MBN: THE MONTE BUBBLES NETWORK: Production Notes/Credits The Marine

John Cena is the Marine

WWE wrestling SuperStar John Cena makes his motion picture
debut in the rugged action thriller THE MARINE. Cena is John Triton, a
heroic Marine who returns home after being discharged – against his will –
from the war in Iraq. Stateside, he finds himself back in action, when his wife
(Kelly Carlson) is kidnapped by a murderous gang led by the merciless
Rome (Robert Patrick). With everything on the line, the Marine will stop at
nothing to carry out his toughest and most important mission.

THE MARINE is directed by award-winning commercial director
John Bonito. WWE Films’ Joel Simon produces, with Kathryn Sommer Parry
and Jonathan Winfrey. Vince McMahon, Chairman, World Wrestling
Entertainment, Inc. is the executive producer with Matt Carroll. The film is
distributed by Twentieth Century Fox.

THE MARINE was filmed on location in Queensland, Australia, with
the production based at the Warner Roadshow Studios on the Gold Coast.
Says producer Joel Simon, “We chose to film in Australia partly because it
was economically viable, but also because it offered us a great environment,
facilities and weather. And the crews are some of the best in the world. We
had a wealth of talent behind us such as our very talented cinematographer
David Eggby, ACS and our award-winning production designer Herbert
Pinter. So working in Australia was very exciting for us – a great
adventure.”

For WWE, THE MARINE represents an exciting new venture into
the motion picture business. Comments McMahon: “Having successfully
submerged itself in the world of television and generated a host of superstar

talent, WWE is ideally positioned to bring its unique and powerful cultural
sensibility to the motion picture industry. I am extremely excited about taking
WWE into the film business, and we believe that we will achieve new artistic
and commercial successes on the big screen.”

Adds Joel Simon, “The WWE is about entertainment and that’s
what we wanted to do with THE MARINE – give the audience pure
entertainment – character, action and fun. The film is character driven,
which was important, with a protagonist who’s in the wrong place at the
wrong time. Then it becomes pure guttural action, which is another reason
we selected this script. It’s the perfect action vehicle for John Cena, who is
one of the WWE’s biggest talents. We really do believe that he’s the next
major action star.”

MAKING “THE MARINE”…. IN THE WORDS OF THE FILMMAKERS

JOHN CENA: FROM RING TO SCREEN

John Cena: “My character in THE MARINE, John Triton, fights for
his country – and loves doing so. He has a good wife, and he’s really
focused on family. He’s a down-to-earth, grounded guy.”

Cena: “How did I get the role? That’s like asking me how I became
a professional wrestler. I think it is the dream of a lot of people to be both; it
certainly was mine! There was really no transition from wrestling to motion
pictures. It’s not a move up – they’re both on the same level. My goal is to
keep wrestling, until I can no longer handle it physically. I just want to add
movies and acting into the mix.”

Cena: “In THE MARINE, I’m not as over-the-top as I am in the ring,
where I’m usually the one talking trash and making fun of my opponents. In
the film, I have to be soft-spoken – a walk-softly-and-carry-a-big-stick kind of
guy.”

Cena: “I missed the roar of the [wrestling] crowd while I was
filming, and I can’t wait to get back to that. Filming is a whole different
experience from wrestling.”

Cena: “Robert Patrick plays the lead bad guy. He gets to be the
witty character – the guy who’s a snazzy dresser and shoots first and asks
questions later.”

Cena: “Kelly Carlson plays my wife, a character very different than
her role on ‘Nip/Tuck.’ In our film, she’s very clean-cut and wholesome – but
still very sexy.”

Cena: “Kelly [Carlson] can fight. She and Abigail Bianca, who
plays the villainous Angela, have a fight sequence in the film, where they
went at it WWE style! I think [the WWE wrestlers] The Divas would be proud
of their work. Kelly and Abigail were really in [their fight scene] with each
other. They made sure each kick and punch meant something. When I
heard that they accidentally really connected [blows] by mistake, I patted
them on the shoulder and said, ‘Welcome to the WWE.’”

Cena: “I wanted audiences [seeing THE MARINE] to get their
money’s worth. You’re going to see some great action – and you’re going to
believe in John Triton.”

ROBERT PATRICK: RETURN TO VILLAINY

Robert Patrick: [In THE MARINE] I play Rome, a jewel thief. He’s
psychotic and cold-blooded, but he has a wicked sense of humor. He’s a
charismatic bad guy. It’s one of those fun characters where I can do
anything I want and have a lot of fun with him. You’re in on the joke with the
audience; the hope is they like you being bad, and revel in your ‘badness.’”

Patrick: “I don’t think I’ve ever worked with anybody as powerfully
built as John Cena. Arnold [Schwarzenegger] in ‘Terminator 2’ was big – but
John’s enormous. I’m sure he’s not an easy guy to throw around the
[wrestling] ring.”

Patrick: “John Cena should be the next Terminator. I told John he
should go ahead and take that job. He’d be perfect. I think the Governor is
too busy to do it, isn’t he?”

Patrick: “There are a lot of big action sequences in this movie.
There’s an explosion every few minutes! And there are some things that
reminded me of working on ‘Terminator 2’, like missiles being fired into cars.

I haven’t done a film like this in a long time, so it’s fun to experience this kind
of relentless action, again.”

KELLY CARLSON: ACTION HEROINE!

Kelly Carlson: “One of the reasons I accepted the part was to be
part of an action film. I love doing fight scenes. I love being very active and
working out. We were constantly doing stunts in THE MARINE. So the film
fulfilled that ‘action’ side of me that I haven’t experienced in other roles.
During shooting, the cast and crew called me ‘Mini-Champ.’ I’m tiny, but I
can pack a punch!”

Carlson: “I have a long fight in the film with Abigail Bianca, who
plays one of my abductors. We stumbled, punched, flipped, kicked each
other – and she hit me in the face with a gun! Abigail is very physical – she’s
petite, but she held her own in our fight scene. Abigail and I should go on
tour with John Cena and the WWE – as a pre-show, of course [laughs].

Carlson: “Another draw to do THE MARINE was that the
character, Kate Triton, is sweet and loving, and she comes from an honest
place. I don’t get to play that very often. I usually play a femme fatale in
movies and on TV. On the series ‘Nip/Tuck,’ my character is sort of sugar
and vinegar. She can be very vindictive. And Kate [in THE MARINE] is the
opposite of that – she’s a very loving person.”

Carlson: “Shooting in the swamp was difficult: there were always a
lot of spiders and crocodiles. We worked in water up to our waists. It
freaked me out at first, but I got used to it.”

JOHN BONITO: A NEW ACTION FILM MAESTRO

John Bonito: “The WWE really wanted to put its mark on feature
films. They made it clear: Let’s go for the jugular with THE MARINE. I was
excited to be a part of that.”

Bonito: “Explosions? Let’s just say that on set we had a running
joke: If it’s getting built, it’s getting blown-up.”

Bonito: “THE MARINE is a fastball down the middle – a rock ‘em,
sock ‘em action thriller.”

Bonito: “I was not familiar with John Cena’s work as a wrestler, but
after working with him on THE MARINE, I was very impressed with his work
ethic – every day he came to play. He was a consummate professional.”

Bonito: “John Cena did many of his own stunts: He jumped cars,
smashed into cars, jumped out of burning buildings. He was blown up, shot
at, stabbed, punched and kicked. He also has a natural charisma; the
camera loves him.”

Bonito: “Robert Patrick does a lot of serious, dramatic roles, but he
has a great sense of humor, and that really comes across in the film.”

Bonito: “Kelly Carlson was a real trooper: she gets pushed around,
dragged, thrown, blow up – and she always wanted to do the big action
scenes herself.”

JOEL SIMON: A NEW ERA FOR THE WWE

Joel Simon: “Vince and Linda McMahon told me what they were
looking for in a film company. They wanted to make a full commitment to the
motion picture business. Most of all, we all wanted to fulfill the expectations
of the WWE fans. We have this wonderful audience that watches our
programming every week. Fulfilling their expectations for WWE funded
movies was what most excited me.”

Simon: “When I [co-produced] ‘X-Men,’ it took six years to get the
film off the ground. It took ‘Wild, Wild West’ [on which Simon was an
executive producer] five years in development. That’s just the pace of
Hollywood. Vince McMahon’s pace is very simple: He wakes up on Monday
morning with an idea, and that idea is on TV the same night.”

Simon: “The first thing we [WWE’s Vince McMahon, Linda
McMahon and Simon] decided was that we’re never going to make films
about wrestlers. We are not going to be in the wrestling-film business
because that’s what we do in our day jobs.”

ABOUT THE WWE

World Wrestling Entertainment, Inc. (WWE) finances the
development of its films, culled from pitches, original screenplays, books and
articles. WWE Films also supervises production and produces all of their in

house projects where the goal is not to be a development company, but to
make movies, both for theatrical release and the direct to video market.

WWE’s investment in its film products will include using all its
various media platforms and marketing expertise to promote these films to
the public. “There is a synergy within WWE that will allow us to put our
entire marketing and media infrastructure behind the opening of a WWE
movie,” says Joel Simon. “We can promote our movies within our television
programming, at our more than 325 live events a year, on the Internet, and in
our magazine, WWE, as well as in our many home video and DVD offerings
to expose our movies to the huge global WWE audience.”

ABOUT THE CAST

WWE SuperStar, actor and recording artist, JOHN CENA (John
Triton) is one of today’s rising young stars. Wired into today’s culture, he
has built a significant fan base over the past three years. He uses his
charisma, blue-collar work ethic and passion to provide his fans with a pure
adrenaline rush each time he performs. Grounded in modest roots and a
strong sense of self, he connects to fans around the world in a genuine way
that few celebrities can.

Cena’s intensity and authenticity has made him a household name
in sports entertainment and WWE’s most popular SuperStar in fan appeal
and product sales. Since his debut in June of 2002, John has become the 2-
time undefeated United States Champion at “WrestleMania.” His branded
product sales exceeded $12 million in 2004. He can currently be seen on
television weekly in over 100 countries as well as 200 live performances
annually on five continents. More teens watch John Cena each week than
an average regular-season NFL, NBA or MLB game.

Growing up in the rural community of West Newbury,
Massachusetts, Cena was an easy target with his baggy pants and Kid ‘N
Play high-top fade haircut. Inspired by hip-hop music’s messages of

rebellion and self-reliance, Cena stood his ground, stayed true to his love of
hip-hop and hit the gym.

Prior to becoming a WWE champion, Cena was an All-American
football player at Springfield College and a successful bodybuilder. A
dedicated WWE fan, Cena watched from the bleachers as his heroes, Hulk
Hogan, Ultimate Warrior, Shawn Michaels and Bret Hart, competed. He left
college to join a wrestling school and quickly began working as an Ultimate
Pro Wrestler.

Cena began freestyling taunts against his opponents after the WWE
creative team overheard him rhyming. “They asked me if I wanted to do it on
the air, and I said, ‘Of course.’ After that, I started rapping every week and
eventually created my own intro music.”

In May 2005, Columbia Records released Cena’s debut album,
“You Can’t See Me.” Featuring 17 original hip-hop tracks, it debuted at No.
15 on Billboard Top 200 Chart with over 40,000 albums sold the first week.
It was No. 3 on Billboard Rap Chart behind 50 Cent and Mike Jones, and No.
5 on Billboard R&B Chart. Paying tribute to the classic two-man rhyming
crews of the past, Cena and Tha Trademarc (Marc Predka) nimbly trade
verses throughout the album. Cena’s reverence for, and knowledge of, hip-
hop techniques and culture impressed respected rap legend Freddie Foxx
(aka Bumpy Knuckles), who is also featured on the album.

Recently, Cena guest starred on numerous television shows, and
he is quickly becoming a favorite of producers on “Jimmy Kimmel Live” and
“Best Damn Sports Show Period.” In addition, he has been seen on “Late
Night with Conan O’Brien,” “Mad TV,” CNBC’s “The Big Idea with Donny
Deutsch,” CNN “Headline News,” “The Insider” and “Good Day New York.”
He performed in a sketch on “Mad TV.”

A steely-eyed veteran in his craft, ROBERT PATRICK (Rome)
commands the screen with his powerful, confident presence.

He can currently be seen starring as Colonel Tom Ryan in CBS'
new hit action-drama "The Unit," produced by David Mamet. The show
follows a team of America's covert operatives and how their dangerous job
affects their lives.

Patrick appeared opposite Harrison Ford in Warner Bros. "Firewall."
He was also recently seen opposite Joaquin Phoenix as Johnny Cash's
father in Twentieth Century Fox's Golden Globe-winning film "Walk the Line"
for director James Mangold.

Patrick has an extensive television and film resume. Audiences will
remember Patrick as John Doggett on the last two seasons of the classic
television series "The X-Files." He is best known for his performance as the
T-1000 in the box office smash hit "Terminator 2: Judgment Day." He
received critical acclaim for his high profile performances in the second
season of HBO's "The Sopranos." His film credits include “Ladder 49,”
"Charlie's Angels: Full Throttle," "Spy Kids," "All the Pretty Horses,” "The
Faculty," "From Dusk Til Dawn 2: Texas Blood," "Copland,” "Eye See You,"
"A Texas Funeral," and "The Only Thrill."

He also appeared in the films "Rosewood,” "Striptease" "Fire in the
Sky," "Double Dragon: The Movie," "Decoy," "The Last Gasp" and "Hong
Kong '97." He was featured in an episode of Showtime's "The Outer Limits,”
in the TNT Original Movie "Bad Apple,” and in the CBS mini series "Elvis," in
which he played Elvis' father.

Born in Marietta, Georgia, Patrick was an avid athlete growing up
but was taken with acting after sitting in on some drama classes in high
school. He moved to Hollywood in 1984 and was cast in the beatnik play
"Go." He got his break during this performance when he was discovered by
casting director Roger Corman.

KELLY CARLSON (Kate) is a series regular on the FX drama
series “Nip/Tuck,” starring as Kimber Henry, the perfection-compelled model
with a reckless appetite.

She had a starring role in “Starship Troopers 2.” As part of the
film’s promotion, she enthusiastically devoted time to visiting hospitals to
meet with military personnel wounded in the Iraqi and Afghani theatres of
war and meeting with their families.

Born in Minneapolis, Carlson began her working relationship with
cameras as a model at 17, and soon became one of the most popular
models and commercial actresses in the Midwest. Professionals constantly
urged her to continue her career in Hollywood, and at the insistence of her
agent she headed west while still in her teens.

She had trained in acting for years, and soon began to study with
top coach, Lee Kelton Smith. Soon thereafter, she landed roles in “Little Big
League,” “Splitsville” and “Paparazzi.” Her television work includes guest-
starring roles on “Everwood” and “Passions.” She has appeared on stage in
such productions as “Vanities,” “Cheaters,” “Girl’s Guide To Chaos,”
“Charlotte’s Web” and “Can’t Trust The Mate.”

Carlson is a spokesperson for the Smile Network, an organization
that addresses the cosmetic surgery needs of at-risk children. A one-time
nationally competitive equestrian, she still enjoys horseback riding.

ABOUT THE FILMMAKERS

JOHN BONITO (Director) is one of the world’s leading commercial
directors, best-known for his humorous, edge-of-your-seat, action-based
spots. His “take-it-to-the-limit” attitude has garnered him numerous awards
and given him the opportunity to helm some of the biggest action-sports
campaigns, including the 2002 Winter Olympic Games, the mini-movie
promo “Rumble In The House” for NBC, and image spots for General Electric

and NASCAR. Bonito’s work features a unique mix of action and comedy,
as evidenced in the campaign for CNBC’s “Squawk Box.”

Bonito used the big screen to promote the 2002 Winter Olympic
Games, creating a 1.5 minute James Bond-like trailer that aired in theaters
across the United States. The promotional spot featured U.S. Olympic
snowboarder Chris Klug fleeing (via snowboard) from legions of police cars,
helicopters and snowmobiles after he’s clocked for “speeding” down the
slopes. After several aerial maneuvers, a crash through the glass of a
hockey rink, (where U.S. Olympic Women’s hockey player Cammie Granato
body checks a cop car on the ice to enable Klug’s narrow escape), and a
brief flirtation with a beautiful admirer on the sidelines, Klug is whisked into
the air by a helicopter, leaving the audiences wanting more for the ensuing
Games.

Bonito’s Arena Football League 2004 campaign, featuring Jon Bon
Jovi and John Elway, recently swept the 2004 PROMAX/BDA awards, where
Bonito won three Gold Awards for directing, editing and funniest promo.

Bonito is also attached to direct the feature “Searching for Jordan,”
with Ed Pressman producing.

MICHELL GALLAGHER (Story, Screenplay) is a Los Angeles
based writer and director who has written for television and film. Her credits
include the 2000 Sundance competitor "Shadow Hours" and her directorial
debut, the gritty comedy "Roads to Riches" starring Robert Forster, Rose
McGowan and Kip Pardue. Gallagher is currently set to helm her next
project in March 2007.

ALAN McELROY (Screenplay), a screenwriter and director,
attended Boston University, Miami University and college in Luxembourg.
He has degrees in Psychology, English, and extensive foreign language

training, as well as a keen interest in military history, special weapons and
military tactics.

McElroy started his film career with the franchise horror film
"Halloween 4: The Return of Michael Myers." He went on to write Brandon
Lee's breakout feature film "Rapid Fire" and the comic book adaptation for
the top selling Todd McFarlane comic book "Spawn.” He then developed; co-
executive produced and wrote the first season of the Emmy awarding
winning and critically acclaimed "Spawn" animated series for HBO.

McElroy has also written graphic novels, created a video game,
worked on drafts for "Resident Evil.” Recent credits include "Ballistic: Ecks
Vs. Sever,” a directing effort "Layover," and the horror film "Wrong Turn.”
Married, with two daughters and a son, McElroy makes his home in the
tranquil Ohio community of Orange Village. He is currently at work on a film
adaptation of the hugely popular Namco video game "Tekken," to star Jet Li,
and a horror/thriller project, "Day Away" that he will also direct.

JOEL SIMON (Producer) is president of WWE Films, which handles
a diverse slate of entertainment projects. In addition to THE MARINE, he
produced “See No Evil,” starring WWE RAW SuperStar Kane.

Previously, Simon served as president of Quincy Jones Media
Group and Quincy Jones/David Salzman Productions, overseeing all feature
and television productions from the late 1990s through 2001. Prior to that,
he was partnered for nearly a decade with producer Bill Todman, Jr. in
Todman/Simon Productions, which had a first-look deal with Lorimar and
Warner Bros. Pictures, and whose feature releases included “Married to the
Mob” and “Hard to Kill.” For television, the company produced the CBS
series “People Next Door” and the movie-of-the-week “The Innocent,” which
aired on NBC, as well as numerous network pilots.

Simon’s additional production credits include the feature comedy
“Vacuums,” starring Chevy Chase; the blockbuster hits “X-Men” and “X2”;

“Wild, Wild West” starring Will Smith, Kevin Kline and Salma Hayek; “Steel,”
starring Shaquille O’Neal; and “The In-Laws” starring Michael Douglas and
Albert Brooks; plus the television movie “Passing Glory” for TNT, and “Say It
Loud: A Celebration of Black Music in America,” a five-hour VH-1 original
documentary mini-series.

KATHRYN SOMMER PARRY (Producer) has an extensive
background in motion picture development and production. For eight years
she served as senior vice president of Carolco Pictures, where she oversaw
the blockbusters “Total Recall,” “Cliffhanger,” “Basic Instinct,” “Stargate” and
“Terminator 2: Judgment Day.”

Parry then became president of production at Atlas Entertainment,
where she oversaw “City of Angels” and “Twelve Monkeys.” Following that,
she was senior vice president of Cinergi Pictures, where she acquired the
theatrical motion picture rights to “I Spy,” and where she oversaw the
production of “Die Hard with a Vengeance.”

Parry has worked closely with notable film directors such as Oliver
Stone, Paul Verhoeven, James Cameron, Richard Attenborough and Roland
Emmerich.

JONATHAN WINFREY (Producer) began his career in the film
business working with Roger Corman, producing and directing several action
adventure films. Winfrey then moved into the television arena as an episodic
director. He has worked for the BBC, Nickelodeon, and the Disney Channel,
and also in the reality re-enactment world of “America's Most Wanted.”
Winfrey directed the soon-to-be- released television show "Watch Over Me,"
for the new MyNetworkTV.

In between directing assignments, he continues to produce movies,
and is also completing a documentary on Reggaeton music, entitled “La
Gasolina.”

VINCE McMAHON (Executive Producer), Chairman of the Board of
World Wrestling Entertainment, Inc. (WWE), is a third generation promoter
who has made WWE into the global phenomenon it is today. As a pioneer in
the television syndication and pay-per-view businesses, a recognized
television personality throughout the world, a visionary promoter and a
fearless marketer, he continues to make his presence known as a leader
within the broadcast and entertainment industries.

In 1972, McMahon joined his father’s company, Capitol Wrestling
Corporation, on a full-time basis. By 1979, the company had syndicated
programming to 30 television stations. In 1982, he purchased the Capitol
Wrestling Corporation from his father and decided to take what had been a
regional operation and turn it into a national venture.

McMahon soon became a pioneer in the cable television industry by
leveraging the new technologies of pay-per-view and closed-circuit television
for the first WrestleMania. Now, not only had he built a brand that people
would watch in syndication, he had built the WWE into a brand that people
would pay to watch. WrestleMania III in 1987 attracted 93,173 fans to the
Pontiac Silverdome, setting an indoor attendance record that still stands. In
April 2000, more than a million fans purchased WrestleMania X-6, at the time
making it the most watched non-boxing event in pay-per-view history.
WrestleMania has achieved the one million buys level four more times since
then. In fiscal year 2006, approximately six million households purchased
WWE pay-per-view events, making the company the largest pay-per-view
event programming provider in the world.

Today, WWE produces original weekly programming, 52 weeks a
year, distributed domestically, internationally and via WWE.com. Domestic
cable and broadcast programs include “Monday Night RAW” and “A.M. Raw”
on USA Network and “Friday Night SmackDown” on the new CW Network.
WWE recently introduced ECW® (Extreme Championship Wrestling) as a

complimentary brand to “Monday Night Raw” and “Friday Night
SmackDown.” It can be seen Tuesday nights on the Sci Fi Channel. WWE
programs reach more than 14 million viewers during the average week.
WWE’s television programming is sold in 130 countries around the world.
Each year more than 7,500 hours of WWE programming is broadcast in 18
languages throughout Europe, the Middle East, Africa, Asia, Australia, New
Zealand and Latin America.

As the television audience has grown exponentially, so has the live
event audience. In fiscal year 2006, WWE performed 300 live events,
including 52 international events, entertaining more than 1.7 million fans
around the world.

Under McMahon’s leadership, the company continues to grow. The
company trades on the New York Stock Exchange under the symbol WWE.
WWE has started WWE Films, which will produce and fully finance two to
four motion pictures a year, and is making inroads into digital media
platforms with new video on demand, broadband and mobile services.

MATT CARROLL (Executive Producer) is a veteran filmmaker who
has been involved in the motion picture business for four decades. Recently,
he produced “To Catch a Killer” for Granada/ITV, and executive produced
“See No Evil” for WWE Films. His many other motion picture credits include
“Diana and Me,” starring Toni Collette; and “Passion.” He was a producer
on the acclaimed science-fiction television series “Farscape.”

