fog fluid for this movie,” Hall

admits.

Dealing with Grand Bahama’s fickle

weather became almost routine for

Verbinski and company, but what was

looming in October could never have been

predicted. Although Caribbean production

supervisor Tom Hayslip had written a

detailed, 27-page Hurricane Preparedness

Plan in September, it was, of course, hoped

that it would never have to be implemented.

But on Tuesday, October 18th, it became

clear that Tropical Storm Wilma—having

just been promoted to Hurricane Wilma—was about to make a sudden right turn away from the Yucatan

Peninsula and head directly toward Florida and, just 50 miles beyond, Grand Bahama Island. As the

humidity increased and the clouds began to build, production hurriedly began preparing for the worst. It

was a terrible irony that just two weeks earlier, the pre-production crew of another Jerry Bruckheimer

production, “Déjà Vu,” had to be evacuated from New Orleans as the monstrous Hurricane Katrina

stormed its way toward the Gulf. Now, Bruckheimer and his production team began organizing the huge

task of securing the production facilities as much as possible while ensuring the safety of the company.

Grand Bahama Island is flat as a pancake, has no high ground, and had taken huge hits in September

2004 from both Hurricanes Frances and Jeanne. When the company went to sleep on the night of October

18th, Wilma was only a category-one hurricane. By the next morning, it had graduated not only to a

category five, but also to new status as the most powerful hurricane in recorded history, with sustained

winds of 175 and gusts up to 215 miles per hour. “We were alerted about a week prior to the hurricane

and made the decision to pull everybody out just in case it picked Grand Bahama Island,” recalls

Bruckheimer. “And fortunately for us, we got everybody out, locked down our ships in the harbor and had

them all battened down. We had only minor

damage, considering what could have

happened.”

After raising havoc in Florida,

Hurricane Wilma smashed into Grand

Bahama Island on October 24th as a

category two, with sustained winds of 100

miles per hour. It was a mercifully quick

visitation, lasting just four hours, and

although the studio site was spared much

damage, Grand Bahama’s West End and the

village of Eight Mile Rock were badly hit. In just three-and-a-half days, sand deposited by the storm surge

was removed from the base camp site, washed-out roads rebuilt and the entire base camp reformed as if

nothing had happened. The Grand Bahamians, with their characteristic fortitude and courage, had

survived yet another in a long string of hurricanes that have bedeviled their island during storm season.

And DEAD MAN’S CHEST and “Pirates III” continued filming on the Black Pearl and Flying Dutchman

and a floating set of a ship scuttled after its encounter with the Kraken, until another planned break for

the holidays in December.

Returning to the Bahamas in the second week of January 2006, the filming of DEAD MAN’S CHEST

finally wrapped with the conclusion of Kraken attack sequences, and, ironically, shooting Captain Jack’s

 

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introduction at the start of the film as one of the last scenes to be shot. The weather on Grand Bahama

had now cooled considerably, enough so that parkas had to be donned for night shooting. “We’ve been

through every possible circumstance of weather,” said Johnny Depp at that juncture in the shoot. “When

we started out down in St. Vincent and then on to Dominica, there was sweltering, intense heat and

humidity. Now it’s touching between 30 and 50 degrees at night. It’s pretty strange. Also, we’re still

shooting scenes that we started a year ago. You’ve really got to keep all the dots connected at all times.”

And although Verbinski and company remained until the end of February working on “Pirates III”

sequences, DEAD MAN’S CHEST—almost exactly one year to the day filming had began in Burbank—

was a wrap.

On that final day on location in the Caribbean, the company gathered in the catering tent in the Grand

Bahama base camp and was addressed by Bruckheimer, Verbinski and their production team, which

included some of the following salient details:

• The production’s travel coordinator had booked over 10,000 one-way tickets, not including charter

flights.

• 475 cell phones were distributed in Dominica.

• 550 barrels had been built by set dressing.

• 178 barrels of smoke had been used by the special effects department.

• Over 6,000 batteries were used by the sound department.

• At one time there were over 200 walkie-talkies being used on set by various departments.

• Between ship rigging, marine, set decoration and props, production used over 463,000 feet of

rope…which translates into 87 miles!

• Between the first, second and element units, 335 miles of film had been shot…enough to stretch

from Los Angeles to Sacramento.

• Catering served over 200,000 meals.

Now it was time for cast and crew to return home to loved ones and process a year’s worth of

memories. “It’s been amazing at every level,” says Johnny Depp. “You become kind of like a weird gypsy

family, a traveling circus.”

“Being away from family and friends for

long periods of time can be difficult, but we

have created our own kind of family

environment, and there’s a great atmosphere

on set,” notes Orlando Bloom. “The hours

can be long and the work is definitely

challenging, but we all know what we’re

working on, a once-in-a-lifetime

opportunity. It’s quality entertainment,

family fun, with a great story and plotline

that everyone can enjoy. It doesn’t take

itself too seriously, which frees it up to

everything that it wants to be as a movie, and more. I feel like I’m living many dreams, all at the same

time, whether it’s swinging from ropes, rolling in a bone cage, sliding down sails, or kissing a beautiful

girl. The actual work that goes into it is really difficult, and it’s made to look easy on camera. But it’s so

much fun doing it. I feel very lucky, because it’s a great group of people, and there’s a lot of thought and

care that goes into the whole process of making this movie.

“I can’t imagine it will ever be done like this again,” concludes Bloom. “It sort of feels like the end of

an era in terms of making movies this way. And I think we all feel very lucky to be a part of it.”

“It was an adventure in the spirit of pirate movies themselves,” says assistant director Peter Kohn. “It’s

not like making the movie…it’s like being in the movie, ‘livin’ the ride,’ as one of our T-shirts says.”

“Audiences are going to get everything that anybody wants when they put their money down to enter

a cinema,” says Bill Nighy. “Romance, adventure, thrills, danger, wonder. Things they’ve never laid eyes

 

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BACK TO THE BAHAMAS

on before, worlds they’ve never visited before. It’s really difficult to pull off an adventure movie that’s

authentic and satisfying and, at the same time, make everybody laugh in the dark at regular intervals.”

“I’ve never been in anything as big as this,” notes Kevin R. McNally, “and you might worry that you

could get lost in it all. But the great thing about Jerry’s production, Gore’s direction, and Ted and Terry’s

writing is that what they’re most interested in is character. So despite the gigantic sets, the visual effects,

the spectacle, the real meat of the film is when we all get down, talk, plan, plot and just be pirates together.

You don’t get lost in the sea of organization and logistics.”

“I have a profound respect for Gore and always have since the first instant we worked together on the

first film,” says Johnny Depp of his “Pirates” director. “But on this one, watching what he’s had to deal

with on a daily basis is incredible. With the kind of pressure he’s been working under, I’ve never seen him

step outside or lose his composure, or his vision. He just sort of deals and fights his way out of that corner.

It’s pretty miraculous to witness. Gore is one of those directors where, as an actor, you could almost get

away with not reading the script at all and just sort of trusting his knowledge of the material. He knows it

that well.”

“Gore is a phenomenal director,” adds Orlando Bloom. “When I saw the first movie, I was blown away

by how he had managed to maintain such incredible integrity with the story and the characters. Gore has

a tremendous ability to motivate a crew and has a spirit and youthful energy to attack whatever scene we’re

up against, no matter how complex it might be.”

Keira Knightley concurs with her fellow “Pirates” stars. “I don’t know how Gore’s brain can focus on

so many different things at once, but it’s very impressive. I think it’s important that in a film like this,

which is in the realm of fantasy and dreams, to actually have an emotional core that feels real. And that’s

what I think Gore does…he always makes it real.”

And all agreed, whether it was another go-round or the first time, that there was nothing like being on

the set of a Jerry Bruckheimer film. “The first film felt very intimate and got more and more grand as

time went on,” says Depp. “This one is just totally, utterly Jerry Bruckheimer, which means that it’s very

grand but done with incredible taste. Jerry uses the best guys in the business, and it’s impressive.”

“Jerry has a team of people around him who have the ability to tackle pretty much anything that’s asked

of them by Gore and the screenwriters,” adds Orlando Bloom. “There’s always a sense of ‘How can we be

better?’ that’s part of Jerry’s attitude toward life and moviemaking: that there’s nothing you can’t do. It’s

a courageous way to make films, fearless

and sometimes a little overwhelming.”

“I’ve done three films with Jerry now,”

says Keira Knightley, “and it’s just amazing.

They’re really, really big! The scale of these

movies is just huge. Jerry has created an

entire pirate world, and we’re all part of it.

It’s fantastic.”

“Jerry Bruckheimer is one of a kind,”

adds Lee Arenberg. “He’s truly an

impresario, because he gives you the tools

to do what you need to do. His focus is

super-strong, he has a gold thumb and hires

great people to work for him. I think that’s a true sign of power, giving the trust and respect to the team.”

“You can’t drift through a Jerry Bruckheimer movie,” adds Kevin R. McNally. “You can’t come to

work half-cocked. You see everybody around you up to their full game, and it’s really inspiring. He’s very

hands-on, and you know that everything is up to 110 percent.”

“Jerry’s strength is that he has no weakness,” says Bruce Hendricks. “He really understands audience’s

tastes and makes sure that a movie like this is accessible to young and old viewers alike.”

But the work was far from over…a hiatus from the filming of “Pirates of the Caribbean III” was

required so that Bruckheimer and Verbinski could begin dealing with the myriad post-production

 

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elements, leaping into the cutting room with film editors Craig Wood and Stephen Rivkin as well as

dealing with visual effects, sound effects, music scoring and a thousand other details required for

completing DEAD MAN’S CHEST in time for its July 7th opening. Walt Disney Imagineering got to

work on revising the “Pirates of the

Caribbean” attraction, scheduled to reopen

in concert with the new film’s premiere.

Explains Jerry Bruckheimer, “They’re

adding some of our iconic characters to the

ride, which will be thrilling for us to go

through and see characters that we created

now become part of the Disney world.”

And, oh yes…following the theatrical

opening of PIRATES OF THE

CARIBBEAN: DEAD MAN’S CHEST,

Bruckheimer, Verbinski and their company

of latter-day buccaneers would once again

raise the Jolly Roger high and head back onto sets, soundstages and high seas to complete work on the

tentatively titled “Pirates of the Caribbean III.”

The Black Pearl will sail again…and the “Pirates of the Caribbean” odyssey continues!

ABOUT THE CAST

JOHNNY DEPP reprises his Academy Award®- and Golden Globe®

nominated role of Captain Jack Sparrow in PIRATES OF THE

CARIBBEAN: DEAD MAN’S CHEST. Depp also received a British

Academy of Film and Television Arts (BAFTA) nomination and a Screen

Actors Guild Award® for his portrayal of Captain Jack in “Pirates of the

Caribbean: The Curse of the Black Pearl.”

Depp has earned both critical and popular acclaim for his unique

work in a variety of memorable feature films. Most recently, he

collaborated with director Tim Burton for the fourth and fifth times, on

“Charlie and the Chocolate Factory,” for which Depp received a Golden

Globe® nomination for Best Actor in a Comedy or Musical, and “Tim

Burton’s Corpse Bride,” which received a 2005 Academy Award®

nomination for Best Animated Film. Based on the beloved Roald Dahl classic, Depp portrayed eccentric

chocolatier Willy Wonka in “Charlie and the Chocolate Factory,” which opened to impressive critical and

box-office success internationally. For “Tim Burton’s Corpse Bride,” Depp loaned his voice to the lead

character of Victor Van Dort in the wildly imaginative film, which was one of last year’s most celebrated

releases. In a striking contrast, Depp also recently starred opposite John Malkovich and Samantha Morton

in Laurence Dunmore’s “The Libertine” as 17th-century womanizing poet John Wilmot, the Earl of

Rochester.

Depp received an Academy Award® nomination, Golden Globe® nomination, Screen Actors Guild

Award® nomination and BAFTA nomination for his role as J.M. Barrie in Mark Forster’s “Finding

Neverland,” in which he starred opposite Kate Winslet and Freddie Highmore.

Depp’s other screen credits include David Koepp’s “Secret Window,” Robert Rodriguez’s “Once Upon

a Time in Mexico,” Albert and Allen Hughes’ “From Hell,” Ted Demme’s “Blow,” Lasse Hallström’s

romantic comedy “Chocolat,” Julian Schnabel’s “Before Night Falls,” Sally Potter’s “The Man Who

Cried,” Tim Burton’s “Sleepy Hollow,” Roman Polanski’s “The Ninth Gate” and Terry Gilliam’s “Fear and

Loathing in Las Vegas.”

Hailed as the “Best Actor” of his generation for his performance in Mike Newell’s “Donnie Brasco”

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with Al Pacino, Depp has also starred in Jim Jarmusch’s “Dead Man” and in Jeremy Leven’s “Don Juan

DeMarco,” in which he starred as a man convinced he is the world’s greatest lover, opposite legendary

actors Marlon Brando and Faye Dunaway.

It was his compelling performance in the title role of Tim Burton’s “Edward Scissorhands” that

established Depp as one of Hollywood’s most sought-after talents and earned him a Best Actor Golden

Globe® nomination. He was honored with a second Golden Globe® nomination for his work in the offbeat

love story “Benny & Joon,” directed by Jeremiah S. Chechik. Depp reunited with Burton for the critically

acclaimed “Ed Wood,” for which his performance garnered him his third Best Actor Golden Globe®

nomination.

Other films include Lasse Hallström’s “What’s Eating Gilbert Grape?,” Emir Kusturica’s “Arizona

Dream” and John Badham’s “Nick of Time.”

Depp began his career as a musician, joining a rock group named Kids, which eventually took him to

Los Angeles. When the band broke up, he turned to acting and earned his first major acting job in

“Nightmare on Elm Street.” He went on to earn roles in several films, including Oliver Stone’s Academy

Award®-winning “Platoon.” Depp then won the role that would prove to be his breakthrough, as

undercover detective Tom Hanson on the popular Fox television show “21 Jump Street.” He starred on the

series for four seasons before segueing to the big screen in the lead role of John Waters’ “Cry-Baby.”

Depp starred and made his feature directorial debut opposite Marlon Brando in “The Brave,” a film

based on the novel by Gregory McDonald. Depp co-wrote the screenplay with his brother D.P. Depp.

ORLANDO BLOOM (Will Turner) reprises his role as Will Turner

opposite Johnny Depp and Keira Knightley in PIRATES OF THE

CARIBBEAN: DEAD MAN’S CHEST.

Bloom first captivated both audiences and filmmakers with his

portrayal of Legolas in Peter Jackson’s “Lord of the Rings” trilogy—“The

Fellowship of the Ring,” “The Two Towers” and “The Return of the

King.” He will next be seen starring in Frank E. Flowers’ independent

ensemble “Haven,” which he also executive produced.

Having worked with Ridley Scott on “Black Hawk Down,” Bloom

reteamed with Scott to star in his epic drama about the Crusades,

“Kingdom of Heaven.” He followed that with his first contemporary

American role opposite Kirsten Dunst in Cameron Crowe’s

“Elizabethtown.” Other film credits include “Ned Kelly,” opposite Heath Ledger, and Wolfgang Petersen’s

“Troy,” opposite Brad Pitt and Eric Bana.

Bloom was born in Canterbury, England. He joined the National Youth Theatre in London and gained

a scholarship to train with the British American Drama Academy. On completion of his scholarship,

Bloom made his feature-film debut in BBC’s “Wilde,” starring Jude Law.

He was then accepted to Guildhall School of Music and Drama in London. In his four years there, he

performed in several productions including “Little Me,” “A Month in the Country,” “Peer Gynt,”

“Mephisto” and “Twelfth Night.” Upon graduation, a then-unknown Bloom was cast in the role that would

launch his career.

 

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The relatively brief but remarkable career of 20-year-old KEIRA

KNIGHTLEY (Elizabeth Swann) has now culminated with 2005

Academy Award® and Golden Globe® nominations as Best Actress for her

luminous, internationally acclaimed performance as Elizabeth Bennet in

Joe Wright’s screen adaptation of “Pride & Prejudice.”

The celebrated body of work already amassed by Knightley at her

tender age has demonstrated not only extraordinary versatility but also an

artistically adventurous spirit in selecting a wide range of projects in

diverse genres.

Knightley first made headlines in Gurinder Chadha’s sleeper hit,

“Bend It Like Beckham,” as teenage soccer player Jules Paxton opposite

Parminder K. Nagra. She was then selected by director Gore Verbinski

and producer Jerry Bruckheimer to portray Elizabeth Swann opposite Johnny Depp’s Captain Jack

Sparrow, Orlando Bloom’s Will Turner and Geoffrey Rush’s Captain Barbossa in the 2003 worldwide

blockbuster “Pirates of the Caribbean: The Curse of the Black Pearl.” Demonstrating equal amounts of

beauty and backbone as an aristocratic young woman swept into a fantastical adventure, Knightley is

again portraying Elizabeth in PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST and the

tentatively titled “Pirates of the Caribbean III,” both films again directed by Verbinski and produced by

Bruckheimer.

After wrapping “Pirates of the Caribbean: The Curse of the Black Pearl,” she went straight into

production on another epic Jerry Bruckheimer Films production, “King Arthur,” in which she portrayed

Guinevere. Directed by Antoine Fuqua, the film also starred Clive Owen as Arthur.

Released in November 2003, Knightley appeared in Richard Curtis’ “Love, Actually” as part of an

impressive ensemble cast that included Colin Firth, Hugh Grant, Laura Linney, Liam Neeson, Alan

Rickman and Emma Thompson. In addition to “Pride & Prejudice”—in which she starred with Matthew

Macfadyen, Brenda Blethyn, Judi Dench and Donald Sutherland—2005 also saw Knightley starring as

controversial model-turned-bounty-hunter Domino Harvey in Tony Scott’s innovative action drama

“Domino.”

In 2006, Knightley traveled to Western Europe during a break in the filming of PIRATES OF THE

CARIBBEAN: DEAD MAN’S CHEST and “Pirates of the Caribbean III” to star for director Francois

Girard (“The Red Violin”) in his film adaptation of Alessandro Baricco’s best-selling novel, “Silk.” The

romantic drama also stars Michael Pitt, Alfred Molina and Koji Yakusho. This was immediately followed

by her starring role in “Atonement” for her “Pride & Prejudice” director, Joe Wright. Chanel also

announced in April 2006 that Knightley would be the new face of its Coco Mademoiselle fragrance.

Making her professional acting debut at the age of seven on British television in “Royal Celebration,”

some of Knightley’s early credits include the features “A Village Affair,” “Innocent Lies” and “Star Wars:

Episode 1—The Phantom Menace,” as well as performances in the TV series “The Bill,” the television

movies “Treasure Seekers,” “Coming Home,” Walt Disney’s “Princess of Thieves” (starring as Robin

Hood’s daughter Gwyn) and the miniseries “Oliver Twist” and “Doctor Zhivago,” in which she portrayed

Lara Antipova in the adaptation of Boris Pasternak’s classic novel. Her other feature films have included

“The Hole,” “Pure” and “The Jacket,” a thriller in which she starred opposite Adrien Brody.

The daughter of playwright Sharman Macdonald and actor Will Knightley, she was born in Teddington,

Middlesex, England. Knightley currently makes her home in London.

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ABOUT THE CAST

STELLAN SKARSGÅRD (Bootstrap Bill) became a familiar figure

to audiences around the world after playing opposite Emily Watson in

Lars von Trier’s “Breaking the Waves.” But Skarsgård’s career stretches

back more than 30 years, with numerous brilliant performances in a wide

range of films, theater and television roles. As a teenager in his native

Sweden, Skarsgård was the star of the 1968 TV series “Bombi Bitt och

jag” and was a practiced TV, film and stage actor while still in his early

20s. With Hans Alfredson’s “The Simple-Minded Murderer,” the

Gothenburg-born Skarsgård’s fame spread far beyond Scandinavia. His

role as a naïf driven to violence by the cruelty of others won Skarsgård

the Berlin Film Festival’s Silver Bear Award.

Through more than 60 films since, Skarsgård has proven himself a

remarkably versatile actor. In between starring as the Swedish superagent Carl Hamilton in Pelle

Berglund’s “Code Name Coq Rouge” and “The Democratic Terrorist,” Skarsgård played the title role in

Kjell Grede’s “Good Evening, Mr. Wallenberg,” the true story of the Swedish diplomat who saved

thousands of Jews from Auschwitz. His other credits in notable Scandinavian films have included

Alfredson’s “P&B,” Bo Widerberg’s “The Serpent’s Way up the Naked Rock,” Kjell-Ake Andersson’s

“Friends,” Grede’s “Hip Hip Hurrah!,” Carl Gustaf Nykvist’s “The Women on the Roof,” Sven Nykvist’s

“The Ox” (Academy Award® nominee for Best Foreign Language Film), Ake Sandgren’s “The Slingshot,”

Hans Petter Moland’s “Zero Kelvin” and “Aberdeen” and Erik Skjoldvjaerg’s “Insomnia.”

Skarsgård’s reputation began winning him roles in the United States and throughout the world, with

key performances in such films as John McTiernan’s “The Hunt for Red October,” Carroll Ballard’s

“Wind,” Peter Antonijivic’s “Savior,” Udayan Prasad’s “My Son the Fanatic,” Steven Spielberg’s

“Amistad,” Gus Van Sant’s “Good Will Hunting,” John Frankenheimer’s “Ronin,” Renny Harlin’s “Deep

Blue Sea,” Jonathan Nossiter’s “Signs and Wonders,” Mike Figgis’ “Time Code,” Istvan Szabo’s “Taking

Signs” and Matt Dillon’s “City of Ghosts.” Following their collaboration on “Breaking the Waves,” which

won the Grand Prix at the Cannes Film Festival, Skarsgård once again starred for Lars von Trier in

“Dogville.”

Most recently, Skarsgård has been seen in Jerry Bruckheimer’s production of “King Arthur” opposite

Clive Owen and Keira Knightley, as Father Merrin in Renny Harlin’s “Exorcist: The Beginning” and in

Sturla Gunnarsson’s “Beowulf & Grendel,” filmed in Iceland. Concurrently with filming PIRATES OF

THE CARIBBEAN: DEAD MAN’S CHEST, Skarsgård was also traveling to Spain to star in the title role

of Milos Forman’s “Goya’s Ghosts” as the legendary Spanish artist Francisco Goya.

On television, Skarsgård has starred in Ingmar Bergman’s “School for Wives,” Bo Widerberg’s “The

Wild Duck” and, in the U.S., “Noon Wine” for PBS, “The Harlan County War” for Showtime and “Helen

of Troy” for the USA Network. He is also one of Sweden’s most celebrated stage actors, having spent 16

years at the Royal Dramatic Theatre in Stockholm working with such directors as Ingmar Bergman, Alf

Sjoberg and Per Verner-Carlsson.

 

BILL NIGHY (Davy Jones) delighted international audiences with

his scene-stealing turn as aging rocker Billy Mack in Richard Curtis’

“Love, Actually,” which won him a British Academy of Film and

Television Arts Award for Best Supporting Actor. In the same year, he

won a BAFTA Best Actor TV Award for the series “State of Play.” He also

received the Los Angeles Critics Circle Award for Best Supporting Actor

in “I Capture the Castle,” “Love, Actually,” “AKA” and “The Lawless

Heart.” His work in Peter Cattaneo’s “Lucky Break” brought him a Best

Supporting Actor nomination from the British Independent Film Awards,

as did his chilling performance in Fernando Mireilles’ “The Constant

Gardener” in 2005. Nighy has twice won the Evening Standard’s Peter

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Sellers Award for Best Comedy Performance: in 1998’s hit ensemble comedy “Still Crazy” and in 2004

for “Love, Actually.”

Nighy was born in Caterham, Surrey, England. Originally determined to become a journalist, he

switched careers after he trained at the Guildford School of Dance and Drama, soon winning roles on

stage, screen and radio. He appeared in Tom Stoppard’s “Arcadia” and David Hare’s “Skylight” and

“Blue/Orange” at the National Theatre, and he played the role of Sam Gamgee in the original BBC radio

production of “The Lord of the Rings.”

His numerous feature-film credits have included “Eye of the Needle,” “Curse of the Pink Panther,”

“The Little Drummer Girl,” “Fairy Tale: A True Story,” “Underworld” and, more recently, Working Title’s

acclaimed zombie comedy “Shaun of the Dead,” “The Hitchhiker’s Guide to the Galaxy,” “Underworld:

Evolution,” “Stormbreaker” and “Notes on a Scandal.”

On British television, Nighy has appeared in the series “Fox,” “Agony,” “Making News,” “The Men’s

Room,” “The Maitlands,” “Kiss Me Kate” and “State of Play,” the miniseries “Reilly: Ace of Spies,” “The

Last Place on Earth,” “Eye of the Storm,” “The Canterbury Tales” and “He Knew He Was Right,” and the

TV movies “Easter 2016,” “Hitler’s S.S.: Portrait in Evil,” “Agatha Christie’s ‘Thirteen at Dinner,’”

“Longitude,” “The Lost Prince,” “The Young Visiters” and “The Girl in the Café,” the latter bringing him

a 2004 Golden Globe® nomination for Best Actor in a Mini-Series or Motion Picture Made for Television.

In 2001, Nighy earned a Laurence Olivier Theatre Best Actor Award nomination for his role in the

National Theatre production of Joe Penhall’s “Blue/Orange.”

Until his role as Commodore James Norrington in “Pirates of the

Caribbean: The Curse of the Black Pearl,” JACK DAVENPORT was

probably best known to American audiences for his role as Peter Smith-

Kingsley in the critically acclaimed “The Talented Mr. Ripley.”

Davenport made his film debut in Mike Leigh’s “Career Girls.” His

other credits include “Fierce Creatures,” “Tale of the Mummy,” “The

Wisdom of Crocodiles,” “The Bunker” and “The Wedding Date.” He also

appeared and executive produced two acclaimed short films, “Ticks” and

“Subterrain.”

On television, Davenport has been seen in the series “Ultraviolet” and

“Coupling,” as well as “The Real Jane Austen,” co-starring Anna

Chancellor; “The Wyvern Mystery,” with Derek Jacobi and Iain Glen for

the BBC; two series of the BBC’s award-winning “This Life”; and the miniseries “Dickens,” in which he

portrayed Charles Dickens’ son, and the recently completed “Mary Bryant.”

Davenport has appeared on radio in “A Clockwork Orange” and “The Cruel Sea.” He also participated

in a special recording of “Man and Superman” with Ralph Fiennes, Judi Dench and Juliet Stevenson to

mark 30 years of radio plays.

He was nominated for a Laurence Olivier Award for his role in the critically acclaimed production of

“The Servant” at the Lyric Theatre and recently appeared in London’s West End in his much-praised one-

man show entitled “How to Lose Friends and Alienate People.”

Born in London, England, Davenport studied literature and film at the University of East Anglia. He

is the son of actors Maria Aitken and Nigel Davenport and is married to actress Michelle Gomez.

 

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ABOUT THE CAST

KEVIN R. McNALLY returns to his role as the often sauced but

always reliable Joshamee Gibbs. A well-known actor in his native U.K.,

McNally has played leading and supporting roles on stage, film and

television for nearly 30 years. McNally made his feature-film debut in the

James Bond adventure “The Spy Who Loved Me,” with his other early

credits including “The Long Good Friday,” “Enigma,” “Not Quite

Paradise,” “Cry Freedom” and “All Things Bright and Beautiful.” More

recently, McNally has appeared in “The Legend of 1900,” “Entrapment,”

“When the Sky Falls,” “Johnny English,” “De-Lovely,” “Andrew Lloyd

Webber’s The Phantom of the Opera” and “Irish Jam.”

McNally’s numerous television credits include the Emmy® nominated

“Shackleton” for the A&E Network and “Conspiracy” for HBO, both of

which received BAFTA Awards in the United Kingdom. He’s appeared over the years in such miniseries

as “Poldark II,” “Masada,” “Diana,” “Thin Air,” and “Love and Reason” and the TV movies “Praying

Mantis,” “Jekyll & Hyde,” “Stalin,” “Abraham,” “The Smiths,” “Dunkirk” and “Blood Lines.” McNally

has also been a series regular on “The Devil’s Crown,” “Tygo Road,” “Full Stretch,” “Dad,” “Underworld,”

“Up Rising” and “Bedtime.”

In London’s West End, McNally has appeared on stage opposite Maggie Smith in “The Lady in the Van”

and Juliette Binoche in “Naked.” He also starred in Terry Johnson’s “Dead Funny” at the Savoy Theatre.

JONATHAN PRYCE reprises his role from “Pirates of the

Caribbean: The Curse of the Black Pearl” as Governor Weatherby Swann.

Pryce has excelled in equal measure on both stage and screen and, in the

process, has demonstrated himself to be one of Britain’s most versatile

talents. On stage, Pryce this year was nominated for a Laurence Olivier

Award for his performance in Edward Albee’s “The Goat, or Who Is

Sylvia?” Previously, he received Olivier Awards for Best Actor in

“Hamlet” and Outstanding Performance in a Musical for “Miss Saigon,”

in which he originated the role of The Engineer. Pryce was also

nominated for “The Taming of the Shrew” at the Royal Shakespeare

Company and for the role of Fagin in the 1995 West End revival of the

musical “Oliver!” When Pryce opened on Broadway in “Miss Saigon,” he

garnered the Outer Critics Circle, Drama Desk and Variety Club Awards. For his major stage debut in

“Comedians,” Pryce received a Tony Award® for Best Actor. Pryce also starred as Henry Higgins in the

recent hit West End revival of “My Fair Lady.” Pryce is currently starring in the smash hit Broadway

musical “Dirty Rotten Scoundrels.”

On screen, Pryce’s roles have been equally wide-ranging, most notably in Terry Gilliam’s “Brazil” and

“The Adventures of Baron Munchausen,” Martin Scorsese’s “The Age of Innocence,” David Mamet’s

“Glengarry Glen Ross,” Christopher Hampton’s “Carrington” (for which he received the Best Actor prize

at the Cannes Film Festival), Alan Parker’s “Evita” (in which he acted and sang the role of Juan Peron),

the James Bond thriller “Tomorrow Never Dies” and John Frankenheimer’s “Ronin.” Most recently, Pryce

appeared in Irwin Winkler’s “De-Lovely,” Terry Gilliam’s “The Brothers Grimm” and Terrence Malick’s

“The New World.”

For television, Pryce was honored with Emmy® and Golden Globe® nominations for HBO’s

“Barbarians at the Gate,” and appeared in “Thicker Than Water,” “Great Moments in Aviation,” “Mr.

Wroe’s Virgins” and “Selling Hitler.” He will also be seen in the starring role as an eccentric professor in

an as-yet-untitled CBS pilot comedy.

 

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NAOMIE HARRIS (Tia Dalma) has been acting professionally since

she was nine years old. She was spotted while attending The Anna Scher

Theatre School, an after-school drama club for inner-city children in

London, whose young alumni have included Kathy Burke, Pauline Quirke

and Martin Kemp. Encouraged by Anna Scher, Harris started auditioning

and secured the first of numerous roles on British television.

At 18, still adamant that she wanted to pursue her career as an actress,

Harris accepted a place at Pembroke College, Cambridge University, to

study Social and Political Sciences. After graduating in 1998, she gained

formal training as an actress at the prestigious Bristol Old Vic Theatre

School.

Having completed her training in June 2000, Harris’ break came

when she auditioned for director Danny Boyle and was offered the co-lead in his feature “28 Days Later,”

written by Alex Garland (“The Beach”). The film, shot mostly with digital cameras, became a box-office

success upon its release in 2003.

Harris went on to play the lead in BBC’s “The Project,” a two-part political docu-drama. She was most

recently seen in “Trauma” opposite Colin Firth and Mena Suvari, starring with Pierce Brosnan, Salma

Hayek and Don Cheadle in Brett Ratner’s “After the Sunset” and in “Tristram Shandy: A Cock and Bull

Story,” director Michael Winterbottom’s critically acclaimed adaptation of Laurence Sterne’s classic 18thcentury novel. She will next be seen starring with Jamie Foxx and Colin Farrell in Michael Mann’s

“Miami Vice.”

TOM HOLLANDER (Lord Cutler Beckett) grew up in Oxford,

went to school locally and read English literature at Cambridge. As a boy,

he was a member of the National Youth Theatre and the National Youth

Music Theatre. While at university, he was a member of the Cambridge

Footlights Revue and played a much-celebrated “Cyrano de Bergerac” at

the Arts Theatre, directed by Sam Mendes.