In 1986, Carroll formed the production company Roadshow, Coote
& Caroll, which produced feature film and television programming. In 1981
he was awarded an OBE for services to the film industry.

DAVID EGGBY, ACS (Director of Photography) began his career in
still photography. He then served as a Naval Airman Photographer with the

Royal Australian Navy for six years. Eggby has also worked on many police
TV dramas, commercials, miniseries and television movies.

Eggby’s first feature film was George Miller's groundbreaking
adventure “Mad Max” in 1977. Since then, he has gained international
recognition for his visually innovative style. He has collaborated several
times with directors Rob Cohen (“Daylight,” “Dragonheart,” “Dragon: The
Bruce Lee Story”) and Simon Wincer (“Harley Davidson & the Marlboro
Man,” “Quigley Down Under,” “Lightning Jack”).

More recently, Eggby was director of photography on the family
movie “Racing Stripes.” Other credits are “Euro Trip,” “Monte Walsh,”
“Scooby Doo,” “Crossfire Trail,” “Pitch Black,” “Horseplay,” “Blue
Streak,” “Virus,” “Fortress,” “Warlock,” “The Blood of Heroes,” “The Naked
Country,” “Kansas,” “Buddies” and “Kansas.”

HERBERT PINTER (Production Designer) was born in Austria and
is now an Australian citizen. He has been in the film industry since 1973,
working with directors such as Peter Weir ( “Picnic at Hanging Rock,”
“Gallipoli,” “The Year of Living Dangerously”) and Bruce Beresford (“Breaker
Morant,” “Black Robe,” “Mr. Johnson,” “Paradise Road” and “Bride of the
Wind”).

Pinter has received the AFI, Sammy and Genie Awards and
multiple AFI award nominations. He was nominated for an Emmy in 2004 for
Outstanding Art Direction for A Miniseries, Movie or A Special for HBO’s
“And Starring Pancho Villa as Himself.”

His ability to adapt difficult locations and represent any historical period has
earned him international acclaim. He has filmed in the heat of the Sahara;
the freezing north of Canada; the sweltering tropics of South East Asia and
the Amazonian jungle; the mountains of Mexico; and the cultured climes of
old Europe.

DALLAS PUETT, A.C.E. edited “The Fast and the Furious” and “2
Fast 2 Furious,” both for Universal. Puett has also worked on “Star Trek:
Nemesis” and “Lara Croft: Tomb Raider” for Paramount Pictures. For
Warner Bros, Puett edited “Red Planet,” “Deep Blue Sea,” “Lethal Weapon
3,” “Lethal Weapon 4,” “Executive Decision,” “Free Willy 2,” “Maverick” and
“Demolition Man.”

JED BLAUGRUND (Co-Producer) is a native of Albuquerque, New
Mexico, and received his B.A. degree in Critical Studies from the University
of Southern California School of Cinema/Television. He began his career at
the Bedford Falls Company, where he was the assistant to director Edward
Zwick, with whom he worked on “Legends of the Fall” and “My So-Called
Life.”

Blaugrund was then hired as a creative executive at the newly-
formed Turner Pictures, where he worked under company president Amy
Pascal on “Michael,” “Any Given Sunday” and “City of Angels.” With the
dissolution of Turner Pictures, Blaugrund joined Universal Studios-based
Mostow-Lieberman Productions as VP Production, reporting to director
Jonathan Mostow and producer Hal Lieberman.

Blaugrund is currently VP Production at WWE Films, where he is
responsible for bringing in and supervising development of both films and
television programs. He was co-executive Producer of WWE Films’ “See No
Evil,” released by Lionsgate on May 19, 2006.

DON DAVIS (Music) has scored “The Matrix,” “The Matrix
Reloaded,” “The Matrix Revolutions,” “Behind Enemy Lines,” and “House on
Haunted Hill.” In addition, he was orchestrator on several pictures.

Permission is hereby granted to newspapers and periodicals to reproduce this

text in articles publicizing the distribution of the Motion Picture.

All other use is strictly prohibited, including sale, duplication, or other transfers of this material.

TWENTIETH CENTURY FOX Presents

In Association with WWE FILMS

“THE MARINE”

Directed by.............................JOHN BONITO

Screenplay by............MICHELL GALLAGHER

.................................... And ALAN McELROY

Story by.....................MICHELL GALLAGHER

Produced by..............................JOEL SIMON

Produced by.....KATHRYN SOMMER PARRY

...................................JONATHAN WINFREY

Executive Producer............VINCE McMAHON

Executive Producer..............MATT CARROLL

Director of Photography.DAVID EGGBY, ASC

Production Designer.........HERBERT PINTER

Film Editor................DALLAS PUETT, A.C.E.

Co-Producer......................JED BLAUGRUND

Music by......................................DON DAVIS

Music Supervisor..............RANDY GERSTON

Costume Designer..........GRAHAM PURCELL

JOHN CENA

KELLY CARLSON

ANTHONY RAY PARKER

ABIGAIL BIANCA

JEROME EHLERS

MANU BENNETT

DAMON GIBSON

DREW POWELL

And

ROBERT PATRICK

Australian Casting by.......................................

...............................TOM McSWEENEY, CSA

.....................................MAURA FAY GROUP

U.S. Casting by..DONNA ROSENSTEIN, CSA

A WWE FILMS PRODUCTION

Unit Production Manager.................................

................................ JENNIFER CORNWELL

First Assistant Director......... STUART WOOD

Second Assistant Director................................

............................... ANGELLA McPHERSON

Second Unit Director.. CONRAD PALMISANO

Second Unit Director of Photography...............

.................................... JOHN STOKES, ACS

CAST

John Triton................................. JOHN CENA

Rome.............................. ROBERT PATRICK

Kate Triton........................ KELLY CARLSON

Morgan.................. ANTHONY RAY PARKER

Angela................................ ABIGAIL BIANCA

Van Buren........................ JEROME EHLERS

Bennett............................... MANU BENNETT

Vescera.............................. DAMON GIBSON

Joe....................................... DREW POWELL

Frank............................... FRANK CARLOPIO

Al Qaeda Leader.................. FIRASS DIRANI

Marine #1......................... REMI BROADWAY

Marine #2........................... STEVE HARMAN

Marine #3......................... DAMIEN BRYSON

Braun............................... ROBERT COLEBY

Chris................................... ASHLEY LYONS

Billy.......................................... JEFF CHASE

Paul ..........................................JAMAL DUFF

Lincoln Kennedy.............................. HIMSELF

Chop Shop Girl ............CHRISTINA LINDLEY

Mr. Titizian................................ GERRY DAY

Brian........................................ TODD LEIGH

Johnny................................ ALAN McELROY

Officer Herrera............................ TODD LEVI

Rick .......................CHRISTOPHER MORRIS

Laura....................................... JANE EPPELL

Fran............................. LAURENCE BREULS

Officer Brady.................. COREY ROBINSON

Patrol Officer............................ PETER LAMB

River Boat Cop.................. DAMIEN GARVEY

Female Clerk #1................ HELEN HOWARD

Female Clerk #2........................ NICCI HOPE

Male Clerk ...............................BRAD HAYES

Stunt Coordinator ...........CHRIS ANDERSON

Stunts.........................ANDREW ALLAN KEIR

...................................BECK CON BERKIRIS,

.................BRAD BUCKLEY JANINE CARLIN

..........................................GAVIN COLEMAN,

.........HAYDEN DALTON, NICOLE DOWNES

............RUSSELL FROST, KYLE GARDINER

....................NICK LAWSON STEVE MORRIS

.....MICK VAN MORSEL YASCA SINIGAGLIA

...................................WILFRED WOODROW

Associate Producer......... FRANK CARLOPIO

Art Director.......................... DARYL PORTER

Set Decorator................. MANDY WILLATON

Set Designers.......................... MARTIN ASH

........................................KLAUS KASTBERG

Storyboard Artist....... GRAEME CALLANDER

Second Second Assistant Director..................

........................................... NICK McKINNON

A Camera Operator ..............HENRY PIERCE

B Camera Operator / Steadicam.....................

.............................. GREG MANGO GILBERT

First Assistant A Camera........ DAVID ELMES

First Assistant B Camera.................................

.................................... RICKY SCHAMBURG

Second Assistant A Camera............................

..................................... CAMERON MORLEY

Second Assistant B Camera.. PHIL LAVERTY

Camera Attachment............. MATT WESTON

Video Split Operator.............. PETER QUINN

Video Split Assistant................. TOM EGGBY

Truck Loader................... DANIEL BOMBELL

Stills Photographer........... VINCE VALITUTTI

Production Sound Mixer........ PAUL BRINCAT

Boom Operator...................... ROD CONDER

Cable Person....................... NICOLE MILLER

Property Master....................... MARK BRIMS

Standby Props................. JOHN ANDERSON

Props Buyer ..........................EMMA RUDKIN

Props Buyer /Dresser........... DOUG FRANKS

Script Supervisor ..........KAREN MANSFIELD

Gaffer ................................MATT SLATTERY

Best Boy................................... ALAN WILLIS

Electricians ...EDDIE SIMS, BOO SLATTERY

Key Grip................. GRAHAME LITCHFIELD

Best Boy Grip....................... SIMON COOKE

Best Boy #2 .........................PHIL MULLIGAN

Dolly Grip............................ JASON McPHEE

Rigging Grip................ GRAHAME MARDELL

Assistant Grips .................MAURICE McKAY

.............................................BORIS ZOULEK

Costume Supervisor .DAWN DOUGLAS-BILL

Costume Coordinator....... GABRIELLA NAGY

Key Costume Standby.......... HELEN MAGGS

Key Makeup /Hair............................................

............................ MARGARET STEVENSON

Additional Makeup /Hair .MAREE McDONALD

............ANITA MORGAN, MICHELLE RITCHI

Location Manager............ JAMIE McLENNAN

Assistant Location Manager .......NICK SMITH

Production Coordinator... KERRY MULGREW

Assistant Production Coordinator

..................................... CINDY GOLLAGHER

Third Assistant Director............ TIM HUGHES

Special Effects Supervisor.......... BRIAN COX

On Set Special Effects Supervisor ..................

.............................................ANGELO SAHIN

Special Effects Office Coordinator

.........................................LEANNE BROOKS

Special Effects Technicians.............................

.................JOHN BENNETT HERMAN BRON

................................PATRICK CARMIGGELT

....................................ROBERT CHARLTON

.................................AARON COX IAN KATH

.................................JIM LENG JEFF LITTLE

.......................JOHN NEAL BRIAN OSMOND

..................ALBERT PAYNE PIETER PLOOY

........JULIAN SUMMERS STEVE SZEKERES

.WALTER VAN VEENENDAAL KENT WILLIS

Special Effects Assistants.... MITCHELL COX

............................................DARREN FRANK

Construction Manager.....................................

................................ CORNELIS BOOGAART

Construction Foreman.. KRISTIAN KIELLAND

Construction Leading Hand ............................

......................................BRADLEY HOWARD

Construction Office Coordinator......................

................................................ ANITA AHLOY

On Set Carpenter .................WAYNE DISKIN

Carpenters........................ANDREW BISHOP

............DAVID CHILDS, JAMES CORNELIUS

........ANDREW DUNCAN, CLINTON DURBIN

.........................DANE EADE, RON GORDON

...........BARRY MIDDELTON, AARON O’NEIL

................KEVIN RIXON, RORY SAUNDERS

....................JON STILES, ROLAND VETTER

.............DOUGLAS WARD, PATRICK WILLIS

..............................................ALLAN WILSON

Assistant Art Director .................JIM MILLETT

Art Department Coordinator.. JOHN HIGGINS

Graphic Artist.................... MATT WILLATON

On Set Dresser.................. ZEB LAWRENCE

Set Builder ................RAYMOND CHAPMAN

Model Maker..................... GARY CAMERON

Scenic Artist ..........................ROBERT BULL

Painters..............CARLIN BULL, LOUIS BULL

...............TINA BULL DANE CHURCHHOUSE

......................LEE KIRK CHRIS GEISSMANN

...............CHRIS GODDARD WAYNE TRUCE

Art Department Swing Gang.. JAC CHALTON

Steel Leading Hand............... PETER EXTON

Steel Foreman ...................WAYNE PORTER

Steel Tradesmen................... GRANT ENGEL

..............................................ROSS ROWELL

Head Greensman......................... KEN BEITZ

Assistant Greens.................... GRAHAM COX

Executive Assistant to Joel Simon

.............................................RICHIE LOWELL

Executive Assistant to Jed Blaugrund ............

...........................................SHARYN STEELE

Assistant to Matt Carroll......... HOLLY SMITH

First Assistant Editor .................KATE BAIRD

Assistant Editor....................... BLU MURRAY

Second Assistant Editors (Australia) ..............

...................MANDY JACOBS, GEOFF LAMB

Production Secretary.......... JASMIN LYFORD

Production Assistants

...... HANNAH BYRNAND, JASON ROWLING

Production Accountant.... MARIANNE FLYNN

First Assistant Accountant JULIE WIBBERLEY

Second Assistant Accountant JUSTIN BRACE

Payroll Accountant ........RACHEL DUXBURY

Lead Post Production Supervisor

..............................................NANCY HIRAMI

Post Production Supervisor (Australia) ...........

..............................................SIMON KLAEBE

Post Production Supervisor (United States)
...........BARBARA SCOOTER OSTROWIECKI

Casting Associate............ ALLYSON BOSCH

Extras Casting................ FIONA McMASTER

Acting Coach................. JENNIFER KUBLER

Assistant Acting Coach....................................

................................. ANTHONY AUCKLAND

Dialogue Coach................ BRUCE SHAPIRO

ADR Dialogue Coach............ JOHN HIGGINS

Military Advisor.................. MARK WICKHAM

Unit Publicist..................... FIONA SEARSON

Transportation Coordinator DAMIAN EGGINS

Transportation Captain................ IAN CLARK

Transportation Assistants. RIKI HOROMONA

........................................DOUGLAS MAYBIR

............................PAUL GREGORY MORRIS

...................LEHI TAHAU, PHIL THOMPSON

Action Vehicle Coordinator .............................

......................................RICHARD CARROLL

Assistant Vehicle Coordinator..........................

.................................... TRUCK HUMPHRIES

Action Vehicle Assistants.................................

........ JULIAN BORBIDGE, GARY COLEMAN

...............ELI MORTIMER, GARY SHERLINE

............................................RON WYNDHAM

Boat Wranglers .....................DOUG BROWN

.........................................GARY McNAMARA

Key Armorer.................... ALLAN MOWBRAY

Armorer .................................JEFF GRIBBLE

Safety Supervisor..................... SEAN RIGBY

Stunt Department Coordinator ........................

.........................................JANNETTE STOTT

Additional Stunt Coordinator .GREG STUART

Assistant Stunt Coordinators ..........................

........YASCA SINIGAGLIA, MARK WICKHAM

On Set Nurse......................... KATIE HARRIS

Craft Service .........................JOYLENE BICE

Catering .........................ELEETS CATERING

SECOND UNIT

First Assistant Director .PETER FITZGERALD

Second Assistant Director .....JULIE BURTON

B Camera Operators....... ANDREW CONDER

..............NINO MARTINETTI, TIM McGAHAN

First Assistant A Camera....... JASON BINNIE

First Assistant B Camera.................................

.................................. WARREN LAZARIDES

Second Assistant A Camera............................

...................................... MELINDA RICKMAN

Second Assistant B Camera ANGELA KELLY

Video Split Operator........................................

........................... MARGARET STANCOMBE

Production Sound Mixer........... GARY DIXON

Script Supervisor .................JENNY FULTON

Gaffer.................................... KEN MOFFATT

Key Grip.................................. SEAN ASTON

Best Boy............................... ANDREW SAUL

Best Boy Grip.............. TRENT WILLIAMSON

Dolly Grip..................................... JIM NEALE

Standby Props.... STUART POLKINGHORNE

Costume Standby............ AMANDA ENDERS

On Set Dresser ................HAYDN SIMMONS

Production Coordinator................ DAN READ

Transportation Manager... JAMIE WHITFIELD

Makeup/Hairdressers.................. GAIL KANE

............................................SUE KELLY-TAIT

On Set Nurse............................. KALEB DAY

Safety Supervisor................ LANA WILLIAMS

S P L I N T E R U N I T

Grip............................. DAMIEN KWOCKSUN

Gaffer........................................... JOE STICK

UNDERWATER CREW

Director of Photography SIMON CHRISTIDIS

Camera Assistant........... JESSE CHRISTIDIS

Gaffer ........................ANDREW HARCOURT

LOS ANGELES UNIT

Los Angeles Unit- Associate Producer ...........

................................................MARK McNAIR

UPM/ First Assistant Director .........................

...................................JONATHAN McGARRY

Key Second Assistant Director .......................

.............................................BAC DE LORME

Second Second Assistant Director .................

.........................................SAMANTHA LAVIN

Director of Photography..................................

.......................... THEO VAN de SANDE, ASC

Camera Operator / Steadicam.........................

........................................TOMMY LOHMANN

Production Supervisor..... RALPH BERTELLE

Production Accountant............. ROBERT LEE

Assistant Accountant........ CARYN CHEEVER

Production Designer......... CHARLES BREEN

Art Director .........................GARY DIAMOND

Construction Coordinator .............DAN TURK

Storyboard Artist ....................PAUL POWER

Costume Designer............ SABRINA ROSEN

Costume Supervisor............ DEBORAH HALL

Gaffer ................................BAQI KOPELMAN

Best Boy Electric..................... CHRIS SHAW

Key Grip ..............................RUSS ST. JOHN

Best Boy Grip...................... JEFF TOMUAVE

Location Manager ...........GEOFFREY SMITH

Department Head Makeup.. KATE SHORTER

Department Head Hair......... LINDA ARNOLD

Propmaster .........................BRAD EINHORN

Script Supervisor.................... ALEXA ALDEN

Set Decorator................. JEFFREY KUSHON

Production Sound Mixer.... SHAWN HOLDEN

Special Effects Coordinator.............................

........................................... FRANK CEGLIA /

..........................SPECTRUM EFFECTS, INC.

Stunt Coordinator ....................ANDY CHENG

Stunts by.............................. TIM CONNOLLY

Transportation Coordinator.. RICK MERCIER

Transportation Captain........ RICH BENNETTI

Picture Car Coordinator........ JERRY OLIVERI

Los Angeles Grip Equipment provided by .......

...................................LEONETTI COMPANY

Sound Design & Editorial by............................

..................................... DANETRACKS, INC.

Sound Design / Supervising Sound Editors ....

.................................CHRISTOPHER S. AUD

...........................RICHARD E. YAWN, MPSE

Sound Designers ......DANE A. DAVIS, MPSE

.........................ERIC WARREN LINDEMANN

Sound Effects Editors......................................

.............................RICHARD ADRIAN, MPSE

.................................................BILL R. DEAN

JULIA EVERSHADE, MPSE

.................................................MARK LARRY

......................................STEVEN F. NELSON

...................STEPHEN P. ROBINSON, MPSE

..........................................BRYAN WATKINS

Supervising ADR Editor...................................

................................... BOBBI BANKS, MPSE

ADR Editor............................. LISA J. LEVINE

Dialogue Supervisor KIMBERLY LOWE VOIGT

Dialogue Editor.. STEPHANIE FLACK, MPSE

Supervising Foley Editor..................................

..................... SOLANGE SCHWALBE, MPSE

Foley Editor.................... DONALD WARNER

First Assistant Sound Editor.............................

............................... NANCY BARKER, MPSE

Second Assistant Sound Editor .......................

...................................NATHAN WHITEHEAD

Foley Artists ....................................................

................LAURA MACIAS CHRIS MORIANA

...........JAMES MORIANA VINCE NICASTRO

......................................JEFFREY WILLHOIT

Foley Mixers................ NERSES GEZALYAN

.......................................SHAWN KENNELLY

Sound Editorial Coordinator.. MATT HEDGES

Post Production Sound Services provided
by ....................................................................

.....WILSHIRE STAGES, LOS ANGELES, CA

Sound Mixing.......................... GARY GEGAN

..........................MATTHEW IADAROLA, CAS

Additional Sound Mixing .................................

............................MARSHALL GARLINGTON

Recordist.................................. MATT DUBIN

Additional Recordist... MARTIN SCHLOEMER

Mix Engineer ...........MICHAEL MORONGELL

Mix Facility Coordinator ..PAUL RODRIGUEZ

ADR Mixer ..............ERIC THOMPSON, CAS

ADR Recordist.................. CHRIS NAVARRO

Loop Group Casting......... THE FINAL WORD

Loop Voices.....................JOE CAPPELLETTI

...................LYNN EVANS, JACK HANNIBAL

....................DASTON KALILI, JOEY NABOR

...JENTLER PHOENIX, JACQUELINE PINOL

.......................................PHILECE SAMPLER

Music Editor ................ELLEN SEGAL, MPSE

Assistant Music Editor......... BRENDA HEINS

Orchestrations & Conducting by. DON DAVIS

Scoring Mixer..................... ARMIN STEINER

Synthesizers Mixed by.... DAMON TEDESCO

Contractor ..............................DAVID SHERR

Supervising Copyist........ TOM CALDERARO

Orchestra recorded at.....................................

.............THE EASTWOOD SCORING STAGE

........................at WARNER BROS. STUDIOS

Score Recordist ....................GREG DENNEN

Engineer ...........................RYAN ROBINSON

Stage Crew........... RICHARD WHEELER JR.

Client Services .....................JAMIE OLVERA

Dolby Sound Consultant......... ANDY POTVIN

Preview Engineer......................LEE TUCKER

Negative Cutting by ........................................

...................NEGATIVE CUTTING SERVICES

....................................SYDNEY, AUSTRALIA

Negative Cutters........................ LEO BAHAS

...................................VERONICA MARCANO

...............VICKI McRITCHIE, JOHN SPATHIS

Film Processing by .....ATLAB QUEENSLAND

Laboratory Manager.................... GARY KEIR

HD Video Dailies by..... THE POST LOUNGE

Telecine Colorists................... SIMON CLARK

..............................................CHARLIE ELLIS

Dailies Projectionist....... JUSTIN McDONALD

Facilities Producer..................... ALICIA BELL

Visual Effects Producer .........JULIAN PARRY

On Set Visual Effects Supervisor ...................

..............................................CRAIG CLARKE

Additional On Set Visual Effects Supervisor
...................................DEREK WENTWORTH

Visual Effects Coordinator ..............................

............................SUZANNE EVANS-BOOTH

Visual Effects by FUEL INTERNATIONAL

Visual Effects Supervisor...... DAVE MORLEY

CG Supervisor.................. ANDREW HELLEN

Visual Effects Executive Producer ..................

..................................................JASON BATH

Visual Effects Producer....... KENT BOSWELL

Pre-Production Supervisor .............................