His early career was primarily theater-based. In 1991, he was

nominated for the Ian Charleson Award for his performance as Celia in

Cheek by Jowl’s all-male production of “As You Like It.” In 1992, he won

the Ian Charleson Award for his performance as Witwoud in Peter Gill’s

production of “The Way of the World” at the Lyric Hammersmith. He

went on to play Macheath in “The Threepenny Opera” at the Donmar

Warehouse and then, famously, he created the central role of Baby in the original production of Jez

Butterworth’s “Mojo” at the Royal Court Theatre.

This brought him to the attention of filmmakers Terry George and Jim Sheridan, who cast him as the

head of the Northern Irish Security Forces in the controversial “Some Mother’s Son,” opposite Helen

Mirren and Fionnuola Flanagan. He then returned to the theater to play “Tartuffe” at the Almeida for

Jonathan Kent, for which he received a Best Actor Award from Time Out and a special commendation

from the Ian Charleson Awards. In 1997, he received another special commendation for his performance

as “The Government Inspector,” again at the Almeida and directed by Jonathan Kent. No other actor in

the award’s history has received so many commendations.

After playing Saffy’s Euro-trash fiancé in the final episode of “Absolutely Fabulous,” Hollander went

on to star opposite Joseph Fiennes and Rufus Sewell in the 1998 film “Martha, Meet Frank, Daniel and

Lawrence.” He subsequently starred in such features as “Bedrooms and Hallways,” “The Clandestine

Marriage,” Ben Elton’s “Maybe Baby,” “The Announcement,” Michael Apted’s “Enigma” and Neil

LaBute’s “Possession.” He also portrayed Osborne Hamley in Andrew Davies’ BBC’s “Wives and

Daughters.”

Hollander returned to the stage to play the title role of Moliere’s “Don Juan” at Sheffield’s Crucible

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ABOUT THE CAST

Theatre to critical acclaim. He was then handpicked by director Robert Altman to play a leading role in

“Gosford Park” with a Screen Actors Guild Award®-winning ensemble cast that included Dame Maggie

Smith, Kristin Scott Thomas, Michael Gambon, Helen Mirren, Richard E. Grant and Emily Watson. He

then portrayed King George V in Stephen Poliakoff’s BBC drama “The Lost Prince” and, in the BBC’s

four-part drama “Cambridge Spies,” Hollander portrayed the infamous spy Guy Burgess.

Returning to the big screen, Hollander played the lead role in Paul Abascal’s “Paparazzi,” produced by

Mel Gibson for Icon Productions. The film, which was shot in Los Angeles, co-starred Tom Sizemore,

Cole Hauser and Robin Tunney. In June 2003, Hollander filmed Richard Eyre’s “Stage Beauty,” costarring Billy Crudup, Claire Danes and Ben Chaplin. Two months later, he started rehearsing for his lead

role at the Donmar Warehouse in John Osborne’s “The Hotel in Amsterdam.” Directed by Robin Lefevre,

the play opened to great critical acclaim.

Remaining on the stage, Hollander next appeared in “Picadilly Jim” alongside an all-star cast that

included Sam Rockwell, Tom Wilkinson, Amanda Peet, Alison Janney, Frances O’Connor, Brenda

Blethyn and Hugh Bonneville. He went on to film the role of George Etherege in “The Libertine,” directed

by Laurence Dunmore and starring Johnny Depp, John Malkovich, Samantha Morton and Rosamund

Pike. Hollander received a British Independent Film Award nomination as Best Supporting Actor for this

performance in 2005. He also co-starred with Keira Knightley, Matthew MacFadyen, Donald Sutherland

and Brenda Blethyn in his acclaimed role as Reverend Collins in the international success “Pride &

Prejudice.” Most recently, Hollander appeared in the ensemble cast of “The Darwin Awards,” which

premiered at the 2006 Sundance Film Festival.

LEE ARENBERG (Pintel) has the remarkable ability to morph

himself into frightening aliens, twisted psychotherapists, lascivious

entertainment executives and, with “Pirates of the Caribbean: The Curse

of the Black Pearl,” a scurvy knave of a pirate. Most frequently referred

to as a character actor, Arenberg maintains a flourishing acting career of

almost 20 years, spanning television, stage and film.

Arenberg has appeared in more than 30 movies, including “Cradle

Will Rock,” “RoboCop 3,” “Waterworld,” “Bob Roberts,” “The

Apocalypse,” “Cross My Heart” and “Dungeons & Dragons.”

Bitten by the acting bug at the age of eight when he appeared in a

Hebrew school play, the Los Angeles native attended Santa Monica High

School with “brat packers” Sean Penn, Robert Downey, Jr., and Emilio

Estevez and co-wrote a play with Estevez which was directed by Penn. Arenberg’s first professional job

was in 1986 at the Mark Taper Forum in “Ghetto,” a play directed by Gordon Davidson. Within weeks, he

was cast in three films, including “Tapeheads” opposite Tim Robbins and John Cusack.

Guest appearances on television began in 1987 with the hit sitcom “Perfect Strangers” and have

continued with memorable roles such as the parking-space-stealing New Yorker on “Seinfeld”; the

murderous rock promoter in “Tales From the Crypt”; and the notoriously huge studio head, Bobby G., on

the controversial syndicated comedy “Action”; as well as roles on “CSI: Crime Scene Investigation,”

“Charmed,” “Scrubs,” “Arli$$,” “Friends,” “Star Trek: The Next Generation,” “Deep Space Nine” and

“Voyager!”

Arenberg credits much of his development as an actor to his participation in the Actors’ Gang, one of

Los Angeles’ oldest theater companies. The Actors’ Gang was founded by Arenberg in 1981 with Tim

Robbins and other friends from UCLA. After 20 years as an actor in the group, he recently made his

writing and directing debut with “Foursome,” a play about golf, sex and witchcraft.

 

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Before his memorable role as the wooden-eyed Ragetti in “Pirates of

the Caribbean: The Curse of the Black Pearl,” MACKENZIE CROOK

was probably best known as Gareth Kenan in the multi-award-winning

BBC show “The Office,” the highest-rated and fastest-selling comedy in

Britain. Crook has starred in many hit comedies and was nominated for

a prestigious British Comedy Award in 2001.

Crook’s other feature films have included “Still Crazy,” “The

Gathering,” “Finding Neverland,” “Sex Lives of the Potato Men,”

“Churchill: The Hollywood Years,” Terry Gilliam’s “The Brothers

Grimm,” Michael Radford’s “The Merchant of Venice” and “Land of the

Blind.” He also appeared in HBO’s highly acclaimed “The Life and Death

of Peter Sellers,” which starred “Pirates of the Caribbean’s” Geoffrey

Rush in the title role. During the hiatus between the completion of PIRATES OF THE CARIBBEAN:

DEAD MAN’S CHEST and the resumption of filming on “Pirates of the Caribbean III,” Crook starred

on the London stage in the drama “The Exonerated,” directed by Bob Balaban.

Born in Kent, England, Crook started out as a stand-up comedian on the British club and theater circuit.

DAVID BAILIE (Cotton) has worked in the entertainment industry

for 43 years. He arrived in England from South Africa in 1960 and

trained at the Royal Academy of Dramatic Art. He spent most of the

following 10 years working in theater at the Royal Shakespeare Company

at Stratford-Upon-Avon and at the Royal National Theatre alongside and

understudying Sir Laurence Olivier, where he also portrayed Florizel

opposite Judi Dench’s Perdita in “A Winter’s Tale.”

Since that time, Bailie has continued to work on stage and has also

expanded his repertoire to include television and film. He has performed

on stage in “Murder in the Cathedral,” “Macbeth,” “Waiting for Godot,”

“Two Gentlemen of Verona,” “Faustus,” “The Three Musketeers” and

“The Canterbury Tales,” among other notable plays.

On television, Bailie has appeared in “The Play for Today: Lonely Man’s Lover,” “Play of the Month:

The Little Minister,” “Dr. Who,” “Robots of Death,” “Warships,” “Blake’s Seven,” “Onedin Line” and,

more recently, “The New Adventures of Robin Hood,” “Crime Unlimited,” “Gunpowder Plot” and the

telefilm “Attila.”

Among Bailie’s motion-picture credits are “Henry VIII and His Six Wives”; the Hammer horror

classics “The Creeping Flesh,” “Son of Dracula” and “Legend of the Werewolf ”; “Cutthroat Island”; “The

Messenger: The Story of Joan of Arc”; and “Gladiator.”

DAVID SCHOFIELD (Mercer) has enjoyed success on stage, films

and television. Born in Manchester, England, as one of 10 children in a

working-class family, he caught the acting bug at the age of 12. He left a

rough inner-city boy’s school three years later and took various odd jobs

before writing a letter to a local repertory theater. Finally granted an

audition two years later, in 1967, Schofield was accepted on the lowest

rung of the ladder as student assistant stage manager and was paid all of

10 dollars a week. There he worked in every department as a propmaker,

soundman, writer, stage sweeper and teamaker, putting in 14-hour days,

six days a week.

After two seasons, Schofield applied to acting colleges and was

accepted by the London Academy of Music and Dramatic Art at the age

of 19. Following three years at the Academy, Schofield acquired an agent and left school early to pursue

 

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his path as a working actor (30 years later, Schofield maintains the same agent). Schofield’s distinguished

stage career has seen the actor performing some of the great classical roles including Angelo in “Measure

for Measure” and Mark Antony in “Julius Caesar” for the Royal Shakespeare Company and a long

association with the Royal National Theatre appearing in numerous productions, including “The

American Clock,” “Antony and Cleopatra,” “The Elephant Man” (for which he created the title role),

“Who’s Afraid of Virginia Woolf?,” “As You Like It” and “Plenty.” He’s also acted on the West End stage

in both musicals and straight plays.

Making his feature-film debut in “The Dogs of War,” Schofield has appeared in a wide range of roles

in such films as “An American Werewolf in London,” “The Last of the Mohicans,” “Anna Karenina,” “The

Musketeer,” “From Hell,” “Superstition,” “Unstoppable” and as Falco in Ridley Scott’s Academy Award®

winning “Gladiator.” Schofield’s television credits are too numerous to mention.

Schofield’s greatest passions in life are his 25-year-long marriage to wife Lally and their children, Fred

and Blanche.

 

MARTIN KLEBBA, another veteran of the first “Pirates of the

Caribbean,” repeats his role as the diminutive but tough Marty. The native

of Troy, Michigan, has enjoyed numerous credits in feature films and

television as both actor and stunt player. His motion-picture credits as an

actor have included “Men in Black II,” “A Light in the Forest,” “Cradle 2

the Grave,” “El Matador,” “Looney Tunes: Back in Action” and

“Americano.” He was a stunt player in the films “The Hand That Rocks

the Cradle,” “The Animal,” “Planet of the Apes,” “Leprechaun: Back 2

Tha Hood,” “Van Helsing” and “SuperBabies: Baby Geniuses 2.”

On television, Klebba is perhaps best known for his role as Randall

Winston in multiple episodes of “Scrubs,” and he has also appeared in the

TV movies “Snow White” and “The Santa Trap,” and in the series

“National Lampoon’s Gordo’s Road Show,” “Cedric the Entertainer Presents,” “Andy Richter Controls the

Universe,” “Mad TV,” “Just Shoot Me!” and “Malcolm in the Middle.” Klebba starred in the title role as

tough detective Hank Dingo in Comedy Central’s “Knee High P.I.” He’s also a frequent guest on Howard

Stern’s hugely popular radio program.

ABOUT THE FILMMAKERS

Working in a wide range of budgets with many of today’s top talents, GORE VERBINSKI (Director)

is considered one of the top visionary directors of his generation. With only five feature films to his credit

thus far, Verbinski’s box-office success totals over $1 billion worldwide.

“The Weather Man,” Verbinski’s fifth movie, starred Nicolas Cage, Michael Caine, Hope Davis and

Gil Bellows. Previously, Verbinski directed the immensely successful “Pirates of the Caribbean: The

Curse of the Black Pearl,” starring Johnny Depp, Geoffrey Rush, Orlando Bloom and Keira Knightley.

Released by Walt Disney Pictures in 2003, the film went on to become one of the top-grossing films of

the year and earned Depp an Oscar® nomination for his performance. Prior to this swashbuckling

adventure, Verbinski directed the chilling horror film “The Ring,” starring Naomi Watts, raising the bar

for fans of the genre around the world. “The Ring” grossed nearly $130 million domestically and helped

to make Naomi Watts a household name. Always enigmatic in his choices and willing to cross genres,

“The Weather Man” represents Verbinski’s first foray into drama.

Prior to embarking into the world of features, Verbinski was an award-winning commercial director.

The UCLA graduate also cut his teeth extensively in directing high-profile music videos for such cutting-

edge artists as Bad Religion and The Crystal Method.

Verbinski lives with his family in Los Angeles.

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Great stories, well told. They can be for audiences in darkened movie theaters or home living rooms.

They can feature great movie stars or introduce new talent. They can be true adventure, broad comedy,

heartbreaking tragedy, epic history, joyous romance or searing drama. They can be set in the distant or

recent past, an only-imagined future or a familiar present. Whatever their elements, though, if they begin

with a lightning bolt, they are stories being told by JERRY BRUCKHEIMER (Producer), and they will

be great stories, well told.

The numbers—of dollars and honors—are a matter of often-reported record. Bruckheimer’s films have

earned worldwide revenues of over $13.5 billion in box-office, video and recording receipts. In the 20056 season, he had nine series on network television, a feat unprecedented in nearly 60 years of television

history. His films—14 of which have grossed over $100 million domestically—have been acknowledged

with 35 Academy Award® nominations, five Oscars®, four Golden Globes®, 43 Emmy® award nominations,

seven Emmys®, 16 People’s Choice nominations, six People’s Choice Awards, and numerous MTV

Awards, including one for Best Picture of the Decade.

But the numbers exist only because of Bruckheimer’s uncanny ability to find the stories and tell them

on film. He is, according to the Washington Post, “the man with the golden gut.” He may have been born

that way, but more likely, his natural gifts were polished to laser focus in the early years of his career. His

first films were the 60-second tales he told as an award-winning commercial producer in his native

Detroit. One of those mini-films, a parody of “Bonnie and Clyde” created for Pontiac, was noted for its

brilliance in Time magazine and brought the 23-year-old producer to the attention of world-renowned ad

agency BBD&O, which lured him to New York.

Four years on Madison Avenue gave him the experience and confidence to tackle Hollywood, and, not

yet 30, he was at the helm of memorable films like “Farewell, My Lovely,” “American Gigolo” and 1983’s

“Flashdance,” which changed Bruckheimer’s life by grossing $92 million in the U.S. alone and pairing

him with Don Simpson, who would be his producing partner for the next 13 years.

Together, the Simpson/Bruckheimer juggernaut produced one hit after another, including “Top Gun,”

“Days of Thunder,” “Beverly Hills Cop,” “Bad Boys,” “Dangerous Minds” and “Crimson Tide.” Box-

office success was acknowledged in both 1985 and 1988, when the National Association of Theater

Owners (NATO) named Bruckheimer Producer of the Year. And in 1988, the Publicists Guild of America

named him, along with Simpson, Motion Picture Showmen of the Year.

In 1996, Bruckheimer produced “The Rock,” re-establishing Sean Connery as an action star and

turning an unlikely Nicolas Cage into an action hero. “The Rock,” named Favorite Movie of the Year by

NATO, grossed $350 million worldwide and was Bruckheimer’s last movie with Simpson, who died

during production.

Now on his own, Bruckheimer followed in 1997 with “Con Air,” which grossed over $230 million,

earned a Grammy® and two Oscar® nominations and brought its producer the ShoWest International Box

Office Achievement Award for unmatched foreign grosses.

Then came Touchstone Pictures’ megahit “Armageddon,” starring Bruce Willis, Billy Bob Thornton,

Ben Affleck and Steve Buscemi. Directed by Michael Bay, it was the biggest movie of 1998, grossing

nearly $560 million worldwide and introducing legendary rock band Aerosmith’s first number-one single,

“I Don’t Want to Miss a Thing.”

By the end of the millennium, Bruckheimer had produced “Enemy of the State,” starring Will Smith

and Gene Hackman and “Gone in 60 Seconds,” starring Cage, Angelina Jolie and Robert Duvall, both

grossing over $225 million worldwide; “Coyote Ugly,” whose soundtrack album went triple platinum; and

the NAACP Image Award-winning “Remember the Titans,” starring Denzel Washington. His peers in the

Producers Guild of America acknowledged his genius with the David O. Selznick Award for Lifetime

Achievement in Motion Pictures.

He began the 21st century with triple Oscar® nominee “Pearl Harbor.” Starring Affleck, Josh Hartnett

and Kate Beckinsale and directed by Bay, the film was hailed by World War II veterans and scholars as a

worthy re-creation of the event that brought the United States into the war. In addition to multiple award

nominations and the Oscar® for Best Sound Editing, it earned over $450 million in worldwide box office

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and has topped $250 million in DVD and video sales.

“Black Hawk Down,” the story of the 1993 Battle of Mogadishu, starred Hartnett, Eric Bana and Ewan

McGregor and was directed by Ridley Scott. The adaptation of the Mark Bowden bestseller was honored

with multiple award nominations, two Oscars® and rave reviews.

And then in 2003, Bruckheimer unveiled “Pirates of the Caribbean: The Curse of the Black Pearl.”

Starring Johnny Depp, Orlando Bloom, Geoffrey Rush and Keira Knightley and directed by Gore

Verbinski, the comedy/adventure/romance grossed more than $630 million worldwide, making it

Bruckheimer’s highest-grossing film, earning five Academy Award® nominations and spawning two

upcoming sequels.

Since then, The Films That Begin With The Lightning Bolt have included “Bad Boys II”; the raucously

funny “Kangaroo Jack,” a family film that won an MTV Award for Best Virtual performance for the

kangaroo; “Veronica Guerin,” starring a luminous Cate Blanchett as the Irish journalist murdered by

Dublin crime lords; and “King Arthur,” with Clive Owen starring in the revisionist retelling of the

Arthurian legend.

In 2004, “National Treasure,” starring Cage and Sean Bean in a roller-coaster adventure about solving

the mystery of untold buried treasure, opened to cheering audiences and grossed more than $335 million

worldwide.

Teaming for the sixth time with director Tony Scott, Bruckheimer is currently in production on “Déjà

Vu,” the story of an ATF agent who falls in love with a complete stranger as he races against time to track

down her brutal killer. The film stars Denzel Washington, Jim Caviezel, Paula Patton and Val Kilmer and

is scheduled for a late 2006 release.

Could the master film storyteller make the same magic in 47 minutes for the living-room audience?

Apparently. As Time magazine recently wrote, “The most successful producer in film history…is on his

way to becoming the most successful producer in the history of TV.”

Bruckheimer brought the power of the lightning bolt to television in 2000 with “C.S.I.,” starring

William Petersen and Marg Helgenberger. It quickly became the number-one show on television,

averaging 25 million viewers a week and, along with its two spin-offs, “C.S.I.: Miami”—distinguished as

the biggest television series on a global scale in 2005—and “C.S.I.: NY,” helped catapult languishing CBS

back to the top of the broadcast heap.

Bruckheimer Television broadened its imprint by telling compelling stories and delivering viewers in

huge numbers with “Without a Trace,” “Cold Case,” three-time Emmy® award-winning “Amazing Race”

and “Close to Home” for CBS and “E-Ring” for NBC.

In 2006, Bruckheimer was honored with a Doctor of Fine Arts degree from The University of Arizona,

his alma mater. “Bruckheimer is unique in the industry in that his creative vision spans both large and

small screens. We are pleased to recognize his work through this honor,” said Maurice Sevigny, dean of

the UA College of Fine Arts.

Bruckheimer has been successful in many genres and multiple mediums because he’s a great storyteller.

Look for the lightning bolt. The best stories are right behind it.

MIKE STENSON (Executive Producer) is president of Jerry Bruckheimer Films for which he

supervises all aspects of film development and production. Before joining the company, he was an

executive in charge of production at Disney, responsible for many Bruckheimer films, including

“Armageddon,” “The Rock,” “Crimson Tide” and “Dangerous Minds.” More recently, Stenson served as

a producer on “Bad Company” and “Gone in 60 Seconds” and as an executive producer on “Glory Road,”

“National Treasure,” “King Arthur,” “Pirates of the Caribbean: The Curse of the Black Pearl,” “Bad Boys

2,” “Veronica Guerin,” “Kangaroo Jack,” “Black Hawk Down,” “Pearl Harbor,” “Coyote Ugly” and

“Remember the Titans.”

Born and raised in Boston, Stenson graduated from Harvard University with a bachelor’s degree in

economics and a master’s in business administration. After his undergraduate stint, he started as a

production assistant in New York and worked for two years in independent film and television as an

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assistant director and production manager before returning to Boston to complete his graduate education.

After completing business school, Stenson moved to Los Angeles, where he began his tenure at Walt

Disney Studios in Special Projects for two years before moving into the production department at

Hollywood Pictures as a creative executive. He was promoted to vice president and subsequently executive

vice president during his eight years with the company, overseeing development and production for

Hollywood Pictures as well as Touchstone Pictures. In addition to the many Bruckheimer films, Stenson

also developed several other films and nurtured them through production, including “Rush Hour,”

“Instinct,” “Six Days, Seven Nights” and “Mr. Holland’s Opus.”

While at Disney, many filmmakers attempted to woo Stenson away from the studio, but not until 1998

did he entertain leaving. With his newest position at the helm of Jerry Bruckheimer Films, Stenson

spearheaded Bruckheimer’s plan to expand the company’s film production schedule.

CHAD OMAN (Executive Producer) is the president of production for Jerry Bruckheimer Films for

which he oversees all aspects of film development and production. Oman produced, along with

Bruckheimer, “Remember the Titans,” starring Denzel Washington for Walt Disney Pictures, and “Coyote

Ugly,” starring Piper Perabo and John Goodman for Touchstone Pictures.

His most recent executive-producer credits for Jerry Bruckheimer Films include “Glory Road,” starring

Josh Lucas; the international hit “National Treasure,” starring Nicolas Cage; and “King Arthur,” starring

Clive Owen and Keira Knightley. He also executive produced the critically acclaimed “Veronica Guerin,”

starring Cate Blanchett; as well as the blockbuster hits “Pirates of the Caribbean: The Curse of the Black

Pearl,” directed by Gore Verbinski and starring Johnny Depp; “Bad Boys II,” starring Will Smith and Martin

Lawrence; “Black Hawk Down,” directed by Ridley Scott and starring Josh Hartnett; “Pearl Harbor,” starring

Ben Affleck, Kate Beckinsale and Josh Hartnett; “Gone in 60 Seconds,” starring Nicolas Cage, Angelina

Jolie and Robert Duvall; “Enemy of the State,” starring Will Smith and Gene Hackman, “Armageddon,”

starring Bruce Willis and Ben Affleck; and “Con Air,” starring Nicolas Cage and John Malkovich.

In addition to his work on JBF’s many motion-picture projects, Oman also supervised production on

several television projects including ABC’s drama “Dangerous Minds,” starring Annie Potts, and the ABC

drama “Swing Vote,” written by Ron Bass and starring Andy Garcia.

Prior to joining Simpson/Bruckheimer in 1995, Oman was a founding employee of the Motion Picture

Corporation of America. After six years, he left the independent production company as senior vice

president of production.

Oman served as an associate producer on “Dumb and Dumber,” starring Jim Carrey; executive

produced Touchstone Pictures’ “The War at Home,” starring Emilio Estevez, Kathy Bates and Martin

Sheen; and co-produced “The Desperate Trail,” with Sam Elliott, and “The Sketch Artist,” starring Drew

Barrymore and Sean Young. Oman produced “Hands That See,” with Courteney Cox, and “Love, Cheat

and Steal,” with John Lithgow and Eric Roberts.

Oman graduated from Southern Methodist University with a degree in finance. He also attended the

University of California at Los Angeles, where he studied screenwriting, and New York University, where he

participated in the undergraduate film-production program. He was born and raised in Wichita Falls, Texas.

BRUCE HENDRICKS (Executive Producer) was also an executive producer on the Jerry Bruckheimer

Films productions of “Pirates of the Caribbean: The Curse of the Black Pearl” and “Pearl Harbor.”

As a filmmaker for over 25 years, Hendricks has been associated with many of the most prestigious,

top-grossing films in motion-picture history. He has a unique position in the entertainment industry,

working as a studio executive, producer and director.

As president of physical production for Walt Disney Studios, Hendricks oversees all aspects of live-

action feature-film production at the company. In this capacity, he has supervised the making of over 200

motion pictures and filmed in more than 20 countries. Among these films are the blockbusters “The Sixth

Sense,” “Armageddon,” “The Rock” and “Pretty Woman,” to name a few. His directing credits include the

large-format film “Ultimate X,” as well as numerous music videos and television programs.

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Hendricks is a member of the Academy of Motion Picture Arts and Sciences and the Directors Guild

of America. He received an Emmy® award for his work on the telefilm “The Wave.” A native of Dallas,

Texas, Hendricks holds a Bachelor of Science degree in film production from the University of Texas.

ERIC McLEOD (Executive Producer) has a wide range of production experience as a producer,

executive producer and unit production manager. Most recently, McLeod served as executive producer of

“The Dukes of Hazzard” and producer of the smash hit “Mr. and Mrs. Smith,” starring Brad Pitt and

Angelina Jolie. Previously, he was executive producer of “The Cat in the Hat,” “Showtime,” “Bubble Boy”

and “Austin Powers: International Man of Mystery” and producer of “Austin Powers in Goldmember,”

“The Cell” and “Austin Powers: The Spy Who Shagged Me.”

Earlier in his career, McLeod was co-producer of “Feeling Minnesota” and “Now and Then,” line

producer of “Corrina, Corrina” and “Even Cowgirls Get the Blues” and associate producer of “Live Wire.”

He has also served as unit production manager on several of the above films, as well as on “Enemy of the

State,” “Wag the Dog,” “Wide Sargasso Sea” and “The Rapture.” McLeod began his work in motion

pictures as a production coordinator on John Waters’ “Cry-Baby,” starring Johnny Depp, Gus van Sant’s

“Drugstore Cowboy” and production supervisor on “8 Seconds.”

Academy Award®-nominated writers TED ELLIOTT and TERRY ROSSIO wrote the DreamWorks

animated feature “Shrek,” winner of the first Academy Award® for Best Animated Film in 2002.

In 1992, the pair co-wrote the highest-grossing film of the year, the Disney animated feature

“Aladdin,” starring Robin Williams. Their live-action feature-film credits include: “Little Monsters,”

starring Fred Savage; “Small Soldiers,” starring Kirsten Dunst; “Godzilla,” starring Matthew Broderick;

and “The Mask of Zorro,” starring Antonio Banderas and Anthony Hopkins.

In 1996, Elliott and Rossio became the first writers signed to an overall writing and producing deal at

DreamWorks SKG. Their animated projects at DreamWorks include “Shrek,” with Mike Myers and Eddie

Murphy; “The Road to El Dorado,” featuring Kevin Kline and Kenneth Branagh; “Antz” (creative

consultants), featuring Woody Allen; and “Sinbad: Legend of the Seven Seas” (creative consultants),

featuring Brad Pitt and Catherine Zeta-Jones.

In 2003, Elliott and Rossio co-wrote Jerry Bruckheimer’s production of “Pirates of the Caribbean: The

Curse of the Black Pearl,” winner of the People’s Choice Awards for Best Picture and recipient of five

Academy Award® nominations, including Best Actor for Johnny Depp.

Elliott and Rossio have been members of the Writers Guild of America, West, since 1986.

DARIUSZ WOLSKI,ASC (Director of Photography) most recently served as cinematographer on the

thriller “Hide and Seek,” starring Robert De Niro and Dakota Fanning, and the Jerry Bruckheimer

productions of “Pirates of the Caribbean: The Curse of the Black Pearl” and “Bad Company,” starring

Anthony Hopkins and Chris Rock. Prior to that, he showcased his talents on director Gore Verbinski’s

“The Mexican,” starring Julia Roberts and Brad Pitt.

Wolski has collaborated with several notable directors, including Andrew Davis on “A Perfect

Murder,” Alex Proyas on “Dark City” and the cult favorite “The Crow,” Peter Medak on “Romeo Is

Bleeding,” as well as Tony Scott on “The Fan” and the Don Simpson-Jerry Bruckheimer production

“Crimson Tide.” For his work on the controversial, highly acclaimed “Crimson Tide,” he garnered an ASC

Award nomination for Outstanding Achievement in Cinematography.

Born in Warsaw, Poland, Wolski attended the Film School in Lodz. After immigrating to the United

States in 1979, he worked on documentaries, industrials and smaller independent films.

His first big break came in 1986 on the film “Heart,” when he was asked to replace the

cinematographer who moved on to work on another project. Soon after, Wolski moved to Los Angeles

where he worked as a director of photography on music videos and commercials for such directors as Alex

Proyas, David Fincher, Tony Scott and Jake Scott. He went on to work on the Roger Corman-produced

feature “Nightfall” and on the PBS American Playhouse production of “Land of Little Rain.”

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RICK HEINRICHS (Production Designer) is one of film’s most original and innovative visual artists,

masterfully creating alternate universes entirely appropriate to his film’s stories and settings. He won an

Academy Award® for his work on Tim Burton’s “Sleepy Hollow,” for which he also won a British Academy

of Film and Television Arts (BAFTA) and Art Directors Guild Awards, among others. He received another

Oscar® nomination and Art Directors Guild Award for his highly imaginative designs for “Lemony

Snicket’s A Series of Unfortunate Events.”

The creative collaboration between Heinrichs and Tim Burton dates back to their early studio days at

Walt Disney Pictures when the two produced the animated short “Vincent” and the theatrical short

“Frankenweenie.” They later teamed on Burton’s first theatrical feature, “Pee-wee’s Big Adventure,” and

then “Beetlejuice.” Heinrichs had already begun his climb up the film-career ladder as set designer on

“Ghostbusters II” and “Joe Versus the Volcano” in 1989, before teaming with his college friend in the

same capacity on “Edward Scissorhands” the next year.

In 1992, Heinrichs moved up to art director on Burton’s “Batman Returns,” having previously done

that job on “Soapdish.” He also served that year as visual consultant on “Tim Burton’s The Nightmare

Before Christmas.” Later, Heinrichs was production designer on Burton’s hit remake of “Planet of the

Apes.”

Heinrichs’ other credits as production designer include “Hulk,” “Bedazzled,” “The Big Lebowski” and

“Fargo.” He also worked as art director on “Tall Tale” and as set designer on “The Fisher King.”

PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST reunites PENNY ROSE (Costume

Designer) with director Gore Verbinski following their collaborations on both “Pirates of the Caribbean:

The Curse of the Black Pearl” and “The Weather Man.” For “Pirates of the Caribbean,” Rose was

nominated for both the British Academy of Film and Television Arts (BAFTA) and Costume Designers

Guild awards. She also designed the costumes for Jerry Bruckheimer’s production of “King Arthur,”

starring Clive Owen and Keira Knightley.

Rose had received a previous BAFTA nomination for her work on director Alan Parker’s acclaimed

screen version of Andrew Lloyd Webber and Tim Rice’s musical “Evita,” starring Madonna and Jonathan

Pryce. Rose is a longtime collaborator of Parker’s and has designed costumes for three of his other films:

“The Road to Wellville,” “Pink Floyd: The Wall” and “The Commitments.”

Rose’s additional credits include “The Sleeping Dictionary,” Neil Jordan’s “The Good Thief,” “Just

Visiting,” “Entrapment” and Disney’s hit remake of “The Parent Trap,” directed by Nancy Meyers. Earlier

in her career, she designed costumes for Brian De Palma’s “Mission: Impossible” and has twice worked

with Academy Award®-winning director Lord Richard Attenborough on “Shadowlands” and “In Love and

War.” Her resume also includes Christopher Hampton’s “Carrington,” Vincent Ward’s “Map of the Human

Heart,” Bill Forsyth’s “Local Hero,” Pat O’Connor’s “Cal,” Marek Kanievska’s “Another Country” and

Jean-Jacques Annaud’s “Quest for Fire.” Most recently, Rose designed the costumes for the Walt Disney

Pictures comedy “Wild Hogs,” starring Tim Allen, Martin Lawrence and John Travolta.

Rose was trained in West End theater and began her career there and also in television, designing for

commercials where she first met such directors as Alan Parker, Adrian Lyne, Ridley and Tony Scott and

Hugh Hudson. She was born and raised in Britain and is fluent in French and Italian.