..................................PAUL BUTTERWORTH

Lead Compositors .....WARWICK CAMPBELL

....................................................TONY COLE

Senior Compositors............... CHRIS DAVIES

......................ROB NICOL, HANNAH PEIRCE

Compositors..................JASON BILLINGTON

........... OCTAVIO De LELLIS, HOWARD HILL

.......................JAMIE WOOD, KIM WORRALL

......................................... KOJI YAMAGUCHI

Junior Compositors..............DEXTER DAVEY

..........................KONSTANTIN KOVALENKO

........................................MATTHEW WYNNE

Matte Painter .............................DANIEL COX

Graphic Designer .........PRU BRYANT-FENN

Camera Tracking ................LIANNE FORBES

CG Particles. MIKE BAIN, MATT McCOSKER

.........................................ANDREAS WANDA

CG Artists........................................................

.................CRAIG BROWN KANE ELFERINK

...................CHRIS FRENCH ALEX McLEOD

......MAX McMULLIN GREG PETCHKOVSKY

.................MATT SMITH ANDERS THONELL

IT Manager................................. LUKE COLE

Systems Administrator ......DYLAN PENHALE

IT Assistant................................ AN NGUYEN

I/O Operator ............................CHRIS SCOTT

Assistant I/O Operator.. DANIELLE HESSION

Production Assistants. REBECCA JOHNSON

..................................................DANNY RIZK

Render Wranglers .....STEVE KREUTZMANN

......................................................KENT LEE

Visual Effects by PHOTON VFX

Visual Effects Producer ...MARTIN WISEMAN

Digital Effects Supervisor ....DANIEL BROWN

Digital Effects Production Manager .................

.................SHEREENA-LEE, VAN de BERKT

Digital Effects Coordinator ..............................

......................................NICOLA SCARROTT

Digital Effects Coordinator ..............................

.......................................JAYNE HERRMANN

Sequence Lead...... MURRAY SMALLWOOD

Compositors.....................ALICIA AGUILERA

.....................TATE ARBON, DOMINIC BEAN

............BARIS CAGLAR, ANGUS CAMERON

............................SIMON DYE, MATT GREIG

............RICHARD HALL, SHELLY MORROW

.....MARK NETTLETON, LOREN ROBINSON

......DANIEL SUNWOO, RANDY VELLACOTT

...............................................KIM WORRALL

Motion Control Operator......... BEN MURRAY

Motion Control Assistant............ MIKE KELLY

Transportation.................. WAYNE COOPER

Grip......................... GEORGE CARAMANLIS

CG Effects Artists ...............ELISA ESTEBAN

........DAMON MILMAN, CRAIG STEVENSON

VFX Editorial ............................PAUL BOOTH

Technical Support ..............DEAN CRANNEY

.......................NICKY LADAS, DAVID PETTS

Digital Intermediate Services...........................

....................................... ATLAB AUSTRALIA

Digital Intermediate Producer .........................

............................................ANTHOS SIMON

Digital Colorist............. OLIVIER FONTENAY

Digital Supervisor ........ROBERT SANDEMAN

Digital Liaison................. JONATHAN DIXON

Senior Compositor .............REBECCA DUNN

Compositors...............................BRAD DUNN

..............JAMIE HEDIGER, MICHELLE HUNT

...................................... MATTHEW NORTH,

.......................................TAKAHIRO SUZUKI

............................ SANDEEP VENGSARKAR

Scanning & Recording.............. LEO GOMEZ

..........PETER LUCZAK, HENRY YEKANIANS

Digital Optical Effects by ATLAB
AUSTRALIA

Main Title Design by............................. yU+co

End Title Artist................. MELISSA ELLIOTT

Production Services provided by.....................

.................................. VILLAGE ROADSHOW

PRODUCTION MANAGEMENT PTY LTD.

President..................................... MIKE LAKE

Production Financial Controller

................................................. LYNN PAETZ

Post Production Accounting SUSIE SHAYLER

Filmed at THE WARNER ROADSHOW

STUDIOS, GOLD COAST,

AUSTRALIA

Travel / Freigh............................t SHOWFILM

“MORE HUMAN THAN HUMAN”

Written by Shauna Reynolds, Jay Yuenger
and Rob Zombie

Performed by White Zombie

Courtesy of Geffen Records

under license from Universal Music
Enterprises

“SUNSHINE”

Written by Carlos Hassan, Sandy Lol and
Eric Weston

Performed by Lil’ Flip featuring Lea

Courtesy of Columbia Records

By arrangement with Sony BMG Music
Entertainment

“TONIGHT”

Written by Stephen Phillips and Tim P.

Performed by Stephen Phillips and Tim P.

Courtesy of Bad Poodle Music

“CHICAGO BOOGIE”

Written by Stephen Phillips and Tim P.

Performed by Stephen Phillips and Tim P.

Courtesy of Bad Poodle Music

“DUELING BANJOS”

Written by Arthur Smith

“SHOULD HAVE BEEN GONE”

Written by Wayne Perry and Tommy Smith

Courtesy of Firstcom Music, Inc.

“IF IT ALL ENDED TOMORROW”

Written by John Cena and Marc Predka

Performed by John Cena and Trademarc

Courtesy of World Wrestling Entertainment

and Columbia Records

THE PRODUCERS WISH TO THANK THE
FOLLOWING FOR THEIR ASSISTANCE:

GOLD COAST CITY COUNCIL

FORD GLOBAL BRAND
ENTERTAINMENT

Office Equipment Supplied By
CORPORATE EXPRESS

Produced on location in

QUEENSLAND, AUSTRALIA

with the assistance of

Prints by DELUXE®

No. 42214

WWE Films is the author of this motion
picture for purposes of copyright and other
laws.

The events, characters and firms depicted
in this photoplay are fictitious. Any similarity
to actual persons, living or dead,

or to actual events or firms is purely
coincidental.

Ownership of this motion picture is
protected by copyright and other applicable
laws, and any unauthorized duplication,

distribution or exhibition of this motion
picture could result in criminal prosecution
as well as civil liability.

RELEASED BY TWENTIETH CENTURY
FOX

THE GUARDIAN

INTENSE SEQUENCES OF ACTION / PERIL,

TOUCHSTONE PICTURES

and

BEACON PICTURES

present

CONTRAFILM / FIRM FILMS

Production

Film by

ANDREW DAVIS

Directed by. . . . . . . . . . . . . . . . . . . . ANDREW DAVIS

Written by. . . . . . . . . . . . . . . RON L. BRINKERHOFF

Produced by . . . . . . . BEAU FLYNN / TRIPP VINSON

Executive Producers. . . . . . . . . . . . . CHARLIE LYONS

PETER MACGREGOR-SCOTT

Executive Producers . . . . . . . . ARMYAN BERNSTEIN

ZANNE DEVINE

Director of Photography . . . . . . . STEPHEN ST. JOHN

Production Designer. . . . . . . . . . . . . MAHER AHMAD

Edited by. . . . . . . . . . . . . . DENNIS VIRKLER, A.C.E.

THOMAS J. NORDBERG

Visual Effects Supervisor . . . . . . . . . WILLIAM MESA

Music by . . . . . . . . . . . . . . . . . . . . . . TREVOR RABIN

Casting by . . . . . . . . . . . . . . . RANDI HILLER, C.S.A.

& SARAH HALLEY FINN, C.S.A.

Unit Production Manager. . . . . . . . . . . . MARK INDIG

First Assistant Director . . . . VINCENT LASCOUMES

Second

Assistant Director . . . . . . . CHRISTOPHE LE CHANU

Associate Producer . . . . . . . . . . . . . LOWELL BLANK

CAST

Ben Randall . . . . . . . . . . . . . . . . . . KEVIN COSTNER

Jake Fischer . . . . . . . . . . . . . . . . ASHTON KUTCHER

Helen Randall . . . . . . . . . . . . . . . . . . . . . SELA WARD

Emily Thomas . . . . . . . . . . . MELISSA SAGEMILLER

KODIAK

Capt William Hadley . . . . . . . . . . . CLANCY BROWN

Carl Billings. . . . . . . . . . . . . . . . OMARI HARDWICK

Wild Bill. . . . . . . . . . . . . . . . . . . . . . . ALEX DANIELS

Co-Pilot

Wakefield. . . . . LCDR DANIEL J. MOLTHEN, USCG

Pilot Mitchell . . . . . LT ANDREW SCHANNO, USCG

Benjamin Reyes . . . . . . . . . . . . . . . . . . . ADAM PENA

Co-Pilot Antunez. . . . . . . . . . . . . . . . JOE ARQUETTE

Julian Zankich . . . . . . PO1 GARY BILLBURG, USCG

Mitcheltree . . . PO2 JOSHUA MITCHELTREE, USCG

Mover #1 . . . . . . . . . . . . . . . . . . . . RUSTY TENNANT

Doctor #1. . . . . . . . . . . . . . . . . . . . . . JAMES BARNES

Doctor #2. . . . . . . . . . . . . . . . . STEPHANIE BARNES

OPS CENTER

Ops Commander . . CPO ANDREA MARTYNOWSKI, USCG

Wickham . . . . . . . . . . . . . . . . . . LTRON FIEN, USCG

Co-Pilot Krauss . . . . LCDR NEVADA SMITH, USCG

Ops Tech . . . . . . . . . . . . . . . . . . . . . . . JAY BINGHAM

Whaley. . . . . . . . . . . . . . . . . . . . . . KEITH SWEITZER

Swimmer Nelson. . . . . . . . . . . . . . . SHANE WALKER

“A” SCHOOL

Capt Frank Larson. . . . . . . . . . . . . . . . . JOHN HEARD

Jack Skinner. . . . . . . . . . . . . . . NEAL MCDONOUGH

Butch Flythe. . . . MCPO JOSEPH “BUTCH” FLYTHE, USCG

Robert Watson . . . PO1 ROBERT E. WATSON, USCG RET.

John Hall . . . . . . . . . . . . . PO1 JOHN F.HALL, USCG

Johnell Lewis . . . . . . . . . . . . . . . . JOHNELL GAINEY

Executive Officer . . CDR JEFF LOFTUS, USCG RET.

Billy Hodge. . . . . . . . . . . . . . . . . BRIAN GERAGHTY

Ken Weatherly . . . . . . . . . . . . . . . . . . . . . . DULÉ HILL

Cate Lindsey. . . . . . . . . . . . . . . . . . SHELBY FENNER

Nick Zingaro . . . . . . . . . . . . . . . . . . MICHAEL RADY

Danny Doran . . . . . . . . . . . . . . . . . . . . . . PETER GAIL

Mitch Lyons . . . . . . . . . . . . . BRIAN PATRICK WADE

Benny Partida . . . . . . . . . . . . BENNY CIARAMELLO

Travis Finely . . . . . . . . . . . . . TRAVIS WILLINGHAM

Matt Stokes. . . . . . . . . . . . . PO3 MATT LAUB, USCG

Matthew Bunch. . . . . . . . . . . MATTHEW L. RUCKER

Tanica Treadwell . . . . . . . . . . . . . . TANICA JAMISON

Paul Metz . . . . . . . . . . . . . . . . . . . . . PAUL WALLACE

Tilky Flint . . . . . . . . . . . . . . . . . . . . . . . TILKY JONES

Megan Hyde. . . . . . . . . . . . . . . MEGAN MELGAARD

Scott Reeves. . . . . . . . . . . . . . . . . . SCOTT MUELLER

Jacob Pavich . . . . . . . . . . . . . . . . . . JACOB STEVENS

Austin Vogel. . . . . . . . . . . . . . . . . . . . . AUSTIN LASH

Mark Colby . . . . . . . . . . . . . . . . . MARK GANGLOFF

Damon Bennett . . . . . . . . . . . . . . . . . DAMON LIPARI

Roger Cable. . . . . . . . . . . . . . . . . . ROGER EDWARDS

Pilot Victim. . . . . . . . . . . . . . GREGORY J. BARNETT

Groom. . . . . . . . . . . . . . . . . . . . . KENNY G. KRAUSS

Waiter. . . . . . . . . . . . . . . . . . . GIOACCHINO BRUCIA

Jailer . . . . . . . . . . . . . . . . . . . . . . . . . J.D.EVERMORE

Manny. . . . . . . . . . . . . . . . . . . . . . . . . . . BRYCE CASS

MAGGIE’S BAR

Maggie McGlone . . . . . . . . . . . BONNIE BRAMLETT

CREDITS

Chicago Catz

Guitars . . . . . . . . . . . . . . . . . . . . . . . RICHARD DAVIS

JAMES BURTON

Bass . . . . . . . . . . . . . . . . . . . . . . . . . . . TONY BROWN

Drums . . . . . . . . . . . . . . . . . . . . . . WAYNE STEWART

Keyboards . . . . . . . CHRIS “HAMBONE” CAMERON

Trumpet . . . . . . . . . . . . . . . . . . . . . . . MARK OHLSEN

Saxes . . . . . . . . . . . . . . . . . . . . . . . . . . . GENE BARGE

STEVE EISEN

Singers . . . . . . . . . . . . . . . . . . . . . . . . . JOSIE AIELLO

DEVIN THOMPSON

TINA TREADWELL

SQUID BAR

Bartender. . . . . . . . . . . . . . . . . . CORRINE DEGROOT

Huge Navy Guy. . . . . . . . . . . . . . . . . GREG SPROLES

Navy Captain . . . . . . . . . . . . . . . . . . . . . . . RON DEAN

Navy Guys

BRANDON MOLALE JAMES LANDERS

AUSTIN KINCAID JESSE DE VILLA

ERIC NORRIS

RESCUES

Drowning Woman . . . . . . . . . . . LEIGH HENNESSEY

Husband . . . . . . . . . . . . . . . . . . . . . . . . TANNER GILL

Sea Captain . . . . . . . . . . . . . . . . . . NORM COMPTON

Young Crewman . . . . . . . . . . . . . . . DONALD FISHER

Cargo Crew

YOSHIO IIZUKA TOMMY ROSALES

TONY SNEGOFF VLADIMIR TEVLOVSKI

CaveVictim #1 . . . . . . . . . . . . . . . HENRY KINGI, JR.

CaveVictim #2. . . . . . . . . . . . . . . . . . DORIAN KINGI

Victim’s Aunt . . . . . . . . . . . . . . . . DEBORAH BOONE

Victim’s Mother. . . . . . . . . . . ROXANNE A. BROOKS

Fishing Boat Captain . . . . . . . CONRAD PALMISANO

Fisherman #1 . . . . . . . . . . . . . . . . . MICHAEL JAMES

Fisherman #2. . . DANNY COSMO HIGGINBOTTOM

Fisherman #3. . . . . . . . . . . . . . . . . . GENE HARTLINE

Survivor. . . . . . . . . . . . . . . . . . . . . . . JOHN ROTTGER

Stunt Coordinator

ALEX DANIELS

Stunt Double Randall . . . . . . . . . MICHAEL TRISLER

Stunt Doubles Fischer . . . . . . . . . . . . . TIM SOERGEL

OLIVER KELLER

Stunt Doubles Billings. . . . . . . . . . . TIERRE TURNER

KEITH WOULARD

Utility Stunts/Water Safety

JOHN ROTTGER GREGORY J. BARNETT

TANNER GILL MICHAEL TRISLER

CHRIS PAPAJOHN TERRY AHUE

Utility Stunts

JEFFREY BARNETT GEORGE FISHER

SCOTT R. FISHER MICHAEL HAYNES

KARIN JUSTMAN EDDIE MATHEWS

STEVE RITZI STERLING WINANS

RUSSELL TOWERY

Stand-Ins

MARK THOMASON RYAN BIRD

Visual Consultant

THOMAS L. FISHER

Art Directors. . . . . . . . . . . . . . . . ANDREW M. CAHN

AUSTIN GORG

Art Department Administrator. . . . HOLIDAY LANDA

Storyboard Artist. . . . . . . . . . . . . . . . . . . MARC VENA

Set Decorator . . . . . . . . . . . . . . . . . . GENE SERDENA

Leadman. . . . . . . . . . . . . . . . . . . GRANT D. SAMSON

Set Designers . . . . . . . . . . . . . . . WILLIAM V.RYDER

JAMES E. TOCCI

DANIEL JENNINGS

Construction Coordinator. . . . . . . . RANDALL S. COE

General Foremen. . . . . . . . . . . . JOHN B. CLAREY, III

JAMES B. DUPUY

Labor Foreman. . . . . . . . . . . . . . . . . . . JAY SANCHEZ

Paint Foreman. . . . . . . . . . . . . . . RICK BRODERMAN

Propmaker Foremen. . . . . . . . . . . . . . DANIEL A. COE

MIKE DUPUY

JOHN SEAY

Stand-by Painter. . . . . . . . . . . . . . . . . . . A. R. FLORES

Location Manager . . . . . . . . VIRGINIA MCCOLLAM

Assistant Location Managers . . . . . TARA E. MARTIN

MARC H. JOHNSON

Costume Supervisor . . . . . . . . . MARK A. PETERSON

Key Costumer . . . . . . . . . . . . . . . . . . . . . ED FINCHER

Key Set Costumer . . . . . . . . . . . . . . . NISA KELLNER

Key Set Costumer Local . . . . . JENNIFER KAMRATH

Set Costumers. . . . . . . . . . . . . . . . . . EVA L. PRAPPAS

LAYNE BRIGHTWELL

ASHLIE E. PHILASTRE

Costumers. . . . . . . . . . . . . . . . . . . . . BRYAN H. MOSS

BRAD HOLTZMAN

CHESTER QUINTON BELL

Department Head Makeup. . . FRANCISCO X. PEREZ

Key Makeup Artist . . . . . . . . . . . . . LOUIS LAZZARA

Mr. Kutcher’s Makeup Artist . . . . . . . TRACEY LEVY

Makeup Artists . . . . . . . . . . . . . . . . . . PAIGE REEVES

CARLA CHAO BRENHOLTZ

AIMEE STUIT

Department Heads Hair . . . . . . . ELEANOR ELLIOTT

CAROL A. O’CONNELL

Key Hairstylist . . . . . . . . . . . KERRY MENDENHALL

Additional Hair Stylist . . . . . . . . . . FRANK PARRISH

Underwater D.P./Camera Operator . . . MIKE THOMAS

Steadicam/Camera Operator . . . . . ROBERT ULLAND

Camera Operator . . . . . . . . . MICHAEL APPLEBAUM

A Camera First Assistant . . . . . . BAIRD B. STEPTOE

A Camera Second Assistant . . . MARKUS MENTZER

B Camera First Assistant . . . . . . . . STEPHEN WONG

B Camera Second Assistant . . . . . . . . ROBERT BAEK

Underwater Camera

First Assistants . . . . . . . . . . . . . . . BRAD PETERMAN

MARYAN ZUREK

MIKE BERGSTROM

Still Photographer. . . . . . . . . . . . . . . . . . . BEN GLASS

Video Assist. . . . . . . . . . . . . . . . . . . . JEFF BURRAGE

Media Assistant . . . . . . . . . . . . . . . . . . . . . . JON KING

“A” School Videographers . . . . . . . . . DAVID BROWN

RYAN GROWNEY

KENNY G. KRAUSS

Script Supervisor . . . . . . . . . . . DRUANNE CARLSON

Production Sound Mixer . . RICHARD B. GOODMAN

Boom Operator. . . . . . . . . . . . DAVID ALLEN SMITH

Sound Utility. . . . . . . . . . . . . . . . . . . . . . . ROSS LEVY

Chief Lighting Technician . . . . . . . . . . . . ANDY RYAN

Best Boy Electric . . . . . . . . . . . . . . . . . . . SCOT GAAL

Best Boy Electric Local/

Balloon Tech . . . . . . . . . . . LARRY LUKE COTTRILL

Rigging Gaffer . . . . . . . . . . . . . . . GLENN E. MORAN

Rigging Electric Best Boy. . . . . . . . . SCOTT GRAVES

Key Grip . . . . . . . . . . . . . . . ANTHONY T.MARRA II

Best Boy Grip. . . . . . . . . . . . . . . MICHAEL J. FAHEY

Best Boy Grip Local . . . . . . . . . . DANIEL J.RECTOR

Dolly Grips. . . . . . . . . . . . . . . . . . STEPHEN DRINON

SEAN DEVINE

Key Rigging Grip. . . . . . . . . . . . . . GARY KANGRGA

Best Boy Rigging Grip. . . . . . . . . . . DONIS RHODEN

Super Technocrane Technicians . . . . . STEVE WELCH

ART VILLASENOR

KENNY DEZENDORF

Property Master. . . . . . . . . . . . . . . RITCHIE KREMER

Assistant Property Master. . . . . . . . . MONICA PEREZ

Property Assistants . . . . . . . . . . . . . . . . . CHRIS LANE

CASSIE CATALANOTTO

Special Effects Coordinator . . . . . . SCOTT R. FISHER

Special Effects Shop Foreman . . . ANDREW MILLER

Special Effects Office Coordinator. . . PAULA FISHER

Special Effects

Production Assistants. . . . . . ANTONETTE J. MILLER

JUSTIN BANCROFT

Special Effects Technicians

JOSEPH JUDD ALAN R. KIRIU

THOMAS DAVID KNOTT ALVIN LICOAN

IAN MCARTHUR MICHAEL RIFKIN

ALAN SAMUEL RIPKIN CHRISTOPHER AGUILAR SUAREZ

ROBERT L. SLATER ROBERT MENAPACE

On-Set Special

Effects Foreman . . . . . . . . JAMES SIDNEY ROLLINS

On-Set Special

Effects Technicians . . . . . . . . . . . . RONALD EPSTEIN

LEO SOLIS

Production Supervisor. . . . . . . . . . . . CHARLES RAPP

Facilities Supervisor . COL VICTOR LENT, USA RET.

Wave Making Consultant. . . . . . . . . . . . . . ART LONG

Marine Coordinator . . . . . . . . . . . . NICK SPETSIOTIS

Marine Consultant. . . . . . . . . . . . . LANCE H. JULIAN

Marine Rigging . . . . . . . . . . . . . . . . . HARRY JULIAN

Technical Advisor

CDR JEFFREY D. LOFTUS, USCG RET.

U.S. Coast Guard Advisors

MCPO JOSEPH “BUTCH” FLYTHE PO1 ROBERT E. WATSON

PO1 JOHN F. HALL LCDR NEVADA SMITH

LCDR DANIEL J. MOLTHEN PO1 GARY BILLBURG

LT ANDREW SCHANNO SCPO JAMES HOWARD BRANDT

SCPO SHANE WALKER PO3 MATT LAUB

PO3 JAASON LEAHR CPO MATT MOYER

CWO MONTY EVERSEN PO3 JODI LARSON

MCPO SCOTT DYER

Post Production Supervisor . . . CLARK HENDERSON

Visual Effects Editor . . . . . . . . . . . . MARK HERMAN

Assistant Editors . . . . . . . . . . . MATTHEW SCHMIDT

HAROLD PARKER

CLAY RAWLINS

Assistant Visual Effects Editor . . . . BRIAN G. ADDIE

Post Assistant . . . . . . . . . . . . . . . . . FAHED ALHABIB

Supervising Music Editor. . . . . . . JEANETTE SURGA

Music Editor . . . . . . . . . . . . . . . . . . . . DAN DI PRIMA

Temp Music Editor . . . . . . . . . . . . . CHUCK MARTIN

Assistant Music Editor. . . . . . . . . . . . . . OLIVER HUG

Music Scoring Editor. . . . . . . . . . . . . . . . ROBB BOYD

Production Coordinator . . . . . . . . . . LESLIE S. MOAK

Production Coordinator—Travel. . . MIMI N. MCGREAL

CREDITS

Assistant Production Coordinator . . . ALICE WYMER

Production Secretary . . . . . . . . . . . . ERIN K. ROGERS

2nd 2nd Assistant Director . . . . . . JULIAN M. BRAIN

DGA Trainee . . . . . . . . . . . . . . . . . STEVEN HACKER

Key Set Production Assistant . . . . . TOMMY MARTIN

Set Production Assistants

JASON HALLEY CALI POMÉS

MEGAN SCHMIDT ROBERT S. WILHELM, JR.

Assistants to Mr. Davis . . . . . . . . KENNY G. KRAUSS

TINA TREADWELL

Assistants to Mr. Vinson. . . . . . . . . . . JULIE BENSON

KEITH SWEITZER

Assistant to Mr. Flynn. . . . . . . MARYN SILVERBERG

Assistant to Mr. Lyons . . . . . . . . . TRACEY HETRICK

Assistants to Mr. Macgregor-Scott . . AMANDA UBER

TOMMY BERNARD

Assistant to Mr. Bernstein . . . . GLENN KLEKOWSKI

Assistant to Mr. Costner. . . . . . . . . . . . . JASA ABREO

Assistant to

Mr. Kutcher . . . . . . . . . KARYN SPENCER MURPHY

Production Accountant . . . . . . . . . . . ELLEN ADOLPH

First Assistant Accountant . . . . . . . . ROBERT CABLE

Second Assistant Accountants . . . . . . . . HEIDI LEWIS

MICHAEL MILLER

DAVID MCCOMB

Payroll Accountant. . . . . . . . . . . . . . . . . . LIZ PROBST

Accounting Clerks . . . . . . . . . JENNIFER L. BROOKS

VANESSA C. BLOCK

Unit Publicist . . . . . . . . . . . . PETER J. SILBERMANN

Transportation Coordinator . MICHAEL D. ANTUNEZ

Transportation Captains . . . . . . . . TOMMY ROBERTS

DAVIE BEARD

Louisiana

Casting . . . . . CRAIG, MARK & LISA FINCANNON

Additional Casting . . . . . . . . . . . . TINA TREADWELL

Extras Casting

Coordinator . . . . . . . . . . MARTY KEENER CHERRIX

Extras Casting Associate . . . . . . . . . . GAVIN NASSAR

Casting Associate. . . . . . . . . . . . . TAMARA HUNTER

Casting Assistants . . . . . . . . . . . . . TAYLOR JENKINS

SARA ARRINGTON

MICHAEL MCCASKEY

Set Medic . . . . . . . . . . . . . . . . . . . . SUSAN KEATLEY

Construction Medic . . . . . . LELA LAVONNE DOANE

Set

Catering . . . HANNA BROTHERS ENTERPRISES, LLC

Craft Service . . . . . . . . . SMITTY’S CRAFT SERVICE

Office Assistant (CA). . . . . . . . . . . . . SAM SKORYNA

Office Assistants (SHV). . . . . . TONJA GREENFIELD

ADAM J. BABIN

Office Assistant/Film Runner (SHV) . . . MARY BEAN

SECOND UNIT

Director/Director of Photography

RONALD B. HERSEY

Unit Production Manager . . . . VINCENT AGOSTINO

First Assistant Director . . . . . . . . . JAMES LAROCCA

Second Assistant Director . . . . . . . . . . . ETHAN ROSS

Department Head Makeup (OR/WA) . . . . JEFF DAWN

Camera Operator/Technocrane Op. . STEVE ADCOCK

A Camera First Assistant . . . . . . . . . SCOTT C. SMITH

A Camera Second Assistant. . . ROBERT SETTLEMIRE

B Camera First Assistant (SHV). . . . . . . . IAN LYNCH

B Camera

Second Assistant (SHV) . . . . . . DAVID C. EDWARDS

B Camera

First Assistant (OR/AK) . . . . . . . . . MASON HERSEY

B Camera Second

Assistant (OR/WA) . . . . . . . . COURTNEY HARRELL

Director of

Aerial Photography. . . . . . . DAVID B. NOWELL, ASC

Camera Pilot . . . . . . . . . . . . . . . . . . . KEVIN LAROSA

Helicopter Ground

Coordinator . . . . . . . . . . . . . . . KEVIN N.LAROSA, II

Script Supervisor. . . . . . . . . . . . . . . . SAM SULLIVAN

Sound Mixers. . . . . . . . . . . . MACK MELSON, C.A.S.

JEFFREY E. HAUPT, C.A.S.

Boom Operators . . . . . . . . . . . . . . MARVIN MELSON

RUBY C. HAUPT

Chief Lighting Technician . . . . . . . RICHARD CRONN

Chief Lighting Technician Local . . SEAN FINNEGAN

Best Boy Electric. . . . . . . . . . . RICARDO CARRILLO

Best Boy Electric Local . . . . SCOTT D. ZUCHOWSKI

Key Grip. . . . . . . . . . . . . . . . . . . . . DENNIS S. ZOPPE

Key Grip Local. . . . . . . . . . . . GILLY CHARBONNET

Best Boy Grip. . . . . . . . . . . . . . . . . . PETER WAGNER

Best Boy Grip Local . . . . . . . . . . LEE T.MCLEMORE

Dolly Grip . . . . . . . . . . . . . . DARRELL B.SHELDON

Production

Coordinator (SHV/AK) . . . . . . ANTHONY ROSSI, III

Production

Coordinator (OR/WA). . . . . . . . DAWNN PAVLONNIS

Assistant Production

Coordinator (SHV). . . . . . . . . . . . . . . . TRANG DANG

Assistant Production

Coordinator (OR/WA). . . . . . . . HEATHER BECKETT

Production Secretary (OR/WA) . . . . . ELLE MARTINI

Second Second

Assistant Director (SHV) . . . . . . . . . . . . JIMI WOODS

Second Second

Assistant Director (WA/SHV) . . . . COLLEEN CASEY

Key Set P.A.. . . . . . . . . ISMAEL MELLO MARTINEZ

Set P.A.s (SHV)

JONATHAN P. ADAMS ISAAC MEISENHEIMER

ANTHONY YUSE

Set P.A.s (OR/WA)

BEN LIPSEY RON R. RIDENOUR

JACKSON ROWE

Locations Manager. . . . . . . . . . . . . . . JOHN MARKEL

Location Manager (Elizabeth City) . . I. KARL GOLDEN

Payroll . . . . . . . . . . . . . . . . . . . . . . . KAREN TURNER

Transportation Captain . . . . . . . . . . J.D. YARBROUGH

Transportation Captain (OR/WA). . . . DAVID NORRIS

Set Medic. . . . . . . . . . . . . . . . . . . . . . . JASON INMAN

Safety Coordinator . . . . . . . . . . . . . DOUG KNUTZEN

Craft Service (SHV). . . . . . . . . . . . . . . . LARS SLOAN

Craft Service (OR/WA) . . . . . . . . . PATSY WILLIAMS

Supervising Sound Editors

TODD TOON

ROBERT L. SEPHTON

Re-Recording Mixers

DAVID E. FLUHR, C.A.S.

MYRON NETTINGA

MICHAEL CASPER

Sound Effects Editors. . . . . . . . . RANDLE AKERSON

F. HUDSON MILLER, MPSE

DAVID KERN

DONALD J. MALOUF

Supervising ADR &

Dialogue Editor . . . . . . . . . . . . . . VAL KUKLOWSKY

Dialogue Editors . . . . . . . . . . . JOHN KWIATKOWSKI

FRANK SMATHERS

CHARLES W. RITTER

ADR Editors. . . . . . . . . . . . . . . . . . . . . . G. W. BROWN

JULIE FEINER

ELIZA ZEBERT

Supervising Foley Editor . . . . . . . . . . . . PIERO MURA

Foley Editor. . . . . . . . . . . . . . MATTHEW HARRISON

Assistant Sound Editors

MARK A. TRACY ANNIE L. THORNBERG

ANNE COUK DON MURRAY

Sound Effects Field Recording . . . . . . . . ROB NOKES

Editorial Re-Recording Mixer . . . . . . SCOTT WEBER

ADR Mixers

DOC KANE TOMMY O’CONNELL

ROBERT DESCHAINE

ADR Recordists

JEANNETTE BROWNING RICK CANELLI

TAMI TREADWELL

Foley Artist

JOHN SIEVERT

Loop Group

LOOPIES

Foley Mixer

STEVE COPLEY

Sound Services

BUENA VISTA SOUND

Executive Music Producer. . . . . . . . LOWELL BLANK

Music Consultants BUDD CARR and NORA FELDER

Additional Music by. . . . . . . . . . . . . . PAUL LINFORD

DON HARPER

DAVID REYNOLDS

Featured Vocalist . . . . . . . . . . . . . LIZ CONSTANTINE

Score Recorded & Mixed by . . . . . . . . JOEL IWATAKI

Additional Engineering by . . . . . . . . TREVOR RABIN

PAUL LINFORD

Orchestrations by . . . . . . . . . . . GORDON GOODWIN

TREVOR RABIN

TOM CALDERARO

FRANK MACCHIA

Music Preparation by . . . . . . . . . . . BOOKER WHITE,

WALT DISNEY MUSIC LIBRARY

Orchestra Conducted by . . . . . . GORDON GOODWIN

Digital Recording Operator. . . . . . . . . . . LARRY MAH

Orchestra Contractors. . . . . . . SANDY DECRESCENT

PETER ROTTER

Orchestra Recorded at. . TODD AO SCORING STAGE

Orchestra Mixed

at. . . EASTWOOD SCORING STAGE, WARNER BROS.

Score Recordist. . . . . . . . . . . . . . . . . TOM HARDISTY

Main & End Title Design . . . . . . . . . . . . . . . . . yU+Co.

Digital Intermediate by

TECHNICOLOR® DIGITAL INTERMEDIATES

A TECHNICOLOR® COMPANY

Digital Film Colorist . . . . . . . . . . . TRENT JOHNSON

Additional Colorist . . . . . . . . . . . . . . JASON FABBRO

Digital Intermediate Producer . . . ZAHIDA BACCHUS

Digital Conform & Opticals . . . . . . . . . CASEY BARR

Imaging Supervisor. . . . . . . . . . . . . . CHRIS KUTCKA

Color Timer. . . . . . . . . . . . . . . . . . . . . . LEE WIMMER

CREDITS

Visual Effects Producer

SUSAN ZWERMAN

Visual Effects by

FLASH FILM WORKS

Visual Effects Supervisor. . . . . . . . . . . JOHN P. MESA

Visual Effects Producer. . . . . . . . . EMILY C. WALLIN

3D Water Animation Supervisor . . . . . . TIM EVERITT

Visual Effects Technical Supervisor . . . . . DAN NOVY

3D Ships/Helicopter Supervisor. . KEN STRANAHAN

Fluid Simulation Supervisor. . . . . . . MARK STASIUK

Visual Effects Production Supervisor . . . . PAT PEACH

Visual Effects Editor. . . . . . . . . LINCOLN KUPCHAK

Visual Effects Coordinator. . . . MATTHEW A. RUBIN

Visual Effects

Asst. Coordinators . . . . . . . . . . . ADAM FENDERSON

DANIELLA ESTRADA

BENJAMIN SCHNEIDER

Compositing Supervisor. . . . . . . . . . . . . DAVID FOGG

Compositors

CHRISTOPHER DAWSON JEREMY A. NELSON

ALFRED BERGER WALT CAMERON

MICHAEL PECCHIA JERRY WHITAKER

STUART CRIPPS BRUCE HARRIS

DANIEL DALTON AKERS JOSEPH ZAKI

ZIAD ROMAN SEIRAFI ANTHONY R. DAVIS

3D Animation and Modeling

DON J. MYERS TIMOTHY NASSAUER

DAVE BAILEY MARK KOCHINSKI

JOHN BAVERESCO PAUL RUNYAN

KEN WILDER MICHAEL ASH

AUDRI PHILLIPS

Fluid Dynamics Artists

JENNIFER HACHIGIAN APRIL WARREN

TOMA JOHN BOWEN PATRICK KILLIK

JOHN KARNER

Paint/Rotoscope Artists

STEVEN J. BROOKS JASON BOND

KAREN RUGGERO LISA WILBANKS

MICHAEL SHERMIS PHILLIP FRASCHETTI

Visual Effects by

PIXEL MAGIC

Visual Effects

Supervisor . . . . . . . . . . . RAYMOND MCINTYRE JR.

General Manager. . . . . . . . . . . . . . . . . . RAY SCALICE

Executive Producer . . . . . . . . . . . . BONNIE KANNER

Visual Effects Producer . . . . . . . . . . GEORGE MACRI

Production Supervisor. . . . . . . . VICTOR DIMICHINA

Compositing Supervisor . . . . JAMES DAVID HATTIN

Digital Compositors . . . . . . . . . . . MICHAEL CURTIS

JAMES GORMAN

GREG GROENEKAMP

AUSTIN HISER

STEPHEN MITCHELL

CG Artist. . . . . . . . . . . . . . . JUAN CARLOS VARGAS

Visual Effects by

FURIOUS FX

Executive VFX Supervisor . DAVID LINGENFELSER

Executive Producer . . . . . . . . . SCOTT DOUGHERTY

Visual Effects Producers . . . . . . . TIFFANY A. SMITH

TRACY TAKAHASHI

Creative Supervisor . . . . . . . KEVIN LINGENFELSER

Compositors. . . . . . . . . . . . . . . . . . . . . . . TED ANDRE

SEAN O’CONNOR

KIM PEPE

CG Supervisor . . . . . . . . . . . . . . . . . . . MARK SHOAF

CG Artist. . . . . . . . . . . . . . . . . . TERRY SHIGEMITSU

Rotoscope Artists . . . . . . . . . . . . . . . . ERIN CULLEN

KIM PEPE

Computer Services Manager. . . . . . . CHRIS SERENIL

Visual Effects by

DIGITAL DREAM

VFX Supervisor. . . . . . . . . . . . . . . . . JERRY POOLER

VFX Producer . . . . . . . . . . . . . . . CORINNE POOLER

VFX Coordinator. . . . . . . . . . . . . . . . . . . TOM CLARY

Compositors . . . . . . . . . . . . . . . . . . MARCO RECUAY

SCOTT HANKEL

DAVE BEEDON

WALLY CHIN

ALFREDO RAMIREZ

Ulrich Compositor . . . . . . . . . . . . . . . . . . NICK LUND

Digital Artist. . . . . . . . . . . . . . . . . . . . . . . . HONG KIM

Production Assistant . . . . . . . . . . . . . JEREMY GERKE

Data Management. . . . . . . . . . . . . . . . LEWIS MENGA

Co On Set Visual Effects Supervisor . . . JOHN COATS

Visual Effects Production Coordinator . . BETH HOWE

Visual Effects Data Technician . . . . . . . DIONE WOOD

In House Compositing Supervisor. . JAMMIE FRIDAY

On Set Video Compositor. . . MICHAEL UGUCCIONI

Motion Control Programmer . . . . . . ROB MENAPACE

Encoderhead Operators . . . . . . . . . . . . . MIKE LEBEN

LES BERNSTIEN

Visual Effects Set

Production Assistants. . . . . . . . . . . PATRICK BARNES

JOEY BARTO

Visual Effects Post Assistant . . . . . . . DAVID SCHEID

Visual Effects Office

Production Assistants . . . . . . . CHRISTOPHER WARE

HOPE GILMORE

“Saturday Night”

Written by Willy Abers, Raul Pacheco, Justin Poree,

Asdru Sierra, Jiro Yamaguchi, Ulises Bella and

J. Smith-Freedman

Performed by Ozomatli

Courtesy of Concord Music Group, Inc.

“Club Foot”

Written by Sergio Pizzorno and Christopher Karloff

Performed by Kasabian

Courtesy of SONY BMG Music Entertainment (UK)

Ltd. and The RCA Records Label

By arrangement with

SONY BMG Music Entertainment

“The Mockingbird”

Traditional as arranged by Lisa Lavie, Ben Margulies

and Will Champlin

Performed by Lisa Lavie

Courtesy of Boundary Entertainment

“Seven Year Itch”

Written and performed by Abby Ahmad

Courtesy of Little Whisper Records

“Once Again”

Written and performed by Richard Davis

and Neil Artwick

“Hold On I’m Comin’”

Written by Isaac Hayes and David Porter

Performed by Bonnie Bramlett and Chicago Catz

“So Lovely”

Written by Richard Davis, Neil Artwick

and Colby Beserra

Performed by Colby Beserra

“Hold Tight”

Written by Richard Davis, Chris “Hambone” Cameron

and Tad Robinson

Performed by Tad Robinson

“Something To Talk About”

Written by Shirley Eikhard

Performed by SHeDAISY

Courtesy of Lyric Street Records, Inc.

“Love And Happiness”

Written by Al Green and Mabon Hodges

Performed by Bonnie Bramlett and Chicago Catz

“Run Me In The Dirt”

Music by Craig Miller

Lyrics by Craig Miller and Joseph “Butch” Flythe

“Ain’t No Easy Way”

Written by Peter Hayes and Robert Been

Performed by Black Rebel Motorcycle Club

Courtesy of The Echo Label and RCA Music Group,

a unit of SONY BMG Music Entertainment

“No More You”

Written by Tony Brown, Richard Davis, Mark Ohlsen,

Kevin Smith and Wayne Stewart

Performed by Chicago Catz

“Tri-Me”

Written and performed by Abby Ahmad

Courtesy of Little Whisper Records

“New Day”

Written by Nick Woolfson, Elliot Morgan Jones

and Aine Belton

Performed by Sounds From The Ground

Courtesy of Nettwerk Productions

“Shake Up The World”

Written by Stevie Butler, Richard Davis

and Chris “Hambone” Cameron

Performed by Stevie “Funkworm” Butler

featuring Gravity

“Home To Houston”

Written and performed by Steve Earle

Courtesy of Artemis Records

“Jazzy Piano”

Written and performed by Neil Artwick

“Friday Night”

Written by Richard Davis, Chris “Hambone” Cameron,

Cheryl Wilson and John Rice

Performed by Cheryl Wilson

“Never Let Go”

Written by Bryan Adams, Eliot Kennedy

and Trevor Rabin

Orchestral arrangement by Trevor Rabin

and Jennifer Hammond

Produced by Bryan Adams and Trevor Rabin

Performed by Bryan Adams

Courtesy of Polydor Limited

“Run Me In The Dirt (Throwdown)”

Music by Craig Miller, Mickey Petralia

and Michael Fitzpatrick

Lyrics by Craig Miller and Joseph “Butch” Flythe

and Marty James

Produced by Mickey Petralia and Michael Fitzpatrick

Performed by Marty James & Joseph “Butch” Flythe

CREDITS

In Grateful Appreciation to:

USCG Air Station Astoria, OR

USCG Air Station and ISC Kodiak, AK

USCG Air Station and Support Center

Elizabeth City, NC

USCG ATTC Elizabeth City, NC

USCG Station Cape Disappointment, WA

USCG Aircraft Repair & Supply Center

Elizabeth City, NC

USCG Motion Picture & Television Liaison Office

USCG Air Station San Diego, CA

USCG Air Station Los Angeles, CA

USCG Air Station Houston, TX

USCG Air Station New Orleans, LA

USCG Aviation Training Center Mobile, AL

USCG Station Dauphin Island, AL

USCG Station Pascagoula, MS

USCG Group Mobile, AL

USCG Cutter Storis

USCG Cutter Kennebec

USCG Cutter Alex Haley

United States Department of Defense

Air Force Entertainment Liaison Office

Barksdale Air Force Base, LA

The Louisiana National Guard

Jack and Viki Thompson

Iris Brustien

The Ramsey Family

CDR Claudia McKnight, USCG

Washington State Parks & Recreation Commission

NASA’s Earth Observatory

Adriana

Ava Lily

Thanks to Shreveport, Bossier City,

Caddo Parish, Webster Parish and the

State of Louisiana.

A special thanks to the City of New Orleans

and all her people for their early support in the

making of this film.

Image Courtesy of MODIS Rapid Response Project

at NASA/GSFC

Set Dressing Imagery from NOAA

Footage Provided Courtesy of NASA/JPL-CALTECH

MARITIME AND COASTGUARD AGENCY

TAM COMMUNICATIONS

Camera Cranes & Dollies by

CHAPMAN/LEONARD STUDIO EQUIPMENT, INC.

Camera Equipment Provided by

PANAVISION® REMOTE SYSTEMS

Aerial Cameras Provided by

SPACECAM SYSTEMS, INC.

Lighting and Technical Fabrics Provided by

THE RAG PLACE RENTALS, INC.

MPAA #41893

Prints by

TECHNICOLOR®

DISTRIBUTION CO., LLC

This motion picture was created by

“A” School Productions, LLC for purposes of

Distributed by

BUENA VISTA PICTURES DISTRIBUTION

INTENSE SEQUENCES OF ACTION / PERIL,

BRIEF STRONG LANGUAGE AND SOME SENSUALITY.

CREDITS

THE GUARDIAN

ABOUT THE PRODUCTION

“When storms shut down entire ports, we go out. When hurricanes ground the U.S. Navy, we go out.

When the Holy Lord Himself reaches down from heaven and decides to destroy His Good Work with

winds that’ll rip houses off the ground, we go out…If by some miracle, you actually have what it takes

to become one of us, you get to look forward to a life of meager pay and the distinct possibility of dying

slow, cold, and alone somewhere in the vast sea. You will, however, get the chance to save lives.”

— THE GUARDIAN

From Andrew Davis, the director of the action-

adventure classic “The Fugitive,” and starring Kevin

Costner, Ashton Kutcher and a cast of veteran and

breakout stars, comes THE GUARDIAN, a riveting,

white-knuckle story of hard-core courage and selfless

sacrifice set inside the never-before-seen world of

Coast Guard Rescue Swimmers—a special breed of

men and women who risk their lives against the

biggest storms and most monstrous waves in service

to the motto: “So that others may live!” Previously

seen by most Americans only as the unsung, daredevil

heroes who saved thousands in the wake of Hurricane Katrina’s deadly floods, the lives and teamwork of

Rescue Swimmers come to the fore in this heart-stopping adventure.

As THE GUARDIAN begins, legendary Rescue Swimmer Ben Randall (COSTNER) becomes the

sole survivor of a deadly crash at the height of a massive storm. In the wake of the accident, he is sent

against his will to teach at “A” School—the elite

training program that turns arrogant young recruits

into the best and bravest of Rescue Swimmers.

Reeling with grief and regret, Ben throws himself

into teaching the only way he knows how, turning

the entire program upside down with his

unconventional, out-of-the-box training methods.

But Ben understands exactly what’s at stake—he

knows that his students will one day have to make

tough decisions between who dies and who lives.

When he knocks heads with the cocky swimming

champ, Jake Fischer (KUTCHER), Ben sees someone with what it takes to be the best of the best—if

only he can combine his raw talent with the heart and dedication necessary and avoid the mistakes that

Ben himself has made. Heading out on his first treacherous mission to the fierce, turbulent waters of

Alaska’s Bering Sea, Jake will have to put all that he’s learned into action as he discovers just what it

means to truly risk everything.