CRAIG WOOD (Editor) has enjoyed a long and rewarding association with director Gore Verbinski,

most recently editing the director’s “The Weather Man.” Previously, he edited Verbinski’s “Pirates of the

Caribbean: The Curse of the Black Pearl” and the horror thriller “The Ring,” which garnered almost $250

million in worldwide box-office receipts and has gone on to become a rental sensation. Previously, Wood

served as the editor on both “The Mexican” and “Mouse Hunt.” The duo also collaborated on more than

a dozen commercials, including the Clio Award-winning Budweiser “Frogs” and the 1996 short film “The

Ritual,” as well as Verbinski’s video “Negasonic Teenage Warhead” for the rock group Monster Magnet.

Wood was an additional editor on Randall Wallace’s “We Were Soldiers,” starring Mel Gibson. Other

editing credits include “Highway,” Bronwen Hughes’ romantic comedy “Forces of Nature,” starring

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Sandra Bullock and Ben Affleck, “Secrets of the City” and Alex Proyas’ 1989 feature film “Spirits of the

Air, Gremlins of the Clouds.”

Born in Sydney, Australia, Wood began his career at age 19 as assistant editor in the documentary

department at the Australian Broadcasting Corporation television network before moving into music

videos and commercials. He has fashioned the videos of such artists as Smashing Pumpkins, Bjork, Fiona

Apple, Garbage, Tina Turner, Tom Petty, UB40 and Janet Jackson, not to mention creating stylish ads for

various corporate clients.

STEPHEN RIVKIN,A.C.E. (Editor) is another “Pirates” returnee, having served as one of the editors

of “Pirates of the Caribbean: The Curse of the Black Pearl.”

Since the early 1980s, Rivkin has edited or co-edited such diverse films as Michael Mann’s “Ali”; the

action thriller “Swordfish”; the comedies “My Cousin Vinny,” “Robin Hood: Men in Tights” and “Nine

Months”; Wolfgang Petersen’s thriller “Outbreak”; the war drama “Bat-21”; and, for director Norman

Jewison, “Only You,” “Bogus,” “The Hurricane” and “The Statement.” He also edited Rob Cohen’s action

spectacle “Stealth,” starring Josh Lucas, Jamie Foxx and Jessica Biel. Earlier in his career, Rivkin edited

and was the associate producer on the features “Youngblood” and “The Personals.”

Among Rivkin’s television credits are TNT’s CableACE Award-nominated “Nightbreaker,” HBO’s

“The Comrades of Summer” and “El Diablo,” as well as Lifetime’s “Wildflower” and the CBS movie “The

Girl With the Crazy Brother,” the latter two directed by Diane Keaton.

Rivkin was born and raised in Minneapolis, Minnesota.

German-born composer HANS ZIMMER (Music) is recognized as one of Hollywood’s most

innovative musical talents, having first enjoyed success in the world of pop music as a member of The

Buggles. The group’s single Video Killed the Radio Star became a worldwide hit and helped usher in a

new era of global entertainment as the first music video to be aired on MTV.

Zimmer entered the world of film music in London during a long collaboration with famed composer

and mentor Stanley Myers, which included the film “My Beautiful Laundrette.” He soon began work on

several successful solo projects, including the critically acclaimed “A World Apart,” and during these

years, Zimmer pioneered the use of combining old and new musical technologies. Today, this work has

earned him the reputation of being the father of integrating the electronic musical world with traditional

orchestral arrangements.

A turning point in Zimmer’s career came in 1988 when he was asked to score “Rain Man” for director

Barry Levinson. The film went on to win the Oscar® for Best Picture of the Year and earned Zimmer his

first Academy Award® nomination for Best Original Score. The next year, Zimmer composed the score for

another Best Picture Oscar® recipient, “Driving Miss Daisy,” starring Jessica Tandy and Morgan Freeman.

Having already scored two Best Picture winners, in the early ’90s, Zimmer cemented his position as a

preeminent talent with the award-winning score for “The Lion King.” The soundtrack has sold over 15

million copies to date and earned him an Academy Award® for Best Original Score, a Golden Globe®, an

American Music Award, a Tony® and two Grammy Awards®. In total, Zimmer’s work has been nominated

for seven Golden Globes®, seven Grammys® and seven Oscars® for “Rain Man,” “Gladiator,” “The Lion

King,” “As Good as It Gets,” “The Preacher’s Wife,” “The Thin Red Line” and “The Prince of Egypt.”

With his career in full swing, Zimmer was anxious to replicate the mentoring experience he had

benefited from under Stanley Myers’guidance. With state-of-the-art technology and a supportive creative

environment, Zimmer was able to offer film-scoring opportunities to young composers at his Santa

Monica-based musical “think tank.” This approach helped launch the careers of such notable composers

as Mark Mancina, John Powell, Harry Gregson-Williams, Nick Glennie-Smith and Klaus Badelt.

In 2000, Zimmer scored the music for Ridley Scott’s “Gladiator,” for which he received an Oscar®

nomination, in addition to Golden Globe® and Broadcast Film Critics Awards, for his epic score. It sold

more than three million copies worldwide and spawned a second album, Gladiator: More Music From the

Motion Picture, released on the Universal Classics/Decca label. Zimmer’s other scores that year included

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“Mission: Impossible 2,” “The Road to El Dorado” and “An Everlasting Piece.”

Some of his other impressive scores include Jerry Bruckheimer’s productions of “Days of Thunder”

and “Pearl Harbor”; Gore Verbinski’s “The Ring”; four films directed by Ridley Scott, “Matchstick Men,”

“Hannibal,” “Black Hawk Down” (also produced by Bruckheimer) and “Thelma and Louise”; Penny

Marshall’s “Riding in Cars With Boys” and “A League of Their Own”; “True Romance”; “Tears of the

Sun”; Ron Howard’s “Backdraft”; “Smilla’s Sense of Snow”; and the animated “Spirit: Stallion of the

Cimarron,” for which he also co-wrote four of the songs with Bryan Adams, including the Golden Globe®

nominated “Here I Am.”

At the 27th annual Flanders International Film Festival, Zimmer performed live for the first time in

concert with a 100-piece orchestra and a 100-person choir. Choosing selections from his body of work,

Zimmer performed newly orchestrated concert versions of “Gladiator,” “Mission: Impossible 2,” “Rain

Man,” “The Lion King” and “The Thin Red Line.” The concert was recorded by Decca and released as a

concert album entitled The Wings of a Film: The Music of Hans Zimmer.

In 2003, Zimmer completed his 100th film score with “The Last Samurai,” for which he received both

a Golden Globe® and a Broadcast Film Critics nomination. His other recent credits include Nancy Meyers’

comedy “Something’s Gotta Give,” the animated DreamWorks films “Shark Tale” and “Madagascar,”

James L. Brooks’ “Spanglish,” “The Ring 2,” the summer blockbuster “Batman Begins” and Gore

Verbinski’s “The Weather Man.” Most recently, Zimmer scored Ron Howard’s “The Da Vinci Code” and

Nancy Meyers’ new film for Sony Pictures, “Holiday,” starring Kate Winslet, Cameron Diaz, Jack Black

and Jude Law.

Zimmer’s additional honors and awards include the prestigious Lifetime Achievement Award in Film

Composition from the National Board of Review and the Frederick Loewe Award in 2003 at the Palm

Springs International Film Festival. Zimmer has also received ASCAP’s Henry Mancini Award for

Lifetime Achievement.

Zimmer and his wife live in Los Angeles. He is the father of four children.

JOHN KNOLL (Visual Effects Supervisor) shared an Academy Award® nomination for his work on

“Pirates of the Caribbean: The Curse of the Black Pearl.” He joined Industrial Light & Magic as a

technical assistant in 1986 and was soon promoted to motion-control camera operator for “Captain EO.”

After three years of operating, Knoll was called upon to work on the groundbreaking digital effects for

“The Abyss.” Since that time, he has been promoted to visual-effects supervisor, heading up the visual

effects on more than 20 feature films and commercials. His film background, coupled with an advanced

understanding of digital technologies, has made Knoll a much sought-after effects supervisor, with two

Academy Award® nominations for “Star Wars: Episode II—Attack of the Clones” and “Star Wars: Episode

I—The Phantom Menace” (the latter earning him a BAFTA nomination as well).

Knoll’s resume also includes “Star Wars: Episode III—Revenge of the Sith,” “Mission to Mars,” “Deep

Blue Sea,” “Star Trek: First Contact” and “Mission: Impossible,” among others.

Knoll’s interest in filmmaking began at an early age. Having a keen interest in model making, Knoll

was mesmerized by the original “Star Wars.” During a visit to ILM in 1978, he was able to observe

firsthand the world of visual effects. Inspired to learn more, Knoll attended the University of Southern

California’s Film School and earned a Bachelor of Arts in cinema production, while freelancing as a

model maker at a variety of Los Angeles-based production facilities.

During his last year at USC, Knoll took an advanced animation class where he built a motion-control

system from an Oxberry animation stand, an Apple II computer, a CNC milling-machine controller and a

bunch of industrial surplus stepper motors. Impressed by the student film generated from this class

project, ILM hired Knoll as a technical assistant for motion-control photography. Greatly impressed by

visits to ILM’s newly founded computer graphics department, Knoll took up computer graphics as a

hobby. Teaming up with his brother, who was working on his doctoral thesis in computer vision at the

University of Michigan, the Knoll brothers created Photoshop in 1987.

ABOUT THE FILMMAKERS

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ABOUT THE FILMMAKERS

BILL GEORGE (Visual Effects Supervisor) joined Industrial Light & Magic in 1981. Since then, he has

worked as model-shop supervisor, art director, matte painter, commercial director and visual-effects supervisor.

Some highlights of his career include miniature construction and design on “Blade Runner,” art

direction and design for five of the “Star Trek” films, directing over 30 commercials at ILM and

overseeing model construction on “Ghostbusters 2” and “Alive.” In 1988, he received an Academy Award®

for Best Visual Effects for his work on “Innerspace.”

In 2002, director Steven Spielberg entrusted George to update his beloved character E.T. using digital

character animation for the 20th Anniversary Edition of “E.T. the Extra-Terrestrial.” George recently

received yet another Academy Award® nomination for the third installment of the highly successful “Harry

Potter” series, “Harry Potter and the Prisoner of Azkaban.”

ALLEN HALL (Special Effects Coordinator) won an Oscar® for his groundbreaking work on Robert

Zemeckis’ “Forrest Gump” and was nominated for Ron Howard’s “Backdraft” and Ron Underwood’s

“Mighty Joe Young.” “Forrest Gump” also won Hall a British Academy of Film and Television Arts

(BAFTA) Award, with “Backdraft” receiving a nomination.

Hall’s numerous credits as special-effects coordinator or supervisor have included such notable films

as “Popeye,” “Top Gun,” “The Untouchables,” “Scrooged,” “Dead Poets Society,” “Avalon,” “For the

Boys,” “Cutthroat Island,” “The Long Kiss Goodnight,” “Contact,” “Babe: Pig in the City,” “U-571,” “Dr.

Seuss’ How the Grinch Stole Christmas,” “Road to Perdition,” “Terminator 3: Rise of the Machines,”

“Constantine” and “Elizabethtown.”

MICHAEL LANTIERI (Special Effects Coordinator) won an Academy Award® for his work on

Steven Spielberg’s “Jurassic Park” and was nominated for Spielberg’s “AI—Artificial Intelligence,” “The

Lost World: Jurassic Park” and “Hook,” as well as Robert Zemeckis’ “Back to the Future Part II.” He won

British Academy of Film and Television Arts (BAFTA) Awards for “Jurassic Park,” “Back to the Future

Part II,” Zemeckis’ “Death Becomes Her” and George Miller’s “The Witches of Eastwick” and was

nominated for Francis Ford Coppola’s “Bram Stoker’s Dracula” and Spielberg’s “Minority Report.”

Lantieri’s numerous other credits as special-effects supervisor have included some of the biggest films

of the past 20 years, including “Star Trek IV: The Voyage Home,” “Who Framed Roger Rabbit?,” “Twins,”

“Indiana Jones and the Last Crusade,” “Back to the Future Part III,” “The Flintstones,” “Casper,” “Congo,”

“Matilda,” “Mars Attacks!,” Gore Verbinski’s “Mouse Hunt,” “Deep Impact,” “Wild Wild West,” “Jurassic

Park III,” “Hulk,” “Seabiscuit,” “The Terminal” and “Lemony Snicket’s A Series of Unfortunate Events.”

Lantieri also directed the feature thriller “Komodo.”

GEORGE MARSHALL RUGE (Stunt Coordinator) returns following his thrilling work on “Pirates

of the Caribbean: The Curse of the Black Pearl,” which won him an American Choreography Award. Ruge

was the stunt coordinator/action designer on Peter Jackson’s “The Lord of the Rings” trilogy, which

included some of the most ambitious and complex action sequences in motion-picture history. He was also

stunt coordinator and second unit director on Jerry Bruckheimer’s production of the action hit “National

Treasure.”

Born in San Francisco, Ruge studied theater arts and acting at San Francisco State University where

he also studied fencing, specializing in the saber. His first opportunity to duel on stage was in the role of

Macduff in “Macbeth.” While working as an actor in Bay Area theater, film and television productions,

he also directed plays for The Loft Theatre Group, of which he is a founding member. The company

produced several original plays while Ruge was in residence.

After graduation, he relocated to Los Angeles to pursue a career in film. Since that time, Ruge has

performed in numerous feature-film productions, among them “Come See the Paradise,” “L.A. Story,”

“The Doors,” “The Rocketeer,” “Chaplin,” “Robin Hood: Men in Tights,” “Mars Attacks!,” “George of the

Jungle,” “Conspiracy Theory,” “City of Angels,” “Bulworth,” “Lethal Weapon 4,” “The Mask of Zorro,”

“Gattaca,” and “Dr. Dolittle,” among many others. He doubled George Hamilton in the fencing scenes of

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“Zorro, the Gay Blade” as well as portraying longtime hero Basil Rathbone in the biographical telefilm

chronicling Errol Flynn’s life, “My Wicked, Wicked Ways.” Ruge also dueled with Peter O’Toole in “My

Favorite Year,” playing the role of Lord Drummond opposite O’Toole’s Robin Hood characterization.

On television, Ruge has guest-starred in numerous episodes of such series as “Knots Landing,”

“Wizards and Warriors,” “The Twilight Zone,” “Tour of Duty,” “Quantum Leap,” “SeaQuest DSV,”

“Walker, Texas Ranger,” “V.I.P.,” “Chicago Hope” and “Nash Bridges.”

Ruge was the recipient of the Bank of America Drama Award for Acting and the Drama Circle Critics

Award for Best Actor in a dramatic play and garnered a Stuntman’s Award for Best Fight Sequence in a

Motion Picture. Ruge has served two elected terms, in 1996 and in 2000, as President of the Stuntman’s

Association of Motion Pictures.

Ruge is a published poet and has written several screenplays.

One of the most renowned makeup artists in motion pictures, VE NEILL (Key Makeup Artist and

Designer) was nominated for her work, along with key hairstylist and designer Martin Samuel, for a Best

Makeup Academy Award® for “Pirates of the Caribbean: The Curse of the Black Pearl.” Over the course

of her 27-year career, Neill has won three Academy Awards®, two Emmy® awards and two Saturn Awards,

with a total of 16 international nominations for her creative and innovative makeups.

From her early career as a rock ’n’ roll stylist, Neill began to develop her skills as a designer and

makeup artist. Specializing in concept, design and execution, Neill entered the film industry and

discovered a talent for extreme fantasy makeup. These unique skills put her at the forefront of the early

1980s film extravaganzas.

Neill created space travelers for the first “Star Trek” film and for the hit comedy “Galaxy Quest,” rock

’n’ roll vampires for Joel Schumacher’s “The Lost Boys” and visions of the afterlife for Tim Burton’s

wacky comedy “Beetlejuice,” her first Oscar®. In addition, she turned Robin Williams into a Scottish

nanny for “Mrs. Doubtfire” (Neill’s second Oscar® win), Martin Landau into horror king Bela Lugosi for

Burton’s “Ed Wood” (her third Academy Award®) and brought to life an onslaught of villains, beauties and

superheroes for Burton’s “Batman Returns” and Schumacher’s “Batman Forever” and “Batman & Robin.”

She gave Patricia Arquette the “Stigmata,” transformed Christine Baranski into “The Grinch’s” sexy

girlfriend, aged Johnny Depp 60 years for the film “Blow” and turned Jude Law into the perfect Love

Robot for Steven Spielberg’s “A.I.: Artificial Intelligence.” Her other credits have included Burton’s

“Edward Scissorhands,” Danny DeVito’s “Matilda” and “Hoffa,” and Spielberg’s “Amistad.”

MARTIN SAMUEL (Key Hairstylist and Designer), along with Ve Neill, was a recipient of an

Academy Award® nomination for their work on “Pirates of the Caribbean: The Curse of the Black Pearl.”

Samuel has worked as a hairstylist in the entertainment industry for over 25 years and has headed the hair

department on more than 20 feature films. His expertise in both period and contemporary designs has

earned Samuel an international following.

His resume includes such diverse films as “The Man Who Fell to Earth,” “Little Buddha,” “Coal

Miner’s Daughter,” “Wild Wild West,” “Jane Eyre,” “Blow,” “Hollow Man,” “The Life of David Gale,”

“What a Girl Wants,” “Secret Window,” “Sahara,” “Bandidas,” “Domino” and “Chromophobia.” He was

nominated for British Academy of Film and Television Arts (BAFTA) Awards for “Pirates of the

Caribbean: The Curse of the Black Pearl” and his work with Madonna on Alan Parker’s “Evita,” and he

won Britain’s Best Screen Hairstylist of the Year Award for two years running for “Evita” and “Angels and

Insects.” He also won the Hollywood Makeup Artist and Hairstylist Guild Award for Best Character Hair

Styling for “Pirates of the Caribbean: The Curse of the Black Pearl” and received a second nomination for

Best Period Hair Styling.

Born and raised in London, Samuel and his wife, Mary, live in Los Angeles.

Information contained within as of June 21, 2006.

ABOUT THE FILMMAKERS

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are on their 36th Anniversary Tour in 2006 . In 1970, Producer Gary Lashinsky created a new family arena attraction, starring The "World Famous" LIPIZZANER STALLIONS.

Many horses and riders were brought from Europe to perform in this unique family oriented arena attraction. Over the years, twenty-three million people throughout North and South America, Great Britain, Europe, Australia and Hawaii have seen this internationally acclaimed spectacle.

2006 represents the 36th Anniversary season of The Lipizzaner Stallions. All new music, choreography and routines have been incorporated in this anniversary edition with a major emphasis on the historical background and foundation of the Lipizzaner breed, from its original breeding and use as a horse of war to a horse of nobility and aristocracy to a living form of equestrian art. The show emulates the Spanish Riding School of Vienna, Austria, in its presentation of Lipizzans, and maintains a traditional as well as entertaining performance similar in many ways to what you would see at the Spanish Riding School of Vienna.

Also included in the performance is a segment called the "Airs Above the Ground." These are the spectacular leaps and maneuvers, once used by riders in saddle to protect and defend themselves on the battlefield, which are now preserved as an equestrian work of art. When you see the Lipizzans perform, it is like stepping back four hundred years and viewing one of the greatest equine ballets in history.

The Lipizzan is a rare and unique breed; its history and culture is known worldwide. The Walt Disney movie The Miracle of the White Stallions, depicting General George S. Patton saving them at the end of World War II from certain extinction, created an even greater world-wide interest in the Lipizzaner breed. Had it not been for Patton, there would be no Lipizzans today. 

Although the Lipizzans star in this presentation, the ancestral forefather of the Lipizzan, the Spanish Andalusian, is featured in a high school presentation with special wardrobe themed to traditional Spanish music.

Not only is the Andalusian shown in saddle, but also in a unique presentation where the rider performs all the maneuvers of the Grand Prix Olympic level dressage on the longline, while walking behind the horse and guiding him through his paces.

The current tour features 12 to 14 stallions performing selected maneuvers as described above in an exciting presentation.

The conclusion of the performance of The Lipizzaner Stallions is the traditional Grand Quadrille, featuring six to eight Lipizzaner Stallions with their riders performing an intricate, equine ballet, exhibiting maneuvers through the highest level of dressage. The Lipizzans prance, march and intricately weave their way across the floor to the music of the Masters in a spectacular ballet of four-footed white dancers.

Harkening back to time when the horse was a symbol of grace and majesty, the Lipizzaner Stallions are truly a great experience to be enjoyed by the entire family. One does not need to be a horse lover to enjoy "The Equestrian Treat of the Century"!

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July 6, 2006

San Francisco 5, Los Angeles 4 at Dodger Stadium
San Francisco Record: (44-42)
Los Angeles Record: (44-41)

Winning pitcher - Brad Hennessey (4-1)
Losing pitcher - Mark Hendrickson (4-10)
SV - Armando Benitez (9)

	1	2	3	4	5	6	7	8	9		R	H	E
San Francisco	3	0	2	0	0	0	0	0	0		5	10	0
Los Angeles	0	0	2	0	1	0	1	0	0		4	7	0

 

LA Angels 5, Oakland 7 at McAfee Coliseum
LA Angels Record: (40-45)
Oakland Record: (45-40)

Winning pitcher - Huston Street (2-3)
Losing pitcher - Scot Shields (4-6)

	1	2	3	4	5	6	7	8	9		R	H	E
LA Angels	0	1	0	2	0	1	1	0	0		5	12	1
Oakland	2	0	0	3	0	0	0	0	2		7	7	0

LAA HR - V. Guerrero (18) M. Napoli (11) J. Rivera 2 (10)
OAK HR - D. Johnson (7) N. Swisher (20) F. Thomas (19)

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(C) MBN 2006 (Joyce Chow)

 

 

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sales@montebubbles.net

 

 

 

 

 

 

 

Recent Posts

 

 

 

 

 

 

 

 

sales@montebubbles.net

 

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Earl Scheib, Inc. (Pink Sheets:ESHB):

-- Earl Scheib and the South Coast Air Quality Management District voluntarily partner to bring best practices designed to reduce air contaminants to the auto body and paint industry in Southern California

Earl Scheib, Inc. (Pink Sheets:ESHB), in a voluntary partnership with California's South Coast Air Quality Management District (AQMD), will provide free consultation services to auto body and paint industry businesses identified by the AQMD who need assistance in reducing their emission of air contaminants. Earl Scheib will provide these referred businesses with technical information and advice to help control excessive odors and overspray generated from the auto body painting process.

Christian K. Bement, President and Chief Executive Officer of Earl Scheib, stated, "Earl Scheib recognizes effective environmental management as a corporate priority and is, and has been, actively involved in environmental innovations and technologies. Utilizing innovative and leading technologies such as fully filtered and enclosed paint booths, charcoal filtering processes, stacking systems and other equipment designed to minimize overspray, Earl Scheib is committed to implementing effective environmental solutions. We believe that sharing our know-how with others in our industry will not only help improve air quality in Southern California but also help improve the image of the auto paint and body industry."

For years, Earl Scheib has been committed to innovative environmental leadership by serving on the Auto Refinish Coalition of the National Paint & Coatings Association (NPCA), an over one-hundred-year-old nonprofit organization which serves as industry advisor to national, state and local environmental organizations. Earl Scheib has received NPCA's Industry Achievement Award and Paint Pollution Protection Award, and energy conservation awards.

About Earl Scheib, Inc.

Earl Scheib, Inc., founded in 1937, is a nationwide operator of 102 auto paint and body shops located in approximately 90 cities throughout the United States. In addition, through a wholly owned subsidiary, Earl Scheib, Inc. manufactures and distributes paint coating systems that are used not only by its paint and body shops, but are also sold to original equipment manufacturers and architectural firms. For more information, visit Earl Scheib on the web at http://www.earlscheib.com.

About South Coast Air Quality Management District

The South Coast Air Quality Management District is the regional government agency responsible for air pollution control in Los Angeles and Orange counties and parts of Riverside and San Bernardino counties. AQMD regulations must be approved by the state Air Resources Board and the U. S. Environmental Protection Agency

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The world's most popular search engine has been taking flak from news publishers for some time over the alleged "stealing" of content by its news aggregator, Google News.

Nathan Stoll, Google News Product Manager, took the stage at the 13th World Editors Forum in Moscow to reassure the world's press that his employer presents news organizations with many opportunities to reach a wider public.

For those not familiar with Google News, Stoll explained the way in which it works; providing related content from numerous publishers in blocks on its homepage. In this way, the reader can see how many publisers are covering a certain story and select their news reading according to what's hot at the moment.

He want on to explain that Google News offers a personalization tool that allows readers to dig deeper, to find niche material in which they might be interested that otherwise would be hard to find. 

But Stoll emphasized that the news aggregator is "not trying to be all things to all people" and "not trying to have an editorial voice." In fact, said Stolle, Google News encourages readers to read numerous publications so that they get a wide variety of views on a certain topic. The way the site is designed facilitates this process.

Google feels that the Internet opens up huge opportunities for publishers and that its aggregator portends to compliment news organizations online. Google News even has deals with several publishers to drive people to subscription sites with the hope of increasing their online revenues. It tries to generate new traffic for publishers by driving readers to websites. If publishers continue to produce quality content, those readers will keep coming back.

Stoll concluded by saying "We want to establish symbiotic relationships (with publishers) where we can add value. We want to make readers become more passionate about news."

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As newspapers struggle with declining circulations, Saturday and Sunday editions along with supplements have proven to boost sales. George Brock, Saturday Editor of the UK's Times, Jan Jensen, Editor-in-Chief of Ekstra Bladet in Denmark and Berna Gonzàlez-Harbour, Sub-director, of the Spanish daily El Pais told the crowd at the 13th World Editors Forum of their papers' experiences with these feature-driven publications.

Brock took the floor first, reporting that the Saturday Times has a readership of 2 million and the most readers under 45 of its London quality competitors. It's Sunday sister boasts 3.5 million readers and accounts for half of all quality papers sold on Sunday in Britain.

The importance weekend editions play, according to Brock, can be seen in the substantial increase in pages. Throughout the 80's, the Saturday Times had only 1 section of 28 pages. Today it's a 378-page, 7 section collossus accompanied by a 470-page, 12 section Sunday edition.

Over the years, what used to be strictly news in the Saturday edition evolved into news, business, sports, travel, gardening, books, personal finance, property, listings, health, style, and food and drink. The wide variety of topics in weekend editions suits the weekend market when readers have more time to spend with the paper and when free papers and the Internet are not competing as much.

Brock summed up the success of weekend edtions by citing three keys:

• Well-tuned variety
• Responsiveness to social change
• Balancing online and offline

Jan Jensen from the Danish tabloid Ekstra Bladet wasn't shy to say that his paper was won of the most credible in Denmark. Founded itself as an extra paper in 1904 to cover the war between Russia and Japan, today Ekstra Bladet produces a host of supplements.

The onlslaught of free papers has caused Ekstra Bladet to rethink its content strategy focusing on news, humor, sensation, exposures and provocation. It also launched a sports paper which by its own count is the most comprehensive sports coverage in Denmark. 

Jensen admitted that there is no competition from free papers on weekends, but nevertheless, despite heavy rivalries with other major Danish papers, Ekstra Bladet has succeeded in increasing its weekend circulation. One contributing factor to this success is Flash, a 24-page supplement aimed at young and female readers. 

In the fall, Ekstra Bladet will join with other Danish papers to print a free paper that will be distributed to 1.5 million people from Monday to Friday. There are three ways to fight the onslaught of free papers, said Jensen; journalism, journalism, journalism.

Jensen said that the paper's website is produced apart from the printed paper and attracts an entirely different audience, but that both the print and online editions make a profit of between 10 and 15%.

But Jansen reminded the audience that "We don't publish newspapers to make money. We make money to publish newspapers."

As for the Southern European weekend market, Berna Gonzalez-Harbour first pointed out to the Moscow audience that El Pais has a 29% hold on the entire Spanish newspaper market, a statistic that jumps to 38% on Sundays. The Spanish daily's Sunday edition has enjoyed a 75,000 circulation spike over the past 5 years.

The Sunday edition has also helped attract female readers, 48% of which make up the Sunday readership, as well as younger readers, 250,000 more of which read the paper on the weekends.

El Pais has witnessed the most success with weekend editions and supplements because it diversifies itself in content and in format:

• entertainment
  
• science
• the human face of politics
• trends
• flexibility
• freedom of color
• freedom of layout

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The hottest debate at this year's World Editor Forum was about - you guessed it - the lessons learned from the Danish cartoon crisis...

Tuesday’s World Editors Forum meeting ended with an intense debate about the infamous Danish cartoon controversy, and the lessons that might be learned from it. The participants were from the various focal points of the controversy, including Joern Mikkelsen, the chief editor of the newspaper that started it all -- Jyllands-Posten – and the newspaper’s culture editor Fleming Rose (the man who commissioned the cartoons). Also participating were Eric LeBoucher of Le Monde, Imtiaz Alam from the South Asian Free Media Association in Pakistan, Hakeem Bello, the executive editor of Nigeria’s The National Interest newspaper, Andrei Richter of the Moscow Media Law and Policy Institute, and Khaled Al-Belshy, the deputy editor of Egyptian newspaper Al-Destour. The session was moderated by UNESCO’s Abdul-Waheed Khan and also featured much audience participation.

The moderator, Abdel-Waheed Khan, began the session by emphasizing that both;

• respect for freedom of speech, and
• respect for religion

are key pillars, and shouldn’t be placed against each other.

That attempt to rationalize the issue began to lose focus as each speaker presented his point of view. 

The first speaker was Mikkelsen, the Jyllands-Posten chief editor, who began his talk by listing several things that he wanted to clarify in the aftermath of the cartoon affair.

“No – JP is not an ultra right wing newspaper”

“No- JP is not the partner of an anti-Muslim worldwide movement”

No- JP was not seeking to trigger a clash of civilizations.”

And although Mikkelsen said, “the religious feelings of all people should be respected,” he also insisted that “religions too can be brought up for discussion – it’s the only way that society can move on.”

On whether or not JP would do it again, he said, “It’s hard to say.” His main reason for saying that, however, did not seem to be because of the global turmoil that printing the cartoons caused, but mainly because the cartoonists themselves were now at risk.

Khaled Al-Balshy, the deputy editor of Egypt’s Al-Destour weekly, began his speech by asking a key question: “How can we have a broader minded world?” He said the cartoon crisis had highlighted existing threats that could cause another clash. He also questioned the Egyptian government’s role in the crisis, beginning with its ambassador to Denmark’s insistence on upping the ante at every possible opportunity. Al-Balshy said this and other government efforts to enflame, rather than contain, the crisis, were taken because the government wanted to appear more “Muslim” than its primary opponent – the Muslim brotherhood -- in upcoming parliamentary elections at the time. And since the government controls a great deal of Egypt’s media, they managed to do so. He then broke down the three ways the press dealt with the situation:

• some government affiliated papers poured oil on the blaze
• other independent papers that wanted to curry favor with the government did the same.
• Some newspapers that wanted to increase their circulation also tried to do so by fanning popular sentiment.
• He called papers that were neutral “negative” since they didn’t do anything to stop the flames…
• He singled out certain columnists for being moderate
• He said his own paper Al-Destour actually alerted the public that the government was overdoing it.

The basic problem for Al-Balshy was that people were protesting the cartoons while other important events (a ship sinking killing over a thousand people, activists being beaten up, elections being rigged) were not getting attention – mainly because the government wanted it that way…

Looking at things from a more global perspective, he said the Danish newspaper should have known that the prophet was a sacred figure; that they could criticize Islam, but not in this way. The western media that reprinted the cartoons also acted irresponsibly, he said. He concluded by saying that the cartoon incident showed that the western world looks at the Muslim world as a single entity, and vice versa.

Eric le Boucher of Le Monde defended his paper’s decision to publish their own Mohamed cartoons. The reason why they didn’t reprint the actual Danish cartoons he said, is because the paper was very aware that it was read in the Arab world, and was also not interested in putting its own correspondents in the Arab world in danger…Even though he condemned the Danish cartoonists’ attempts to link the prophet and terrorism, he could not accept the idea that picturing the prophet is blasphemy.  

Imtiaz Alam, the general secretary of the South Asian Free Media Association in Pakistan, called the Danish experiment “bad news”… Why should the editors push the limits like this, he asks.