The film was created with the Coast Guard’s full cooperation, utilizing true-life rescue heroes as

advisors and as part of the cast. In a production that was itself constantly battling weather and the

elements—and which was designed around a massive, innovative wave tank that simulated the wild,

ABOUT THE PRODUCTION

UNSUNG HEROES OF THE SEA

rolling waves of the open ocean—THE GUARDIAN

provides some of the most viscerally realistic scenes

of water rescue yet seen on film.

Touchstone Pictures and Beacon Pictures present

THE GUARDIAN, directed by Andrew Davis from a

screenplay written by Ron L. Brinkerhoff in his

feature-film debut and produced by Beau Flynn

(“The Exorcism of Emily Rose,” “After the Sunset”)

and Tripp Vinson (“The Exorcism of Emily Rose,”

“After the Sunset”). The executive producers are

Armyan Bernstein (“Ladder 49,” “Air Force One”),

Charlie Lyons (“Ladder 49,” “Air Force One”) Zanne Devine (“House of D”) and Peter Macgregor-Scott

(“Under Siege,” “A Perfect Murder,” “Batman and Robin,” “Batman Forever,” “The Fugitive”).

Along with Kevin Costner and Ashton Kutcher, the film’s cast also includes Melissa Sagemiller

(“Sleeper Cell”), Clancy Brown (“The Shawshank Redemption,” “Carnivale,” “Pathfinder”), Sela Ward

(“The Day After Tomorrow,” “The Fugitive”), Bonnie Bramlett (“The Doors”), Neal McDonough

(“Boomtown,” “Minority Report”), John Heard (“In the Line of Fire,” “The Sopranos,” “Pollock,” “The

Package”), Brian Geraghty (“Jarhead,” “Conversations With Other Women”), Dulé Hill (“The West

Wing,” “Holes,” “Edmond”) and newcomer Shelby Fenner.

Bringing the power of the sea to life through a blend of innovative engineering and artistry in THE

GUARDIAN is a creative team with extensive action-adventure credits, including director of photography

Stephen St. John (“Holes”), production designer Maher Ahmad (“Fever Pitch,” “Miss Congeniality 2:

Armed and Fabulous,” “Holes”), editors Dennis Virkler (“The Hunt for Red October,” “The Fog,”

“A Perfect Murder,” “Under Siege,” “The Fugitive”) & Thomas J. Nordberg (“Holes,” “Any Given Sunday”),

special effects coordinator Scott R. Fisher (“Memoirs of a Geisha,” “The Terminal” “Titanic”) and visual

effects supervisor William Mesa (“Collateral Damage,” “Holes,” “The Fugitive,” “Into the Blue.”)

INTRODUCING THE UNSUNG HEROES OF THE SEA:

THE GUARDIAN BRINGS THE WORLD OF RESCUE SWIMMERS TO THE FORE

There are many kinds of heroes in this world. There are the well-known lifesavers we encounter every

day—firefighters, policemen and doctors—and then there are those who work mainly in the shadows, who

will risk anything and everything to save total strangers under the

most extreme and rare of circumstances. In this category are the

Coast Guard’s extraordinary but little-known Rescue Swimmers.

These brave men and women are an elite few possessing the

uncommon physical and mental fortitude to free-fall from helicopters

directly into raging seas and massive storm-floods to rescue those in

harm’s way, no matter the costs. Though rarely celebrated publicly,

the Coast Guard saves in the vicinity of 5,000 lives and $2.5 billion

worth of property in an average year—and during the devastating

2005 hurricane season, they rescued or evacuated an estimated

33,520 people in the Gulf States ravaged by Hurricane Katrina.

The teeth-gritting training program of the Rescue Swimmers

is considered the toughest in all of the military—with nearly

50% of those who enter dropping out. And for those remarkable

few who actually make it, what lies ahead are perilous missions

in the darkest, coldest, roughest waters known to humankind,

where they must battle disorientation, exhaustion, hypothermia and lack of oxygen while trying to

help the stranded, the panicked and those who have given up all hope.

In just 20 years of existence, the Coast Guard Rescue Swimmer program has become one of the

most respected in the entire military profession. The Rescue Swimmer program was first mandated by

Congress in 1984, after a cargo ship tragically lost 31 crew members to stormy waters on the Eastern

Seaboard with only one courageous but outmatched

naval helicopter unit to assist. Since then, the

Rescue Swimmer program—the only one of its kind

open to both men and women—has developed into

a crack unit called upon whenever disasters

involving high water strike.

Yet their code of quiet bravery has meant that their

stories have rarely been told. Many Americans had

never seen them in action until the unforgettable news

clips of helicopters plucking victims from the

rooftops and floodwaters of New Orleans. Now THE

GUARDIAN story of a legendary Rescue Swimmer passing his torch to the next generation, brings out

the heart of what makes Rescue Swimmers so fascinating: the indomitable human drive to help others.

The film’s genesis began when screenwriter Ron L. Brinkerhoff was inspired to write a movie that

would explore the nature of heroism but was in search of a fresh approach. “Cops and firemen have been

done over and over, but the world of the Coast Guard Rescue Swimmer program had never been explored

on screen,” he explains. “What I found most compelling is that the Coast Guard is the only branch of the

military whose mandate is entirely to save lives…not take them.”

After beginning his research, Brinkerhoff decided

to focus his screenplay on two men—one a revered

veteran of fabled deep-water rescues nearing

retirement, the other a bold, brash, self-assured young

man just starting his training—and explore how

bravery and wisdom are gained through their intense

experiences. “In approaching the story, I wanted to

kind of deconstruct the quintessential action hero,”

says Brinkerhoff. “I wanted to highlight the physical,

psychological and emotional toll this kind of

profession takes and underline the remarkable

sacrifices ultimately required of them as human beings.”

Early on, Brinkerhoff brought the idea to producers Tripp Vinson and Beau Flynn at Contrafilm, who

coincidentally had themselves also been considering the world of Rescue Swimmers as the setting for a

future film. “We were excited about the idea of combining dramatic human moments with a big action

canvas,” says Vinson. “We also wanted to peel back the question of what makes a hero and ask why does

somebody do this and what price do they pay. In looking at that, it makes these guys seem even more heroic.”

Before going any further with development, Vinson and Flynn went directly to the Coast Guard for

their blessing—knowing their unalloyed support would be absolutely key to bringing a visceral

authenticity and heart to the production. “We pitched the Coast Guard before we even pitched Disney,”

notes Vinson. “The Coast Guard was integral to this movie, and we wanted to make sure they were

completely behind us. Ultimately, they invited us into their training facilities, offered up their personnel

to us, helped us acquire equipment and the list goes on and on. I can’t say enough about how supportive

and inspirational they have been.”

Also coming on board were executive producers Armyan Bernstein, Charlie Lyons and Zanne Devine

of Beacon Communications, one of the film industry’s most successful independent production

companies, with a keen eye for strong material. Later, they were joined by executive producer Peter

Macgregor-Scott, who is widely acknowledged as one of the most skilled hands-on producers for complex

productions and who has previously worked with Andrew Davis on three films, including the runaway hit

UNSUNG HEROES OF THE SEA

“The Fugitive.”

“We’re always looking for compelling stories,

and when this script came along, I think it touched

all of us in the same way as having tremendous

potential to be a great experience on screen,” says

Bernstein. The more they learned about the Rescue

Swimmer program, the more intrigued they became.

Notes Charlie Lyons: “Coast Guard Rescue

Swimmers are a unique blend of extreme

professional athlete, surgeon, psychiatrist and

clergyman. Not only do they have to decide who to

save, but it is not uncommon for them to deliver last rites to a victim at sea.”

With the Coast Guard’s cooperation, screenwriter Brinkerhoff now had a chance to dive much deeper

into understanding the everyday life and experiences of Rescue Swimmers. He spent significant time at

“A” School watching young would-be heroes suffering through the infamous training regimens. He then

journeyed to Kodiak, Alaska, to meet as many experienced Rescue Swimmers as he could—weaving their

life-and-death stories into the final screenplay.

Eventually that screenplay would attract the attention of a director known for his consummate skill with

smart, taut, character-driven thrillers—Andrew Davis, whose work includes “The Fugitive” (the

dramatically intense action epic which garnered seven Academy Award® nominations, including Best

Picture), as well as “Under Siege,” “A Perfect Murder” and the hit family adventure “Holes,” among others.

Says Davis of his attraction to THE GUARDIAN: “What’s unique about this story is that it takes you

into a world that nobody has ever really seen before. Nobody has actually been in the Bering Sea at night

rescuing people, jumping into 20-foot waves in freezing temperatures and saving lives, so this is a unique

opportunity to experience something amazing like that.”

Davis also brings to the film his own lifelong fascination with the power and dangers of water.

“I was on the South Chicago YMCA swim team, was a lifeguard in college and have a sailboat. I’ve

lived near the water all my life—and I’m very intrigued by what it means to go out in a terrible storm

and try to survive,” he says.

For the producers, there was no one better suited to

the daunting task of capturing Rescue Swimmers in

action than Davis. “The tension, drama and danger of

the situations these characters find themselves in

required someone who could convey that in a

spectacular visual way, and at the same time, the story

needed someone who is really good with character,

performances and drama. Andrew has that balance,”

says Vinson. Adds executive producer Charlie Lyons:

“What Andrew did is create a character out of the

ocean right next to Kevin, Ashton and the Coast Guard guys.”

Davis knew that he would be up against extraordinary technical challenges in attempting to create on

screen the kinds of furious storms and choppy seas faced by Rescue Swimmers. Though he relished the

chance to work with the unruly elements of water and weather, there was far more to the film’s appeal for

Davis. Acutely interested in human nature, Davis was especially intrigued by the complex relationship

between Kevin Costner’s Ben Randall and his over-confident but promising young student Jake Fischer,

played by Ashton Kutcher.

“The story is really about these two men and about the passing of a mantle—and how the younger man

comes to replace the legend,” comments Davis. “What I loved in the writing is the honesty of their

relationship. It’s about one man facing the reality of growing older and another learning from his mentor

what life is really about and how not to make the same mistakes. It’s this human element in the midst of

these incredible natural forces that makes THE GUARDIAN so fascinating.”

Davis felt right from the start that key to making a powerful motion picture would be to trust the

incredible experience and expertise of the Coast

Guard. He collaborated closely with three Rescue

Swimmer legends in their own right, who served as

consultants as well as taking roles in the film:

renowned Coast Guard instructor and rescue survival

specialist Robert E. Watson; John F. Hall, who was

responsible for numerous rescues after Katrina; and

Joseph “Butch” Flythe, a much-decorated swimmer

and one of five original Rescue Swimmers chosen for

the Coast Guard program.

Once they learned that Davis intended to be

painstakingly accurate in his portrayal of the Coast Guard, these three self-effacing heroes of

countless rescues were more than pleased to lend their knowledge to THE GUARDIAN. “The

commitment to doing the movie correctly was phenomenal,” says Watson. “Everyone was

constantly asking us, ‘Is this how things really would be done?’ The way they bent over backwards

to represent us in a true way was awesome.”

The admiration was even stronger on the other side. Says Andrew Davis: “These three men really set

the standard that Kevin, Ashton and the 22 swimmers in our cast had to live up to.”

THE LEGEND MEETS THE NOVICE:

KEVIN COSTNER AND ASHTON KUTCHER HEAD THE GUARDIAN’S TEAM

Even before the screenplay was completed, THE GUARDIAN’s filmmakers knew that the fate of the

film would turn on being able to cast the right two actors as haunted veteran Ben Randall and high-

energy newcomer Jake Fischer—who both antagonize and bring out the best in one another. That’s why

they were so gratified when two of Hollywood’s

biggest stars immediately signed on: Academy

Award® winner Kevin Costner and rising leading man

Ashton Kutcher.

Costner was an early choice for director Andrew

Davis. “He is perfect for this role because he has that

kind of masculine power as a leading man combined

with being a sensitive human being—so he can play a

guy who is not only tough and capable but also

looking inward to see where his life is heading,” he

says.

For Costner, whose roles have ranged from his passion project “Dances With Wolves” to such

blockbuster hits as “No Way Out,” “Bull Durham,” “Field of Dreams” and “The Bodyguard” to the recent

acclaimed drama “The Upside of Anger,” the script was hard to resist. “The excitement of the opening

and the moving nature of the ending absolutely grabbed me,” he says.

Costner says it was the script’s “mythic quality” that drew him most of all. “I think all of us would

like to think if we were lost at sea, someone would come and find us, even when conditions couldn’t

be worse,” Costner says. “That’s a comforting feeling, which translates into a heroic or a romantic

idea—the notion that someone will always come to the rescue. And I believe that’s the awesome

promise of the Rescue Swimmers, that when all the ports are shut, when other people won’t go out,

they will! They’re willing to put their lives on the line at any time, and I think screenwriter Ron

Brinkerhoff did a great job of capturing the emotions and personalities behind that. From the

beginning of the story to its riveting climactic conclusion, there’s the sense of what it’s like to be that

THE GUARDIAN’S TEAM

person who helps the scared and the lost to hold on.”

The more he learned, the more impressed Costner was with the

Coast Guard Rescue Swimmer program. “These guys go out and risk

their own lives for complete strangers, and that’s something that only

human beings do for one another—it’s really one of those things that

can make us proud of who we are,” he says.

Costner’s character, Ben Randall, is someone who has always been

there right on the frontlines of rescue missions, but now in the wake of

a terrible tragedy, he has to face change on the horizon. “Ben reminds

me of one of those great athletes, like Michael Jordan, who keeps

coming out of retirement because he still has the bug and he can’t get

rid of it,” observes Tripp Vinson. “Rescue is the only thing Ben knows,

and he can’t let it go and he can’t move on with his life to the next

chapter…until he sees himself in this kid, Jake.”

Adds Costner: “Ben’s a lifer. They say you don’t make Rescue

Swimmers, you find them, and he’s a part of that breed. It’s far more than just a job for him, it’s a

calling, but that has also taken its toll. So when we meet Ben, we also see a slightly bruised and

broken character.” Despite his flaws, Ben must step up to a new and unexpected mission—passing

along his knowledge to a group of raw recruits who have no idea what they will experience ahead.

“Ben’s not a natural teacher,” Costner admits, “so his methods are quite unorthodox. He’s faced

with these cocky kids, and he tries to find ways to

give them a strong sense of responsibility.”

The urge to knock some sense into his talented

young students reaches its apex with Jake Fischer,

whose strength as a swimmer is exceeded only by the

power of his youthful confidence. Costner enjoyed

the opportunity in THE GUARDIAN to watch

Ashton Kutcher bring the character of Jake full

circle—from tough kid to heroic man—with his own

unique touches. “Ashton has an ability to sense the

dramatic opportunities that aren’t necessarily on the

page, seize them and translate them into dramatic moments on film, thereby making the picture jump a

level,” Costner says of his co-star.

On top of the film’s psychological intensity came the physical challenges. Despite having trained for

an exceptionally long list of intensely physical, action-oriented roles before, THE GUARDIAN jumped

right into Costner’s list of the toughest. “This film taxed all my physical abilities,” admits Costner. “I’m

51 and these other guys in the movies are all in their 20s, so the training was a real labor of love for me.”

For Costner, it was all worth it just to capture the experience of the Rescue Swimmers who jump in first

when someone needs help. “I don’t pretend for a second that I could do what they do—but I think this

film feels very real and gives you a grasp and appreciation for who these guys are. It puts you in their

place for an exhilarating moment,” he says

As an award-winning director himself, Costner was especially impressed by Davis’ skill at integrating

all the elements of such a demanding production. “Andy was able to deliver a big action movie on a short

schedule and a tight budget with many challenging circumstances. As a director, I couldn’t have done

what he did,” offers Costner.

Like Costner, Ashton Kutcher was instantly compelled by the script for THE GUARDIAN—and saw

that it offered an unusual opportunity. “I was definitely looking to do something that was a total departure

from what I’ve done before, and this is definitely that,” says Kutcher. “I was also looking for the chance

to work with actors who I look up to and who I could learn from. And this film not only offered many

opportunities for me to learn and stretch myself, that’s also what it’s about—one generation learning from

the one just ahead.”

Kutcher also was inspired to dig deeper behind the

exploits of the Rescue Swimmers. “The guys in the

Coast Guard are the kind of heroes who don’t talk

about themselves,” notes the actor. “And I hold very

high regard for those kinds of people.”

Kutcher threw himself with total devotion into

the role, knowing he would need to undertake the

same kind of grueling training Coast Guard

swimmers really go through. “If I was going to do a

film about Rescue Swimmers and portray these

kinds of heroes, I wanted to do them proud,” he comments. “I definitely didn’t want to have somebody

else come in and double for me. I figured that these guys are saving lives for a living and for me, as

an actor, to get into shape and be able to portray them is small potatoes and the least I could do.”

The actor soon found himself, along with the rest of the cast, in a gut-wrenching, sweat-inducing boot

camp that would test his resolve. “The boot camp with the Aviation Survival Technician teachers was an

unforgettable experience,” he says. “I’ve never been yelled at so much by someone I respect so much in

my life, except maybe my parents. These guys rode us, and they rode us hard! In the actual ‘A’ School

style of training, the instructors never ask the students to do anything that they don’t do. So if they yell at

you, tell you to get down and do 40 or 50 push-ups, they’ll do ’em right there with you. And so you just

have the most enormous respect for them.”

The ultimate result was that Kutcher was able to meet all the stringent requirements of a Coast Guard

Swimmer well before the end of his training—including tests of speed, strength and endurance—and his

instructors noted that he seemed to have what it takes to join their

ranks. Ironically, the biggest challenge for Kutcher in the beginning

was his own lack of comfort in the water. “I don’t really like the

water,” he laughs. “I mean if I get thrown in a pool, I’m not going to

drown, but this is a whole different kind of swimming. The hardest

thing for me was simply diving in first thing every morning. Still, I was

just happy to be in a wave tank, and not the open ocean, where if

something went awry, they could have pulled me out.”

Andrew Davis was very impressed with Kutcher’s devotion to

the role. “He did an amazing job preparing for this movie. We

needed to find a spunky, worldly kid capable of taking on the

mantle of a great Rescue Swimmer—and that’s exactly who Ashton

was,” says the director. “I think he gained ten or fifteen pounds of

pure muscle in his training.”

Davis continues: “Both Ashton and Kevin brought a lot to the table

in terms of developing Ben and Jake. As a director in his own right,

Kevin’s sense of timing and character has been an important part of the evolution of the script, and Ashton

is very smart and a great improviser with a terrific sense of commitment.”

Once on the set, working through risky sequences and emotional confrontations, Costner and Kutcher

developed a tight bond that seemed to mirror that of their characters. Sums up producer Vinson: “The real

bonus in casting Kevin and Ashton is that they had such great chemistry together. It’s probably the thing

that most excited me about making this movie. I think they’re really going to surprise audiences.”

THE GUARDIAN’S TEAM

CAST GOES TO “A” SCHOOL

DIVING IN: THE CAST GOES TO “A” SCHOOL

Joining Kevin Costner and Ashton Kutcher in THE GUARDIAN is the diverse cast that makes up the

22 young recruits at “A” School—a group made up not only of exciting young actors but also several

Olympic-level swimmers, competitive triathletes and a couple of

real-life Rescue Swimmers. “I really went out of my way to make

sure we cast real swimmers,” says Andrew Davis, “and at the same

time, to create a great mix of different sizes, genders and personalities

in the class. Having so many accomplished athletes and members of

the Coast Guard in the cast really elevated the actors, because

everybody was trying to keep up with each other.”

To further prepare the cast for the exceptional rigors and dangers

of even simulating water rescues, those playing Rescue Swimmers

and trainees were shipped off to attend an abbreviated, but definitely

no-holds-barred, “A” School led by the Coast Guard’s Robert

Watson, John Hall and Butch Flythe. Andrew Davis notes that just

being in the presence of the real Rescue Swimmers was a constant

inspiration. “There’s a certain way they carry themselves, a certain

sense of discipline and a general view of life they have that is just

terrific,” he says. “We felt very blessed to have people who have

actually saved the lives of others right there on set with us, giving us feedback.”

The cast was also excited—but felt the considerable weight of trying to live up to the heroism of the

men and women they were portraying. Says Brian Geraghty, the young star who plays the underdog

trainee Hodge: “We knew these guys we were working with had saved a lot of lives, so that puts a lot

of pressure on you to get it right.” Geraghty

continues: “But man, this training was ridiculous!

I’ve been surfing my whole life and I love the water,

but this was so tough physically and mentally it was

like nothing else.”

Notes Butch Flythe: “We put the actors through

what we would call Rescue Swimmer Lite, but it was

still very intense. They worked incredibly hard—and

if you looked on the pool deck at any moment, you

wouldn’t be able to tell this wasn’t a real ‘A’ School

class, which was very impressive to us.”

Although many of the actors in THE GUARDIAN had been through various film “boot camps” before,

nothing seemed to compare. “It was a great experience because it bonded us all together,” says Tripp Vinson.

“We had a very athletic cast but everyone was dead tired by the end of it, and we were really proud of that.”

Coast Guard technical advisor Jeffrey D. Loftus believes that the hard-core training helped both cast

and filmmakers to take more creative risks. “Between the real swimmers being around all the time and the

training and the exposure, the cast got the rescue techniques at boot camp, they were able to take things

much further,” he says. “They got great opportunities to see the things that a swimmer goes through that

normal people can’t really imagine. I think that helped them to really represent the professionalism,

dignity and honor that distinguish Rescue Swimmers.”

For Rescue Swimmer Robert Watson, the experience of working on a Hollywood film production was

equally eye-opening. “As Rescue Swimmers, we came in with our perceptions of Hollywood, but we

found Kevin, Ashton and the rest of the cast to be truly honorable,” he says. “They had a job to do and

they wanted to do it right. We train very hard to do our jobs, and it was cool to be around other

professionals who also put their heart and soul into what they do.”

Meanwhile, in exploring the world of Coast Guard Rescue Swimmers, THE GUARDIAN also delves

into the job’s resonant effect on the swimmers’

outside lives and relationships. This emerges through

two of the film’s female characters: Ben Randall’s

frustrated wife Helen, played by popular TV and film

star Sela Ward, and Jake Fischer’s blossoming love

interest, Emily, portrayed by rising star Melissa

Sagemiller, who recently came to attention in

Showtime’s “Sleeper Cell” series.

Ward was thrilled to reunite with Andrew Davis,

having previously starred as Harrison Ford’s wife in

“The Fugitive.” “I really wanted to work with him

again, and I’d never worked with Kevin Costner before, so I thought this would be a lot of fun,” she says.

“There’s also enough to the role of Helen that I thought I could really showcase something special and

make each scene count.”

Ward sees Helen as “a very strong, artistic woman who lives a far bigger life than Kodiak, Alaska, can

offer her.” She continues: “I think Helen thought that she and Ben would one day have much bigger plans

together, but now she sees very little of him with his work demands. They are really two people who

should be together but can’t seem to be under the

circumstances and have grown apart.” Despite being

realistic about the toll such a career can take on

families and marriages, Ward also developed

immense respect for the Rescue Swimmers in the

course of the production. “They are really about the

human ability to give of oneself for another human

being,” she observes. “That’s the heart of this movie.”