In his case, this situation put him in a tough position vis a vis the free press since he’s been championing it for years… since free press now had a bad reputation in his part of the world – as a result of the cartoons.

This issue was not one of free expression, he says, but one of purposefully hurting the feelings of other people. “Just because Muslims don’t like these cartoons doesn’t mean they don’t have a sense of humor,” he concluded.

Hakeem Bello, the executive editor of Nigeria’s The National Interest newspaper, said ignorance of faith is unacceptable, especially when it comes to editors whose job is supposed to be based on knowledge.

Andre Richter of the Moscow Media Law and Policy Institute tried to summarize what happened in Russia, concluding that the cartoon crisis showed that it was impossible to control all 50,000 publications in the country, but did show that it is possible to seriously influence what can and cant be published…

JP culture editor Fleming Rose seemed as equally unrepentant about the brouhaha caused by the cartoons as his boss. For him, the core problem was that everybody was talking about Muslim prohibitions, even though every religion has taboos. It would be disastrous if we had to follow all of these, he said… 

Overall the discussion, and the audience fray afterward, descended into the same kind of cross accusations and pandering to populism that the cartoon incident itself featured…

Posted by mbn at 06:30 PM | Permalink | Comments (0) | TrackBacks (0)

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Nominations for the 58th Annual Primetime Emmy Awards, for the period of June 1, 2005 through May 31, 2006, were announced today (July 6) by the Academy of Television Arts & Sciences from the Leonard H. Goldenson Theatre, North Hollywood, California. The Academy’s Chairman of the Board & CEO Dick Askin presided, assisted by Julia Louis-Dreyfus and Brad Garrett.

The awards presentation telecast awarding Emmys in 27 categories before a black-tie audience will be televised by the NBC Television Network on Sunday, August 27, from the Los Angeles Shrine Auditorium and will be hosted by Conan O’Brien. The Academy's Governors Ball will follow the telecast at the Shrine Exhibition Hall, adjacent to the auditorium.

This year's Emmy telecast will be executive-produced by Ken Ehrlich and Jeff Ross and directed by Louis J. Horvitz.

On Saturday, August 19, also at the Shrine Auditorium, 63 awards “categories” (a single award) and “areas” (possibility of one, more than one or no award) will be handed out at a black-tie presentation chaired by Lee Miller, executive produced by Michael A. Hoey and John Moffitt with Spike Jones, Jr. producing and Ron de Moraes directing. The awards presentation will be televised on E! (date to be announced).

Additional awards may also be given for the four "juried areas" (no nominations) of Costumes for a Variety or Music Program, Voice-Over Performance, Individual Achievement in Animation and Interactive Television. The announcement of these awards, if any, will be released in mid-July. Two additional awards may also be given for Engineering Development and the Governors Award. These awards, if any, will be announced later this month.

A total of 451 separate nominations in 90 categories and areas, compiled by the independent accounting firm of Ernst & Young LLP, were distributed as follows:

A&E – 9 Lifetime – 6

ABC – 63 National Geographic – 2

BBC America – 1 NBC – 47

Bravo – 5 Nickelodeon – 2

Cartoon Network – 2 PBS – 34

CBS – 47 Sci Fi Channel – 7

Comedy Central – 8 Showtime – 19

Discovery Channel – 7 TCM – 2

Disney Channel –8 The History Channel – 7

ESPN2 – 1 TNT –17

FOX – 41 UPN – 2

FX Network – 8 USA – 2

Hallmark Channel – 1 WB – 4

HBO – 95 Commercials – 4

(No network affiliation)

Nomination rosters will be finalized during the period July 6 to July 20, 2006.† The rosters may be revised in cases where names or titles are incorrect, or appeals for changes—including the addition or removal of names—are approved by the National Awards Committee.

This year producer eligibility is based on both credit and function rather than just credit, which was the sole criterion in 2006 (and has been since 1993, the last time credit and function were both used as eligibility criteria). †A review of title and function will be conducted by the Producers and Non-Fiction Peer Groups, and the nominees in the program categories will be announced during the week of July 17.

The complete list of Primetime Emmy nominations and other Academy news and information is available on the Academy's website, located at http://www.emmys.tv.

Nominations were made by active Academy members who voted for programs and other peer categories of their expertise. Peer panels made up of active Academy members will screen nominations during the month of July and August and, in secret ballot, select the Emmy winners.

A complete list of nominations is attached. EDITORS: see inside nomination summary.

58th Annual Primetime Emmy Nominations

Outstanding Animated Program (for Programming Less Than One Hour)

Camp Lazlo • Hello Dolly / Over Cooked Beans • Cartoon Network • Cartoon Network Studios
Joe Murray, Executive Producer
Brian Miller, Executive Producer
Mark O’Hare, Supervising Producer
Jennifer Pelphrey, Supervising Producer
Shareena Carlson, Producer
Merriweather Williams, Story by
Steve Little, Story by
Kaz Prapuolenis, Story by
Mike Roth, Written by/Director
Kent Osborne, Written by
Clayton McKenzie Morrow, Written by
Cosmo Segurson, Written by
Brian Sheesley, Animation Director/Supervising Director
Lindsey Pollard, Animation Director
Phil Cummings, Sheet Timer
Maureen Mlynarczyk, Sheet Timer

Family Guy • PTV • FOX • Fuzzy Door Productions in association with Fox TV Animation Studios
Seth MacFarlane, Executive Producer
David A. Goodman, Executive Producer
Chris Sheridan, Executive Producer
Danny Smith, Co-Executive Producer
Michael Rowe, Supervising Producer
Kara Vallow, Producer
Shannon Smith, Animation Producer
Alec Sulkin, Written by
Wellesley Wild, Written by
Peter Shin, Supervising Director
Dan Povenmire, Director
Chris Robertson, Assistant Director
Andi Klein, Timing Supervisor

Foster’s Home For Imaginary Friends • Go Goo Go • Cartoon Network • Cartoon Network Studios
Craig McCracken, Executive Producer/Director
Brian Miller, Executive Producer
Lauren Faust, Supervising Producer/Animation
Director/Written by
Jennifer Pelphrey, Supervising Producer
Vincent Aniceto, Producer
Robert Alvarez, Animation Director
Eric Pringle, Animation Director

The Simpsons • The Seemingly Neverending Story • FOX • Gracie Films in association with 20th Century Fox Television
James L. Brooks, Executive Producer
Matt Groening, Executive Producer
Al Jean, Executive Producer
Matt Selman, Executive Producer
Carolyn Omine, Executive Producer
Tim Long, Executive Producer
John Frink, Co-Executive Producer
Don Payne, Co-Executive Producer
Dana Gould, Co-Executive Producer
Kevin Curran, Co-Executive Producer
J. Stewart Burns, Co-Executive Producer
Michael Price, Co-Executive Producer
Bill Odenkirk, Co-Executive Producer/Writer
Joel H. Cohen, Co-Executive Producer/Writer
Laurie Biernacki, Animation Producer
Rick Polizzi, Animation Producer
Ian Maxtone-Graham, Written by
David Silverman, Supervising Director
Raymond Persi, Director
Shannon O’Connor, Assistant Director
Richard Gasparian, Animation Timer

South Park • Trapped in the Closet • Comedy Central • Central Productions
Trey Parker, Executive Producer/Director/Written by
Matt Stone, Executive Producer
Anne Garefino, Executive Producer
Frank C. Agnone II, Producer
Eric Stough, Director of Animation

Outstanding Animated Program (for Programming One Hour Or More)

Before The Dinosaurs • Discovery Channel • An
Impossible Pictures production in association with
Discovery Channel
Adam Kemp, Executive Producer
Tim Haines, Executive Producer
Gaynelle Evans, Executive Producer
Fiona Walkinshaw, Executive Producer of Computer
Animation
William Sargent, Executive Producer of Computer Animation
Chloe Leland, Producer/Director
Greg Smith, Producer
Michael Olmert, Writer
Mike Milne, Director of Computer Animation

Escape From Cluster Prime • Nickelodeon • Nickelodeon Studios with Frederator Inc.
Rob Renzetti, Executive Producer/Director/Original
Story/Written by
Fred Seibert, Executive Producer
Scott Peterson, Original Story/Written by
Alex Kirwan, Original Story
Brandon Kruse, Written by
Heather Martinez, Written by
Chris Reccardi, Written by
Bryan Andrews, Written by
Chris Savino, Director
Robert Alvarez, Sheet Timer

Adam Kemp, Executive ProducerTim Haines, Executive ProducerGaynelle Evans, Executive ProducerFiona Walkinshaw, Executive Producer of ComputerAnimationWilliam Sargent, Executive Producer of Computer AnimationChloe Leland, Producer/DirectorGreg Smith, ProducerMichael Olmert, WriterMike Milne, Director of Computer AnimationRob Renzetti, Executive Producer/Director/OriginalStory/Written byFred Seibert, Executive ProducerScott Peterson, Original Story/Written byAlex Kirwan, Original StoryBrandon Kruse, Written byHeather Martinez, Written byChris Reccardi, Written byBryan Andrews, Written byChris Savino, DirectorRobert Alvarez, Sheet Timer

James L. Brooks, Executive ProducerMatt Groening, Executive ProducerAl Jean, Executive ProducerMatt Selman, Executive ProducerCarolyn Omine, Executive ProducerTim Long, Executive ProducerJohn Frink, Co-Executive ProducerDon Payne, Co-Executive ProducerDana Gould, Co-Executive ProducerKevin Curran, Co-Executive ProducerJ. Stewart Burns, Co-Executive ProducerMichael Price, Co-Executive ProducerBill Odenkirk, Co-Executive Producer/WriterJoel H. Cohen, Co-Executive Producer/WriterLaurie Biernacki, Animation ProducerRick Polizzi, Animation ProducerIan Maxtone-Graham, Written byDavid Silverman, Supervising DirectorRaymond Persi, DirectorShannon O’Connor, Assistant DirectorRichard Gasparian, Animation TimerTrey Parker, Executive Producer/Director/Written byMatt Stone, Executive ProducerAnne Garefino, Executive ProducerFrank C. Agnone II, ProducerEric Stough, Director of AnimationAdam Kemp, Executive ProducerTim Haines, Executive ProducerGaynelle Evans, Executive ProducerFiona Walkinshaw, Executive Producer of ComputerAnimationWilliam Sargent, Executive Producer of Computer AnimationChloe Leland, Producer/DirectorGreg Smith, ProducerMichael Olmert, WriterMike Milne, Director of Computer AnimationRob Renzetti, Executive Producer/Director/OriginalStory/Written byFred Seibert, Executive ProducerScott Peterson, Original Story/Written byAlex Kirwan, Original StoryBrandon Kruse, Written byHeather Martinez, Written byChris Reccardi, Written byBryan Andrews, Written byChris Savino, DirectorRobert Alvarez, Sheet Timer

Outstanding Art Direction For A Multi-Camera Series

How I Met Your Mother • Pilot • CBS • 20th Century Fox Television
Stephan Olson, Production Designer
Richard Walker, Set Decorator

Stacked • iPOD • FOX • 20th Century Fox Television
Bernard Vyzga, Production Designer
Mark Johnson, Set Decorator

Will & Grace • I Love L. Gay • NBC • KoMut Entertainment
in association with NBC Studios and Three Sisters
Entertainment
Glenda Rovello, Production Designer
Melinda Ritz, S.D.S.A., Set Decorator

Stephan Olson, Production DesignerRichard Walker, Set DecoratorBernard Vyzga, Production DesignerMark Johnson, Set DecoratorGlenda Rovello, Production DesignerMelinda Ritz, S.D.S.A., Set DecoratorOutstanding Art Direction For A Single-Camera Series

Desperate Housewives • There’s Something About A War • ABC • Touchstone Television
Thomas A. Walsh, Production Designer
P. Erik Carlson, Art Director
Erica Rogalla, Set Decorator

House • Autopsy, Distractions, Skin Deep • FOX • Heel and Toe Productions, Shorez Productions and Bad Hat Harry Productions in association with Universal Television Studios
Derek R. Hill, Production Designer
Danielle Berman, Set Decorator

Nip/Tuck • Ben White • FX Network • The Shephard/Robin Company in association with Warner Bros. Television Productions, Inc.
Liz Kay, Production Designer
Ellen Brill, Set Decorator

Rome • Caesarion, Triumph, Kalends Of February • HBO •
HBO Entertainment in association with the BBC
Joseph Bennett, Production Designer
Domenico Sica, Art Director
Cristina Onori, Set Decorator

Six Feet Under • Hold My Hand, Singing For Our Lives,
Everyone’s Waiting • HBO • Actual Size and the
Greenblatt/Janollari Studios in association with HBO
Entertainment
Suzuki Ingerslev, Production Designer
Kristan Andrews, Art Director
Rusty Lipscomb, S.D.S.A., Set Decorator

Thomas A. Walsh, Production DesignerP. Erik Carlson, Art DirectorErica Rogalla, Set DecoratorDerek R. Hill, Production DesignerDanielle Berman, Set DecoratorLiz Kay, Production DesignerEllen Brill, Set DecoratorJoseph Bennett, Production DesignerDomenico Sica, Art DirectorCristina Onori, Set DecoratorSuzuki Ingerslev, Production DesignerKristan Andrews, Art DirectorRusty Lipscomb, S.D.S.A., Set Decorator

Stephan Olson, Production DesignerRichard Walker, Set DecoratorBernard Vyzga, Production DesignerMark Johnson, Set DecoratorGlenda Rovello, Production DesignerMelinda Ritz, S.D.S.A., Set DecoratorThomas A. Walsh, Production DesignerP. Erik Carlson, Art DirectorErica Rogalla, Set DecoratorDerek R. Hill, Production DesignerDanielle Berman, Set DecoratorLiz Kay, Production DesignerEllen Brill, Set DecoratorJoseph Bennett, Production DesignerDomenico Sica, Art DirectorCristina Onori, Set DecoratorSuzuki Ingerslev, Production DesignerKristan Andrews, Art DirectorRusty Lipscomb, S.D.S.A., Set Decorator

Outstanding Art Direction For A Miniseries, Or Movie

Bleak House (Masterpiece Theatre) • PBS • A BBC
WGBH-Boston Co-production in association with Deep
Indigo
Simon Elliot, Production Designer
Bill Crutcher, Art Director

Elizabeth I • HBO • Company Pictures and Channel 4 in
association with HBO Films
Eve Stewart, Production Designer
Leon McCarthy, Art Director
Sarah Whittle, Set Decorator

The Girl In The CafÈ • HBO • Tightrope Pictures and BBC
Wales in association with HBO Films
Candida Otton, Production Designer
Andrea Coathupe, Art Director

Into The West • TNT • Dreamworks Television
Marek Dobrowolski, Production Designer
Rick Roberts, Art Director
Guy Barnes, Art Director
Paul Healy, Set Decorator
Wendy Ozols-Barnes, Set Decorator

Stephen King’s Desperation • ABC • Touchstone
Television
Philip Dagort, Production Designer
Jason Weil, Art Director
Marcia Calosio, Set Decorator

Simon Elliot, Production DesignerBill Crutcher, Art DirectorEve Stewart, Production DesignerLeon McCarthy, Art DirectorSarah Whittle, Set DecoratorCandida Otton, Production DesignerAndrea Coathupe, Art DirectorMarek Dobrowolski, Production DesignerRick Roberts, Art DirectorGuy Barnes, Art DirectorPaul Healy, Set DecoratorWendy Ozols-Barnes, Set DecoratorPhilip Dagort, Production DesignerJason Weil, Art DirectorMarcia Calosio, Set DecoratorOutstanding Art Direction For A Variety, Music Program, Or Special

78th Annual Academy Awards • ABC • Academy of Motion
Picture Arts and Sciences
Roy Christopher, Production Designer
Greg Richman, Art Director

American Idol • Episode 519 • FOX • FremantleMedia
N.A., Inc. & 19TV Ltd.
Andy Walmsley, Production Designer
James Yarnell, Art Director

Dancing With The Stars • Episode 206 • ABC • BBC
Worldwide Productions
James Yarnell, Production Designer
Patrick Doherty, Production Designer

MADtv • Episode 1115 • FOX • Girl Group Company
John Sabato, Production Designer
D Martyn Bookwalter, Art Decorator
Daryn Reid Goodall, S.D.S.A., Set Decorator

Rome: Engineering An Empire • The History Channel •
KPI Productions, Inc. for History Television Network
Productions
Vincent Kralyevich, Art Director

Roy Christopher, Production DesignerGreg Richman, Art DirectorAndy Walmsley, Production DesignerJames Yarnell, Art DirectorJames Yarnell, Production DesignerPatrick Doherty, Production DesignerJohn Sabato, Production DesignerD Martyn Bookwalter, Art DecoratorDaryn Reid Goodall, S.D.S.A., Set DecoratorVincent Kralyevich, Art Director

Simon Elliot, Production DesignerBill Crutcher, Art DirectorEve Stewart, Production DesignerLeon McCarthy, Art DirectorSarah Whittle, Set DecoratorCandida Otton, Production DesignerAndrea Coathupe, Art DirectorMarek Dobrowolski, Production DesignerRick Roberts, Art DirectorGuy Barnes, Art DirectorPaul Healy, Set DecoratorWendy Ozols-Barnes, Set DecoratorPhilip Dagort, Production DesignerJason Weil, Art DirectorMarcia Calosio, Set DecoratorRoy Christopher, Production DesignerGreg Richman, Art DirectorAndy Walmsley, Production DesignerJames Yarnell, Art DirectorJames Yarnell, Production DesignerPatrick Doherty, Production DesignerJohn Sabato, Production DesignerD Martyn Bookwalter, Art DecoratorDaryn Reid Goodall, S.D.S.A., Set DecoratorVincent Kralyevich, Art Director

Outstanding Casting For A Comedy Series

Desperate Housewives • ABC • Touchstone Television
Junie Lowry Johnson, C.S.A., Casting by
Scott Genkinger, C.S.A., Casting by

Entourage • HBO • Leverage and Closest to the Hole
Productions in association with HBO Entertainment
Sheila Jaffe, C.S.A., Casting Director
Georgianne Walken, C.S.A., Casting Director
Meredith Tucker, Casting Director

My Name Is Earl • NBC • An Amigos de Garcia production
in association with 20th Century Fox Television
Dava Waite Peaslee, C.S.A., Casting Director

Weeds • Showtime • Showtime Presents in association
with Lions Gate Television and Tilted Productions
Amy McIntyre Britt, Casting by
Anya Colloff, Casting by

Junie Lowry Johnson, C.S.A., Casting byScott Genkinger, C.S.A., Casting bySheila Jaffe, C.S.A., Casting DirectorGeorgianne Walken, C.S.A., Casting DirectorMeredith Tucker, Casting DirectorDava Waite Peaslee, C.S.A., Casting DirectorAmy McIntyre Britt, Casting byAnya Colloff, Casting byOutstanding Casting For A Drama Series

Big Love • HBO • Anima Sola and Playtone in association
with HBO Entertainment
Junie Lowry Johnson, C.S.A., Casting Director
Libby Goldstein, Casting Director

Boston Legal • ABC • David E. Kelley Productions in
association with 20th Century Fox Television Studios
Ken Miller, C.S.A., Casting by
Nikki Valko, C.S.A., Casting by

Grey’s Anatomy • ABC • Touchstone Television
Linda Lowy, Casting by
John Brace, Casting by

House • FOX • Heel and Toe Productions, Shorez
Productions and Bad Hat Harry Productions in
association with Universal Television Studios
Amy Lippens, C.S.A., Casting by
Stephanie Laffin, Casting by

Lost • ABC • Grass Skirt Productions, LLC in association
with Touchstone Television
April Webster, C.S.A., Casting by
Veronica Collins Rooney, C.S.A., Casting by
Mandy Sherman C.S.A., Casting by

Junie Lowry Johnson, C.S.A., Casting DirectorLibby Goldstein, Casting DirectorKen Miller, C.S.A., Casting byNikki Valko, C.S.A., Casting byLinda Lowy, Casting byJohn Brace, Casting byAmy Lippens, C.S.A., Casting byStephanie Laffin, Casting byApril Webster, C.S.A., Casting byVeronica Collins Rooney, C.S.A., Casting byMandy Sherman C.S.A., Casting by

Junie Lowry Johnson, C.S.A., Casting byScott Genkinger, C.S.A., Casting bySheila Jaffe, C.S.A., Casting DirectorGeorgianne Walken, C.S.A., Casting DirectorMeredith Tucker, Casting DirectorDava Waite Peaslee, C.S.A., Casting DirectorAmy McIntyre Britt, Casting byAnya Colloff, Casting byJunie Lowry Johnson, C.S.A., Casting DirectorLibby Goldstein, Casting DirectorKen Miller, C.S.A., Casting byNikki Valko, C.S.A., Casting byLinda Lowy, Casting byJohn Brace, Casting byAmy Lippens, C.S.A., Casting byStephanie Laffin, Casting byApril Webster, C.S.A., Casting byVeronica Collins Rooney, C.S.A., Casting byMandy Sherman C.S.A., Casting by

Outstanding Casting For A Miniseries, Movie Or A Special

Elizabeth I • HBO • Company Pictures and Channel 4 in
association with HBO Films
Doreen Jones, Casting Director

The Girl In The CafÈ • HBO • Tightrope Pictures and BBC
Wales in association with HBO Films
Fiona Weir, Casting Director

High School Musical • Disney • Salty Pictures/First Street
Films/Disney Channel
Jason LaPadura, C.S.A., Casting by
Natalie Hart, C.S.A., Casting by

Into The West • TNT • Dreamworks Television
Meg Liberman, C.S.A., Casting by
Cami Patton, C.S.A., Casting by
Rene Hayes, C.S.A., Casting by
Candice Elzinga, Canadian Casting
Rhonda Fisekci, C.D.C., Canadian Casting
Jo Edna Boldin, C.S.A., New Mexico Casting

Mrs. Harris • HBO • Killer Films and Number 9 Films and
John Wells Productions in association with HBO Films
Junie Lowry Johnson, C.S.A., Casting Director
Libby Goldstein, Casting Director

Doreen Jones, Casting DirectorFiona Weir, Casting DirectorJason LaPadura, C.S.A., Casting byNatalie Hart, C.S.A., Casting byMeg Liberman, C.S.A., Casting byCami Patton, C.S.A., Casting byRene Hayes, C.S.A., Casting byCandice Elzinga, Canadian CastingRhonda Fisekci, C.D.C., Canadian CastingJo Edna Boldin, C.S.A., New Mexico CastingJunie Lowry Johnson, C.S.A., Casting DirectorLibby Goldstein, Casting DirectorOutstanding Choreography

Dancing With The Stars • Episode #208 • ABC • BBC
Worldwide Productions
Tony Dovolani, Choreographer

Dancing With The Stars • Episode #204 • ABC • BBC
Worldwide Productions
Nick Kosovich, Co-Choreographer
Cheryl Burke, Co-Choreographer

Dancing With The Stars • Episode #208 • ABC • BBC
Worldwide Productions
Cheryl Burke, Choreographer

High School Musical • Disney • Salty Pictures/First Street
Films/Disney Channel
Kenny Ortega, Choreography by
Charles Klapow, Choreography by
Bonnie Story, Choreography by

Malcolm In The Middle • Bomb Shelter • FOX • Regency
Television in association with 20th Century Fox
Television
Fred Tallaksen, Choreographer

The Suite Life Of Zack And Cody • Commercial Breaks •
Disney • A production of the Disney Channel
Travis Payne, Choreography by

Tony Dovolani, ChoreographerNick Kosovich, Co-ChoreographerCheryl Burke, Co-ChoreographerCheryl Burke, ChoreographerKenny Ortega, Choreography byCharles Klapow, Choreography byBonnie Story, Choreography byFred Tallaksen, ChoreographerTravis Payne, Choreography by

Doreen Jones, Casting DirectorFiona Weir, Casting DirectorJason LaPadura, C.S.A., Casting byNatalie Hart, C.S.A., Casting byMeg Liberman, C.S.A., Casting byCami Patton, C.S.A., Casting byRene Hayes, C.S.A., Casting byCandice Elzinga, Canadian CastingRhonda Fisekci, C.D.C., Canadian CastingJo Edna Boldin, C.S.A., New Mexico CastingJunie Lowry Johnson, C.S.A., Casting DirectorLibby Goldstein, Casting DirectorTony Dovolani, ChoreographerNick Kosovich, Co-ChoreographerCheryl Burke, Co-ChoreographerCheryl Burke, ChoreographerKenny Ortega, Choreography byCharles Klapow, Choreography byBonnie Story, Choreography byFred Tallaksen, ChoreographerTravis Payne, Choreography by

Outstanding Cinematography For A Multi-Camera Series

According To Jim • Mr. Right • ABC • Touchstone
Television in association with Brad Grey Television
George Mooradian, Director of Photography

How I Met Your Mother • The Limo • CBS • 20th Century
Fox Television
Christian LaFountain, Director of Photography

The New Adventures Of Old Christine • Open Water • CBS
• Kari’s Logo Here in association with Warner Bros.
Television
Gregg Heschong, Director of Photography

Reba • The Goodbye Guy • WB • Acme Productions in
association with 20th Century Fox Television
Bryan Hays, Director of Photography

Two And A Half Men • Carpet Burns And A Bite Mark •
CBS • Chuck Lorre Productions, Inc., The Tannenbaum
Company in association with Warner Bros. Television
Productions, a Division of WB Studio Enterprises Inc.
Steven V. Silver, Director of Photography

George Mooradian, Director of PhotographyChristian LaFountain, Director of PhotographyGregg Heschong, Director of PhotographyBryan Hays, Director of PhotographySteven V. Silver, Director of PhotographyOutstanding Cinematography For A
Single-Camera Series

CSI: Crime Scene Investigation • Gum Drops • CBS • An
Alliance Atlantis production in association with
Paramount Television
Michael Slovis, Director of Photography

Everybody Hates Chris • Everybody Hates Funerals • UPN
• Paramount Studios, 3Arts Entertainment, Chris Rock
Enterprises, Inc.
Mark Doering-Powell, Director of Photography

Lost • Man Of Science, Man Of Faith • ABC • Grass Skirt
Productions, LLC in association with Touchstone
Television
Michael Bonvillain, Director of Photography

The Sopranos • The Ride • HBO • Chase Films and Brad
Grey Television in association with HBO Entertainment
Phil Abraham, Director of Photography

24 • 9:00 PM - 10:00 PM • FOX • Imagine Entertainment
and 20th Century Fox Television in association with Real
Time Productions
Rodney Charters, ASC CSC, Director of Photography

Michael Slovis, Director of PhotographyMark Doering-Powell, Director of PhotographyMichael Bonvillain, Director of PhotographyPhil Abraham, Director of PhotographyRodney Charters, ASC CSC, Director of Photography

George Mooradian, Director of PhotographyChristian LaFountain, Director of PhotographyGregg Heschong, Director of PhotographyBryan Hays, Director of PhotographySteven V. Silver, Director of PhotographyMichael Slovis, Director of PhotographyMark Doering-Powell, Director of PhotographyMichael Bonvillain, Director of PhotographyPhil Abraham, Director of PhotographyRodney Charters, ASC CSC, Director of Photography

Outstanding Cinematography For A Miniseries
Or Movie

Bleak House (Masterpiece Theatre) • Episode 1 • PBS • A
BBC WGBH-Boston Co-production in association with
Deep Indigo
Kieran McGuigan, Director of Photography

Four Minutes • ESPN2 • ESPN Original Entertainment in
Association with Cypress Point Films
James Chressanthis, ASC, Director of Photography

Into The West • Dreams And Schemes • TNT •
Dreamworks Television
William Wages, ASC, Director of Photography

Into The West • Wheel To The Stars • TNT • Dreamworks
Television
Alan Caso, ASC, Director of Photography

Mrs. Harris • HBO • Killer Films and Number 9 Films and
John Wells Productions in association with HBO Films
Steven Poster, ASC, Director of Photography

Sleeper Cell • Al-Fatiha • Showtime • Showtime Presents
in association with Cardboard Guru Productions
Robert Primes, ASC, Director of Photography

Kieran McGuigan, Director of PhotographyJames Chressanthis, ASC, Director of PhotographyWilliam Wages, ASC, Director of PhotographyAlan Caso, ASC, Director of PhotographySteven Poster, ASC, Director of PhotographyRobert Primes, ASC, Director of PhotographyOutstanding Cinematography For Nonfiction
Programming - Single-Camera Productions

All Aboard! Rosie’s Family Cruise • HBO • Sceneworks
Productions and KidRo Productions in association with
HBO Documentary Films
Maryse Alberti, Director of Photography
Sandra Chandler, Camera
Beth Wichterich, Camera

Baghdad ER • HBO • Feury/Grant Productions and
Downtown Community Television Center in association
with HBO Documentary Films
Jon Alpert, Director of Photography
Matthew O’Neill, Director of Photography

Children Of Beslan • HBO • HBO Documentary Films in
association with the BBC
Dirk Nel, Director of Photography

I Have Tourette’s But Tourette’s Doesn’t Have Me • HBO •
Tourette Syndrome Association with HBO Documentary
Films
Buddy Squires, Director of Photography

Rome: Engineering An Empire • The History Channel •
KPI Productions, Inc. for History Television Network
Productions
Jeremiah Crowell, Director of Photography

Maryse Alberti, Director of PhotographySandra Chandler, CameraBeth Wichterich, CameraJon Alpert, Director of PhotographyMatthew O’Neill, Director of PhotographyDirk Nel, Director of PhotographyBuddy Squires, Director of PhotographyJeremiah Crowell, Director of Photography

Kieran McGuigan, Director of PhotographyJames Chressanthis, ASC, Director of PhotographyWilliam Wages, ASC, Director of PhotographyAlan Caso, ASC, Director of PhotographySteven Poster, ASC, Director of PhotographyRobert Primes, ASC, Director of PhotographyMaryse Alberti, Director of PhotographySandra Chandler, CameraBeth Wichterich, CameraJon Alpert, Director of PhotographyMatthew O’Neill, Director of PhotographyDirk Nel, Director of PhotographyBuddy Squires, Director of PhotographyJeremiah Crowell, Director of Photography

Outstanding Cinematography For Nonfiction
Programming - Multi-Camera Productions

The Amazing Race • Here Comes The Bedouin! • CBS •
Amazing Race Productions, Inc. and Touchstone
Television Productions, LLC in association with Jerry
Bruckheimer Television and WorldRace Productions, Inc.
Per A.C. Larsson, Director of Photography
Sylvester Campe, Camera
Tom Cunningham, Camera
Chip Goebert, Camera
Uri Sharon, Camera
Scott Shelley, Camera

The Apprentice • Episode #509 • NBC • Mark Burnett
Productions
Jim Harrington, Director of Photography
Al Pierce, Camera
Jeff Watt, Camera
Rodney Chauvin, Camera
Tom Magil, Camera
Vince Monteleone, Camera

Deadliest Catch • The Clock’s Ticking • Discovery
Channel • Original Productions, Inc. in association with
Discovery Channel
Doug Stanley, Director of Photography

Project Runway • Clothes Off Your Back • Bravo • Magical
Elves for The Weinstein Company/Miramax, Full Picture,
Bravo
Tony Sacco, Director of Photography

Survivor • Big Trek, Big Trouble, Big Surprise • CBS •
Mark Burnett Productions in association with SEG
Productions
Mark “Ninja” Lynch, Director of Photography
Michael Murray, Director of Photography
Mark Hryma, Director of Photography
Derek Carver, Camera
Leighton DeBarros, Camera
Kevin Garrison, Camera

Per A.C. Larsson, Director of PhotographySylvester Campe, CameraTom Cunningham, CameraChip Goebert, CameraUri Sharon, CameraScott Shelley, CameraJim Harrington, Director of PhotographyAl Pierce, CameraJeff Watt, CameraRodney Chauvin, CameraTom Magil, CameraVince Monteleone, CameraDoug Stanley, Director of PhotographyTony Sacco, Director of PhotographyMark “Ninja” Lynch, Director of PhotographyMichael Murray, Director of PhotographyMark Hryma, Director of PhotographyDerek Carver, CameraLeighton DeBarros, CameraKevin Garrison, CameraOutstanding Commercial

Clydesdale American Dream - Budweiser • •
PYTKA, Production Company
DDB Chicago, Ad Agency

Concert - AmeriQuest • •
MJZ, Production Company
DDB Los Angeles, Ad Agency

Required Reading - Hallmark • •
The Institue for the Development of Enhanced Perceptual
Awareness, Production Company
Leo Burnett Chicago, Ad Agency