Sagemiller was also moved by the real-life

Rescue Swimmers—but her character, Emily, is

less than blown away by Jake Fischer’s bravado at

first. “Emily is a schoolteacher and a kind of no-nonsense, firecracker sort of girl who meets Jake,

thinks he’s cute but a smart-ass and is just not that impressed,” laughs Sagemiller. “She thinks he’s

got a lot of work to do on himself!”

She continues: “The two of us right away have this very intense chemistry. There’s a lot of back-andforth game-playing where we’re constantly one-upping each other, but in the process of all these games,

we completely fall for each other.”

But as their relationship deepens, Emily’s honesty towards Jake becomes invaluable to him. “Emily

can see right through Jake, whereas Jake can’t always see through his ego and what’s going on with him

and his struggle,” comments Sagemiller. “She gives him that sort of feminine intuitive point of view he

really needs. She’s a really fun, spicy character to play.”

Working with Ashton Kutcher was a big bonus for Sagemiller. “He’s incredibly fun and spontaneous,”

she says. “He’s always telling jokes and he’s got this great energy and magnetism. We hit it off right

away—and it was great to see his intense commitment to his character.”

Rounding out the female cast are also ’60s singing star Bonnie Bramlett in the role of Maggie, the bar

owner and widow who is intimately connected to the “A” School; and Shelby Fenner, an exciting

newcomer previously seen on television’s “C.S.I.” and “Charmed,” who takes the action-oriented role of

Cate Lindsey, one of the female recruits at “A” School. Fenner was intrigued to learn that the Coast Guard

Rescue Swimmer program is the only one of its kind that is “gender blind” and allows women to enter if

they can meet the physical requirements. Now she had the honor of joining Ashton Kutcher and the other

men in training at the production’s challenging boot camp—and to portray one of the handful of

exceptional women currently working as Rescue Swimmers.

CAST GOES TO “A” SCHOOL

INTO THE CRASHING SEA:

DESIGNING THE FILM’S INNOVATIVE WAVE TANK

INNOVATIVE WAVE TANK

As production for THE GUARDIAN got underway, the filmmakers would find themselves in an

unusual position: battling severe weather—including the after-effects of hurricanes and volcanoes—while

simultaneously coming up with creative ways to re-create it.

As soon as he had read the script for THE GUARDIAN, director Andrew Davis knew he would be up

against a serious challenge. After all, how exactly does one make a film set in an utterly unfilmable

location such as the lethal waters of the Bering Sea? “I was very concerned about how we were going to

simulate the Bering Sea and, at the same time, create a real, fascinating character out of the ocean,” he

says. “That was the big question.”

To help him find the answers, Davis turned

to two of his longtime collaborators:

production designer Maher Ahmad, who would

ultimately oversee the creation of the film’s

unprecedented wave tank and submersed sets;

and visual effects supervisor William Mesa,

whose inventive work created some of the most

realistic computer-generated images of storms

ever seen. “William Mesa and Maher Ahmad

were key to figuring out how to create a

realistic world of water,” says Davis. “We looked at the most outrageous footage of real storms and rescue

scenes, and amazingly, they delivered something just as powerful.”

Adds Peter Macgregor-Scott: “William Mesa gave us the jet fighters in ‘Under Siege,’ he gave

us the train chase in ‘The Fugitive’ and now he has given us the raging storms in THE GUARDIAN,

all with amazing reality.”

For his part, Ahmad was thrilled to reunite once again with Davis but was especially excited to take

on a design task that would ultimately combine innovative engineering with old-fashioned motion-picture

artistry. “It was great fun because we got to create all kinds of things you don’t generally get to do in

movies,” muses Ahmad. “Usually, you’re designing kitchen and living-room interiors, but here we were

designing vast water environments—caves and boats and the open sea.”

At the center of the design would be the film’s most vital “set”: a water tank that would serve as a

virtual ocean through the film’s most suspenseful action sequences. Creating the tank turned out to be an

incredible adventure. “I’ve done a lot of big films, but this water tank is truly something spectacular and

unique,” says Macgregor-Scott. “It’s the only one of its kind in the world.”

The tank was just in the beginning stages when, as irony would have it, an all-too-real monster storm

would impact the production of THE GUARDIAN. Originally slated to shoot in New Orleans in 2005,

the film was forced to move to Shreveport, Louisiana, after Hurricane Katrina struck, shattering much of

the city. “Despite having to roll with the changes, we still felt there could be no better place to shoot a

movie about Rescue Swimmers than Louisiana, especially after Katrina,” says Tripp Vinson.

Now it fell to Ahmad to start to rebuild the wave tank in a state still reeling from its own need for rescue.

“Under the gun, we had to hire new engineers, find new locations, engage new contractors and really start

all over again from scratch under a great deal of stress and time pressure—yet in the end, it turned out far

better than any of our hopes,” sums up Ahmad. “It involved the skills of an enormous number of people.”

The foundation of the water tank was an eight-chambered, 100- x 80-foot concrete pool capable of

holding 3/4 of a million gallons when full—built in front of a 50-foot-tall blue-screen wall. To assure the

utmost in technical safety and authenticity, Ahmad brought in a full panoply of engineers—including soil

engineers, civil engineers, structural engineers, mechanical engineers and electrical engineers—to assure

everything would work just right.

Then came the crux: generating the tank’s surging, 6- to 9-foot waves, replete with bubbling foam and

cresting white caps. To create the ultimate wave

machine, the production brought in the New York-

based firm Aquatic Development Company (ADC),

who designed a novel system utilizing three 150horsepower engines which drive fans capable of

producing enough air pressure to knock out truly

oceanic, “rolling” waves, one after another. The full

effect of the waves emerges when they hit the rear end

of the water tank, reflecting in a crashing motion to

the next wave being generated, creating a perpetually

undulating motion just like the ocean.

“ADC has frequently made wave tanks for amusement parks, but they’d never done something

like this where the waves had to become incredibly strong and hectic, so now they were working

in unknown territory,” says Ahmad. “It was a gratifying day when we saw how wonderful the

waves are. It looked just like an angry winter’s day in the Bering Sea—and they were strong

enough that they actually made some of the stunt guys nauseous!”

The water tank exceeded everyone’s expectations. Recalls Davis: “What was really exciting is

that when Coast Guard Rescue Swimmer Robert Watson saw the waves, he said, ‘I’m getting goose

bumps because this is so real!’ Another amazing thing is that we were able to constantly fine-tune

it—we could have rolling patterns of waves, diamond patterns, different heights, different

frequencies. We were basically able to decide on the palette of waves we wanted in each scene.”

Once the water/wave tank was up and running, Maher Ahmad began to design three major sets

that would sit inside the tank: the cave, the fishing

boat and the engine room. One of Ahmad’s biggest

challenges was creating the sea-cave, where one of

the film’s most harrowing rescues unfolds. “The

cave had to be completely built outside the tank,

then transported with two giant 150-ton cranes and

dropped into the water,” Ahmad explains. “It also

had to be able to withstand the pounding forces of

six-foot waves hitting it. To keep it light but tough,

we used a very dense foam that was hand-carved

like rock and then spray-coated it with a hard-coat

plastic. It was very successful and turned out quite impressive looking.”

For the fishing boat, the production had initially purchased a 72-foot trawler just south of New

Orleans—and was stunned to find later that the very location where they had bought the boat was

wiped off the map during Katrina. Now they had to find a way to transport the boat, trapped by

Katrina’s debris in Lake Pontchartrain, to Shreveport. This was no mean feat—involving an 800-mile

trip up the Mississippi by tow-barge—and that was just the beginning. “Once we got it to Shreveport,

there was a lot of work still to be done,” Ahmad recalls. “We had to rebuild a lot of it and redo all of

the rigging to accommodate the stunt work, and then it got a complete paint and aging job.”

Then came the most important touch: the boat was mounted on a pneumatic gimbal that rocked

and rolled the structure to replicate the pitching of huge waves. In these sequences, huge drums of

water were dropped down 35-foot chutes to form additional rogue waves that would douse both the

sets and the actors. To further add to the water-logged atmosphere, Ahmad used gargantuan fans

to create gale-force winds and misting rains.

Another intricate set design involved the flooded engine room where Jake becomes terrifyingly

trapped. “This entire set had to be built so that it could still function while soaked in water,”

explains Ahmad. That presented a lot of challenges in ways you wouldn’t even think about at

first—like the lighting, which all had to be completely waterproofed because you wouldn’t want

INNOVATIVE WAVE TANK

to electrocute anybody!”

Ultimately, the water tank provided the cast

and crew with their own personal sense of what it

would be like to work at high intensity in cold,

wet conditions for hours on end. It also brought

back haunting memories for some of the real

Rescue Swimmers on the set. “One of the hardest

scenes to watch was when Randall is caught in the

net in his dream,” admits Butch Flythe. “That was

a really spooky scene because every Rescue

Swimmer’s biggest fear is, ‘Am I going to jump

into something that I can’t get out of?’ It gave me a real chill.”

That’s exactly what the filmmakers were hoping for. “There’s never been a movie made in the Bering

Sea, because it’s not somewhere you can afford to go and get in trouble,” notes Scott. “But when all our

Coast Guard instructors and consultants told us that we re-created it amazingly well, that meant a lot to us.”

A sense of adventure was required for all members of the crew, especially cinematographer

Stephen St. John, whose cameras were intentionally placed as close to the action as possible to give

the audience a sense of being right in the water with the film’s characters. “The bottom line was that

we wanted everything to feel real,” says Vinson. “If

the movie has some grit, that’s OK, if there’s water

drops on the lenses, that’s OK, because that’s the

way things really are in a rescue situation.”

To further add to the authenticity of the film,

the second unit traveled to the choppy coast of

Oregon to shoot actual Coast Guard Rescue

Swimmers in action—jumping out of helicopters

and into the waves. They then went north to

Alaska, to capture soaring aerials of Kodiak

Island, where a recent volcanic explosion created

more challenges. On dry land, Ahmad created detailed mock-ups of the Coast Guard’s Jay Hawk

helicopters, from which the Rescue Swimmers jump and conduct their rescues. He also designed

the “A” School itself inside several empty buildings on a National Guard base—starting from

scratch but trying to match the precise atmosphere of the Coast Guard’s premiere school in

Elizabeth City, North Carolina. Another few days

of filming took place in Elizabeth City, to capture

the ambiance of a large Coast Guard air station.

But the heart of the film remains the water

scenes, because it is in these moments that the

characters are tested right down to their very

souls. In post-production, the water sequences

truly came alive due to the creative work of visual

effects supervisor William Mesa. “The challenge

was creating realistic oceans that could be

integrated with both the real and digital

environments of the film,” Mesa says. “You have scenes that are very layered and complicated with

boats sinking, objects exploding and big seas breaking over everything.”

Mesa worked extensively with the wave tank, so that he could take footage of the waves created

inside and literally “morph” them into the menacing 30-foot seas into which the Rescue Swimmers

venture. Working with water can be a digital nightmare, Mesa admits, but he took a very original

approach that brought astonishing results. “Water is probably the most difficult of all computer

generated objects because it’s organic,” he explains. “A real storm is so complex, it really can’t be

programmed, so most storm footage you’ve seen in recent movies just repeats the same patterns

over and over. But what we’ve done that’s unique is actually animate over the top of the surface of

real storms to make our footage appear much more real.”

The challenges may never have stopped on THE GUARDIAN, but no matter what the cast and

crew faced, they knew it would never compare to what real Rescue Swimmers go through to save

those in dire need. The hope was simply to capture some of that human strength and compassion

in action. “We had a number of people on the set who rescued people during Katrina, and when

you hear their stories, it just brings tears to your eyes,” sums up Davis. “These guys are the real

thing and they have so much humility and loyalty to each other—that’s what it’s really all about.”

ABOUT THE CAST

KEVIN COSTNER (Ben Randall) began his career starring in

independent films, gradually earning small parts in more established

movies. His first major motion-picture role was in the coming-of-age

comedy “Fandango.” Throughout his career, Costner has varied his

choices with comedy, action and dramatic roles. He has appeared in such

popular box-office hits as “No Way Out,” “Bull Durham,” “Field of

Dreams,” “The Bodyguard” and “Wyatt Earp.”

Costner’s exceptional filmmaking abilities were showcased in “Dances

With Wolves,” which he produced, directed and starred in and which won

seven Academy Awards®, including Best Picture and Best Director.

In addition to appearing in memorable roles in “JFK,” “The

Untouchables” and “Robin Hood: Prince of Thieves,” he reteamed with

his “Bull Durham” director, Ron Shelton, for the hit feature “Tin Cup.” Costner also starred in “Thirteen

Days,” successfully collaborating again with his “No Way Out” director, Roger Donaldson. His other film

credits include: “For Love of the Game,” “The War,” “3,000 Miles to Graceland,” “Dragonfly” and “The

Postman,” his second directing effort.

Costner recently directed and starred in the box-office hit and critically acclaimed “Open Range,”

alongside Robert Duvall and Annette Bening. He was also recently seen in the critically praised drama

“Upside of Anger,” in which he portrayed a former baseball player who helps a single mother and her four

headstrong daughters after the disappearance of their father.

Costner recently completed a starring role in “Mr. Brooks,” a dark drama which he co-produced with

partner Jim Wilson. The film was lensed in Shreveport, Louisiana, where he shot THE GUARDIAN, and

co-stars Demi Moore and William Hurt.

ASHTON KUTCHER (Jake Fischer) has made his mark on the

small and big screens, both behind the camera and in front of it. On

September 29, he can be heard in Sony’s animated feature, “Open

Season,” along with Martin Lawrence, for which Kutcher supplied his

voice. Best known as Michael Kelso on “That ’70s Show,” Kutcher

ended his long-running role on the Fox/Carsey Werner hit television

series in 2006 when the show came to an end. Through his production

company, Katalyst Films and Television, Kutcher serves as the co

creator and producer of MTV’s hit series “Punk’d” and the CW reality

series “Beauty and the Geek.” Katalyst is also developing other major

network-television series and films.

Kutcher has starred in a variety of #1 hits including the box-office

thriller “The Butterfly Effect” and the comedy “Guess Who,” opposite Bernie Mac, for which he served

ABOUT THE CAST

as producer and star. Other film credits include “A Lot Like Love,” opposite Amanda Peet, “Just Married,”

“Cheaper by the Dozen” and the cult hit “Dude, Where’s My Car.”

Kutcher was born and raised in Homestead, Iowa (population 100), where he lived on a farm

with his parents, older sister and twin brother. To finance the cost of his education as a biochemical engineer at the University of Iowa, he worked as a cereal-dust sweeper at the General

Mills plant in Cedar Rapids. After being discovered by a local model/talent scout, Kutcher moved

to New York to pursue his interest in acting.

MELISSA SAGEMILLER (Emily Thomas), a beautiful and

talented actress who will hit both the big and small screen in the coming

months, has had a very busy year. Sagemiller was recently seen in

“Sleeper Cell,” Showtime’s Emmy® and Golden Globe® nominated

original series. Next, Melissa stars alongside Billy Bob Thornton, Susan

Sarandon and Seann William Scott in the comedy “Mr. Woodcock,” for

New Line Cinema.

Born and raised in Washington, DC, Sagemiller’s passion for the arts

emerged early. At the age of 3, she began to study dance: tap, ballet, jazz

and modern. After responding to an ad in The Washington Post,

Sagemiller made her stage debut at the age of 9 as Dill in “To Kill a

Mockingbird.” Soon, she became a regular on local DC stages. She took

a break from acting to attend the University of Virginia, where she received a degree in Art History. When

Sagemiller decided to return to acting full-time, she began studying at The Stella Adler Conservatory,

NYU’s Stonestreet Studio and at the Michael Howard Studio.

Sagemiller’s film credits include: “The Clearing,” “Soul Survivors,” “Get Over It,” “Life on a Ledge,”

“Standing Still,” “Sorority Boys” and “Love Object.” Her additional television credits include “Law &

Order: Special Victims Unit.”

BONNIE BRAMLETT (Maggie McGlone) is one of today’s most

revered female jazz/blues/soul/rock vocalists and has written songs,

recorded, toured and performed with the best of the best. She

recently released a new album on ZOHO Records, aptly titled

“Roots, Blues and Jazz.”

Bramlett began her career in St. Louis nightclubs then made musical

history as the first white Ikette with Ike and Tina Turner. She then became

the diva engine that drove Delaney & Bonnie & Friends into the hottest

duo breakout of the late ’60s. She had several solo albums and was also

one of the industry’s most sought-after backup singers, working with Joe

Cocker, Carly Simon, Little Feat, Jimmy Buffett and Dwight Yoakum,

among others. She then moved into acting. She was seen in a guest role

on the TV series “Fame,” then landed a part in the Oliver Stone movie “The Doors,” playing opposite Val

Kilmer, Meg Ryan and Billy Idol. In the early ’90s, she also had a recurring role in the #1-rated television

show in the nation, “Roseanne.”

CLANCY BROWN (Captain William “Bill” Hadley) began his

acting career in Chicago theater and continued to perform on stage

locally until he won the role of Viking, a nasty prison inmate, in the 1982

feature film “Bad Boys,” starring Sean Penn. Brown has gone on to star

in many motion pictures, including the multiple Oscar® nominated film

“The Shawshank Redemption,” “The Hurricane,” “Starship Troopers,”

“Flubber,” “BlueSteel,” “Shoot to Kill,” “Extreme Prejudice” and the cult

classic “Highlander.”

Brown’s television credits include: the Emmy® nominated HBO

movie “Normal,” the NBC series “Earth 2,” the CBS movie “The Patron

Saint of Liars,” the NBC miniseries “Love, Lies and Murder” and a

recurring role on “ER.”

Brown is also known to millions of children as the voice of Mr. Krabs from the hugely popular

animated series “SpongeBob SquarePants.” Brown was most recently seen reprising his role as Brother

Justin Crowe for the second season of HBO’s Emmy® award-winning series “Carnivale.”

Brown will also be seen this year as the Viking, Gunnar, in the action-adventure saga “Pathfinder.”

SELA WARD (Helen Randall) previously worked with Andrew

Davis on “The Fugitive,” starring as Harrison Ford’s wife. Ward also

starred opposite Dennis Quaid and Jake Gyllenhaal in the worldwide

blockbuster “The Day After Tomorrow” for director Roland Emmerich.

Other feature credits include: “54,” “My Fellow Americans,” “Hello

Again,” “Nothing in Common,” “Rustler’s Rhapsody,” “The Man Who

Loved Women” and “Dirty Dancing 2: Havana Nights.”

Ward starred last year opposite Hugh Laurie on the acclaimed medical

drama “House.” Ward received an Emmy® award, two Emmy®

nominations, a Golden Globe® award and two additional nominations, all

as Best Actress in a Drama, for her portrayal of Lily Manning on ABCTV’s critically acclaimed dramatic series “Once and Again,” produced by

the esteemed team of Marshall Herskovitz and Ed Zwick. In 1996, Ward received unanimous acclaim for

her performance in the Lifetime Original Film “Almost Golden: The Jessica Savitch Story,” portraying the

late NBC News anchorwoman. Her performance earned her a Cable Ace award, a Screen Actors Guild

nomination and an Emmy® nomination. Ward also received a Golden Globe® nomination and won an

Emmy® award for Best Actress in a Drama in 1994 for her role as Teddy, the struggling artist and

recovering alcoholic, on NBC-TV’s award-winning series “Sisters,” and was nominated as Outstanding

Female Actor in a Drama Series by the Screen Actors Guild for that show in 1996.

Ward’s additional television credits include the telefilm “Suburban Madness,” in which she starred

opposite Elizabeth Pena and Showtime’s “Rescuers Stories of Courage—Two Women,” a series of

telefilms executive produced by Barbra Streisand. She also starred in the telefilms “The Reef,” “Double

Jeopardy,” “Killer Rules,” “The Haunting of Sarah Hardy” and “Bridesmaids” and the ABC-TV

miniseries “King of Love” and had a series-regular role on the CBS-TV series “Emerald Point, N.A.S.”

and made appearances on “L.A. Law,” “Night Court,” “Saturday Night Live” and “Frasier.”

Ward’s first book, Homesick, was published in 2002, and appeared on the New York Times bestseller list.

ABOUT THE CAST

NEAL McDONOUGH (Jack Skinner) joins a select group of

actors who combine a leading man’s profile with a character actor’s

art in displaying astonishing versatility with a wide range of roles in

film, television and theater.

McDonough has four film projects ready for release. In Clint

Eastwood’s “Flags of Our Fathers,” McDonough is one of six World War

II marines who raise the flag at Iwo Jima. The film is a

DreamWorks/Paramount production based on the best-selling story by

James Bradley. Also upcoming is Jon Avnet’s “88 Minutes,” with Al

Pacino; Michael Caleo’s “The Last Time,” also starring Michael Keaton

and Brendan Fraser; and Paul Kampf’s “American Gothic,” with Patrick

Wilson. It was McDonough’s starring role in Steven Spielberg’s

“Minority Report,” with Tom Cruise, that first drew audience attention. McDonough also starred in

“Timeline,” with Paul Walker; “Walking Tall,” with Dwayne “The Rock” Johnson; and Jeff Hare’s “A

Perfect Little Man,” which earned him the Best Actor Award at the 2000 Atlantic City Film Festival.

In the Golden Globe®- and Emmy®-winning HBO miniseries “Band of Brothers,” produced by Tom

Hanks and Steven Spielberg, McDonough starred as Buck Compton, a rugged World War II hero whose

all-American veneer is cracked by the horrors of war. McDonough recently starred in NBC’s drama

“Medical Investigation” as Dr. Stephen Connor, the head of a highly skilled team of specialists who

investigate mysterious illnesses.

McDonough is perhaps best known as Deputy District Attorney David McNorris in the

acclaimed NBC drama series “Boomtown.” He was praised for his performance and recognized by

the Television Critics Association with a nomination for Individual Achievement in Drama. His

stage credits include “A Midsummer Night’s Dream” and “Always Alone,” the latter earning him a

Dramalogue Best Actor award Raised in Cape Cod, Massachusetts, McDonough attended Syracuse

University and later trained at the London Academy of Music and Dramatic Arts. He lives in Los

Angeles with his wife, Ruvé, and newborn son, Morgan.

JOHN HEARD (Frank Larson) has appeared in over sixty feature

films and dozens of television movies, and he has guest-starred in

numerous award-winning dramas on TV in his thirty-year career. John

Heard began his career on the stage, winning multiple awards in both

Chicago and New York, including a 1976-77 Theatre World Award and

Obie Awards for his off-Broadway performances in “Othello” and

“Split.” His early screen successes include performances in “Cutter’s

Way” and “Chilly Scenes of Winter” and as Jack Kerouac in “Heart

Beat.” From there, he built his career with starring roles in films such as

“Big,” “The Pelican Brief,” “Beaches,” “Home Alone,” “Awakenings,”

“In the Line of Fire,” “Pollock” and, most recently, “White Chicks.” He

also starred in Andrew Davis’ “The Package” with Tommy Lee Jones and

Gene Hackman.