Stick - FedEx • •
Partizan, Production Company
BBDO New York, Ad Agency

PYTKA, Production CompanyDDB Chicago, Ad AgencyMJZ, Production CompanyDDB Los Angeles, Ad AgencyThe Institue for the Development of Enhanced PerceptualAwareness, Production CompanyLeo Burnett Chicago, Ad AgencyPartizan, Production CompanyBBDO New York, Ad Agency

Per A.C. Larsson, Director of PhotographySylvester Campe, CameraTom Cunningham, CameraChip Goebert, CameraUri Sharon, CameraScott Shelley, CameraJim Harrington, Director of PhotographyAl Pierce, CameraJeff Watt, CameraRodney Chauvin, CameraTom Magil, CameraVince Monteleone, CameraDoug Stanley, Director of PhotographyTony Sacco, Director of PhotographyMark “Ninja” Lynch, Director of PhotographyMichael Murray, Director of PhotographyMark Hryma, Director of PhotographyDerek Carver, CameraLeighton DeBarros, CameraKevin Garrison, CameraPYTKA, Production CompanyDDB Chicago, Ad AgencyMJZ, Production CompanyDDB Los Angeles, Ad AgencyThe Institue for the Development of Enhanced PerceptualAwareness, Production CompanyLeo Burnett Chicago, Ad AgencyPartizan, Production CompanyBBDO New York, Ad Agency

Outstanding Costumes For A Series

Battlestar Galactica • Lay Down Your Burdens, Part 2 •
Sci Fi Channel • R&D Television in association with NBC
Universal Television Studios
Glenne Campbell, Costume Designer
Glenna Owen, Assistant Costume Designer
Cali Newcomen, Assistant Costume Designer

Desperate Housewives • Next • ABC • Touchstone
Television
Catherine Adair, Costume Designer
Joyce Goodwin, Costume Supervisor
Karo Vartanian, Costume Supervisor

Everybody Hates Chris • Everybody Hates The Pilot • UPN
• Paramount Studios, 3Arts Entertainment, Chris Rock
Enterprises, Inc.
Darryle Johnson, Costume Designer
Shirlene Williams, Costume Supervisor

Rome • Triumph • HBO • HBO Entertainment in
association with the BBC
April Ferry, Costume Designer
Augusto Grassi, Costume Supervisor

The Sopranos • Mr. And Mrs. John Sacrimoni Request... •
HBO • Chase Films and Brad Grey Television in
association with HBO Entertainment
Juliet Polcsa, Costume Designer
Joseph La Corte, Costume Supervisor
Elizabeth Feldbauer, Costume Supervisor

Glenne Campbell, Costume DesignerGlenna Owen, Assistant Costume DesignerCali Newcomen, Assistant Costume DesignerCatherine Adair, Costume DesignerJoyce Goodwin, Costume SupervisorKaro Vartanian, Costume SupervisorDarryle Johnson, Costume DesignerShirlene Williams, Costume SupervisorApril Ferry, Costume DesignerAugusto Grassi, Costume SupervisorJuliet Polcsa, Costume DesignerJoseph La Corte, Costume SupervisorElizabeth Feldbauer, Costume SupervisorOutstanding Costumes For A Miniseries,
Movie Or A Special

Bleak House (Masterpiece Theatre) • Episode 1 • PBS • A
BBC WGBH-Boston Co-production in association with
Deep Indigo
Andrea Galer, Costume Designer
Charlotte Morris, Assistant Costume Designer

Elizabeth I • Part 2 • HBO • Company Pictures and
Channel 4 in association with HBO Films
Mike O’Neill, Costume Designer
Samantha Horn, Assistant Costume Designer

Into The West • Hell On Wheels • TNT • Dreamworks
Television
Michael T. Boyd, Costume Designer
Joe McCloskey, Costume Supervisor

Mrs. Harris • HBO • Killer Films and Number 9 Films and
John Wells Productions in association with HBO Films
Julie Weiss, Costume Designer
Elaine Ramires, Costume Supervisor

Once Upon A Mattress • ABC • Tudor Television/Mabel Cat
Inc. in association with Marc Platt Productions &
Touchstone Television
Bob Mackie, Ms. Burnett’s Costume Designer
Chris Hargadon, Costume Designer
Dawn Leigh Climie, Costume Supervisor

Andrea Galer, Costume DesignerCharlotte Morris, Assistant Costume DesignerMike O’Neill, Costume DesignerSamantha Horn, Assistant Costume DesignerMichael T. Boyd, Costume DesignerJoe McCloskey, Costume SupervisorJulie Weiss, Costume DesignerElaine Ramires, Costume SupervisorBob Mackie, Ms. Burnett’s Costume DesignerChris Hargadon, Costume DesignerDawn Leigh Climie, Costume Supervisor

Glenne Campbell, Costume DesignerGlenna Owen, Assistant Costume DesignerCali Newcomen, Assistant Costume DesignerCatherine Adair, Costume DesignerJoyce Goodwin, Costume SupervisorKaro Vartanian, Costume SupervisorDarryle Johnson, Costume DesignerShirlene Williams, Costume SupervisorApril Ferry, Costume DesignerAugusto Grassi, Costume SupervisorJuliet Polcsa, Costume DesignerJoseph La Corte, Costume SupervisorElizabeth Feldbauer, Costume SupervisorAndrea Galer, Costume DesignerCharlotte Morris, Assistant Costume DesignerMike O’Neill, Costume DesignerSamantha Horn, Assistant Costume DesignerMichael T. Boyd, Costume DesignerJoe McCloskey, Costume SupervisorJulie Weiss, Costume DesignerElaine Ramires, Costume SupervisorBob Mackie, Ms. Burnett’s Costume DesignerChris Hargadon, Costume DesignerDawn Leigh Climie, Costume Supervisor

Outstanding Directing For A Comedy Series

The Comeback • Valerie Does Another Classic Leno •
HBO • Working Class and Is Or Isn’t Entertainment in
association with HBO Entertainment
Michael Patrick King, Director

Curb Your Enthusiasm • The Christ Nail • HBO • HBO
Entertainment
Robert B. Weide, Director

Entourage • Oh, Mandy • HBO • Leverage and Closest to
the Hole Productions in association with HBO
Entertainment
Dan Attias, Director

Entourage • Sundance Kids • HBO • Leverage and Closest
to the Hole Productions in association with HBO
Entertainment
Julian Farino, Director

My Name Is Earl • Pilot • NBC • An Amigos de Garcia
production in association with 20th Century Fox
Television
Marc Buckland, Director

Weeds • Good S*** Lollipop • Showtime • Showtime
Presents in association with Lions Gate Television and
Tilted Productions
Craig Zisk, Director

Michael Patrick King, DirectorRobert B. Weide, DirectorDan Attias, DirectorJulian Farino, DirectorMarc Buckland, DirectorCraig Zisk, DirectorOutstanding Directing For A Drama Series

Big Love • Pilot • HBO • Anima Sola and Playtone in
association with HBO Entertainment
Rodrigo Garcia, Director

Lost • Live Together, Die Alone • ABC • Grass Skirt
Productions, LLC in association with Touchstone
Television
Jack Bender, Director

Six Feet Under • Everyone’s Waiting • HBO • Actual Size
and the Greenblatt/Janollari Studios in association with
HBO Entertainment
Alan Ball, Director

The Sopranos • Members Only • HBO • Chase Films and
Brad Grey Television in association with HBO
Entertainment
Tim Van Patten, Director

The Sopranos • Join The Club • HBO • Chase Films and
Brad Grey Television in association with HBO
Entertainment
David Nutter, Director

24 • 7:00 AM - 8:00 AM • FOX • Imagine Entertainment and
20th Century Fox Television in association with Real
Time Productions
Jon Cassar, Director

The West Wing • Election Day • NBC • John Wells
Productions in association with Warner Bros. Television
Mimi Leder, Director

Rodrigo Garcia, DirectorJack Bender, DirectorAlan Ball, DirectorTim Van Patten, DirectorDavid Nutter, DirectorJon Cassar, DirectorMimi Leder, Director

Michael Patrick King, DirectorRobert B. Weide, DirectorDan Attias, DirectorJulian Farino, DirectorMarc Buckland, DirectorCraig Zisk, DirectorRodrigo Garcia, DirectorJack Bender, DirectorAlan Ball, DirectorTim Van Patten, DirectorDavid Nutter, DirectorJon Cassar, DirectorMimi Leder, Director

Outstanding Directing For A Variety, Music Or
Comedy Program

78th Annual Academy Awards • ABC • Academy of Motion
Picture Arts and Sciences
Louis J. Horvitz, Director

American Idol • Finale • FOX • FremantleMedia N.A., Inc.
& 19TV Ltd.
Bruce Gowers, Director

The Colbert Report • Episode #110 • Comedy Central •
Central Productions with Busboy Productions and
Spartina Productions
Jim Hoskinson, Director

The Daily Show With Jon Stewart • Episode #10140 •
Comedy Central • Central Productions LLC and Hello
Doggie, Inc.
Chuck O’Neil, Director

Saturday Night Live • Host: Steve Martin • NBC • SNL
Studios in association with NBC Studios and Broadway
Video
Beth McCarthy Miller, Director

Louis J. Horvitz, DirectorBruce Gowers, DirectorJim Hoskinson, DirectorChuck O’Neil, DirectorBeth McCarthy Miller, DirectorOutstanding Directing For A Miniseries, Movie
Or A Dramatic Special

Bleak House (Masterpiece Theatre) • Episode 1 • PBS • A
BBC WGBH-Boston Co-production in association with
Deep Indigo
Justin Chadwick, Director

Elizabeth I • HBO • Company Pictures and Channel 4 in
association with HBO Films
Tom Hooper, Director

Flight 93 • A&E • A David Gerber Company Production in
association with A&E Network and Fox Television Studios
Peter Markle, Director

The Girl In The CafÈ • HBO • Tightrope Pictures and BBC
Wales in association with HBO Films
David Yates, Director

High School Musical • Disney • Salty Pictures/First Street
Films/Disney Channel
Kenny Ortega, Director

Mrs. Harris • HBO • Killer Films and Number 9 Films and
John Wells Productions in association with HBO Films
Phyllis Nagy, Director

Justin Chadwick, DirectorTom Hooper, DirectorPeter Markle, DirectorDavid Yates, DirectorKenny Ortega, DirectorPhyllis Nagy, Director

Louis J. Horvitz, DirectorBruce Gowers, DirectorJim Hoskinson, DirectorChuck O’Neil, DirectorBeth McCarthy Miller, DirectorJustin Chadwick, DirectorTom Hooper, DirectorPeter Markle, DirectorDavid Yates, DirectorKenny Ortega, DirectorPhyllis Nagy, Director

Outstanding Directing For Nonfiction
Programming

All Aboard! Rosie’s Family Cruise • HBO • Sceneworks
Productions and KidRo Productions in association with
HBO Documentary Films
Shari Cookson, Director

American Masters • John Ford/John Wayne: The
Filmmaker And The Legend • PBS • Thirteen/WNET New
York
Sam Pollard, Director

American Masters • Bob Dylan: No Direction Home • PBS
• Thirteen/WNET New York/American Masters, Spitfire
Pictures, Grey Water Park Productions, Sikelia
Productions, BBC
Martin Scorsese, Director

Baghdad ER • HBO • Feury/Grant Productions and
Downtown Community Television Center in association
with HBO Documentary Films
Jon Alpert, Director
Matthew O’Neill, Director

Children Of Beslan • HBO • HBO Documentary Films in
association with the BBC
Ewa Ewart, Director
Leslie Woodhead, Director

Shari Cookson, DirectorSam Pollard, DirectorMartin Scorsese, DirectorJon Alpert, DirectorMatthew O’Neill, DirectorEwa Ewart, DirectorLeslie Woodhead, DirectorOutstanding Single-Camera Picture Editing For
A Drama Series

Boston Legal • Race Ipsa • ABC • David E. Kelley
Productions in association with 20th Century Fox
Television Studios
Philip Neel, A.C.E, Edited by

Lost • One Of Them • ABC • Grass Skirt Productions, LLC
in association with Touchstone Television
Sarah Boyd, Edited by

Lost • Live Together, Die Alone (Part 1 & 2) • ABC • Grass
Skirt Productions, LLC in association with Touchstone
Television
Sue Blainey, Edited by
Stephen Semel, Edited by
Sarah Boyd, Edited by

24 • 7:00 AM - 8:00 AM • FOX • Imagine Entertainment and
20th Century Fox Television in association with Real
Time Productions
David Latham, Edited by

24 • 9:00 AM - 10:00 AM • FOX • Imagine Entertainment
and 20th Century Fox Television in association with Real
Time Productions
Scott Powell, A.C.E., Edited by

Philip Neel, A.C.E, Edited bySarah Boyd, Edited bySue Blainey, Edited byStephen Semel, Edited bySarah Boyd, Edited byDavid Latham, Edited byScott Powell, A.C.E., Edited by

Shari Cookson, DirectorSam Pollard, DirectorMartin Scorsese, DirectorJon Alpert, DirectorMatthew O’Neill, DirectorEwa Ewart, DirectorLeslie Woodhead, DirectorPhilip Neel, A.C.E, Edited bySarah Boyd, Edited bySue Blainey, Edited byStephen Semel, Edited bySarah Boyd, Edited byDavid Latham, Edited byScott Powell, A.C.E., Edited by

Outstanding Single-Camera Picture Editing For
A Comedy Series

Arrested Development • The Ocean Walker • FOX •
Imagine Television and The Hurwitz Company in
association with 20th Century Fox Television
Stuart Bass, Editor

Curb Your Enthusiasm • The Ski Lift • HBO • HBO
Entertainment
Steve Rasch, Editor

Desperate Housewives • That’s Good, That’s Bad • ABC •
Touchstone Television
Nancy Morrison, A.C.E, Editor

My Name Is Earl • Ruined Joy’s Wedding • NBC • An
Amigos de Garcia production in association with 20th
Century Fox Television
Lance Luckey, Editor

The Office • Christmas Party • NBC • Deedle Dee
Productions, Reveille, LLC in association with NBC
Universal Television Studios
David Rogers, Edited by

The Office • Booze Cruise • NBC • Deedle Dee
Productions, Reveille, LLC in association with NBC
Universal Television Studios
Dean Holland, Edited by

Weeds • Good S*** Lollipop • Showtime • Showtime
Presents in association with Lions Gate Television and
Tilted Productions
David Helfand, Edited by

Stuart Bass, EditorSteve Rasch, EditorNancy Morrison, A.C.E, EditorLance Luckey, EditorDavid Rogers, Edited byDean Holland, Edited byDavid Helfand, Edited byOutstanding Single-Camera Picture Editing For
A Miniseries Or A Movie

Elizabeth I • Part 2 • HBO • Company Pictures and
Channel 4 in association with HBO Films
Melanie Oliver, Editor

Elizabeth I • Part 1 • HBO • Company Pictures and
Channel 4 in association with HBO Films
Beverley Mills, Editor

Flight 93 • A&E • A David Gerber Company Production in
association with A&E Network and Fox Television Studios
Scott Boyd, Editor

The Girl In The CafÈ • HBO • Tightrope Pictures and BBC
Wales in association with HBO Films
Mark Day, Editor

The Ten Commandments • ABC • RHI Entertainment
Mark Conte, A.C.E., Edited by
Ingrid Koller, Edited by
Klaus Hundsbichler, Edited by
Victor Dubois, Edited by

Melanie Oliver, EditorBeverley Mills, EditorScott Boyd, EditorMark Day, EditorMark Conte, A.C.E., Edited byIngrid Koller, Edited byKlaus Hundsbichler, Edited byVictor Dubois, Edited by

Stuart Bass, EditorSteve Rasch, EditorNancy Morrison, A.C.E, EditorLance Luckey, EditorDavid Rogers, Edited byDean Holland, Edited byDavid Helfand, Edited byMelanie Oliver, EditorBeverley Mills, EditorScott Boyd, EditorMark Day, EditorMark Conte, A.C.E., Edited byIngrid Koller, Edited byKlaus Hundsbichler, Edited byVictor Dubois, Edited byOutstanding Multi-Camera Picture Editing For A
Series

Late Night With Conan O’Brien
• Episode #2198 • NBC • Broadway Video, NBC Studios,
Conaco
Katherine Babiak, Editor
Mark Jankeloff, Editor
Liz Gross, Editor
Vic Fabilli, Editor

Late Show With David Letterman • Show #2519 • CBS •
Worldwide Pants Incorporated
Mark Spada, Editor
Andrew Evangelista, Editor
Steve Hostomsky, Editor
Tom Catusi, Editor
James Alkins, Editor
Mona Lu, Editor

That ‘70s Show • We Will Rock You • FOX •
Carsey-Werner Productions
Michael Karuch, Editor

Two And A Half Men • That Special Tug • CBS • Chuck
Lorre Productions, Inc., The Tannenbaum Company in
association with Warner Bros. Television Productions, a
Division of WB Studio Enterprises Inc.
Joe Bella, Edited by

Will & Grace • The Finale • NBC • KoMut Entertainment in
association with NBC Studios and Three Sisters
Entertainment
Peter Chakos, A.C.E., Editor

Katherine Babiak, EditorMark Jankeloff, EditorLiz Gross, EditorVic Fabilli, EditorMark Spada, EditorAndrew Evangelista, EditorSteve Hostomsky, EditorTom Catusi, EditorJames Alkins, EditorMona Lu, EditorMichael Karuch, EditorJoe Bella, Edited byPeter Chakos, A.C.E., EditorOutstanding Picture Editing For A Special
(Single or Multi-Camera)

78th Annual Academy Awards • ABC • Academy of Motion
Picture Arts and Sciences
Douglass M. Stewart Jr., Nomination Sequence by
June Beallor, Original Score Film Sequence by
Chuck Workman, Biography/Film Noir etc., Film Sequences by
Michael J. Shapiro, Opening Sequence and In Memoriam by
Troy Miller, Host Opening Film by
Jon Bloom, Honorary Award Film by

Bill Maher: I’m Swiss • HBO • Music Link, Image
Entertainment and Kid Love in association with HBO
Entertainment
El Armstrong, Editor
Sara Aderhold, Editor

A Concert For Hurricane Relief • NBC • NBC Universal
Rico Bolognino, Editor
Paul Musilli, Editor
Barry Spitzer, Editor
Sean Sohl, Editor

Dance In America: Swan Lake With American Ballet
Theatre (Great Performances) • PBS • A production of
Thirteen/WNET New York in association with WETA
Washington, D.C.
Girish Bhargava, Edited by

Douglass M. Stewart Jr., Nomination Sequence byJune Beallor, Original Score Film Sequence byChuck Workman, Biography/Film Noir etc., Film Sequences byMichael J. Shapiro, Opening Sequence and In Memoriam byTroy Miller, Host Opening Film byJon Bloom, Honorary Award Film byEl Armstrong, EditorSara Aderhold, EditorRico Bolognino, EditorPaul Musilli, EditorBarry Spitzer, EditorSean Sohl, EditorGirish Bhargava, Edited by

The Kennedy Center Honors • CBS • A George Stevens,
Jr. Presentation for Kennedy Center Television
Productions
Mike Polito, Editor
John Zimmer, Editor
Cathy Shields, Editor
Anny Meza, Editor

The XX Olympic Winter Games • Opening Ceremony •
NBC • NBC Olympics
Howard Tate, Editor
Don Vermeulen, Jr., Editor
Rachel Pillar, Editor
Patrice Freymond, Editor
Jim O’Farrell, Editor

Outstanding Picture Editing For Nonfiction
Programming (Small team entries - Primarily
single-camera productions)

AFI’s 100 Years... 100 Movie Quotes • CBS • An AFI
production in association with The Gary Smith Company
Tim Preston, Editor
Debra Light, Editor
Barry A. O’Brien, Editor

American Masters • John Ford/John Wayne: The
Filmmaker And The Legend • PBS • Thirteen/WNET New
York
Steven Wechsler, Editor

American Masters • Bob Dylan: No Direction Home • PBS
• Thirteen/WNET New York/American Masters, Spitfire
Pictures, Grey Water Park Productions, Sikelia
Productions, BBC
David Tedeschi, Edited by

Baghdad ER • HBO • Feury/Grant Productions and
Downtown Community Television Center in association
with HBO Documentary Films
Patrick McMahon, A.C.E., Editor
Carrie Goldman, Editor

Penn & Teller: Bullshit • Prostitution • Showtime •
Showtime Presents in association with Penn & Teller, A
Division of Buggs and Rudy Discount Corporation, Star
Price Productions, The Wolper Organization
Steven Uhlenberg, Edited by

Rome: Engineering An Empire • The History Channel •
KPI Productions, Inc. for History Television Network
Productions
Jennifer P. Honn, Editor

Tim Preston, EditorDebra Light, EditorBarry A. O’Brien, EditorSteven Wechsler, EditorDavid Tedeschi, Edited byPatrick McMahon, A.C.E., EditorCarrie Goldman, EditorSteven Uhlenberg, Edited byJennifer P. Honn, Editor

Mike Polito, EditorJohn Zimmer, EditorCathy Shields, EditorAnny Meza, EditorHoward Tate, EditorDon Vermeulen, Jr., EditorRachel Pillar, EditorPatrice Freymond, EditorJim O’Farrell, EditorTim Preston, EditorDebra Light, EditorBarry A. O’Brien, EditorSteven Wechsler, EditorDavid Tedeschi, Edited byPatrick McMahon, A.C.E., EditorCarrie Goldman, EditorSteven Uhlenberg, Edited byJennifer P. Honn, Editor

Outstanding Picture Editing For Nonfiction
Programming (Large team entries - Primarily
multi-camera productions)

The Amazing Race • Here Comes The Bedouin! • CBS •
Amazing Race Productions, Inc. and Touchstone
Television Productions, LLC in association with Jerry
Bruckheimer Television and WorldRace Productions, Inc.
Matt Deitrich, Supervising Editor
Mike Bolanowski, Editor
Evan Finn, Editor
Eric Goldfarb, Editor
Julian Gomez, Editor
Andy Kozar, Editor
Paul Nielsen, Editor

American Idol • Audition City: Greensboro • FOX •
FremantleMedia N.A., Inc. & 19TV Ltd.
Bill De Ronde, Supervising Editor
Barnaby Levy, Editor
Cliff Dorsey, Editor
Ryan Tanner, Editor
Oren Castro, Editor
Narumi Inatsugu, Editor

Project Runway • Clothes Off Your Back • Bravo • Magical
Elves for The Weinstein Company/Miramax, Full Picture,
Bravo
Steve Lichtenstein, Editor
Clark Vogeler, Editor
Joe Mastromonaco, Editor
LaRonda Morris, Editor
Drew Brown, Editor
Noel Guerra, Editor

Survivor • Starvation & Lunacy • CBS • Mark Burnett
Productions in association with SEG Productions
Michael Greer, Editor
H.A. Arnarson, Editor
Fred Hawthorne, Editor
J.D. Sievertson, Editor
Tim Atzinger, Editor
Evan Mediuch, Editor
Dave Harrison, Editor

Survivor • Salvation And Desertion • CBS • Mark Burnett
Productions in association with SEG Productions
Ivan Ladizinsky, Editor
Tim Atzinger, Editor
Fred Hawthorne, Editor
Conroy Browne, Editor
Evan Mediuch, Editor

Matt Deitrich, Supervising EditorMike Bolanowski, EditorEvan Finn, EditorEric Goldfarb, EditorJulian Gomez, EditorAndy Kozar, EditorPaul Nielsen, EditorBill De Ronde, Supervising EditorBarnaby Levy, EditorCliff Dorsey, EditorRyan Tanner, EditorOren Castro, EditorNarumi Inatsugu, EditorSteve Lichtenstein, EditorClark Vogeler, EditorJoe Mastromonaco, EditorLaRonda Morris, EditorDrew Brown, EditorNoel Guerra, EditorMichael Greer, EditorH.A. Arnarson, EditorFred Hawthorne, EditorJ.D. Sievertson, EditorTim Atzinger, EditorEvan Mediuch, EditorDave Harrison, EditorIvan Ladizinsky, EditorTim Atzinger, EditorFred Hawthorne, EditorConroy Browne, EditorEvan Mediuch, Editor

Matt Deitrich, Supervising EditorMike Bolanowski, EditorEvan Finn, EditorEric Goldfarb, EditorJulian Gomez, EditorAndy Kozar, EditorPaul Nielsen, EditorBill De Ronde, Supervising EditorBarnaby Levy, EditorCliff Dorsey, EditorRyan Tanner, EditorOren Castro, EditorNarumi Inatsugu, EditorSteve Lichtenstein, EditorClark Vogeler, EditorJoe Mastromonaco, EditorLaRonda Morris, EditorDrew Brown, EditorNoel Guerra, EditorMichael Greer, EditorH.A. Arnarson, EditorFred Hawthorne, EditorJ.D. Sievertson, EditorTim Atzinger, EditorEvan Mediuch, EditorDave Harrison, EditorIvan Ladizinsky, EditorTim Atzinger, EditorFred Hawthorne, EditorConroy Browne, EditorEvan Mediuch, Editor

Outstanding Hairstyling For A Series

Alias • There’s Only One Sidney Bristow • ABC •
Touchstone Television
Michael Reitz, Head Hairstylist
Katherine Rees, Key Hairstylist
Shimmy Osman, Key Hairstylist

Desperate Housewives • Remember • ABC • Touchstone
Television
Dena Green, Key Hairstylist
Gabor Heiligenberg, Key Hairstylist
Nicole Frank, Hairstylist
James Dunham, Hairstylist

Rome • Stealing From Saturn • HBO • HBO Entertainment
in association with the BBC
Aldo Signoretti, Hair Designer
Ferdinando Merolla, Key Hairstylist
Stefano Ceccarelli, Hairstylist
Gaetano Panico, Hairstylist

Six Feet Under • Everyone’s Waiting • HBO • Actual Size
and the Greenblatt/Janollari Studios in association with
HBO Entertainment
Randy Sayer, Hair Department Head
Miia Kovero, Assistant Hair Department Head
Karl Wesson, Key Hairstylist
Daphne Lawson, Key Hairstylist

Will & Grace • The Finale • NBC • KoMut Entertainment in
association with NBC Studios and Three Sisters
Entertainment
Luke O’Connor, Hairstylist
Tim Burke, Hairstylist

Michael Reitz, Head HairstylistKatherine Rees, Key HairstylistShimmy Osman, Key HairstylistDena Green, Key HairstylistGabor Heiligenberg, Key HairstylistNicole Frank, HairstylistJames Dunham, HairstylistAldo Signoretti, Hair DesignerFerdinando Merolla, Key HairstylistStefano Ceccarelli, HairstylistGaetano Panico, HairstylistRandy Sayer, Hair Department HeadMiia Kovero, Assistant Hair Department HeadKarl Wesson, Key HairstylistDaphne Lawson, Key HairstylistLuke O’Connor, HairstylistTim Burke, HairstylistOutstanding Hairstyling For A Miniseries, Movie
Or A Special

Elizabeth I • Part 2 • HBO • Company Pictures and
Channel 4 in association with HBO Films
Fae Hammond, Hairstyling Designer
Su Westwood, Hairstylist

Into The West • Manifest Destiny • TNT • Dreamworks
Television
Iloe Flewelling, Hair Department Head

Into The West • Casualties Of War • TNT • Dreamworks
Television
Mary Lampert, Hair Department Head
Jennifer Santiago, Key Hairstylist

Mrs. Harris • HBO • Killer Films and Number 9 Films and
John Wells Productions in association with HBO Films
Bunny Parker, Hair Department Head
Susan Schuler, Hairstylist
Elle Elliot, Hairstylist to Annette Bening

Fae Hammond, Hairstyling DesignerSu Westwood, HairstylistIloe Flewelling, Hair Department HeadMary Lampert, Hair Department HeadJennifer Santiago, Key HairstylistBunny Parker, Hair Department HeadSusan Schuler, HairstylistElle Elliot, Hairstylist to Annette Bening

Michael Reitz, Head HairstylistKatherine Rees, Key HairstylistShimmy Osman, Key HairstylistDena Green, Key HairstylistGabor Heiligenberg, Key HairstylistNicole Frank, HairstylistJames Dunham, HairstylistAldo Signoretti, Hair DesignerFerdinando Merolla, Key HairstylistStefano Ceccarelli, HairstylistGaetano Panico, HairstylistRandy Sayer, Hair Department HeadMiia Kovero, Assistant Hair Department HeadKarl Wesson, Key HairstylistDaphne Lawson, Key HairstylistLuke O’Connor, HairstylistTim Burke, HairstylistFae Hammond, Hairstyling DesignerSu Westwood, HairstylistIloe Flewelling, Hair Department HeadMary Lampert, Hair Department HeadJennifer Santiago, Key HairstylistBunny Parker, Hair Department HeadSusan Schuler, HairstylistElle Elliot, Hairstylist to Annette BeningOutstanding Lighting Direction (Electronic,
Multi-Camera) For VMC Programming

78th Annual Academy Awards • ABC • Academy of Motion
Picture Arts and Sciences
Robert A. Dickinson, Lighting Designer
Robert Barnhart, Lighting Director
Andy O’Reilly, Lighting Director

American Idol • American Classics Songbook With Rod
Stewart • FOX • FremantleMedia N.A., Inc. & 19TV Ltd.
Kieran Healy, Lighting Designer
Eli McKinney, Lighting Director
George Harvey, Lighting Director

American Idol • Finale • FOX • FremantleMedia N.A., Inc.
& 19TV Ltd.
Kieran Healy, Lighting Designer
Harry Sangmeister, Lighting Director
George Harvey, Lighting Director

2005 American Music Awards • ABC • dick clark
productions, inc.
Olin Younger, Lighting Designer
Harry Sangmeister, Lighting Director

Late Night With Conan O’Brien
• Episode #2226 • NBC • Broadway Video, NBC Studios,
Conaco
Fred Bock, Lighting Director

Robert A. Dickinson, Lighting DesignerRobert Barnhart, Lighting DirectorAndy O’Reilly, Lighting DirectorKieran Healy, Lighting DesignerEli McKinney, Lighting DirectorGeorge Harvey, Lighting DirectorKieran Healy, Lighting DesignerHarry Sangmeister, Lighting DirectorGeorge Harvey, Lighting DirectorOlin Younger, Lighting DesignerHarry Sangmeister, Lighting DirectorFred Bock, Lighting DirectorOutstanding Main Title Design

78th Annual Academy Awards • ABC • Academy of Motion
Picture Arts and Sciences
Alen Petkovic, Producer/Creative Director
Jon Teschner, Art Director
Renato Grgic, Creative Director
Kristijan Petrovic, Creative Director

Big Love • HBO • Anima Sola and Playtone in association
with HBO Entertainment
Angus Wall, Creative Designer/Consultant
Maurice Marable, Director
Kirk Baxter, Editor
Larry Ewing, Creative Designer/Producer

Ghost Whisperer • CBS • Touchstone Television in
association with Paramount Network Television
Paul Matthaeus, Creative Director
Erin Sarofsky, Designer
Anthony Vitagliano, Animator
Shangyu Yin, Animator

Rome • HBO • HBO Entertainment in association with the
BBC
Angus Wall, Director
Kirks Balden, Compositor
Brad Waskewich, Editor
Andrew Hall, Graphic Supervisor

Alen Petkovic, Producer/Creative DirectorJon Teschner, Art DirectorRenato Grgic, Creative DirectorKristijan Petrovic, Creative DirectorAngus Wall, Creative Designer/ConsultantMaurice Marable, DirectorKirk Baxter, EditorLarry Ewing, Creative Designer/ProducerPaul Matthaeus, Creative DirectorErin Sarofsky, DesignerAnthony Vitagliano, AnimatorShangyu Yin, AnimatorAngus Wall, DirectorKirks Balden, CompositorBrad Waskewich, EditorAndrew Hall, Graphic Supervisor

The Triangle • Sci Fi Channel • Bad Hat Harry Productions
and Electric Entertainment
Garson Yu, Creative Director/Designer
Yolanda Santosa, Art Director/Designer
Robert Cribbett, Compositor/Designer
Nate Homan, Animator/Designer

Weeds • Showtime • Showtime Presents in association
with Lions Gate Television and Tilted Productions
Thomas Cobb, Title Designer
Robert Bradley, Title Designer

Outstanding Makeup For A Series
(Non-Prosthetic)

Black. White. • Hour One • FX Network • FX Networks,
Actual Reality Pictures and Cube-Vision
Brian Sipe, Makeup Department Head
Keith Vanderlaan, Key Makeup Artist
Will Huff, Key Makeup Artist

CSI: NY • Wasted • CBS • CBS Productions, Inc. and
Alliance Atlantis in association with Jerry Bruckheimer
Television
Perri Sorel, Makeup Department Head
Rela Martine-Gray, Key Makeup Artist
James MacKinnon, Key Makeup & Personal Makeup for
Melina Kanakaredes
John Goodwin, Makeup Effects

Grey’s Anatomy • Owner Of A Lonely Heart • ABC •
Touchstone Television
Norman Leavitt, Makeup Department Head/Makeup Artist
Brigette Bugayong, Key Makeup Artist
Tom Burman, Makeup Artist
Bari Dreiband-Burman, Makeup Artist

MADtv • Episode 1109 • FOX • Girl Group Company
Jennifer Aspinall, Makeup Department Head & Special
Makeup Effects
Nathalie Fratti, Makeup Artist
Heather Mages, Makeup Artist
David Williams, Makeup Artist

Nip/Tuck • Quentin Costa • FX Network • The
Shephard/Robin Company in association with Warner
Bros. Television Productions, Inc.
Eryn Krueger, Makeup Department Head
Stephanie Fowler, Key Makeup
Debbie Zoller, Additional Makeup
Michelle Tyminsky, Additional Makeup

Rome • Caesarion • HBO • HBO Entertainment in
association with the BBC
Maurizio Silvi, Makeup Department Head
Federico Laurenti, Makeup Artist
Francesco Nardi, Makeup Artist
Laura Tonello, Makeup Artist

Will & Grace • Finale • NBC • KoMut Entertainment in
association with NBC Studios and Three Sisters
Entertainment
Patty Bunch, Makeup Department Head
Karen Kawahara, Makeup Artist
Farah Bunch, Makeup Artist

Brian Sipe, Makeup Department HeadKeith Vanderlaan, Key Makeup ArtistWill Huff, Key Makeup ArtistPerri Sorel, Makeup Department HeadRela Martine-Gray, Key Makeup ArtistJames MacKinnon, Key Makeup & Personal Makeup forMelina KanakaredesJohn Goodwin, Makeup EffectsNorman Leavitt, Makeup Department Head/Makeup ArtistBrigette Bugayong, Key Makeup ArtistTom Burman, Makeup ArtistBari Dreiband-Burman, Makeup ArtistJennifer Aspinall, Makeup Department Head & SpecialMakeup EffectsNathalie Fratti, Makeup ArtistHeather Mages, Makeup ArtistDavid Williams, Makeup ArtistEryn Krueger, Makeup Department HeadStephanie Fowler, Key MakeupDebbie Zoller, Additional MakeupMichelle Tyminsky, Additional MakeupMaurizio Silvi, Makeup Department HeadFederico Laurenti, Makeup ArtistFrancesco Nardi, Makeup ArtistLaura Tonello, Makeup ArtistPatty Bunch, Makeup Department HeadKaren Kawahara, Makeup ArtistFarah Bunch, Makeup Artist

Garson Yu, Creative Director/DesignerYolanda Santosa, Art Director/DesignerRobert Cribbett, Compositor/DesignerNate Homan, Animator/DesignerThomas Cobb, Title DesignerRobert Bradley, Title DesignerBrian Sipe, Makeup Department HeadKeith Vanderlaan, Key Makeup ArtistWill Huff, Key Makeup ArtistPerri Sorel, Makeup Department HeadRela Martine-Gray, Key Makeup ArtistJames MacKinnon, Key Makeup & Personal Makeup forMelina KanakaredesJohn Goodwin, Makeup EffectsNorman Leavitt, Makeup Department Head/Makeup ArtistBrigette Bugayong, Key Makeup ArtistTom Burman, Makeup ArtistBari Dreiband-Burman, Makeup ArtistJennifer Aspinall, Makeup Department Head & SpecialMakeup EffectsNathalie Fratti, Makeup ArtistHeather Mages, Makeup ArtistDavid Williams, Makeup ArtistEryn Krueger, Makeup Department HeadStephanie Fowler, Key MakeupDebbie Zoller, Additional MakeupMichelle Tyminsky, Additional MakeupMaurizio Silvi, Makeup Department HeadFederico Laurenti, Makeup ArtistFrancesco Nardi, Makeup ArtistLaura Tonello, Makeup ArtistPatty Bunch, Makeup Department HeadKaren Kawahara, Makeup ArtistFarah Bunch, Makeup ArtistOutstanding Makeup For A Miniseries, Movie Or A Special (Non-Prosthetic)

Bleak House (Masterpiece Theatre) • PBS • A BBC
WGBH-Boston Co-production in association with Deep
Indigo
Daniel Phillips, Makeup Department Head

Into The West • Wheel To The Stars • TNT • Dreamworks
Television
Gail Kennedy, Makeup Department Head

Into The West • Ghost Dance • TNT • Dreamworks
Television
Tarra Day, Makeup Department Head

Mrs. Harris • HBO • Killer Films and Number 9 Films and
John Wells Productions in association with HBO Films
Tina Roesler Kerwin, Makeup Department Head
Elisa Marsh, Key Makeup Artist
Julie Hewett, Makeup Artist for Annette Bening
Michele Baylis, Makeup Artist for Ben Kingsley

The Ten Commandments • ABC • RHI Entertainment
Michele Baylis, Makeup Department Head
Khalid Alami, Makeup Artist
Angie Mudge, Makeup Artist
Jennifer Harty, Makeup Artist

Daniel Phillips, Makeup Department HeadGail Kennedy, Makeup Department HeadTarra Day, Makeup Department HeadTina Roesler Kerwin, Makeup Department HeadElisa Marsh, Key Makeup ArtistJulie Hewett, Makeup Artist for Annette BeningMichele Baylis, Makeup Artist for Ben KingsleyMichele Baylis, Makeup Department HeadKhalid Alami, Makeup ArtistAngie Mudge, Makeup ArtistJennifer Harty, Makeup ArtistOutstanding Prosthetic Makeup For A Series,Miniseries, Movie Or A Special

Grey’s Anatomy • Yesterday • ABC • Touchstone
Television
Norman Leavitt, Makeup Department Head/Makeup Artist
Brigette Bugayong, Key Makeup
Tom Burman, Prosthetic Makeup
Bari Dreiband-Burman, Prosthetic Makeup

Into The West • Wheel To The Stars • TNT • Dreamworks
Television
Gail Kennedy, Makeup Department Head
Matthew Mungle, Prosthetic Designer

MADtv • Episode 1117 • FOX • Girl Group Company
Jennifer Aspinall, Makeup Department Head & Special
Makeup Effects (Prosthetic Designer)
Heather Mages, Prosthetic Makeup Artist (Designed
Prosthetics)
Wade Daily, Prosthetic Makeup Artist
Douglas Noe, Prosthetic Makeup Artist
James Rohland, Prosthetic Makeup Artist
David Williams, Prosthetic Makeup Artist

Nip/Tuck • Cherry Peck • FX Network • The
Shephard/Robin Company in association with Warner
Bros. Television Productions, Inc.
Eryn Krueger, Makeup Department Head
Stephanie Fowler, Key Makeup
Tom Burman, Prosthetic Designer
Bari Dreiband-Burman, Prosthetic Designer

Six Feet Under • Everyone’s Waiting • HBO • Actual Size
and the Greenblatt/Janollari Studios in association with
HBO Entertainment
Matthew W. Mungle, Department Head Posthetic Design &
Application
Michelle Vittone-McNeil, Prosthetic Makeup
John E. Jackson, Prosthetic Makeup Artist
Clinton Wayne, Prosthetic Makeup ArtistNorman Leavitt, Makeup Department Head/Makeup ArtistBrigette Bugayong, Key MakeupTom Burman, Prosthetic MakeupBari Dreiband-Burman, Prosthetic MakeupGail Kennedy, Makeup Department HeadMatthew Mungle, Prosthetic DesignerJennifer Aspinall, Makeup Department Head & SpecialMakeup Effects (Prosthetic Designer)Heather Mages, Prosthetic Makeup Artist (DesignedProsthetics)Wade Daily, Prosthetic Makeup ArtistDouglas Noe, Prosthetic Makeup ArtistJames Rohland, Prosthetic Makeup ArtistDavid Williams, Prosthetic Makeup ArtistEryn Krueger, Makeup Department HeadStephanie Fowler, Key MakeupTom Burman, Prosthetic DesignerBari Dreiband-Burman, Prosthetic DesignerMatthew W. Mungle, Department Head Posthetic Design &ApplicationMichelle Vittone-McNeil, Prosthetic MakeupJohn E. Jackson, Prosthetic Makeup ArtistClinton Wayne, Prosthetic Makeup Artist

Outstanding Music Composition For A Series
(Dramatic Underscore)

Masters Of Horror • Dreams In The Witch House •
Showtime • IDT Entertainment, Nice Guy Productions,
Industry Entertainment
Richard Band, Music by

Rome • Triumph • HBO • HBO Entertainment in
association with the BBC
Jeff Beal, Composer

Stargate: Atlantis • Grace Under Pressure • Sci Fi
Channel • Pegasus Productions II in association with
MGM Worldwide Television
Joel Goldsmith, Music Composed by

Supernatural • Pilot • WB • Wonderland Sound and Vision
in association with Warner Bros. Television Production,
Inc.
Christopher Lennertz, Composer

24 • 6:00 AM - 7:00 AM • FOX • Imagine Entertainment and
20th Century Fox Television in association with Real
Time Productions
Sean Callery, Music by

Richard Band, Music byJeff Beal, ComposerJoel Goldsmith, Music Composed byChristopher Lennertz, ComposerSean Callery, Music byOutstanding Music Composition For A
Miniseries, Movie Or A Special (Dramatic
Underscore)

The Dive From Clausen’s Pier • Lifetime • Icon
Productions in association with Fox Television Studios
for Lifetime Television
Bruce Broughton, Music by

Human Trafficking • Part 1 • Lifetime • Muse
Entertainment for Lifetime Television
Normand Corbell, Music by

Into The West • TNT • Dreamworks Television
Geoff Zanelli, Music by

Sleeper Cell • Showtime • Showtime Presents in
association with Cardboard Guru Productions
Paul Haslinger, Music by

The Water Is Wide (Hallmark Hall Of Fame Presentation)
• CBS • Hallmark Hall of Fame Productions, Inc.
Jeff Beal, Music by

Bruce Broughton, Music byNormand Corbell, Music byGeoff Zanelli, Music byPaul Haslinger, Music byJeff Beal, Music by

Richard Band, Music byJeff Beal, ComposerJoel Goldsmith, Music Composed byChristopher Lennertz, ComposerSean Callery, Music byBruce Broughton, Music byNormand Corbell, Music byGeoff Zanelli, Music byPaul Haslinger, Music byJeff Beal, Music by

Outstanding Music Direction

78th Annual Academy Awards • ABC • Academy of Motion
Picture Arts and Sciences
Bill Conti, Music Director

Andrea Bocelli: Amore Under the Desert Sky (Great
Performances) • PBS • A production of Sugar s.r.l. and
Thirteen/WNET-New York
David Foster, Music Director

The Kennedy Center Honors • CBS • A George Stevens,
Jr. Presentation for Kennedy Center Television
Productions
Elliot Lawrence, Musical Director
Rob Mathes, Musical Director

South Pacific In Concert From Carnegie Hall (Great
Performances) • PBS • A production of Thirteen/WNET
New York, Carnegie Hall, and the Rodgers &
Hammerstein Organization
Paul Gemignani, Musical Director and Conductor

The 59th Annual Tony Awards (2005) • CBS • White Cherry
Entertainment
Elliot Lawrence, Music Director

Bill Conti, Music DirectorDavid Foster, Music DirectorElliot Lawrence, Musical DirectorRob Mathes, Musical DirectorPaul Gemignani, Musical Director and ConductorElliot Lawrence, Music DirectorOutstanding Music And Lyrics

Gideon’s Daughter • Song: Natasha’s Song • BBC America
• BBC/BBC America/Talkback
Stephen Poliakoff, Lyrics by
Adrian Johnston, Music by

High School Musical • Song: Get’cha Head In The Game •
Disney • Salty Pictures/First Street Films/Disney Channel
Ray Cham, Written by
Greg Cham, Written by
Andrew Seeley, Written by

High School Musical • Song: Breaking Free • Disney •
Salty Pictures/First Street Films/Disney Channel
Jamie Houston, Written and Produced by

MADtv • Episode 1111 Song: A Wonderfully Normal Day •
FOX • Girl Group Company
Greg O’Connor, Music Composer
Jim Wise, Lyricist

Once Upon A Mattress • Song: That Baby Of Mine • ABC •
Tudor Television/Mabel Cat Inc. in association with Marc
Platt Productions & Touchstone Television
Ken Welch, Written by
Mitzie Welch, Written by

Stephen Poliakoff, Lyrics byAdrian Johnston, Music byRay Cham, Written byGreg Cham, Written byAndrew Seeley, Written byJamie Houston, Written and Produced byGreg O’Connor, Music ComposerJim Wise, LyricistKen Welch, Written byMitzie Welch, Written by

Bill Conti, Music DirectorDavid Foster, Music DirectorElliot Lawrence, Musical DirectorRob Mathes, Musical DirectorPaul Gemignani, Musical Director and ConductorElliot Lawrence, Music DirectorStephen Poliakoff, Lyrics byAdrian Johnston, Music byRay Cham, Written byGreg Cham, Written byAndrew Seeley, Written byJamie Houston, Written and Produced byGreg O’Connor, Music ComposerJim Wise, LyricistKen Welch, Written byMitzie Welch, Written byOutstanding Main Title Theme Music

Get Ed • Disney • Jetix Animation Concepts
Amin Bhatia, Main Title Written and Performed by
Ari Posner, Main Title Written and Performed by

Masters Of Horror • Showtime • IDT Entertainment, Nice
Guy Productions, Industry Entertainment
Edward Shearmur, Main Title Music by

Over There • FX Network • 20th Century Fox Television
and Steven Bochco Productions
Chris Gerolmo, Writer

Prison Break • FOX • Original Film, Adelstein, Parouse in
association with 20th Century Fox Television
Ramin Djawadi, Composer

Rome • HBO • HBO Entertainment in association with the
BBC
Jeff Beal, Composer

Amin Bhatia, Main Title Written and Performed byAri Posner, Main Title Written and Performed byEdward Shearmur, Main Title Music byChris Gerolmo, WriterRamin Djawadi, ComposerJeff Beal, ComposerOutstanding Lead Actor In A Comedy Series

Curb Your Enthusiasm • HBO • HBO Entertainment
Larry David as Himself

The King Of Queens • CBS • Sony Pictures Television
Kevin James as Doug Heffernan

Monk • USA • NBC Universal Television Studios in
association with Makeville Films and Touchstone
Television
Tony Shalhoub as Adrian Monk

The Office • NBC • Deedle Dee Productions, Reveille, LLC
in association with NBC Universal Television Studios
Steve Carell as Michael Scott

Two And A Half Men • CBS • Chuck Lorre Productions,
Inc., The Tannenbaum Company in association with
Warner Bros. Television Productions, a Division of WB
Studio Enterprises Inc.
Charlie Sheen as Charlie Harper

Larry David as HimselfKevin James as Doug HeffernanTony Shalhoub as Adrian MonkSteve Carell as Michael ScottCharlie Sheen as Charlie HarperOutstanding Lead Actor In A Drama Series

Law & Order: Special Victims Unit • NBC • A Wolf Films
production in association with NBC Universal Television
Christopher Meloni as Detective Elliot Stabler

Rescue Me • FX Network • Apolstle, The Cloudland
Company and Dreamworks Television in association with
Sony Pictures Television
Denis Leary as Tommy Gavin

Six Feet Under • HBO • Actual Size and the
Greenblatt/Janollari Studios in association with HBO
Entertainment
Peter Krause as Nate Fisher

24 • FOX • Imagine Entertainment and 20th Century Fox
Television in association with Real Time Productions
Kiefer Sutherland as Jack Bauer

The West Wing • NBC • John Wells Productions in
association with Warner Bros. Television
Martin Sheen as President Josiah BartletChristopher Meloni as Detective Elliot StablerDenis Leary as Tommy GavinPeter Krause as Nate FisherKiefer Sutherland as Jack BauerMartin Sheen as President Josiah Bartlet

Outstanding Lead Actor In A Miniseries Or A
Movie

Bleak House (Masterpiece Theatre) • PBS • A BBC
WGBH-Boston Co-production in association with Deep
Indigo
Charles Dance as Mr. Tulkinghorn

Human Trafficking • Lifetime • Muse Entertainment for
Lifetime Television
Donald Sutherland as Bill Meehan

Mrs. Harris • HBO • Killer Films and Number 9 Films and
John Wells Productions in association with HBO Films
Ben Kingsley as Herman Tarnower

Pope John Paul II • CBS • Lux Vide Productions
Jon Voight as Pope John Paul II

Thief • FX Network • Regency Television
Andre Braugher as Nick Atwater

Charles Dance as Mr. TulkinghornDonald Sutherland as Bill MeehanBen Kingsley as Herman TarnowerJon Voight as Pope John Paul IIAndre Braugher as Nick AtwaterOutstanding Lead Actress In A Comedy Series

The Comeback • HBO • Working Class and Is Or Isn’t
Entertainment in association with HBO Entertainment
Lisa Kudrow as Valerie Cherish

Malcolm In The Middle • FOX • Regency Television in
association with 20th Century Fox Television
Jane Kaczmarek as Lois

The New Adventures Of Old Christine • CBS • Kari’s Logo
Here in association with Warner Bros. Television
Julia Louis-Dreyfus as Christine Campbell

Out Of Practice • CBS • CBS Paramount Network
Television
Stockard Channing as Lydia Barnes

Will & Grace • NBC • KoMut Entertainment in association
with NBC Studios and Three Sisters Entertainment
Debra Messing as Grace

Lisa Kudrow as Valerie CherishJane Kaczmarek as LoisJulia Louis-Dreyfus as Christine CampbellStockard Channing as Lydia BarnesDebra Messing as GraceOutstanding Lead Actress In A Drama Series

The Closer • TNT • Shephard/Robin Company in
association with Warner Bros. Television
Kyra Sedgwick as Deputy Chief Brenda Leigh Johnson

Commander In Chief • ABC • Touchstone Television
Geena Davis as Mackenzie Allen

Law & Order: Special Victims Unit • NBC • A Wolf Films
production in association with NBC Universal Television
Mariska Hargitay as Detective Olivia Benson

Six Feet Under • HBO • Actual Size and the
Greenblatt/Janollari Studios in association with HBO
Entertainment
Frances Conroy as Ruth Fisher

The West Wing • NBC • John Wells Productions in
association with Warner Bros. Television
Allison Janney as C.J. CreggKyra Sedgwick as Deputy Chief Brenda Leigh JohnsonGeena Davis as Mackenzie AllenMariska Hargitay as Detective Olivia BensonFrances Conroy as Ruth FisherAllison Janney as C.J. Cregg

Charles Dance as Mr. TulkinghornDonald Sutherland as Bill MeehanBen Kingsley as Herman TarnowerJon Voight as Pope John Paul IIAndre Braugher as Nick AtwaterLisa Kudrow as Valerie CherishJane Kaczmarek as LoisJulia Louis-Dreyfus as Christine CampbellStockard Channing as Lydia BarnesDebra Messing as GraceKyra Sedgwick as Deputy Chief Brenda Leigh JohnsonGeena Davis as Mackenzie AllenMariska Hargitay as Detective Olivia BensonFrances Conroy as Ruth FisherAllison Janney as C.J. Cregg

Outstanding Lead Actress In A Miniseries Or A Movie

Ambulance Girl • Lifetime • Patricia Clifford Productions
in association with von Zerneck-Sertner Films for
Lifetime Television
Kathy Bates as Jane Stern

Bleak House (Masterpiece Theatre) • PBS • A BBC
WGBH-Boston Co-production in association with Deep
Indigo
Gillian Anderson as Lady Dedlock

Elizabeth I • HBO • Company Pictures and Channel 4 in
association with HBO Films
Helen Mirren as Elizabeth I

A Little Thing Called Murder • Lifetime • Grand
Productions and Stonemade Entertainment in association
with Fox Television Studios for Lifetime Television
Judy Davis as Sante Kimes

Mrs. Harris • HBO • Killer Films and Number 9 Films and
John Wells Productions in association with HBO Films
Annette Bening as Jean Harris

Kathy Bates as Jane SternGillian Anderson as Lady DedlockHelen Mirren as Elizabeth IJudy Davis as Sante KimesAnnette Bening as Jean HarrisOutstanding Supporting Actor In A Comedy Series

Arrested Development • FOX • Imagine Television and
The Hurwitz Company in association with 20th Century
Fox Television
Will Arnett as Gob Bluth

Entourage • HBO • Leverage and Closest to the Hole
Productions in association with HBO Entertainment
Jeremy Piven as Ari Gold

Malcolm In The Middle • FOX • Regency Television in
association with 20th Century Fox Television
Bryan Cranston as Hal

Two And A Half Men • CBS • Chuck Lorre Productions,
Inc., The Tannenbaum Company in association with
Warner Bros. Television Productions, a Division of WB
Studio Enterprises Inc.
Jon Cryer as Alan Harper

Will & Grace • NBC • KoMut Entertainment in association
with NBC Studios and Three Sisters Entertainment
Sean Hayes as Jack

Will Arnett as Gob BluthJeremy Piven as Ari GoldBryan Cranston as HalJon Cryer as Alan HarperSean Hayes as Jack

Kathy Bates as Jane SternGillian Anderson as Lady DedlockHelen Mirren as Elizabeth IJudy Davis as Sante KimesAnnette Bening as Jean HarrisWill Arnett as Gob BluthJeremy Piven as Ari GoldBryan Cranston as HalJon Cryer as Alan HarperSean Hayes as Jack

Outstanding Supporting Actor In A Drama Series

Boston Legal • ABC • David E. Kelley Productions in
association with 20th Century Fox Television Studios
William Shatner as Denny Crane

Huff • Showtime • Showtime Presents in association with
Sony Pictures Television, A Bob Lowry Television Show
Production, A 50 Cannon Entertainment Production
Oliver Platt as Russell Tupper

The Sopranos • HBO • Chase Films and Brad Grey
Television in association with HBO Entertainment
Michael Imperioli as Christopher Moltisanti

24 • FOX • Imagine Entertainment and 20th Century Fox
Television in association with Real Time Productions
Gregory Itzin as President Charles Logan

The West Wing • NBC • John Wells Productions in
association with Warner Bros. Television
Alan Alda as Arnold Vinick

William Shatner as Denny CraneOliver Platt as Russell TupperMichael Imperioli as Christopher MoltisantiGregory Itzin as President Charles LoganAlan Alda as Arnold VinickOutstanding Supporting Actor In A Miniseries
Or A Movie

Bleak House (Masterpiece Theatre) • PBS • A BBC
WGBH-Boston Co-production in association with Deep
Indigo
Denis Lawson as John Jarndyce

Elizabeth I • HBO • Company Pictures and Channel 4 in
association with HBO Films
Hugh Dancy as Earl of Essex

Elizabeth I • HBO • Company Pictures and Channel 4 in
association with HBO Films
Jeremy Irons as Earl of Leicester

Human Trafficking • Lifetime • Muse Entertainment for
Lifetime Television
Robert Carlyle as Sergei Karpovich

Thief • FX Network • Regency Television
Clifton Collins, Jr. as Jack “Bump” Hill

Denis Lawson as John JarndyceHugh Dancy as Earl of EssexJeremy Irons as Earl of LeicesterRobert Carlyle as Sergei KarpovichClifton Collins, Jr. as Jack “Bump” HillOutstanding Supporting Actress In A Comedy
Series

Curb Your Enthusiasm • HBO • HBO Entertainment
Cheryl Hines as Cheryl David

Desperate Housewives • ABC • Touchstone Television
Alfre Woodard as Betty Applewhite

My Name Is Earl • NBC • An Amigos de Garcia production
in association with 20th Century Fox Television
Jaime Pressly as Joy

Weeds • Showtime • Showtime Presents in association
with Lions Gate Television and Tilted Productions
Elizabeth Perkins as Celia Hodes

Will & Grace • NBC • KoMut Entertainment in association
with NBC Studios and Three Sisters Entertainment
Megan Mullally as KarenCheryl Hines as Cheryl DavidAlfre Woodard as Betty ApplewhiteJaime Pressly as JoyElizabeth Perkins as Celia HodesMegan Mullally as Karen

William Shatner as Denny CraneOliver Platt as Russell TupperMichael Imperioli as Christopher MoltisantiGregory Itzin as President Charles LoganAlan Alda as Arnold VinickDenis Lawson as John JarndyceHugh Dancy as Earl of EssexJeremy Irons as Earl of LeicesterRobert Carlyle as Sergei KarpovichClifton Collins, Jr. as Jack “Bump” HillCheryl Hines as Cheryl DavidAlfre Woodard as Betty ApplewhiteJaime Pressly as JoyElizabeth Perkins as Celia HodesMegan Mullally as Karen

Outstanding Supporting Actress In A Drama
Series

Boston Legal • ABC • David E. Kelley Productions in
association with 20th Century Fox Television Studios
Candice Bergen as Shirley Schmidt

Grey’s Anatomy • ABC • Touchstone Television
Sandra Oh as Cristina Yang

Grey’s Anatomy • ABC • Touchstone Television
Chandra Wilson as Dr. Bailey

Huff • Showtime • Showtime Presents in association with
Sony Pictures Television, A Bob Lowry Television Show
Production, A 50 Cannon Entertainment Production
Blythe Danner as Izzy Huffstodt

24 • FOX • Imagine Entertainment and 20th Century Fox
Television in association with Real Time Productions
Jean Smart as First Lady Martha Logan

Candice Bergen as Shirley SchmidtSandra Oh as Cristina YangChandra Wilson as Dr. BaileyBlythe Danner as Izzy HuffstodtJean Smart as First Lady Martha LoganOutstanding Supporting Actress In A Miniseries
Or A Movie

The Girl In The CafÈ • HBO • Tightrope Pictures and BBC
Wales in association with HBO Films
Kelly Macdonald as Gina

Hidden Places • Hallmark • RHI Entertainment Presents
an Alpine Medien production in association with Larry
Levinson Productions
Shirley Jones as Aunt Batty

Mrs. Harris • HBO • Killer Films and Number 9 Films and
John Wells Productions in association with HBO Films
Ellen Burstyn as Former Tarnower “Steady”

Mrs. Harris • HBO • Killer Films and Number 9 Films and
John Wells Productions in association with HBO Films
Cloris Leachman as Tarnower’s Sister

The Water Is Wide (Hallmark Hall Of Fame Presentation)
• CBS • Hallmark Hall of Fame Productions, Inc.
Alfre Woodard as Mrs. Brown

Kelly Macdonald as GinaShirley Jones as Aunt BattyEllen Burstyn as Former Tarnower “Steady”Cloris Leachman as Tarnower’s SisterAlfre Woodard as Mrs. BrownOutstanding Guest Actor In A Comedy Series

Extras • HBO • BBC and HBO Entertainment
Patrick Stewart as Himself

Extras • HBO • BBC and HBO Entertainment
Ben Stiller as Himself

Two And A Half Men • CBS • Chuck Lorre Productions,
Inc., The Tannenbaum Company in association with
Warner Bros. Television Productions, a Division of WB
Studio Enterprises Inc.
Martin Sheen as Harvey

Will & Grace • NBC • KoMut Entertainment in association
with NBC Studios and Three Sisters Entertainment
Alec Baldwin as Malcolm

Will & Grace • NBC • KoMut Entertainment in association
with NBC Studios and Three Sisters Entertainment
Leslie Jordan as Beverley LesliePatrick Stewart as HimselfBen Stiller as HimselfMartin Sheen as HarveyAlec Baldwin as MalcolmLeslie Jordan as Beverley Leslie

Candice Bergen as Shirley SchmidtSandra Oh as Cristina YangChandra Wilson as Dr. BaileyBlythe Danner as Izzy HuffstodtJean Smart as First Lady Martha LoganKelly Macdonald as GinaShirley Jones as Aunt BattyEllen Burstyn as Former Tarnower “Steady”Cloris Leachman as Tarnower’s SisterAlfre Woodard as Mrs. BrownPatrick Stewart as HimselfBen Stiller as HimselfMartin Sheen as HarveyAlec Baldwin as MalcolmLeslie Jordan as Beverley Leslie

Outstanding Guest Actor In A Drama Series

Boston Legal • ABC • David E. Kelley Productions in
association with 20th Century Fox Television Studios
Michael J. Fox as Daniel Post

Boston Legal • ABC • David E. Kelley Productions in
association with 20th Century Fox Television Studios
Christian Clemenson as Jerry “Hands” Espenson

ER • NBC • Constant c Productions, Amblin Television in
association with Warner Bros. Television
James Woods as Dr. Nate Lennox

Grey’s Anatomy • ABC • Touchstone Television
Kyle Chandler as Dylan Young

Lost • ABC • Grass Skirt Productions, LLC in association
with Touchstone Television
Henry Ian Cusick as Desmond

Michael J. Fox as Daniel PostChristian Clemenson as Jerry “Hands” EspensonJames Woods as Dr. Nate LennoxKyle Chandler as Dylan YoungHenry Ian Cusick as DesmondOutstanding Guest Actress In A Comedy
Series

Desperate Housewives • ABC • Touchstone Television
Shirley Knight as Phyllis Van de Kamp

Extras • HBO • BBC and HBO Entertainment
Kate Winslet as Herself

Malcolm In The Middle • FOX • Regency Television in
association with 20th Century Fox Television
Cloris Leachman as Ida

Monk • USA • NBC Universal Television Studios in
association with Makeville Films and Touchstone
Television
Laurie Metcalf as Cora

Will & Grace • NBC • KoMut Entertainment in association
with NBC Studios and Three Sisters Entertainment
Blythe Danner as Marilyn Truman

Shirley Knight as Phyllis Van de KampKate Winslet as HerselfCloris Leachman as IdaLaurie Metcalf as CoraBlythe Danner as Marilyn TrumanOutstanding Guest Actress In A Drama Series

Grey’s Anatomy • ABC • Touchstone Television
Kate Burton as Ellis Grey

Grey’s Anatomy • ABC • Touchstone Television
Christina Ricci as Hannah

Huff • Showtime • Showtime Presents in association with
Sony Pictures Television, A Bob Lowry Television Show
Production, A 50 Cannon Entertainment Production
Swoosie Kurtz as Madeline Sullivan

Six Feet Under • HBO • Actual Size and the
Greenblatt/Janollari Studios in association with HBO
Entertainment
Patricia Clarkson as Aunt Sarah

Six Feet Under • HBO • Actual Size and the
Greenblatt/Janollari Studios in association with HBO
Entertainment
Joanna Cassidy as Margaret ChenowithKate Burton as Ellis GreyChristina Ricci as HannahSwoosie Kurtz as Madeline SullivanPatricia Clarkson as Aunt SarahJoanna Cassidy as Margaret Chenowith

Michael J. Fox as Daniel PostChristian Clemenson as Jerry “Hands” EspensonJames Woods as Dr. Nate LennoxKyle Chandler as Dylan YoungHenry Ian Cusick as DesmondShirley Knight as Phyllis Van de KampKate Winslet as HerselfCloris Leachman as IdaLaurie Metcalf as CoraBlythe Danner as Marilyn TrumanKate Burton as Ellis GreyChristina Ricci as HannahSwoosie Kurtz as Madeline SullivanPatricia Clarkson as Aunt SarahJoanna Cassidy as Margaret ChenowithOutstanding Individual Performance In A Variety Or Music Program

Barry Manilow: Music And Passion • PBS • Stiletto
Television in association with Serpent Productions and
PJM Productions
Barry Manilow, Performer

The Colbert Report • Comedy Central • Central
Productions with Busboy Productions and Spartina
Productions
Stephen Colbert, Host

The Late Late Show With Craig Ferguson • CBS •
Worldwide Pants Incorporated
Craig Ferguson, Host

Late Show With David Letterman • CBS • Worldwide Pants
Incorporated
David Letterman, Host

The 59th Annual Tony Awards (2005) • CBS • White Cherry
Entertainment
Hugh Jackman, Host

Barry Manilow, PerformerStephen Colbert, HostCraig Ferguson, HostDavid Letterman, HostHugh Jackman, HostOutstanding Comedy Series