Heard has turned in many memorable performances on the small screen as well, including guest

appearances in such television shows as: “The Outer Limits,” “Alfred Hitchcock Presents,” “Hack” and

all three “Law & Order” series. He was nominated for a Cable ACE Award for Best Actor in a TV Movie

for his 1987 performance in “Tender Is the Night,” and his turn in the 1999 season of “The Sopranos”

earned him an Emmy® nomination.

Heard has recently been seen in recurring roles on “Prison Break,” “CSI: Miami” and “Jack & Bobby”

and as a guest star on “Numbers” and “Battlestar Gallactica.” He starred in the independent feature films

“American Gothic,” opposite Patrick Wilson, Neal McDonough and Scott Michael Campbell; and

“Sweetland,” with Ned Beatty and Alan Cumming, which won the Audience Award at the Hamptons Film

Festival. He most recently starred in and co-produced “Steel City,” which was accepted into the dramatic

competition at 2006’s Sundance Film Festival.

BRIAN GERAGHTY (Hodge) was recently seen starring opposite

Jake Gyllenhaal, Jamie Foxx and Peter Sarsgaard in Sam Mendes’ film

adaptation of “Jarhead” for Universal Pictures. This winter, he will star

in the Emilio Estevez-directed film “Bobby,” along with Anthony

Hopkins, Sharon Stone, Demi Moore, Lindsay Lohan and Elijah Wood,

among many others, as well as in the Warner Bros. drama “We Are

Marshall,” directed by McG and starring opposite Matthew Fox and

Matthew McConaughey.

Geraghty recently starred opposite Camilla Belle in “When a Stranger

Calls,” the Screen Gems remake of the classic 1979 horror film of the

same name. His other films include: “Conversations With Other

Women,” with Aaron Eckhart and Helena Bonham Carter; “The

Optimist,” with Leelee Sobieski; Terry Zwigoff’s “Art School Confidential,” with John Malkovich;

“Stateside,” with Val Kilmer and Jonathan Tucker; and “Cruel World,” with Edward Furlong.

Prior to launching into a film career, Geraghty had guest-starring roles on several top television series,

including “The Sopranos,” “Law and Order” and “Ed.” Originally from New Jersey, Geraghty graduated

from The Neighborhood Playhouse School of Theatre in New York City. His stage credits include roles

in productions of: “Berlin,” “Midnight Moonlight,” “Snipers” and “Romeo and Juliet.” An ardent surfer,

he has been a surf instructor and is an active supporter of the Surfrider Foundation, a non-profit

environmental organization working to preserve our oceans.

Best known for his work as Charlie Young on “The West Wing,”

DULÉ HILL (Ken Weatherly) stars in “Psych,” the hit one-hour

crime/comedy series in which an amateur sleuth (James Roday) cons the

police into believing he has psychic powers that help solve crimes. Hill

plays straight man to Roday’s foil. Produced by the NBC Universal TV

Studio for the USA Network, “Psych” was the highest-rated scripted

series premiere on basic cable this year.

On film, Hill currently appears opposite William H. Macy in Stuart

Gordon’s adaptation of David Mamet’s “Edmond.” Next year, he stars in

the Universal Pictures thriller “Whisper,” directed by Stewart Hendler.

Hill most recently played Sam the Onion Man in Disney’s “Holes,”

Davis’ adaptation of the award-winning children’s novel by Louis Sachar

that co-starred Sigourney Weaver, Jon Voight and Shia LaBeouf. “Sugar Hill,” “She’s All That” and the

independent “Sexual Life” also mark his filmography.

Hill first came to prominence as The Kid opposite Savion Glover and Jeffrey Wright in “Bring in ’Da

Noise, Bring in ’Da Funk” (Public Theatre, Broadway’s Ambassador Theatre), directed by George C.

Wolfe. The history of the African American told through tap dance and music, “Bring in ’Da Noise, Bring

in ’Da Funk,” proved one of the most exciting events of the 1996 season. His stage credits also include

“Black and Blue” (Broadway’s Minskoff Theatre), “Shenandoah” (Paper Mill Playhouse) and “The Little

Rascals” (Goodspeed Opera House). Hill began attending dance school when he was three and received

his first break years later as the understudy to Savion Glover in “The Tap Dance Kid” on Broadway. He

went on to perform the lead role in the musical’s national tour alongside Harold Nicholas.

Hill joined the cast of NBC’s acclaimed “The West Wing” in the third episode (1999). As Charlie

Young, Personal Aid to the President (Martin Sheen), and subsequently Deputy Special Assistant to the

Chief of Staff (Allison Janney), Hill garnered an Emmy® nomination and four Image Award nominations

for supporting actor (drama series), and two Screen Actors Guild Awards® (from a total six nominations)

ABOUT THE CAST

as part of the ensemble (drama series). On Sunday, May 14, Hill co-stars in the final episode of the series

created by Aaron Sorkin and produced by John Wells. Born and raised in New Jersey, Hill currently

resides in Los Angeles.

SHELBY FENNER (Cate) will next star in “Vantage Point” for Sony

Pictures, opposite Sigourney Weaver, William Hurt, Matthew Fox and

Dennis Quaid. Fenner’s other film credits include “Ghost Game” and

“Swatters” and the independent films “Local Boys,” “Blood Moon” and

“Wolf Girl” for USA.

She has guest-starred on hit television shows such as “CSI,” “CSI:

Miami,” “Charmed” and “Dragnet.” Fenner is athletic and enjoys sports,

especially surfing and snowboarding. Originally from Michigan, she has

since relocated and now resides in Los Angeles, California.

ABOUT THE FILMMAKERS

ANDREW DAVIS (Director) is a filmmaker with a reputation for directing intelligent thrillers,

most notably the Academy Award®-nominated box-office hit “The Fugitive,” starring Harrison Ford

and Tommy Lee Jones. The film received seven Academy Award® nominations, including Best

Picture, and earned Jones a Best Supporting Actor award. Davis garnered a Golden Globe®

nomination for Best Director and a Directors Guild of America nomination for Outstanding

Directorial Achievement in Theatrical Direction. In reviewing “The Fugitive,” film critic Roger Ebert

commended Davis, noting that he “transcends genre and shows an ability to marry action and artistry

that deserves comparison with Hitchcock, David Lean and Carol Reed. He paints with bold, visual

strokes.”

Davis is the son of parents who met in a repertory theater company in Chicago, where he was

raised. He received his degree in journalism from the University of Illinois and began his work in

motion pictures as an assistant cameraman to renowned cinematographer and director Haskell

Wexler on the 1969 classic “Medium Cool.” Wexler’s ultra-realistic approach was to have a great

influence on Davis, who then became a director of photography on numerous award-winning

television commercials and documentaries, as well as on 15 studio and independent features. In

1976, joined by many of his fellow cinematographers, Davis challenged the IATSE union’s restrictive

studio roster system in a landmark class-action suit that forced the industry to open its doors to young

technicians in all crafts.

Davis made his directorial debut in 1978, with the critically acclaimed independent musical

“Stony Island,” which he also co-wrote and produced. It was followed by the thriller “The Final

Terror” for producer Joe Roth, which starred then-newcomers Darryl Hannah, Joe Pantoliano, Rachel

Ward and Adrian Zmed. Davis then co-wrote the screenplay for Harry Belafonte’s rap musical “Beat

Street” before moving into the director’s chair full-time for Mike Medavoy with “Code of Silence.”

Davis directed, co-produced and co-wrote “Above the Law,” Steven Seagal’s feature debut. Davis

then directed “The Package,” starring Gene Hackman and Tommy Lee Jones. In “Under Siege,”

Davis teamed Steven Seagal with Tommy Lee Jones, resulting in fall 1992’s top-grossing picture.

Davis’ other directorial credits include “Collateral Damage,” starring Arnold Schwarzenegger; “A

Perfect Murder,” starring Michael Douglas, Gwyneth Paltrow and Viggo Mortensen; “Chain Reaction,”

starring Keanu Reeves and Morgan Freeman; and “Steal Big, Steal Little,” starring Andy Garcia and

Alan Arkin. Davis last directed and produced “Holes,” the adaptation of Louis Sachar’s Newberry

Medal and National Book Award-winning children’s novel. Starring Sigourney Weaver, Jon Voight and

ABOUT THE FILMMAKERS

Patricia Arquette, “Holes” grossed over $70 million theatrically and over $40 million in home video

sales since its April 18, 2003, release by Walt Disney and was named one of the 100 Best Family Films.

BEAU FLYNN and TRIPP VINSON (Producers) launched their New Line Cinema-based production

company, Contrafilm, in March 2004. The first film released under their banner was the Brett Ratner

helmed “After the Sunset.” Contrafilm’s next release, in conjunction with Lakeshore, was Screen Gem’s

“The Exorcism of Emily Rose.” Directed by Scott Derrickson, it grossed $150 million worldwide and was

one of the most profitable films of 2005.

Flynn and Vinson’s next film is the Jim Carrey thriller “The Number 23.” Directed by Joel Schumacher

for New Line Cinema, it’s scheduled to release February 23, 2007. They’re currently producing “Journey

to the Center of the Earth” for New Line Cinema/Walden, which is the first feature film to be shot on high-

definition 3-D. The duo also produced Disney’s 3-D CGI film “The Wild,” which was released Easter,

2006.

Prior to Contrafilm, Flynn was a partner at The Firm where he ran the motion picture and television

production divisions. He also produced critically acclaimed films: “Tigerland,” “Requiem for a Dream,”

“The House of Yes,” “The Alarmist,” “Guinevere” and “Johns.” After graduating from NYU, his first job

in the industry was as Scott Rudin’s first assistant. Vinson and Flynn first worked together at Bandeira

Entertainment in 2000, then proceeded to head up Firm Films. Vinson started in Hollywood at Jerry

Bruckheimer Films after graduating from USC.

ARMYAN BERNSTEIN (Executive Producer), Chairman of Beacon Communications, ShoWest

Producer of the Year, has produced and executive produced such films as “Air Force One” starring Harrison

Ford, “The Hurricane” (which he also co-wrote) starring Denzel Washington, “Thirteen Days” starring

Kevin Costner, “End of Days” starring Arnold Schwarzenegger, “Family Man” starring Nicolas Cage,

“Bring It On” starring Kirsten Dunst, “For Love of the Game” starring Kevin Costner, “Spy Game” starring

Brad Pitt and Robert Redford, “Open Range” starring Kevin Costner, Robert Duvall and Annette Bening,

“Raising Helen” starring Kate Hudson and John Corbett, “Ladder 49” starring John Travolta and Joaquin

Phoenix, “A Lot Like Love” starring Ashton Kutcher and Amanda Peet and “Firewall” starring Harrison

Ford, Virginia Madsen and Paul Bettany. Currently in production is “Waterhorse” directed by Jay Russell.

Bernstein founded Beacon Communications in 1990, and it has become one of the most successful

independently financed film companies in the entertainment business. Its first films were “The

Commitments,” directed by Alan Parker, which was nominated for a Golden Globe® as Best Picture and

went on to win four BAFTA Awards; Keith Gordon’s critical triumph “A Midnight Clear,” starring Ethan

Hawke; “A Thousand Acres” based on the Pulitzer Prize-winning novel, starring Michelle Pfeiffer and

Jessica Lange; “Sugar Hill,” starring Wesley Snipes; “Playing God” starring David Duchovny and

Timothy Hutton; “Princess Caraboo,” starring Phoebe Cates and Kevin Kline; “The Road to Wellville,”

directed by Alan Parker and starring Anthony Hopkins; and David Mamet’s “A Life in the Theatre,” which

won a cable ACE Award for Best Drama.

Armyan was born and raised in Chicago and attended the University of Wisconsin. He was a

broadcast journalist with PBS and then with ABC. He wrote the cult classic “Thank God It’s Friday,”

starring Debra Winger and Jeff Goldblum. He then wrote and co-produced Francis Ford Coppola’s

legendary Vegas romance “One From the Heart.” Bernstein made his directing debut with “Windy

City,” from his screenplay, which starred John Shea and Kate Capshaw. He also co-wrote and directed

“Cross My Heart,” starring Martin Short and Annette O’Toole. Armyan wrote and produced ABC’s

Emmy® award-winning “The Earth Day Special.”

CHARLIE LYONS (Executive Producer) is Partner and CEO of Beacon Pictures. Charlie and Beacon

Chairman Army Bernstein have worked together for over a decade, during which the company has created

over twenty major motion pictures including “Air Force One,” “The Hurricane,” “13 Days,” “Bring It On,”

“Spy Game” and “Family Man.” Recent films include “Wrong Element,” “Open Range,” “Raising Helen,”

ABOUT THE FILMMAKERS

“A Lot Like Love” and “Ladder 49.” The company is in post-production on “The Half Life of Timofey

Berezin,” which Charlie is producing along with Section Eight and HBO Films.

Lyons is also the Founder and Past Chairman of the Ascent Entertainment Group Inc., a global media

enterprise which was purchased by Liberty Media Group in 2000. Ascent was the owner/operator of

Beacon Pictures, On Command Corporation (largest hotel cable company in the world), Ascent Network

Services (provider of broadcast and network services to the NBC television network), the National

Basketball Association Denver Nuggets and the National Hockey League Colorado Avalanche (1996

Stanley Cup Champions), the developer and financier of a $200 million sports and entertainment facility

(the Pepsi Center in downtown Denver, Colorado); and the founder of Colorado Studios in partnership

with Liberty Media Group, the leading Colorado-based production company. Charlie is a past Board

Member of the National Basketball Association and the National Hockey League and a Founding Board

Member of the Women’s National Basketball Association. He also serves on the board of numerous

corporate and charitable organizations.

ZANNE DEVINE (Executive Producer), former president of The Kennedy/Marshall Company, joined

Beacon Pictures as its President of Production in January 2004. Prior to Beacon, Devine was president of

Ovation Entertainment, a feature-film production company financed by Jeff Skoll, co-founder of eBay.

While at Ovation, Devine executive produced “House of D,” written and directed by David Duchovny.

The film starred Robin Williams, David Duchovny, Tea Leoni and Erykah Badu. Ovation Entertainment

also co-produced and co-financed the feature film “Eulogy,” starring Ray Romano, Debra Winger and

Hank Azaria. Both pictures were distributed domestically by Lions Gate.

Prior to The Kennedy/Marshall Company, Devine was senior vice president of PolyGram Filmed

Entertainment, where she was the senior creative executive managing the entertainment group of the

companies: Working Title, Propaganda Films, Interscope Productions, Jodie Foster’s Egg Pictures and

Norman Lear’s Act 3 Productions. Successful releases include: “Four Weddings and a Funeral,” “The

Game,” “What Dreams May Come” and “Fargo.”

From 1990 through 1995, Devine served in various positions at Universal Pictures, lastly as Vice

President of Production and Acquisitions, where she oversaw Gramercy Pictures (in partnership with

Polygram), during which time the company released: “The Usual Suspects,” “Priscilla Queen of the

Desert,” the Academy Award®-winning films “Elizabeth” and “When We Were Kings.” Devine began her

career as an independent producer with the Academy Award®-nominated feature film “Anna.”

PETER MACGREGOR-SCOTT (Executive Producer), known as one of the best hands-on producers

in the business, marks his fourth collaboration with Andrew Davis on THE GUARDIAN, having

previously produced “The Fugitive,” “Under Siege” and “A Perfect Murder.” He has also produced

“Batman & Robin,” “Batman Forever,” “Revenge of the Nerds” and, most recently, “Death to Smoochy.”

Moving from England to the United States in 1970, Scott produced his first film, “Ride the Tiger,” that

same year. He went on to produce three hit films starring the comedy team of Cheech & Chong: “Cheech

& Chong’s Next Movie,” “Cheech & Chong: Still Smokin’,” “Cheech & Chong’s The Corsican Brothers”

as well as Cheech Marin’s “Born in East L.A.” His other early credits include: “The Jerk,” “The Best Little

Whorehouse in Texas,” “Gotcha!” and “Troop Beverly Hills.”

Macgregor-Scott then co-produced three films starring action-star Steven Seagal: “Marked for Death,”

“Out for Justice” and “Under Siege.” He also produced the critically acclaimed “Black Beauty,” adapted

for the screen and directed by Caroline Thompson.

LOWELL BLANK (Associate Producer) has twenty years of experience in all aspects of the motion-

picture business. From 1995 to 2003, he was President of Chicago Pacific Entertainment, director Andrew

Davis’ production company, where he was responsible for all day-to-day operations and management of

an office and post-production facility in Santa Barbara, California, used by filmmakers such as Robert

Zemeckis, Stephen Sommers and Luis Mandoki.

Blank served as a producer on “Holes,” the spring 2003 hit from Walt Disney Pictures, starring Shia

LaBeouf, Sigourney Weaver, Jon Voight, Tim Blake Nelson and Patricia Arquette. Blank negotiated the

purchase of the “Holes” film rights on behalf of Davis, and worked closely on the adaptation with author

Louis Sachar and the Chicago Pacific, Walden Media and Phoenix Pictures development staffs. Blank also

served as an executive producer on the “Holes” soundtrack album.

Blank has served in various producing capacities on both independent and major studio feature films

including: “Collateral Damage” starring Arnold Schwarzenegger, “A Perfect Murder” starring Michael

Douglas and Gwyneth Paltrow, “Chain Reaction” starring Keanu Reeves and Morgan Freeman, “Steal Big

Steal Little” starring Andy Garcia, “Benefit of the Doubt” starring Donald Sutherland and Amy Irving

and “South Central” starring Glenn Plummer and Carl Lumbly. He has also produced commercials,

documentaries and other projects.

RON L. BRINKERHOFF (Screenwriter) was born in Wyoming and spent his youth growing up on

a cattle ranch in Montana. Brinkerhoff has a BA degree from the University of Utah, with a philosophy

and English major. He started out working in production during college and worked on “A Midnight

Clear,” “Far and Away” and “The Sandlot” in various production capacities. After graduating, Brinkerhoff

moved to Los Angeles, where he worked as the Director of Creative Research at Imagine Entertainment,

Ron Howard and Brian Grazer’s company. He spent four years there learning the ins and outs of

development. Brinkerhoff sold his first script, left Imagine six years ago and has been writing full-time

ever since. THE GUARDIAN represents his first major screenplay to be produced.

Brinkerhoff wrote “Spares” for DreamWorks and has another project at Disney called “Ashland,” a

supernatural thriller with Brad Silberling attached to direct and Tripp Vinson and Beau Flynn producing.

He recently wrote “Fort Knox,” a heist movie, for Warner Bros., with Thunder Road producing. He is

currently working on “Scared Straight,” a prison thriller for Newline.

TREVOR RABIN (Composer) was born and raised in South Africa. He was formerly a member of

the influential progressive rock band Yes, serving as guitarist, songwriter, keyboardist, singer, producer

and recording engineer. He left the band in 1994 to pursue his career as a film composer. He has since

composed the music for such films as “Armageddon,” “Enemy of the State,” “Remember the Titans,”

“Bad Boys 2,” “Gone in 60 Seconds,” “Con Air,” “Deep Blue Sea,” “The Banger Sisters,” “Kangaroo

Jack” and many others. His most recent film include “Flyboys,” “The Gridiron Gang,” “Snakes on a

Plane,” “Glory Road,” “The Great Raid,” “National Treasure,” “Coach Carter” and “Paul Schrader’s

Exorcist: The Original Prequel.”

MAHER AHMAD (Production Designer) began building stage sets for the local community theater

while still in high school. He attended Northwestern University and received a Master of Fine Arts in

theater scene and lighting design. After teaching theater design for two years, he worked as a professional

theater set and lighting designer in the “first wave” of the Chicago theater renaissance. He also served as

resident set and lighting designer at the North Light Theatre for five seasons.

Ahmad has designed well over 100 theater projects (both set and lighting design) for Chicago theaters

including the St Nicholas, Organic, Victory Gardens, Goodman and many others. He was nominated six

times for Chicago’s “Joseph Jefferson” award.

Ahmad met and worked with director Andrew Davis’ father, Nate Davis, a prominent Chicago theater

and film actor, for five years before meeting the director. After moving from Chicago to New York,

Ahmad worked there on many features, including “Goodfellas” and “Married to the Mob.” THE

GUARDIAN marks Ahmad’s 10th project with Andrew Davis, with their collaborations including

“Holes,” “Chain Reaction,” “Steal Big, Steal Little,” “Above the Law,” “Code of Silence” and “The

Fugitive.” Ahmad’s films also include “Fever Pitch,” “Miss Congeniality 2: Armed and Fabulous,”

“Dodgeball,” “Mr. 3000,” “Paid in Full,” “Gun Shy,” “US Marshals,” “That Night,” “The Cemetery Club,”

“Miami Blues” and “Angel Heart.”

ABOUT THE FILMMAKERS

STEPHEN ST. JOHN (Cinematographer) is one of the industry’s most sought-after cameramen and

camera operators and has worked with some of its top directors. St. John has worked many times with

Davis, most recently on the Bruckheimer pilot “Just Legal” and before that on the Walden/Disney release

“Holes.” Their other mutual credits include: “Collateral Damage,” “A Perfect Murder,” “Chain Reaction,”

“Steal Big Steal Little,” the Academy Award®-nominated “The Fugitive” and “Under Siege.”

St. John has repeat collaborations with a large and diverse group of directors and cameramen including

Barry Sonnenfeld, Haskell Wexler, Tony Scott and Clint Eastwood. St. John and Sonnenfeld first worked

together on the Coen Brothers’ “Raising Arizona,” on which Sonnenfeld served as cinematographer. Once

Sonnenfeld began directing, he brought St. John in on such films as “Get Shorty,” “Men in Black” and

“Wild Wild West.” Haskell Wexler and St. John worked together on commercials before they teamed up

on “Blaze,” “Colors” and others. It was also commercial work as both operator and cinematographer with

Tony Scott that led to “Man on Fire” and “Domino.” Clint Eastwood and cinematographer Jack Green

chose St. John to be the “A” operator on “Heartbreak Ridge” after he worked extra camera assignments

on “Pale Rider” and other Eastwood films of the era. This relationship continued on many Malpaso

productions, including the Academy Award® winning “Unforgiven,” and one of the many times St. John

worked with Kevin Costner, “A Perfect World.”

A sampling of other motion-picture credits include: “Mission: Impossible 3” (action unit), “The

Matrix Reloaded,” “Coyote Ugly,” “Lolita,” “For the Boys,” “The Bodyguard,” “Die Hard 2,” ”No Way

Out,” “Lethal Weapon,” “Out of Africa,” “Love Streams,” “The Goonies” and “Never Cry Wolf.”

DENNIS VIRKLER (Editor), who has edited more than 30 films, marks his fifth collaboration with

Andrew Davis with THE GUARDIAN. Their previous work together includes “Under Siege,” “The

Fugitive,” “A Perfect Murder” and “Collateral Damage.” Virkler has been nominated for two Academy

Awards® for “The Hunt for Red October” and “The Fugitive,” for which he also received a BAFTA Award.

His other credits include “Into the Blue,” “The Fog,” “The Chronicles of Riddick,” “Daredevil,” “Batman

and Robin,” “Batman Forever” and “Independence Day,” to name but a few.