Arrested Development • FOX • Imagine Television and
The Hurwitz Company in association with 20th Century
Fox Television
Producers TBA

Curb Your Enthusiasm • HBO • HBO Entertainment
Producers TBA

The Office • NBC • Deedle Dee Productions, Reveille, LLC
in association with NBC Universal Television Studios
Producers TBA

Scrubs • NBC • Touchstone Television
Producers TBA

Two And A Half Men • CBS • Chuck Lorre Productions,
Inc., The Tannenbaum Company in association with
Warner Bros. Television Productions, a Division of WB
Studio Enterprises Inc.
Producers TBA

Producers TBAProducers TBAProducers TBAProducers TBAProducers TBAOutstanding Drama Series

Grey’s Anatomy • ABC • Touchstone Television
Producers TBA

House • FOX • Heel and Toe Productions, Shorez
Productions and Bad Hat Harry Productions in
association with Universal Television Studios
Producers TBA

The Sopranos • HBO • Chase Films and Brad Grey
Television in association with HBO Entertainment
Producers TBA

24 • FOX • Imagine Entertainment and 20th Century Fox
Television in association with Real Time Productions
Producers TBA

The West Wing • NBC • John Wells Productions in
association with Warner Bros. Television
Producers TBAProducers TBAProducers TBAProducers TBAProducers TBAProducers TBA

Outstanding Miniseries

Bleak House (Masterpiece Theatre) • PBS • A BBC
WGBH-Boston Co-production in association with Deep
Indigo
Producers TBA

Elizabeth I • HBO • Company Pictures and Channel 4 in
association with HBO Films
Producers TBA

Into The West • TNT • Dreamworks Television
Producers TBA

Sleeper Cell • Showtime • Showtime Presents in
association with Cardboard Guru Productions
Producers TBA

Producers TBAProducers TBAProducers TBAProducers TBAOutstanding Made For Television Movie

Flight 93 • A&E • A David Gerber Company Production in
association with A&E Network and Fox Television Studios
Producers TBA

The Flight That Fought Back • Discovery Channel • Brook
Lapping Productions in association with Discovery
Channel
Producers TBA

The Girl In The CafÈ • HBO • Tightrope Pictures and BBC
Wales in association with HBO Films
Producers TBA

Mrs. Harris • HBO • Killer Films and Number 9 Films and
John Wells Productions in association with HBO Films
Producers TBA

Yesterday • HBO • Exciting Flms/Distant
Horizon/Videovision in association with HBO Films
Producers TBA

Producers TBAProducers TBAProducers TBAProducers TBAProducers TBAOutstanding Variety, Music Or Comedy Series

The Colbert Report • Comedy Central • Central
Productions with Busboy Productions and Spartina
Productions
Producers TBA

The Daily Show With Jon Stewart • Comedy Central •
Central Productions LLC and Hello Doggie, Inc.
Producers TBA

Late Night With Conan O’Brien • NBC • Broadway Video,
NBC Studios, Conaco
Producers TBA

Late Show With David Letterman • CBS • Worldwide Pants
Incorporated
Producers TBA

Real Time With Bill Maher • HBO • Kid Love Productions
and Brad Grey Television in association with HBO
Entertainment
Producers TBA

Outstanding Variety, Music Or Comedy
Special

78th Annual Academy Awards • ABC • Academy of Motion
Picture Arts and Sciences
Producers TBA

Bill Maher: I’m Swiss • HBO • Music Link, Image
Entertainment and Kid Love in association with HBO
Entertainment
Producers TBA

George Carlin: Life Is Worth Losing • HBO • Cablestuff
Productions in association with HBO Entertainment
Producers TBA

McCartney In St. Petersburg • A&E • Mark Haefeli
Productions in association with A&E Network
Producers TBA

The XX Olympic Winter Games - Opening Ceremony •
NBC • NBC Olympics
Producers TBA

Producers TBAProducers TBAProducers TBAProducers TBAProducers TBAOutstanding Special Class Program

Dance In America: Swan Lake With American Ballet
Theatre (Great Performances) • PBS • A production of
Thirteen/WNET New York in association with WETA
Washington, D.C.
Producers TBA

Jazz At Lincoln Center - Higher Ground Hurricane Relief
Benefit Concert (Live From Lincoln Center) • PBS • A
production of Lincoln Center
Producers TBA

A Lincoln Center Special: 30 Years Of Live From Lincoln
Center • PBS • A production of Lincoln Center
Producers TBA

South Pacific In Concert From Carnegie Hall (Great
Performances) • PBS • A production of Thirteen/WNET
New York, Carnegie Hall, and the Rodgers &
Hammerstein Organization
Producers TBA

Producers TBAProducers TBAProducers TBAProducers TBAOutstanding Children's Program

Classical Baby 2 • HBO • HBO Original Programming
Producers TBA

High School Musical • Disney • Salty Pictures/First Street
Films/Disney Channel
Producers TBA

I Have Tourette’s But Tourette’s Doesn’t Have Me • HBO •
Tourette Syndrome Association with HBO Documentary
Films
Producers TBA

Nick News With Linda Ellerbee: Do Something! Caring
For The Kids Of Katrina • Nickelodeon • Nickelodeon
Studios with Lucky Duck Productions
Producers TBA
Producers TBAProducers TBAProducers TBAProducers TBA

Producers TBAProducers TBAProducers TBAProducers TBAProducers TBA

Producers TBAProducers TBAProducers TBAProducers TBAProducers TBAProducers TBAProducers TBAProducers TBAProducers TBAProducers TBAProducers TBAProducers TBAProducers TBAProducers TBAOutstanding Nonfiction Special

All Aboard! Rosie’s Family Cruise • HBO • Sceneworks
Productions and KidRo Productions in association with
HBO Documentary Films
Producers TBA

How William Shatner Changed The World • The History
Channel • Handel Productions in co-production with The
History Channel, Discovery Canada, Discovery
Communications International, Arte and Channel 5 UK
Producers TBA

Inside 9/11 • National Geographic Channel • Produced by
Towers Productions Inc. for National Geographic Channel
Producers TBA

Rome: Engineering An Empire • The History Channel •
KPI Productions, Inc. for History Television Network
Productions
Producers TBA

Stardust: The Bette Davis Story • TCM • Peter Jones
Productions for Turner Classic Movies & Turner
Entertainment Co.
Producers TBA

Producers TBAProducers TBAProducers TBAProducers TBAProducers TBAOutstanding Nonfiction Series

American Masters • PBS • Thirteen/WNET New
York/American Masters, Spitfire Pictures, Grey Water
Park Productions, Sikelia Productions, BBC
Producers TBA

Biography • A&E • Prometheus Entertainment and Fox
Television Studios in association with A&E Network
Producers TBA

Deadliest Catch • Discovery Channel • Original
Productions, Inc. in association with Discovery Channel
Producers TBA

Inside The Actors Studio • Bravo • A Co-production of The
Actors Studio, Bravo, In The Moment Productions
Producers TBA

10 Days That Unexpectedly Changed America • The
History Channel • @radical media for The History
Channel
Producers TBA

Producers TBAProducers TBAProducers TBAProducers TBAProducers TBAOutstanding Reality Program

Antiques Roadshow • PBS • WGBH Educational
Foundation
Producers TBA

The Dog Whisperer • National Geographic Channel • MPH
Entertainment, Inc. in association with Emery/Sumner
Productions for National Geographic Channel
Producers TBA

Extreme Makeover: Home Edition • ABC • Endemol USA
Producers TBA

Producers TBAProducers TBAProducers TBA

Kathy Griffin: My Life On The D-List • Bravo • Picture
This Television, Inappropriate Laughter, Inc., Bravo
Producers TBA

Penn & Teller: Bullshit • Showtime • Showtime Presents
in association with Penn & Teller, A Division of Buggs
and Rudy Discount Corporation, Star Price Productions,
The Wolper Organization
Producers TBA

Outstanding Reality-Competition Program

The Amazing Race • CBS • Amazing Race Productions,
Inc. and Touchstone Television Productions, LLC in
association with Jerry Bruckheimer Television and
WorldRace Productions, Inc.
Producers TBA

American Idol • FOX • FremantleMedia N.A., Inc. & 19TV
Ltd.
Producers TBA

Dancing With The Stars • ABC • BBC Worldwide
Productions
Producers TBA

Project Runway • Bravo • Magical Elves for The
Weinstein Company/Miramax, Full Picture, Bravo
Producers TBA

Survivor • CBS • Mark Burnett Productions in association
with SEG Productions
Producers TBA

Producers TBAProducers TBAProducers TBAProducers TBAProducers TBAExceptional Merit In Nonfiction Filmmaking

Baghdad ER • HBO • Feury/Grant Productions and
Downtown Community Television Center in association
with HBO Documentary Films
Jon Alpert, Produced by
Matthew O’Neill, Produced by
Joseph Feury, Produced by
Sheila Nevins, Executive Producer

Combat Diary: The Marines Of Lima Company • A&E •
Viewfinder Productions for A&E Network
Michael Epstein, Produced by
Jonathan Yellen, Produced by
Nancy Dubuc, Executive Producer for A&E
Deirdre O’Hearn, Executive Producer for A&E

In The Realms Of The Unreal (P.O.V.) • PBS • American
Documentary I P.O.V.
Jessica Yu, Producer
Sue West, Producer
Sally Jo Fifer, Executive Producer
Cara Mertes, Executive Producer

Three Days In September • Showtime • Showtime
Networks
Joe Halderman, Produced by
Peter Van Sant, Producer
Michael McHugh, Producer
Michael Vele, Producer

Two Days In October (American Experience) • PBS •
WGBH Educational Foundation
Robert Kenner, Producer
Mark Samels, Executive Producer
Nick Fraser, Executive Producer
Sharon Grimberg, Series Producer

Jon Alpert, Produced byMatthew O’Neill, Produced byJoseph Feury, Produced bySheila Nevins, Executive ProducerMichael Epstein, Produced byJonathan Yellen, Produced byNancy Dubuc, Executive Producer for A&EDeirdre O’Hearn, Executive Producer for A&EJessica Yu, ProducerSue West, ProducerSally Jo Fifer, Executive ProducerCara Mertes, Executive Producer

Producers TBAProducers TBAProducers TBAProducers TBAProducers TBAProducers TBAProducers TBAJon Alpert, Produced byMatthew O’Neill, Produced byJoseph Feury, Produced bySheila Nevins, Executive ProducerMichael Epstein, Produced byJonathan Yellen, Produced byNancy Dubuc, Executive Producer for A&EDeirdre O’Hearn, Executive Producer for A&EJessica Yu, ProducerSue West, ProducerSally Jo Fifer, Executive ProducerCara Mertes, Executive ProducerJoe Halderman, Produced byPeter Van Sant, ProducerMichael McHugh, ProducerMichael Vele, ProducerRobert Kenner, ProducerMark Samels, Executive ProducerNick Fraser, Executive ProducerSharon Grimberg, Series ProducerOutstanding Writing For Nonfiction Programming

American Masters • Ernest Hemingway: Rivers To The
Sea • PBS • Thirteen/WNET New York and Maha Films
DeWitt Sage, Written by

American Masters • John Ford/John Wayne: The
Filmmaker And The Legend • PBS • Thirteen/WNET New
York
Ken Bowser, Written by

How William Shatner Changed The World • The History
Channel • Handel Productions in co-production with The
History Channel, Discovery Canada, Discovery
Communications International, Arte and Channel 5 UK
Alan Handel, Writer
Julian Jones, Writer

Penn & Teller: Bullshit • Prostitution • Showtime •
Showtime Presents in association with Penn & Teller, A
Division of Buggs and Rudy Discount Corporation, Star
Price Productions, The Wolper Organization
Penn Jillette, Written by
Teller, Written by
Cliff Schoenberg, Written by
Jon Hotchkiss, Written by
Michael Goudeau, Written by
Star Price, Written by

Stardust: The Bette Davis Story • TCM • Peter Jones
Productions for Turner Classic Movies & Turner
Entertainment Co.
Peter Jones, Writer

DeWitt Sage, Written byKen Bowser, Written byAlan Handel, WriterJulian Jones, WriterPenn Jillette, Written byTeller, Written byCliff Schoenberg, Written byJon Hotchkiss, Written byMichael Goudeau, Written byStar Price, Written byPeter Jones, WriterOutstanding Sound Editing For A Series

CSI: Crime Scene Investigation • A Bullet Runs Through
It, Part 1 • CBS • An Alliance Atlantis production in
association with Paramount Television
Mace Matiosian, Supervising Sound Editor
Ruth Adelman, ADR Editor
David Van Slyke, Sound FX Editor
Jivan Tahmizian, Dialogue Editor
Yuri Reese, Dialogue Editor
Mark Allen, FX Editor
Troy Hardy, Music Editor
Zane Bruce, Foley Artist
Joseph Sabella, Foley Artist
Mace Matiosian, Supervising Sound EditorRuth Adelman, ADR EditorDavid Van Slyke, Sound FX EditorJivan Tahmizian, Dialogue EditorYuri Reese, Dialogue EditorMark Allen, FX EditorTroy Hardy, Music EditorZane Bruce, Foley ArtistJoseph Sabella, Foley Artist

ER • Two Ships • NBC • Constant c Productions, Amblin
Television in association with Warner Bros. Television
Walter Newman, Supervising Sound Editor
Tom Harris, Supervising ADR Editor
Darleen Stoker, Dialogue Editor
Rick M. Hromadka, Sound Editor
Darren Wright, Sound Editor
Kenneth Young, Sound Editor
Bruce Honda, Dialogue Editor
Sharyn Tylk-Gersh, Music Editor
Casey Crabtree, Foley Artist
Mike Crabtree, Foley Artist

Smallville • Arrival • WB • Tollin/Robbins Productions,
Millar/Gough Ink and Warner Bros. Television
Producitons, a Division of WB Studio Enterprises Inc.
Sound Editing Team TBA

Supernatural • Pilot • WB • Wonderland Sound and Vision
in association with Warner Bros. Television Production,
Inc.
Sound Editing Team TBA

24 • 9:00 PM - 10:00 PM • FOX • Imagine Entertainment
and 20th Century Fox Television in association with Real
Time Productions
William Dotson, Supervising Sound Editor
Catherine Speakman, Supervising ADR Editor
Pembrooke Andrews, Sound Editor
Jeffrey Whitcher, Sound Effects Editor
Shawn Kennelly, Sound Editor
Rick Polanco, Sound Editor
Jeffrey Charbonneau, Music Editor
Laura Macias, Foley Artist
Vince Nicastro, Foley Artist

Outstanding Sound Editing For A Miniseries,
Movie Or A Special

Category 7: The End Of The World • Night 1 • CBS • von
Zerneck/Sertner Films
Joseph Melody, Supervising Sound Editor
Devon Curry, ADR Supervisor
Kevin Fisher, Special FX Editor
Rick Steele, Sound Design Editor
Mike Dickerson, FX Editor
Bob Costanza, FX Editor
Sean Byrne, Editor
Adriane Marfiak, Dialogue Editor
Peter DiRado, Music Editor
Tim Chilton, Foley Artist
Sharon Michaels, Foley Artist

Flight 93 • A&E • A David Gerber Company Production in
association with A&E Network and Fox Television Studios
Harry Snodgrass, Sound Supervisor/Effects Editor
Mark Linden, Sound Editor
Tara A. Paul, Effects Editor
David A. Sharf, Dialog Editor
Geoff Raffan, Dialog Editor
Carlos Ramirez, ADR/Dialog Editor
Joan Rowe, Foley Artist
Chris Julian, Foley Artist

Into The West • Manifest Destiny • TNT • Dreamworks
Television
Sound Editing Team TBA

Sleeper Cell • Youmud-Din • Showtime • Showtime
Presents in association with Cardboard Guru Productions
Mark Kamps, Supervising Sound Editor
Todd Murakami, Sound Effects Editor
Jane Boegel, Dialogue Editor
Jason Lezama, Dialogue Editor
Patrick Hogan, Dialogue Editor
Bob Newlan, Dialogue Editor
Matt Fausak, Music Editor
Dale Perry, Foley Artist

Stephen King’s Desperation • ABC • Touchstone
Television
Richard Taylor, Supervising Sound Editor
Todd Murakami, Sound Editor
Jason Lezama, Sound Editor
Andrew Ellerd, Sound Editor
Robert Costanza, Sound Editor
Brian Thomas Nist, Sound Editor
Patrick Hogan, Sound Editor
Mark Cookson, Sound Editor
Mark Kamps, Sound Editor
Robert Ramierz, Sound Editor
Fred Judkins, Sound Editor
Rick Steele, Sound Editor
Sonya Lindsay, Sound Editor
Stan Jones, Music Editor

Joseph Melody, Supervising Sound EditorDevon Curry, ADR SupervisorKevin Fisher, Special FX EditorRick Steele, Sound Design EditorMike Dickerson, FX EditorBob Costanza, FX EditorSean Byrne, EditorAdriane Marfiak, Dialogue EditorPeter DiRado, Music EditorTim Chilton, Foley ArtistSharon Michaels, Foley ArtistHarry Snodgrass, Sound Supervisor/Effects EditorMark Linden, Sound EditorTara A. Paul, Effects EditorDavid A. Sharf, Dialog EditorGeoff Raffan, Dialog EditorCarlos Ramirez, ADR/Dialog EditorJoan Rowe, Foley ArtistChris Julian, Foley Artist

Joseph Melody, Supervising Sound EditorDevon Curry, ADR SupervisorKevin Fisher, Special FX EditorRick Steele, Sound Design EditorMike Dickerson, FX EditorBob Costanza, FX EditorSean Byrne, EditorAdriane Marfiak, Dialogue EditorPeter DiRado, Music EditorTim Chilton, Foley ArtistSharon Michaels, Foley ArtistHarry Snodgrass, Sound Supervisor/Effects EditorMark Linden, Sound EditorTara A. Paul, Effects EditorDavid A. Sharf, Dialog EditorGeoff Raffan, Dialog EditorCarlos Ramirez, ADR/Dialog EditorJoan Rowe, Foley ArtistChris Julian, Foley ArtistSound Editing Team TBAMark Kamps, Supervising Sound EditorTodd Murakami, Sound Effects EditorJane Boegel, Dialogue EditorJason Lezama, Dialogue EditorPatrick Hogan, Dialogue EditorBob Newlan, Dialogue EditorMatt Fausak, Music EditorDale Perry, Foley ArtistRichard Taylor, Supervising Sound EditorTodd Murakami, Sound EditorJason Lezama, Sound EditorAndrew Ellerd, Sound EditorRobert Costanza, Sound EditorBrian Thomas Nist, Sound EditorPatrick Hogan, Sound EditorMark Cookson, Sound EditorMark Kamps, Sound EditorRobert Ramierz, Sound EditorFred Judkins, Sound EditorRick Steele, Sound EditorSonya Lindsay, Sound EditorStan Jones, Music EditorOutstanding Sound Editing For Nonfiction
Programming (Single Or Multi-Camera)

The Amazing Race • Here Comes The Bedouin! • CBS •
Amazing Race Productions, Inc. and Touchstone
Television Productions, LLC in association with Jerry
Bruckheimer Television and WorldRace Productions, Inc.
Sound Editing Team TBA

American Masters • Bob Dylan: No Direction Home • PBS
• Thirteen/WNET New York/American Masters, Spitfire
Pictures, Grey Water Park Productions, Sikelia
Productions, BBC
Philip Stockton, Sound Supervisor
Allan Zaleski, Sound Effects Editor
Frederic Rosenberg, Dialogue Editor
Jennifer Dunnington, Music Editor
Annette Kudrak, Music Editor

Baghdad ER • HBO • Feury/Grant Productions and
Downtown Community Television Center in association
with HBO Documentary Films
Lila Yomtoob, Sound Editor

Survivor • Big Trek, Big Trouble, Big Surprise • CBS •
Mark Burnett Productions in association with SEG
Productions
Ryan Owens, Sound Supervisor
Mark Jasper, Sound Effects Editor
Vince Tennant, Dialog Editor
Matt Slivinski, Dialog Editor
Rick Livingstone, Supervising Music Editor
Michael Brake, Music Editor

Two Days In October (American Experience) • PBS •
WGBH Educational Foundation
Sound Editing Team TBASound Editing Team TBAPhilip Stockton, Sound SupervisorAllan Zaleski, Sound Effects EditorFrederic Rosenberg, Dialogue EditorJennifer Dunnington, Music EditorAnnette Kudrak, Music EditorLila Yomtoob, Sound EditorRyan Owens, Sound SupervisorMark Jasper, Sound Effects EditorVince Tennant, Dialog EditorMatt Slivinski, Dialog EditorRick Livingstone, Supervising Music EditorMichael Brake, Music EditorSound Editing Team TBA

Outstanding Single-Camera Sound Mixing For A Series

Battlestar Galactica • Scattered • Sci Fi Channel • R&D Television in association with NBC Universal Television Studios
Kenneth Kobett, C.A.S., Supervising Re-Recording Mixer
Michael Olman, C.A.S., Supervising Re-Recording Mixer
Rick Bal, Production Mixer

Boston Legal • Finding Nimmo • ABC • David E. Kelley Productions in association with 20th Century Fox Television Studios
Craig Hunter, Re-Recording Mixer
Peter R. Kelsey, Re-Recording Mixer
Clark King, Production Sound Mixer
William Butler, Production Sound Mixer

CSI: Crime Scene Investigation • A Bullet Runs Through It • CBS • An Alliance Atlantis production in association with Paramount Television
Yuri Reese, Re-Recording Mixer
Bill Smith, Re-Recording Mixer
Mick Fowler, Production Sound Mixer

House • Euphoria, Part 1 • FOX • Heel and Toe
Productions, Shorez Productions and Bad Hat Harry
Productions in association with Universal Television
Studios
Gerry Lentz, Re-Recording Mixer
Richard Weingart, Re-Recording Mixer
Russell C. Fager, CAS, Production Mixer

Lost • Live Together, Die Alone (Part 2) • ABC • Grass
Skirt Productions, LLC in association with Touchstone
Television
David Barr Yaffe, C.A.S., Production Sound Mixer
Sean Rush, Production Sound Mixer
Frank Morrone, Re-Recording Mixer
Scott Weber, Re-Recording Mixer

24 • 7:00 AM - 8:00 AM • FOX • Imagine Entertainment and
20th Century Fox Television in association with Real
Time Productions
Michael Olman, C.A.S., Supervising Re-Recording Mixer
Kenneth Kobett, C.A.S., Supervising Re-Recording Mixer
Bill Gocke, Production Mixer

Kenneth Kobett, C.A.S., Supervising Re-Recording MixerMichael Olman, C.A.S., Supervising Re-Recording MixerRick Bal, Production MixerCraig Hunter, Re-Recording MixerPeter R. Kelsey, Re-Recording MixerClark King, Production Sound MixerWilliam Butler, Production Sound MixerYuri Reese, Re-Recording MixerBill Smith, Re-Recording MixerMick Fowler, Production Sound MixerGerry Lentz, Re-Recording MixerRichard Weingart, Re-Recording MixerRussell C. Fager, CAS, Production MixerDavid Barr Yaffe, C.A.S., Production Sound MixerSean Rush, Production Sound MixerFrank Morrone, Re-Recording MixerScott Weber, Re-Recording MixerMichael Olman, C.A.S., Supervising Re-Recording MixerKenneth Kobett, C.A.S., Supervising Re-Recording MixerBill Gocke, Production MixerOutstanding Single-Camera Sound Mixing For
A Miniseries Or A Movie

Elizabeth I • Part 1 • HBO • Company Pictures and
Channel 4 in association with HBO Films
Ken Campbell, Production Mixer
Paul Hamblin, Re-Recording Mixer

Flight 93 • A&E • A David Gerber Company Production in
association with A&E Network and Fox Television Studios
Mark Linden, Re-Recording Mixer
Tara A. Paul, Re-Recording Mixer
Liam Lockhart, Re-Recording Mixer
Harry Snodgrass, Re-Recording Mixer

Into The West • Dreams And Schemes • TNT •
Dreamworks Television
George Tarrant, Sound Mixer
Richard Rogers, Re-Recording Mixer
Rick Alexander, Re-Recording Mixer

Into The West • Hell On Wheels • TNT • Dreamworks
Television
Bayard Carey, C.A.S., Production Sound Mixer
Richard Rogers, Re-Recording Mixer
Rick Alexander, Re-Recording Mixer

Sleeper Cell • Youmud-Din • Showtime • Showtime
Presents in association with Cardboard Guru Productions
Elmo Ponsdomenech, Re-Recording Mixer
Joe Earle, Re-Recording Mixer
Roger Pietschmann, Production Mixer

The Ten Commandments • Part II • ABC • RHI
Entertainment
Alistair Crocker, Sound Recordist/Mixer
Terry O’Bright, Re-Recording Mixer
Keith Rogers, Re-Recording Mixer

Ken Campbell, Production MixerPaul Hamblin, Re-Recording MixerMark Linden, Re-Recording MixerTara A. Paul, Re-Recording MixerLiam Lockhart, Re-Recording MixerHarry Snodgrass, Re-Recording MixerGeorge Tarrant, Sound MixerRichard Rogers, Re-Recording MixerRick Alexander, Re-Recording Mixer

Kenneth Kobett, C.A.S., Supervising Re-Recording MixerMichael Olman, C.A.S., Supervising Re-Recording MixerRick Bal, Production MixerCraig Hunter, Re-Recording MixerPeter R. Kelsey, Re-Recording MixerClark King, Production Sound MixerWilliam Butler, Production Sound MixerYuri Reese, Re-Recording MixerBill Smith, Re-Recording MixerMick Fowler, Production Sound MixerGerry Lentz, Re-Recording MixerRichard Weingart, Re-Recording MixerRussell C. Fager, CAS, Production MixerDavid Barr Yaffe, C.A.S., Production Sound MixerSean Rush, Production Sound MixerFrank Morrone, Re-Recording MixerScott Weber, Re-Recording MixerMichael Olman, C.A.S., Supervising Re-Recording MixerKenneth Kobett, C.A.S., Supervising Re-Recording MixerBill Gocke, Production MixerKen Campbell, Production MixerPaul Hamblin, Re-Recording MixerMark Linden, Re-Recording MixerTara A. Paul, Re-Recording MixerLiam Lockhart, Re-Recording MixerHarry Snodgrass, Re-Recording MixerGeorge Tarrant, Sound MixerRichard Rogers, Re-Recording MixerRick Alexander, Re-Recording MixerBayard Carey, C.A.S., Production Sound MixerRichard Rogers, Re-Recording MixerRick Alexander, Re-Recording MixerElmo Ponsdomenech, Re-Recording MixerJoe Earle, Re-Recording MixerRoger Pietschmann, Production MixerAlistair Crocker, Sound Recordist/MixerTerry O’Bright, Re-Recording MixerKeith Rogers, Re-Recording MixerOutstanding Multi-Camera Sound Mixing For A
Series Or Special

Two And A Half Men • The Unfortunate Little Schnauzer •
CBS • Chuck Lorre Productions, Inc., The Tannenbaum
Company in association with Warner Bros. Television
Productions, a Division of WB Studio Enterprises Inc.
Bruce Peters, Production Sound Mixer
Charlie McDaniel, Re-Recording Mixer
Kathy Oldham, Re-Recording Mixer
Bob La Masney, Re-Recording Mixer

The West Wing • The Debate • NBC • John Wells
Productions in association with Warner Bros. Television
Edward J. Greene, Audio Mixer
Andrew Strauber, EFX Mixer

Bruce Peters, Production Sound MixerCharlie McDaniel, Re-Recording MixerKathy Oldham, Re-Recording MixerBob La Masney, Re-Recording MixerEdward J. Greene, Audio MixerAndrew Strauber, EFX MixerOutstanding Sound Mixing For A Variety Or
Music Series Or Special Or Animation

78th Annual Academy Awards • ABC • Academy of Motion
Picture Arts and Sciences
Edward J. Greene, Audio Director
Tom Vicari, Orchestra Mixer
Patrick Baltzell, House P.A.
Robert Douglass, Supplemental Audio
Jamie Santos, Post Audio

American Idol • American Classics Songbook With Rod
Stewart • FOX • FremantleMedia N.A., Inc. & 19TV Ltd.
Edward J. Greene, Production Mixer
Andrew Fletcher, House Mixer
Paul Sandweiss, Music Mixer

Barry Manilow: Music And Passion • PBS • Stiletto
Television in association with Serpent Productions and
PJM Productions
Tom Davis, Audio/Music Mixer
John Zvolensky, Audio Sweetening
Steve Johnson, Audio Sweetening

Eagles Farewell I Tour - Live From Melbourne • NBC •
Eagles Recording Co. II in association with Warner Bros.
Elliot Scheiner, Music Recorded and Mixed By
Sue Pelino, Post Production Audio Mixer
Edward J. Greene, Audio DirectorTom Vicari, Orchestra MixerPatrick Baltzell, House P.A.Robert Douglass, Supplemental AudioJamie Santos, Post AudioEdward J. Greene, Production MixerAndrew Fletcher, House MixerPaul Sandweiss, Music MixerTom Davis, Audio/Music MixerJohn Zvolensky, Audio SweeteningSteve Johnson, Audio SweeteningElliot Scheiner, Music Recorded and Mixed BySue Pelino, Post Production Audio Mixer

48th Annual Grammy Awards • CBS • John Cossette
Productions, Inc. in association with Ken Ehrlich
Productions
Tom Holmes , Audio Mixer
John Harris, Music Mixer
Eric Schilling, Music Mixer
Don Worsham, Audio Mixer
Mikael Stewart, PA Mixer
Ron Reaves, PA Mixer
Paul Sandweiss, 5.1 Surround Sound
Bob La Masney, Audio

Outstanding Sound Mixing For Nonfiction
Programming (Single Or Multi-Camera)

The Amazing Race • Here Comes The Bedouin! • CBS •
Amazing Race Productions, Inc. and Touchstone
Television Productions, LLC in association with Jerry
Bruckheimer Television and WorldRace Productions, Inc.
Troy Smith, Re-Recording Mixer
Jim Ursulak, Lead Audio
Jerry Chabane, Audio
Peter Jones, Audio

American Masters • Bob Dylan: No Direction Home • PBS
• Thirteen/WNET New York/American Masters, Spitfire
Pictures, Grey Water Park Productions, Sikelia
Productions, BBC
Tom Fleischman, Re-Recording Mixer

Baghdad ER • HBO • Feury/Grant Productions and
Downtown Community Television Center in association
with HBO Documentary Films
Jon Alpert, Production Mixer
Matthew O’Neill, Production Mixer
Paul Hsu, Production Mixer/ Re-Recording Mixer

Deadliest Catch • The Clock’s Ticking • Discovery
Channel • Original Productions, Inc. in association with
Discovery Channel
Bob Bronow, Sound Mixer

Survivor • Big Trek, Big Trouble, Big Surprise • CBS •
Mark Burnett Productions in association with SEG
Productions
Terrance Dwyer, Re-Recording Mixer
Jeremy Ireland, Production Sound Mixer
Matthias Hoffman, Sound Mixer
Tony Jensen, Sound Mixer

Troy Smith, Re-Recording MixerJim Ursulak, Lead AudioJerry Chabane, AudioPeter Jones, AudioTom Fleischman, Re-Recording MixerJon Alpert, Production MixerMatthew O’Neill, Production MixerPaul Hsu, Production Mixer/ Re-Recording MixerBob Bronow, Sound MixerTerrance Dwyer, Re-Recording MixerJeremy Ireland, Production Sound MixerMatthias Hoffman, Sound MixerTony Jensen, Sound Mixer

Troy Smith, Re-Recording MixerJim Ursulak, Lead AudioJerry Chabane, AudioPeter Jones, AudioTom Fleischman, Re-Recording MixerJon Alpert, Production MixerMatthew O’Neill, Production MixerPaul Hsu, Production Mixer/ Re-Recording MixerBob Bronow, Sound MixerTerrance Dwyer, Re-Recording MixerJeremy Ireland, Production Sound MixerMatthias Hoffman, Sound MixerTony Jensen, Sound Mixer

Outstanding Special Visual Effects For A Series

Battlestar Galactica • Resurrection Ship (Part 2) • Sci Fi
Channel • R&D Television in association with NBC
Universal Television Studios
Gary Hutzel, Visual Effects Supervisor
Michael Gibson, Senior Visual Effects Coordinator
Doug Drexler, Digital Supervisor
Steve Kullback, Visual Effects Coordinator
Mark Shimer, Lead Visual Effects Animator
Chris Zapara, CGI Supervisor
Lane Jolly, Lead Visual Effects Compositor
Kyle Toucher, Visual Effects Animator
Daniel Osaki, Lead CGI Model Maker

Lost • Live Together, Die Alone (Part 1 & 2) • ABC •
Grass Skirt Productions, LLC in association with
Touchstone Television
Kevin Blank, Visual Effects Supervisor
Mitch Suskin, Visual Effects Supervisor
Jay Worth, Visual Effects Coordinator
Scott Dewis, 3D Animator
Steve Fong, Compositor
Spencer Levy, 3D Supervisor
Eric Chauvin, Matte Painter
Archie Ahuna, Special Effects Coordinator
Bob Lloyd, Compositor

Perfect Disaster • Super Tornado • Discovery Channel •
Impossible Pictures in association with Discovery
Channel
Gareth Edwards, Visual
EffectsSupervisor/Producer/Compositor/Animator/Matte
Artist
Bob Trevino, Special Effects Supervisor

Rome • The Stolen Eagle • HBO • HBO Entertainment in
association with the BBC
Barrie Hemsley, Visual Effects Producer
James Madigan, Visual Effects Supervisor
Joe Pavlo, Visual Effects Supervisor
Duncan Kinnaird, Lead Visual Effects Compositor
Dan Pettipher, CGI Supervisor
Michele Sciolette, CGI Supervisor
Charles Darby, Lead Matte Artist
Clare Herbert, Visual Effects Coordinator
Anna Panton, Visual Effects Coordinator

Surface • Episode #101 • NBC • Pates in association with
NBC Universal Television Studio
Mitch Suskin, Visual Effects Supervisor
Dave Morton, Digital Animation Supervisor
Eric Hance, Digital Artist
John Teska, Lead Character Artist
Pierre Drolet, Lead Modeler
Eric Chauvin, Matte Artist
Steve Fong, Digital Compositor
Neil Sopata, Digital Artist

Gary Hutzel, Visual Effects SupervisorMichael Gibson, Senior Visual Effects CoordinatorDoug Drexler, Digital SupervisorSteve Kullback, Visual Effects CoordinatorMark Shimer, Lead Visual Effects AnimatorChris Zapara, CGI SupervisorLane Jolly, Lead Visual Effects CompositorKyle Toucher, Visual Effects AnimatorDaniel Osaki, Lead CGI Model MakerKevin Blank, Visual Effects SupervisorMitch Suskin, Visual Effects SupervisorJay Worth, Visual Effects CoordinatorScott Dewis, 3D AnimatorSteve Fong, CompositorSpencer Levy, 3D SupervisorEric Chauvin, Matte PainterArchie Ahuna, Special Effects CoordinatorBob Lloyd, CompositorGareth Edwards, VisualEffectsSupervisor/Producer/Compositor/Animator/MatteArtistBob Trevino, Special Effects SupervisorBarrie Hemsley, Visual Effects ProducerJames Madigan, Visual Effects SupervisorJoe Pavlo, Visual Effects SupervisorDuncan Kinnaird, Lead Visual Effects CompositorDan Pettipher, CGI SupervisorMichele Sciolette, CGI SupervisorCharles Darby, Lead Matte ArtistClare Herbert, Visual Effects CoordinatorAnna Panton, Visual Effects CoordinatorMitch Suskin, Visual Effects SupervisorDave Morton, Digital Animation SupervisorEric Hance, Digital ArtistJohn Teska, Lead Character ArtistPierre Drolet, Lead ModelerEric Chauvin, Matte ArtistSteve Fong, Digital CompositorNeil Sopata, Digital Artist

Gary Hutzel, Visual Effects SupervisorMichael Gibson, Senior Visual Effects CoordinatorDoug Drexler, Digital SupervisorSteve Kullback, Visual Effects CoordinatorMark Shimer, Lead Visual Effects AnimatorChris Zapara, CGI SupervisorLane Jolly, Lead Visual Effects CompositorKyle Toucher, Visual Effects AnimatorDaniel Osaki, Lead CGI Model MakerKevin Blank, Visual Effects SupervisorMitch Suskin, Visual Effects SupervisorJay Worth, Visual Effects CoordinatorScott Dewis, 3D AnimatorSteve Fong, CompositorSpencer Levy, 3D SupervisorEric Chauvin, Matte PainterArchie Ahuna, Special Effects CoordinatorBob Lloyd, CompositorGareth Edwards, VisualEffectsSupervisor/Producer/Compositor/Animator/MatteArtistBob Trevino, Special Effects SupervisorBarrie Hemsley, Visual Effects ProducerJames Madigan, Visual Effects SupervisorJoe Pavlo, Visual Effects SupervisorDuncan Kinnaird, Lead Visual Effects CompositorDan Pettipher, CGI SupervisorMichele Sciolette, CGI SupervisorCharles Darby, Lead Matte ArtistClare Herbert, Visual Effects CoordinatorAnna Panton, Visual Effects CoordinatorMitch Suskin, Visual Effects SupervisorDave Morton, Digital Animation SupervisorEric Hance, Digital ArtistJohn Teska, Lead Character ArtistPierre Drolet, Lead ModelerEric Chauvin, Matte ArtistSteve Fong, Digital CompositorNeil Sopata, Digital Artist

Outstanding Special Visual Effects For A
Miniseries, Movie Or A Special

Before The Dinosaurs • Discovery Channel • An
Impossible Pictures production in association with
Discovery Channel
Tim Greenwood, Visual Effects Supervisor
Neil Glasbey, Lead Visual Effects Animator
Chloe Leland, Visual Effects Producer
Nigel Booth, Lead Model Maker
Jeremy Hunt, Lead Model Maker
Darren Horley, Lead Matte Artist
Peter Thorn, Visual Effects Cameraman
Darren Byford, CG Supervisor

Into The West • Hell On Wheels • TNT • Dreamworks
Television
Tim McHugh, Visual Effects Supervisor
Craig Weiss, Visual Effects Supervisor
Glenn Campbell, Lead Visual Effects Compositor
Christopher DeCristo, Lead Visual Effects Compositor
Christopher Moore, Compositor
Niel Wray, CGI Supervisor
Don L. McCoy, CGI Supervisor
George Garcia, Lead Matte Artist
Eric Ehemann, CGI Animator

Mammoth • Sci Fi Channel • Pliny Minor Productions in
association with Sci Fi Network
Armen Kevorkian, Visual Effects Supervisor
Liz Castro, Visual Effects Producer
Matt Scharf, Visual Effects Coordinator
David Morton, Lead Matte Artist
Christian Bloch, CGI Supervisor
Stefan Bredereck, Lead CGI Animator
Jason Zimmerman, Lead Visual Effects Compositor
Spencer Levy, CGI Supervisor
Scott Dewis, Lead CGI Animator

The Nightingale (Great Performances) • PBS • Agat Films
& Cie, Arte France and Mikros Image in association with
Thirteen/WNET New York and Image Plus, Schweizer
Fernsehen DRS, AVRO Television, ORF, SVT, YLE, and
ARTV
Hugues Namur, Visual Effects Supervisor
Paul Carteron, Special Effects Supervisor
Morgan Sagel, Lead CGI Artist
Anne Chatelain, Lead CGI Artist
Oliver Garcelon, Lead CGI Animator
Alexander Gregoire, Lead Visual Effects Animator
Guillaume Ho Tsong Fang, CGI Supervisor
Ugo Bimar, CGI Supervisor
Julien Limouse, Lead Visual Effects Compositor

The Triangle • Part 1 • Sci Fi Channel • Bad Hat Harry
Productions and Electric Entertainment
Marc Weigert, Visual Effects Supervisor
Volker Engel, Visual Effects Supervisor
Ingo Putze, Lead Visual Effects Compositor
Robin Graham, Visual Effects Compositing Technical
Director
Todd Sheridan Perry, Senior CG Technical Director
Conrad Murrey, Lead CG Animator
Sam Khorshid, CG Animator
Paul Graff, Visual Effects Compositor
Ben Grossman, Visual Effects Compositor

Tim Greenwood, Visual Effects SupervisorNeil Glasbey, Lead Visual Effects AnimatorChloe Leland, Visual Effects ProducerNigel Booth, Lead Model MakerJeremy Hunt, Lead Model MakerDarren Horley, Lead Matte ArtistPeter Thorn, Visual Effects CameramanDarren Byford, CG SupervisorTim McHugh, Visual Effects SupervisorCraig Weiss, Visual Effects SupervisorGlenn Campbell, Lead Visual Effects CompositorChristopher DeCristo, Lead Visual Effects CompositorChristopher Moore, CompositorNiel Wray, CGI SupervisorDon L. McCoy, CGI SupervisorGeorge Garcia, Lead Matte ArtistEric Ehemann, CGI AnimatorArmen Kevorkian, Visual Effects SupervisorLiz Castro, Visual Effects ProducerMatt Scharf, Visual Effects CoordinatorDavid Morton, Lead Matte ArtistChristian Bloch, CGI SupervisorStefan Bredereck, Lead CGI AnimatorJason Zimmerman, Lead Visual Effects CompositorSpencer Levy, CGI SupervisorScott Dewis, Lead CGI AnimatorHugues Namur, Visual Effects SupervisorPaul Carteron, Special Effects SupervisorMorgan Sagel, Lead CGI ArtistAnne Chatelain, Lead CGI ArtistOliver Garcelon, Lead CGI AnimatorAlexander Gregoire, Lead Visual Effects AnimatorGuillaume Ho Tsong Fang, CGI SupervisorUgo Bimar, CGI SupervisorJulien Limouse, Lead Visual Effects CompositorMarc Weigert, Visual Effects SupervisorVolker Engel, Visual Effects SupervisorIngo Putze, Lead Visual Effects CompositorRobin Graham, Visual Effects Compositing TechnicalDirectorTodd Sheridan Perry, Senior CG Technical DirectorConrad Murrey, Lead CG AnimatorSam Khorshid, CG AnimatorPaul Graff, Visual Effects CompositorBen Grossman, Visual Effects Compositor

Tim Greenwood, Visual Effects SupervisorNeil Glasbey, Lead Visual Effects AnimatorChloe Leland, Visual Effects ProducerNigel Booth, Lead Model MakerJeremy Hunt, Lead Model MakerDarren Horley, Lead Matte ArtistPeter Thorn, Visual Effects CameramanDarren Byford, CG SupervisorTim McHugh, Visual Effects SupervisorCraig Weiss, Visual Effects SupervisorGlenn Campbell, Lead Visual Effects CompositorChristopher DeCristo, Lead Visual Effects CompositorChristopher Moore, CompositorNiel Wray, CGI SupervisorDon L. McCoy, CGI SupervisorGeorge Garcia, Lead Matte ArtistEric Ehemann, CGI AnimatorArmen Kevorkian, Visual Effects SupervisorLiz Castro, Visual Effects ProducerMatt Scharf, Visual Effects CoordinatorDavid Morton, Lead Matte ArtistChristian Bloch, CGI SupervisorStefan Bredereck, Lead CGI AnimatorJason Zimmerman, Lead Visual Effects CompositorSpencer Levy, CGI SupervisorScott Dewis, Lead CGI AnimatorHugues Namur, Visual Effects SupervisorPaul Carteron, Special Effects SupervisorMorgan Sagel, Lead CGI ArtistAnne Chatelain, Lead CGI ArtistOliver Garcelon, Lead CGI AnimatorAlexander Gregoire, Lead Visual Effects AnimatorGuillaume Ho Tsong Fang, CGI SupervisorUgo Bimar, CGI SupervisorJulien Limouse, Lead Visual Effects CompositorMarc Weigert, Visual Effects SupervisorVolker Engel, Visual Effects SupervisorIngo Putze, Lead Visual Effects CompositorRobin Graham, Visual Effects Compositing TechnicalDirectorTodd Sheridan Perry, Senior CG Technical DirectorConrad Murrey, Lead CG AnimatorSam Khorshid, CG AnimatorPaul Graff, Visual Effects CompositorBen Grossman, Visual Effects CompositorOutstanding Stunt Coordination

Alias • Reprisal (Part 1) & All The Time In The World
(Part 2) • ABC • Touchstone Television
Shauna Duggins, Stunt Coordinator

E-Ring • Snatch and Grab • NBC • Jerry Bruckheimer
Television in association with Warner Bros. Television
Production, a Division of WB Studio Enterprises Inc.
Jimmy Romano, Stunt Coordinator

Numb3rs • Harvest Episode • CBS • Scott Free! in
association with Paramount Pictures
Jim Vickers, Stunt Coordinator

24 • 9:00 PM - 10:00 PM • FOX • Imagine Entertainment
and 20th Century Fox Television in association with Real
Time Productions
Jeff Cadiente, Stunt Coordinator

The Unit • First Responders • CBS • 20th Century Fox Television
Norman Howell, Stunt Coordinator

Shauna Duggins, Stunt CoordinatorJimmy Romano, Stunt CoordinatorJim Vickers, Stunt CoordinatorJeff Cadiente, Stunt CoordinatorNorman Howell, Stunt CoordinatorOutstanding Technical Direction, Camerawork, Video For A Series

American Idol • Episode #530 • FOX • FremantleMedia
N.A., Inc. & 19TV Ltd.
John Pritchett, Technical Director
Diane Biederbeck, Camera Operator
Danny Bonilla, Camera Operator
Manny Bonilla, Camera Operator
Dave Eastwood, Camera Operator
Suzanne Ebner, Camera Operator
Bobby Highton, Camera Operator
Ed Horton, Camera Operator
Steve Martynuik, Camera Operator
Ken Patterson, Camera Operator
George Prince, Camera Operator
John Repczynski, Camera Operator
Easter Xua, Camera Operator
Mark Sanford, Video Control

Dancing With The Stars • Episode #204 • ABC • BBC Worldwide Productions
John Pritchett, Technical Director
Brian Reason, Camera Operator
Hector Ramirez, Camera Operator
Dave Levisohn, Camera Operator
John Repczynski, Camera Operator
Danny Bonilla, Camera Operator
Easter Xau, Camera Operator
Chris Gray, Video Control

Late Night With Conan O’Brien • Episode #2226 • NBC •
Broadway Video, NBC Studios, Conaco
Gregory Aull, Technical Director
Richard S. Carter, Camera Operator
Kenneth Decker, Camera Operator
Kurt Decker, Camera Operator
Eugene Huelsman, Camera Operator
Gregory Kasoff, Camera Operator
Chris Mattot, Camera Operator
James Palczewski, Camera Operator
James Scurti, Camera Operator
Mark Sofil, Camera Operator
Eli Clark, Camera Operator
Carl M. Henry III, Video
Keith Winikoff, Video
John Pritchett, Technical DirectorDiane Biederbeck, Camera OperatorDanny Bonilla, Camera OperatorManny Bonilla, Camera OperatorDave Eastwood, Camera OperatorSuzanne Ebner, Camera OperatorBobby Highton, Camera OperatorEd Horton, Camera OperatorSteve Martynuik, Camera OperatorKen Patterson, Camera OperatorGeorge Prince, Camera OperatorJohn Repczynski, Camera OperatorEaster Xua, Camera OperatorMark Sanford, Video ControlJohn Pritchett, Technical DirectorBrian Reason, Camera OperatorHector Ramirez, Camera OperatorDave Levisohn, Camera OperatorJohn Repczynski, Camera OperatorDanny Bonilla, Camera OperatorEaster Xau, Camera OperatorChris Gray, Video ControlGregory Aull, Technical DirectorRichard S. Carter, Camera OperatorKenneth Decker, Camera OperatorKurt Decker, Camera OperatorEugene Huelsman, Camera OperatorGregory Kasoff, Camera OperatorChris Mattot, Camera OperatorJames Palczewski, Camera OperatorJames Scurti, Camera OperatorMark Sofil, Camera OperatorEli Clark, Camera OperatorCarl M. Henry III, VideoKeith Winikoff, Video
Late Show With David Letterman • Show #2472 • CBS •
Worldwide Pants Incorporated
Timothy W. Kennedy, Technical Director
Al Cialino, Camera Operator
David J. Dorsett, Camera Operator
Karin-Lucie Grzella, Camera Operator
Jack W. Young, Camera Operator
John Hannel, Camera Operator
John Curtin, Camera Operator
George Rothweiler, Camera Operator
Dan Flaherty, Camera Operator
Fred Shimizu, Camera Operator
Steven G. Kaufman, Camera Operator
John Pry, Camera Operator
Kevin Bailey, Camera Operator
William J. White, Senior Video Control
Daniel L. Campbell, Video Control

Saturday Night Live • Host: Jack Black, Musical Guest
Neil Young • NBC • SNL Studios in association with NBC
Studios and Broadway Video
Steven Cimino, Technical Director
John Pinto, Camera Operator
Richard B. Fox, Camera Operator
Brian Phraner, Camera Operator
Michael Bennett, Camera Operator
Eric Eisenstein, Camera Operator
John Rosenblatt, Camera Operator
Gene Huelsman, Camera Operator
Susan Noll, Senior Video Control
Frank Grisanti, Senior Video Control

Outstanding Technical Direction, Camerawork,
Video For A Miniseries, Movie Or A Special

78th Annual Academy Awards • ABC • Academy of Motion
Picture Arts and Sciences
John B. Field, Technical Director
Kenneth Shapiro, Technical Director
Allan Wells, Screens Technical Director
Ted Ashton, Camera Operator
Robert Balton, Camera Operator
John Burdick, Camera Operator
David Eastwood, Camera Operator
Marc Hunter, Camera Operator
Charlie Huntley, Camera Operator
Dave Levisohn, Camera Operator
Jay Millard, Camera Operator
Lyn Noland, Camera Operator
Rob Palmer, Camera Operator
Bill Philbin, Camera Operator
David Plakos, Camera Operator
Hector Ramirez, Camera Operator
Brian Reason, Camera Operator
Mark Whitman, Camera Operator
Kris Wilson, Camera Operator
Bret Crutcher, Camera Operator
Aaron Fitzgerald, Camera Operator
Dean Hall, Camera Operator
Easter Xua, Camera Operator
Mark Sanford, Video Control
Keith Winikoff, Video Control
Chuck Reilly, Video Control

John B. Field, Technical DirectorKenneth Shapiro, Technical DirectorAllan Wells, Screens Technical DirectorTed Ashton, Camera OperatorRobert Balton, Camera OperatorJohn Burdick, Camera OperatorDavid Eastwood, Camera OperatorMarc Hunter, Camera OperatorCharlie Huntley, Camera OperatorDave Levisohn, Camera OperatorJay Millard, Camera OperatorLyn Noland, Camera OperatorRob Palmer, Camera OperatorBill Philbin, Camera OperatorDavid Plakos, Camera OperatorHector Ramirez, Camera OperatorBrian Reason, Camera OperatorMark Whitman, Camera OperatorKris Wilson, Camera OperatorBret Crutcher, Camera OperatorAaron Fitzgerald, Camera OperatorDean Hall, Camera OperatorEaster Xua, Camera OperatorMark Sanford, Video ControlKeith Winikoff, Video ControlChuck Reilly, Video Control

Andrea Bocelli: Amore Under the Desert Sky (Great
Performances) • PBS • A production of Sugar s.r.l. and
Thirteen/WNET-New York
Allan Wells, Technical Director
Randy Baer, Camera Operator
Bill Chaikowsky, Camera Operator
Ken Dahlquist, Camera Operator
Hank Geving, Camera Operator
Manny Guitierrez, Camera Operator
Larry Heider, Camera Operator
Pat Kerby, Camera Operator
Ken Patterson, Camera Operator
Gordie Saiger, Camera Operator
Rob Vuona, Camera Operator
Dann Webb, Camera Operator
Easter Xau, Camera Operator
Billy Steinberg, Senior Video Control
Steve Rice, Video Control

Elton John: The Red Piano • NBC • A Serpent
Productions/PJM Productions in association with 21st
Artists
Chuck Reilly, Technical Director
Barrie Dodd, Camera Operator
Andy Watt, Camera Operator
James Ramsay, Camera Operator
Derek Pennell, Camera Operator
Paul Freeman, Camera Operator
Tom Geren, Camera Operator
Kenny Patterson, Camera Operator
David Plakos, Camera Operator
Daniel Webb, Camera Operator
Ted Ashton, Camera Operator
Hector Ramirez, Camera Operator
Gordie Saiger, Camera Operator
David Eastwood, Camera Operator
John Repczynski, Camera Operator
Robert Palmer, Camera Operator
Harry Skip Eppley, Camera Operator
Chris Methven, Senior Video Control
Guy Jones, Video Control

NFL Opening Kickoff 2005 • ABC • White Cherry
Entertainment
Eric Becker, Technical Director
Bob Del Russo, Camera Operator
Freddy Fredrick, Camera Operator
Pat Gleason, Camera Operator
Charlie Huntley, Camera Operator
Lyn Noland, Camera Operator
Mark Whitman, Camera Operator
Easter Xua, Camera Operator
Jay Kulick, Camera Operator
John Meiklejohn, Camera Operator
John Kosmaczewski, Camera Operator
Chuck Reilly, Video Control
Guy Jones, Video Control

Allan Wells, Technical DirectorRandy Baer, Camera OperatorBill Chaikowsky, Camera OperatorKen Dahlquist, Camera OperatorHank Geving, Camera OperatorManny Guitierrez, Camera OperatorLarry Heider, Camera OperatorPat Kerby, Camera OperatorKen Patterson, Camera OperatorGordie Saiger, Camera OperatorRob Vuona, Camera OperatorDann Webb, Camera OperatorEaster Xau, Camera OperatorBilly Steinberg, Senior Video ControlSteve Rice, Video ControlChuck Reilly, Technical DirectorBarrie Dodd, Camera OperatorAndy Watt, Camera OperatorJames Ramsay, Camera OperatorDerek Pennell, Camera OperatorPaul Freeman, Camera OperatorTom Geren, Camera OperatorKenny Patterson, Camera OperatorDavid Plakos, Camera OperatorDaniel Webb, Camera OperatorTed Ashton, Camera OperatorHector Ramirez, Camera OperatorGordie Saiger, Camera OperatorDavid Eastwood, Camera OperatorJohn Repczynski, Camera OperatorRobert Palmer, Camera OperatorHarry Skip Eppley, Camera OperatorChris Methven, Senior Video ControlGuy Jones, Video ControlEric Becker, Technical DirectorBob Del Russo, Camera OperatorFreddy Fredrick, Camera OperatorPat Gleason, Camera OperatorCharlie Huntley, Camera OperatorLyn Noland, Camera OperatorMark Whitman, Camera OperatorEaster Xua, Camera OperatorJay Kulick, Camera OperatorJohn Meiklejohn, Camera OperatorJohn Kosmaczewski, Camera OperatorChuck Reilly, Video ControlGuy Jones, Video Control

The XX Olympic Winter Games - Opening Ceremony •
NBC • NBC Olympics
Robert LaMacchia, Technical Director
Cody Alexander, Camera Operator
Dan Beard, Camera Operator
Joe Debonis, Camera Operator
Kenneth Decker, Camera Operator
Eric Eisenstein, Camera Operator
Rick Fox, Jr., Camera Operator
Sal Guarna, Camera Operator
Mike Harvath, Camera Operator
Terry Hester, Camera Operator
Igor Klobas, Camera Operator
Richie Leible, Jr., Camera Operator
Tore Livia, Camera Operator
Jon Mantak, Camera Operator
Chris Matott, Camera Operator
Robert Mikkelson, Camera Operator
Brian Phraner, Camera Operator
John Pinto, Camera Operator
Marc Tippy, Camera Operator
Nick Utley, Camera Operator
James Wachter, Camera Operator
Harry Weisman, Camera Operator
Mike Wimberley, Camera Operator
Ken Woo, Camera Operator
John Murphy, Camera Operator
Jerrold Hochman, Senior Video Control

Outstanding Writing For A Comedy Series

Arrested Development • Development Arrested • FOX •
Imagine Television and The Hurwitz Company in
association with 20th Century Fox Television
Chuck Tatham, Teleplay by
Jim Vallely, Teleplay by
Richard Day, Story by
Mitchell Hurwitz, Story by

Entourage • Exodus • HBO • Leverage and Closest to the
Hole Productions in association with HBO Entertainment
Doug Ellin, Written by

Extras • Kate Winslet • HBO • BBC and HBO
Entertainment
Ricky Gervais, Written by
Stephen Merchant, Written by

My Name Is Earl • Pilot • NBC • An Amigos de Garcia
production in association with 20th Century Fox
Television
Greg Garcia, Written by

The Office • Christmas Party • NBC • Deedle Dee
Productions, Reveille, LLC in association with NBC
Universal Television Studios
Michael Schur, Written by

Chuck Tatham, Teleplay byJim Vallely, Teleplay byRichard Day, Story byMitchell Hurwitz, Story byDoug Ellin, Written byRicky Gervais, Written byStephen Merchant, Written byGreg Garcia, Written byMichael Schur, Written by

Robert LaMacchia, Technical DirectorCody Alexander, Camera OperatorDan Beard, Camera OperatorJoe Debonis, Camera OperatorKenneth Decker, Camera OperatorEric Eisenstein, Camera OperatorRick Fox, Jr., Camera OperatorSal Guarna, Camera OperatorMike Harvath, Camera OperatorTerry Hester, Camera OperatorIgor Klobas, Camera OperatorRichie Leible, Jr., Camera OperatorTore Livia, Camera OperatorJon Mantak, Camera OperatorChris Matott, Camera OperatorRobert Mikkelson, Camera OperatorBrian Phraner, Camera OperatorJohn Pinto, Camera OperatorMarc Tippy, Camera OperatorNick Utley, Camera OperatorJames Wachter, Camera OperatorHarry Weisman, Camera OperatorMike Wimberley, Camera OperatorKen Woo, Camera OperatorJohn Murphy, Camera OperatorJerrold Hochman, Senior Video ControlChuck Tatham, Teleplay byJim Vallely, Teleplay byRichard Day, Story byMitchell Hurwitz, Story byDoug Ellin, Written byRicky Gervais, Written byStephen Merchant, Written byGreg Garcia, Written byMichael Schur, Written byOutstanding Writing For A Drama Series

Grey’s Anatomy • It’s the End Of The World, As We Know
It (Part 1 & 2) • ABC • Touchstone Television
Shonda Rhimes, Written by

Grey’s Anatomy • Into You Like A Train • ABC •
Touchstone Television
Krista Vernoff, Written by

Lost • The 23rd Psalm • ABC • Grass Skirt Productions,
LLC in association with Touchstone Television
Carlton Cuse, Written by
Damon Lindelof, Written by

Six Feet Under • Everyone’s Waiting • HBO • Actual Size
and the Greenblatt/Janollari Studios in association with
HBO Entertainment
Alan Ball, Written by

The Sopranos • Members Only • HBO • Chase Films and
Brad Grey Television in association with HBO
Entertainment
Terence Winter, Written by

Shonda Rhimes, Written byKrista Vernoff, Written byCarlton Cuse, Written byDamon Lindelof, Written byAlan Ball, Written byTerence Winter, Written byOutstanding Writing For A Variety, Music Or
Comedy Program

The Colbert Report • Comedy Central • Central
Productions with Busboy Productions and Spartina
Productions
Allison Silverman, Head Writer
Rich Dahm, Head Writer
Stephen Colbert, Writer
Peter Gwinn, Writer
Laura Krafft, Writer
Michael Brumm, Writer
Rob Dubbin, Writer
Eric Drysdale, Writer
Jay Katsir, Writer
Frank Lesser, Writer

The Daily Show With Jon Stewart • Comedy Central •
Central Productions LLC and Hello Doggie, Inc.
David Javerbaum, Head Writer
Rachel Axler, Writer
Kevin Bleyer, Writer
Rich Blomquist, Writer
Steve Bodow, Writer
Tim Carvell, Writer
Stephen Colbert, Writer
Eric Drysdale, Writer
J.R. Havlan, Writer
Scott Jacobson, Writer
Ben Karlin, Writer
Rob Kutner, Writer
Sam Means, Writer
Chris Regan, Writer
Jason Reich, Writer
Jason Ross, Writer
Jon Stewart, Writer

Allison Silverman, Head WriterRich Dahm, Head WriterStephen Colbert, WriterPeter Gwinn, WriterLaura Krafft, WriterMichael Brumm, WriterRob Dubbin, WriterEric Drysdale, WriterJay Katsir, WriterFrank Lesser, WriterDavid Javerbaum, Head WriterRachel Axler, WriterKevin Bleyer, WriterRich Blomquist, WriterSteve Bodow, WriterTim Carvell, WriterStephen Colbert, WriterEric Drysdale, WriterJ.R. Havlan, WriterScott Jacobson, WriterBen Karlin, WriterRob Kutner, WriterSam Means, WriterChris Regan, WriterJason Reich, WriterJason Ross, WriterJon Stewart, Writer

Late Night With Conan O’Brien • NBC • Broadway Video,
NBC Studios, Conaco
Mike Sweeney, Head Writer
Chris Albers, Writer
Jose Arroyo, Writer
Dan Cronin, Writer
Kevin Dorff, Writer
Daniel J. Goor, Writer
Michael Gordon, Writer
Tim Harrod, Writer
Berkley Johnson, Writer
Brian Kiley, Writer
Michael Koman, Writer
Brian McCann, Writer
Guy Nicolucci, Writer
Conan O’Brien, Writer
Brian Stack, Writer
Andrew Weinberg, Writer

Late Show With David Letterman • CBS • Worldwide Pants
Incorporated
Eric Stangel, Head Writer
Justin Stangel, Head Writer
Michael Barrie, Writer
Jim Mulholland, Writer
Steve Young, Writer
Tom Ruprecht, Writer
Lee Ellenberg, Writer
Matt Roberts, Writer
Jeremy Weiner, Writer
Joe Grossman, Writer
Meredith Scardino, Writer
Bill Scheft, Writer
Frank Sebastiano, Writer
Sam Saltz, Writer
David Letterman, Writer

Real Time With Bill Maher • HBO • Kid Love Productions
and Brad Grey Television in association with HBO
Entertainment
Ross Abrash, Writer
David Feldman, Writer
Matt Gunn, Writer
Brian Jacobsmeyer, Writer
Jay Jaroch, Writer
Chris Kelly, Writer
Bill Maher, Writer
Billy Martin, Head Writer
Danny Vermont, Writer
Scott Carter, Writer

Mike Sweeney, Head WriterChris Albers, WriterJose Arroyo, WriterDan Cronin, WriterKevin Dorff, WriterDaniel J. Goor, WriterMichael Gordon, WriterTim Harrod, WriterBerkley Johnson, WriterBrian Kiley, WriterMichael Koman, WriterBrian McCann, WriterGuy Nicolucci, WriterConan O’Brien, WriterBrian Stack, WriterAndrew Weinberg, WriterEric Stangel, Head WriterJustin Stangel, Head WriterMichael Barrie, WriterJim Mulholland, WriterSteve Young, WriterTom Ruprecht, WriterLee Ellenberg, WriterMatt Roberts, WriterJeremy Weiner, WriterJoe Grossman, WriterMeredith Scardino, WriterBill Scheft, WriterFrank Sebastiano, WriterSam Saltz, WriterDavid Letterman, WriterRoss Abrash, WriterDavid Feldman, WriterMatt Gunn, WriterBrian Jacobsmeyer, WriterJay Jaroch, WriterChris Kelly, WriterBill Maher, WriterBilly Martin, Head WriterDanny Vermont, WriterScott Carter, Writer

Outstanding Writing For A Miniseries, Movie Or
A Dramatic Special

Bleak House (Masterpiece Theatre) • PBS • A BBC
WGBH-Boston Co-production in association with Deep
Indigo
Andrew Davies, Screenplay by

Elizabeth I • HBO • Company Pictures and Channel 4 in
association with HBO Films
Nigel Williams, Written by

Flight 93 • A&E • A David Gerber Company Production in
association with A&E Network and Fox Television Studios
Nevin Schreiner, Written by

The Girl In The CafÈ • HBO • Tightrope Pictures and BBC
Wales in association with HBO Films
Richard Curtis, Written by

Mrs. Harris • HBO • Killer Films and Number 9 Films and
John Wells Productions in association with HBO Films
Phyllis Nagy, Written byAndrew Davies, Screenplay byNigel Williams, Written byNevin Schreiner, Written byRichard Curtis, Written byPhyllis Nagy, Written by

Andrew Davies, Screenplay byNigel Williams, Written byNevin Schreiner, Written byRichard Curtis, Written byPhyllis Nagy, Written by

 

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