THOMAS J. NORDBERG (Editor) graduated from New York University Film School in 1985 and

began working in film and commercial production, eventually becoming an assistant director. In 1990,

Nordberg segued into editing, where he worked as an assistant for such notable editors as Duwayne

Dunham, David Brenner and Sally Menke, among others. Nordberg then began a longtime collaboration

with director Oliver Stone, working on “Heaven and Earth,” “Nixon,” “Natural Born Killers,” “U-Turn,”

“Any Given Sunday” and “Alexander.” Other editing credits include: “Scary Movie 2,” “What Women

Want,” and “Holes,” where he first worked with THE GUARDIAN director, Andrew Davis.

WILLIAM MESA (Visual Effects Supervisor), who has served as the visual effects supervisor on

such diverse films as Rob Reiner’s “Stand By Me,” Sam Raimi’s “Darkman” and “Army of Darkness,”

Peter Weir’s “Fearless” and Andrew Davis’ “Under Siege” and “The Fugitive,” gained his reputation as

an innovative master of visual effects, combining mechanical, miniature and optical techniques long

before CGI became state of the art.

Ahead of the curve, in 1993 Mesa opened Flash Film Works to design and create cutting-edge digital

visual effects. Under this company, he directed the science-fiction action adventure “Terminal Force,” a.k.a.

“Galaxis,” for HBO as well as the CD-ROM game “Maximum Surge.” His second directorial undertaking

was the HBO premiere “DNA.” Mesa was the visual effects supervisor on “The Waterboy” with Adam

Sandler and “Collateral Damage” with Arnold Schwarzenegger. His company, Flash Film Works, has also

worked on the films “Deep Blue Sea,” “Red Planet,” “The Perfect Score” “The Italian Job” and the Wayans

Brothers comedy “White Chicks.” Mesa was the visual effects supervisor for “Holes” directed by Andrew

Davis and was the Flash Film Works Visual Effects Supervisor on “The Last Samurai.” Mesa was the

recipient of the Visual Effects Society Award for Best Supporting Visual Effects for “The Last Samurai.”

Recently, Mesa was the Visual Effects Supervisor on “Man of the House” starring Tommy Lee Jones. Flash

Film Works was the key visual effects company for the critically acclaimed “Sideways” for director

Alexander Payne, the Walter Salles film “Dark Water” and the Cameron Crowe film “Elizabethtown.”

Mesa has been the recipient of many awards over the years. He received the Technical Achievement

Award from the Motion Picture Academy and a British Academy Award (BAFTA) nomination for Best

Visual Effects on “The Fugitive.” He has been nominated three times for Emmy® awards, with two wins,

and has received numerous other awards including seven major awards for Best Commercial Visual

Effects for the “Batman/Onstar” commercials.

SUSAN ZWERMAN (Visual Effects Producer) is a member of the Board of Directors of the Visual

Effects Society (VES) and Chairperson of the DGA’s Visual Effects/Digital Technology Committee. Her

credits appear on more than 50 major films. She produced the visual effects for “Around the World in 80

Days,” “Fat Albert” “Tall Tale,” “Broken Arrow,” “Alien Resurrection,” “Mafia,” “Men of Honor” and

“The One.” Her other credits include the acclaimed “All That Jazz,” “Wise Guys,” “Scarface,”

“Nightshift,” “Nighthawks” and “The Flamingo Kid.” A special highlight in Ms. Zwerman’s career was

winning a Grammy Award® for “Best Concept Music Video” in 1988, producing the “I’m Fat” music

video starring Weird Al Yankovic. This led to the producing of the fantasy sequences and music videos

of Weird Al in the film “UHF.” In addition, Zwerman is a well-known seminar leader at many universities,

teaching visual effects techniques in the entertainment field.

GENE SERDENA (Set Decorator) studied Fine Art at the Philadelphia College of Art and California

Institute of the Arts. The critical foundation he honed at art school has been instrumental in the integration

of his design sensibility with the demands of narrative filmmaking. Mr. Serdena’s primary concern as a

Set Decorator has been the expression and representation of character and the ways in which his work

supports the narrative framework of each film. He doesn’t consider himself a signature stylist and

considers authorial gestures in decoration unnecessary functions of ego.

Gene Serdena’s credits include: “Holes,” “Being John Malkovich,” “House of Sand and Fog,” “Three

Kings,” “Tombstone,” “Adaptation” and the upcoming “Infamous.” Mr. Serdena won an Emmy® award for

his work in the television series “Northern Exposure” in 1992.

Information contained within as of September 6, 2006.

ABOUT THE FILMMAKERS

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Warners

THE DEPARTED

Leonardo DiCaprio, Matt Damon, Jack Nicholson and Mark Wahlberg star in

Martin Scorsese’s new crime drama “The Departed.”

“The Departed” is set in South Boston where the Massachusetts State Police

Department is waging an all-out war to take down the city’s top organized crime ring.

The key is to end the reign of powerful mob boss Frank Costello (Jack Nicholson) from

the inside. A young rookie, Billy Costigan (Leonardo DiCaprio), who grew up in South

Boston, is assigned to infiltrate the mob run by Costello. While Billy is working to gain

Costello’s trust, another young cop who came up from the streets of “Southie,” Colin

Sullivan (Matt Damon), is quickly rising through the ranks of the state police. Earning a

spot in the Special Investigations Unit, Colin is among a handful of elite officers whose

mission is to bring Costello down. But what his superiors don’t know is that Colin is

working for Costello, keeping the crime boss one step ahead of the police.

Each man becomes deeply consumed by his double life, gathering information

about the plans and counter-plans of the operation he has penetrated. But when it

becomes clear to both the gangsters and the police that they have a mole in their midst,

Billy and Colin find themselves in constant danger of being caught and exposed to the

enemy—and each must race to uncover the identity of the other man in time to save

himself.

Warner Bros. Pictures presents a Plan B / Initial Entertainment Group / Vertigo

Entertainment Production, in association with Media Asia Films, a Martin Scorsese

Picture, “The Departed,” starring Leonardo DiCaprio, Matt Damon, Jack Nicholson,

Mark Wahlberg, Martin Sheen, Ray Winstone, Vera Farmiga and Alec Baldwin.

Warners

The film was directed by Martin Scorsese, from a screenplay by William

Monahan. Brad Pitt, Brad Grey and Graham King produced “The Departed,” with Roy

Lee, Doug Davison, G. Mac Brown, Kristin Hahn and Gianni Nunnari serving as

executive producers, and Joseph Reidy co-producing.

Collaborating with Scorsese behind the scenes were director of photography

Michael Ballhaus, production designer Kristi Zea, editor Thelma Schoonmaker, and

costume designer Sandy Powell. The score was composed by Howard Shore.

“The Departed” is distributed by Warner Bros. Pictures, a Warner Bros.

Entertainment Company. This film has been rated “R” by the MPAA for “strong brutal

violence, pervasive language, some strong sexual content and drug material.”

ABOUT THE PRODUCTION

HONG KONG TO BOSTON

“The Departed,” the gritty crime drama from director Martin Scorsese, takes us

into the lives of two cops: Colin Sullivan, smart and unabashedly ambitious, appears to

be on the fast track in the Massachusetts State Police Department’s elite Special

Investigations Unit, whose prime target is powerful Irish mob boss Frank Costello. Billy

Costigan, street-smart and tough, is purported to have a violent temper that costs him his

badge and eventually lands him back on the rough streets of South Boston, where he is

recruited into Costello’s ranks. But neither man is what he seems and, as they work at

cross purposes, they are plunged into a dangerous game of cat and mouse in which the

stakes could not be higher.

The story of “The Departed” is based on the 2002 crime thriller out of Hong Kong

called “Infernal Affairs,” which achieved great success in Asia before coming to U.S.

shores in 2004. An American version was soon in the works, with William Monahan

writing the screenplay.

The screenwriter recalls, “I hadn’t seen ‘Infernal Affairs,’ and I didn’t want to

watch it before adapting the story. I worked from a translation of the Chinese script.

There was a great central story around which I could create new characters. I loved the

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duplicity of the characters in the Chinese film, but my adaptation, thematically, is all

about the engine of tragedy that is started when people depart from what they really

should be doing with their lives.”

“‘Infernal Affairs’ is a very good example of why I love the Hong Kong cinema,

but ‘The Departed’ is not a remake of that film,” states Martin Scorsese. “It was inspired

by ‘Infernal Affairs’ because of the nature of the story; however the world William

Monahan created is very different from the Hong Kong film. When I received the script,

it took me quite a while to read through it because I began visualizing the action and

getting into the nature of the story and the characters. One of the things that hit me was

that the depiction of the characters and their attitudes toward the world in which they live

was so uncompromising. That’s what really got me interested in directing the movie.”

Producer Graham King notes, “You could say ‘The Departed’ takes Martin

Scorsese back to his days of ‘GoodFellas’ and ‘Mean Streets,’ which is a genre he has

been identified with in the past. But in this film, he’s taking that genre and turning it into

something new and different and original. That’s what Marty does.”

“Working with Martin Scorsese was extraordinary,” Monahan says. “It was a

privilege to see him put the film together in his mind as we were discussing the script.

It’s like having years of film school packed into each and every day.”

Monahan relates that he set “The Departed” in a world with which he was very

familiar. “The project came about at a time when I was thinking about Boston, where I

came from, and about the people I had lost in my own life. So it allowed me to explore

themes that were very personal to me.”

Thomas B. Duffy, a 30-year veteran of the Massachusetts State Police, who

served as a technical consultant for the film, reveals that the screenwriter’s decision to

center the film on the battle between the “Staties” and Boston’s Irish mob has its basis in

reality. “Certainly in ‘Southie,’ the Irish mob dominated and controlled the city’s

underworld, at least from the early 1970s until just a few years ago. They were the

pinnacle of the criminal world there.”

Collaborating for the third time with Scorsese, actor Leonardo DiCaprio

comments, “As much as it is a gangster movie, ‘The Departed’ is unlike anything Marty

has ever done. It deals with a very different set of circumstances—not just that it

involves the Irish underworld, but also the fact that it deals with the police force and the

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corruption there, as well. It is also set in a completely different environment, being

Boston, not New York. Although, as we went on, we saw it more as a story of America

and the corruption of certain systems in our country as a whole.”

It is a story, Scorsese says, of “how two young men are shaped by the forces in

their lives: the institution of the police and a crime group headed by a figure named Frank

Costello. Costello takes Colin as a young boy and makes him into a seeming pillar of the

community so he can rise up in the hierarchy of the state police. But, in reality, he is

Costello’s inside man. At the same time, Billy is the perfect material for the police to

send undercover, because he comes from the working-class element of South Boston. He

is put in the position to join Costello’s crew, but he has really been set up to rat on

Costello. It’s like Billy and Colin are running on parallel tracks…but they will ultimately

end up on a collision course.”

COPS OR CRIMINALS…

WHEN YOU’RE FACING A LOADED GUN

WHAT’S THE DIFFERENCE?

Leonardo DiCaprio stars as Billy Costigan, a promising cadet at the

Massachusetts State Police Academy, who is selected for a dangerous undercover

assignment before he has even had a chance to pin on a badge. The actor says that the

role represented more than an opportunity to work again with Scorsese. “I read the script

and immediately wanted to be a part of it. I just couldn’t put it down, and I said ‘yes’

without any deliberation or hesitation. I thought it was a really intense story with multifaceted

and very compelling characters.”

Billy Costigan came up from the streets of Boston, and DiCaprio remarks that his

character’s motivation to become a police officer is rooted in his desire to escape his

upbringing. “Billy comes from an underworld background and has all the chips stacked

against him in a lot of ways. I think he joins the police force because he has no other

options, and he wants to do things differently than his family did. Ironically, he is asked

to go undercover and pretend to be the very thing he was determined not to become. At

the heart of it, I think Billy is ultimately trying to redeem himself and not just be a

product of his environment, but he ends up deep in a situation that is extremely dangerous

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and deceitful. There are moments when he could so easily be caught—all the arrows are

pointing in his direction as the ‘rat,’ and everything begins to cave in around him.”

Scorsese notes, “As an actor, I knew Leo would convey the conflict of a young

man who has gotten himself into a bad situation and then wonders what the hell he is

doing there. You can see it in his face; you can see it in his eyes. That’s one of the

reasons I like working with Leo; he knows how to express emotional impact without

saying a word. It just emanates from him. It is quite extraordinary to watch.”

Colin Sullivan is another member of the Massachusetts State Police Force with

roots in South Boston who is also leading a double life, although Colin’s is the mirror

opposite of Billy’s. A native of Boston himself, Matt Damon stars in the role of Colin, a

young hotshot in the department, who has quickly risen to the rank of sergeant in the elite

Special Investigations Unit while his Academy classmates are still in uniform. However,

despite what he has led his superiors to believe, there is only one authority to whom

Colin actually reports: mob boss Frank Costello.

“Matt brought a lot to the part of Colin,” states Scorsese. “I love that you can see

his mind working as Colin is trying to figure his way out of his latest predicament and

save himself, even as he gets himself in deeper and deeper over his head. In a way, Colin

is an even more tragic character than Billy, because he truly believes he will get away

with everything and that, by aligning himself with evil, he has created an inroad to

redemption, so to speak, represented by the upper class society of Beacon Hill and the

State House—that golden dome he keeps staring at. In the beginning of the picture, you

see Costello teaching Colin a false set of values and, by a certain point in time, Colin has

no values at all.”

Damon offers, “In Colin’s neighborhood, the character of Frank Costello is bigger

than life. Everybody knows who he is and is terrified of him. The first time Colin comes

in contact with him, Colin is about 12 years old, and that kind of interaction would be

incredibly meaningful to a kid from that neighborhood. Costello is even more powerful

than a father figure in Colin’s mind, and you see the relationship develop from the very

beginning.”

Costello can afford to bide his time because, as Damon says, “Inevitably, boys

grow into men and Costello knows he will be able to use the loyalty Colin has for him.

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He gets Colin to join the state police to act as an informant for him. So while one guy is

an undercover cop in the mob, the other is a cop undercover for the mob.”

“Our characters are two sides of the same coin, even coming from the same

neighborhood,” DiCaprio agrees. “Colin chose one path and Billy chose another, but

their lives are intertwined…linked in ways they could never understand. It becomes this

really intriguing chess game of information and disinformation.”

The most obvious link between Billy and Colin is their unknowingly shared

connection to Frank Costello, who is portrayed by the legendary Jack Nicholson. “The

Departed” marks the first collaboration between Nicholson and Scorsese, although, the

director says, “Jack and I have known each other for 30 years. For some reason, we had

never quite connected on a movie, so I thought it would be interesting to see if he had any

desire to take on the role of Costello. It may have taken a long time, but it was worth the

wait because we had quite a time together on this picture.”

Graham King recalls, “When Marty first mentioned Jack Nicholson for the role, I

thought we were dreaming, but it became a reality. Jack took the character of Costello to

another level, as only he could do. There are so many of what I call ‘Jack moments’ in

the film, which are just terrific.”

“Jack really made the character his own,” Scorsese attests. “Costello has had

everything in life, so he doesn’t give a damn about anything anymore. And why should

he? He has all the power. But now, he starts taking too many risks, like putting himself

on the front lines of drug deals. He knows he doesn’t have to do that; it’s just for the

thrill of it at this point in his life. Costello has gotten too old, and he knows, ultimately,

he is probably on his way out. It was interesting to watch Jack portray Costello starting

to unravel.”

“Jack Nicholson is a force of nature,” DiCaprio adds. “He can be very

unpredictable when he’s on camera, so you have to learn to roll with the punches. I mean

there were moments during filming that I didn’t know what was going to happen next; I

was never sure which side of Costello he was going to be playing on any particular day.

That can be very exciting for an actor to play against, because it really keeps you on your

toes.”

There are only two people in the Massachusetts State Police who know the newest

addition to Costello’s crew is an undercover cop: Captain Queenan and Sergeant Dignam.

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Mark Wahlberg stars as Sergeant Dignam, a hard-nosed detective who, the actor

acknowledges, “is a mean, miserable guy, and he is not going to pretend to be anything

else. He is very in-your-face, but, at the same time, he’s pretty on the level.”

“Mark Wahlberg is just remarkable as Dignam,” Scorsese says. “He comes from

the Boston area, so he knows that world fairly well and really knew this character.

Dignam is who he is; nothing is going to change his attitude towards anyone or anything.

He’s seen it all and heard it all, and there is nothing you can put past him. You can try,

but he’ll always have an answer for you, and it will most likely be only two words…I

think you know what they are,” Scorsese laughs.

Raised in the working-class neighborhood of Dorchester, Wahlberg found it

natural to revert to his native Boston accent, although, he jokes, “I don’t think Marty

knew what I was saying half the time. He would say, ‘We might have to use subtitles at

some point.’”

Describing his hometown as “a pretty rough place to grow up,” Wahlberg asserts,

“There is only one Boston. It has a reputation as this amazing school town, but there are

also those neighborhoods where you are either going to become a crook or a cop or a

construction worker. There’s not too much in-between. My being raised there has an

effect on everything I do, whether it’s obvious or not. I didn’t have to do much

homework for this movie—I’ve known a lot of these guys—the only difference is I was

playing one of the cops who used to arrest me all the time.”

Countering Dignam’s abrasive style is the level-headed Captain Queenan, played

by Martin Sheen. The actor reveals that he took the part even before reading the script.

“What made me say ‘yes’ almost instantly was the opportunity to work with Martin

Scorsese. I had never worked with him before, but he has always been one of my

favorite directors. With that in mind, how could I make a mistake? Then, of course, I

read the script, and I thought it was a great story of divided loyalties and betrayal in the

context of law enforcement and criminality. Sometimes they mix and overlap, and

you’re hard-pressed to tell the difference.”

Sheen adds that, while Queenan is not unsympathetic to Billy’s growing

desperation, he cannot afford to let that interfere with the objective. “He understands that

Billy’s identity has been swallowed up by going undercover. Except for Queenan and

Dignam, the cops know Billy only as a gangster and, if Costello discovers he’s a cop,

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he’s a goner. It’s a precarious position because both sides could take him out at any

time.”

Billy’s real identity isn’t even known to the head of the Special Investigations

Unit, Captain Ellerby, portrayed by Alec Baldwin. “Ellerby is obsessed with bringing

down Costello and smashing his crime ring,” Baldwin states. “He views Costello as

being violent and depraved, so Ellerby is willing to bend the rules to suit his purposes.

But he is a good cop, nonetheless.”

Although Frank Costello has more than earned his violent reputation, he has

rarely done his own dirty work. Instead, he relies on a gang of brutal henchmen, none

more so than the one who goes by the name Mr. French. British actor Ray Winstone,

who plays the role of Costello’s top man, describes his character as “one of those guys

you get nothing from—he doesn’t trust anyone, doesn’t like anyone…probably doesn’t

like himself. To him, everyone is a rat. As an actor, I’m always trying to find the

emotion in a character, the weaknesses as well as the strengths. It started to dawn on me

early on that French is without emotion. Nothing rattles him, and nothing frightens him,

but if you get in his way, he’ll kill you without a second thought. His only loyalty is to

Costello.”

The one main character in “The Departed” who is neither a cop nor a criminal is

also the only woman. Vera Farmiga plays Madolyn, a psychiatrist who specializes in

dealing with troubled people on both sides of the law. In a twist of fate, she becomes

another unwitting link between Colin, the man she is seeing romantically, and Billy, the

man she starts out seeing professionally. Farmiga offers, “To Madolyn, Colin appears to

be a man who has it all together. He represents security and commitment for her, while

Billy is more intimacy and passion. He seems to be a bit of a derelict, but they are drawn

to each other.”

DiCaprio notes, “Madolyn is the only emotional connection Billy has. She is the

one person Billy can confide in, although in a very limited way because he can’t reveal

anything about himself or what he’s doing. As his counselor, she tries to help him

initially, but then a stronger bond develops between them.”

“What I liked about the character of Madolyn is that you have this psychiatrist

who is intuitive, but who is not following her own instincts. I loved that contradiction,”

says Farmiga.

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Rounding out the main cast of “The Departed” are: Anthony Anderson and James

Badge Dale as state troopers Brown and Barrigan, who eventually become part of the

Special Investigations Unit; and David O’Hara and Mark Rolston as Fitzy and Delahunt,

two of Costello’s henchmen.

“One of the best parts of producing a Scorsese film is the casting,” Graham King

remarks. “Marty has a way of picking the most amazing actors for each role, and this

film was no exception.”

Matt Damon offers, “Working with Martin Scorsese is about as good as it gets for

an actor. I learned so much just watching him shoot this movie. He has a great eye for

behavior and for discerning what’s real and what’s not. So many of the brilliant moments

for which he’s been responsible have been those that delve into character. As actors, we

love to explore those moments; that is one of the reasons we all want to do his movies.”

“How does one make a motion picture?” Scorsese proposes. “You make it with

different instruments, so to speak. The story, the language, the milieu, the people

portraying the parts—these are all instruments. Of all these extraordinary elements, the

one I tend to rely on most often to tell the story is the cast. To have the actors we had in

this film all together was remarkable.”

ACT ACCORDINGLY

Prior to the start of principal photography, a number of cast members began

training for their roles, most with the help of technical consultant Tom Duffy. Recently

retired, Duffy had served three decades with the Massachusetts State Police, a significant

portion of which was spent in the Special Investigations Unit, targeting organized crime,

including the Irish mob. His background and experience made him an invaluable

resource for the cast, as well as the filmmakers.

Executive producer G. Mac Brown says, “When you start looking for a technical

consultant, you don’t always know where or if you’re going to find the right person. We

had learned about Tom and knew he was a retired state trooper, so we got his number and

just made a cold call. He ended up coming through with flying colors.”

Working on his first feature film, Duffy was duly impressed by Scorsese’s

commitment to accuracy, from the police terminology to the attire. “I was somewhat

overwhelmed by his attention to detail,” Duffy admits. “We went through a painstaking

process to make sure everything was as authentic as possible, not just about the rudiments

of police work, but in trying to get into the minds of the officers. Keeping in perspective

that it’s a piece of entertainment, I think it’s very realistic.”

The director was not the only one who benefited from Duffy’s expertise. Matt

Damon confirms, “I’m from Boston, so there are cultural aspects of the city that are

second nature to me, but that didn’t address the subculture of the state police. To have a

person like Duffy, with his breadth of actual experience, take me under his wing—it was

everything to me. Duffy gave me information and showed me around and connected me

with other state troopers. I was able to spend days with them, picking their brains and

watching them in action. I even went on a ride-along and, at one point, went in on a drug

bust with these guys. That’s the kind of experience you can’t approximate. It’s really the

fun part of the job,” he smiles.

Brown remembers that he wasn’t exactly smiling when he got the phone call

about Damon’s brush with Boston’s criminal element…after the fact. “Matt calls and

he’s all excited because he’s gone out on this ride-along. And I’m thinking, ‘Thanks a

lot, Duffy,’” Brown kids. “I mean, that’s just great for Matt, but, as a producer, you

worry about your star going out on a real raid with real police and real guns at a real

crime scene. Obviously, it all worked out okay.”

For Damon, the time spent with the real troopers had an impact on his portrayal of

Colin that went beyond the practical applications. “It was really humbling to see the

troopers’ commitment to what they do, often at tremendous risk. As I was thinking about

Colin, I realized that, at some level, he must have a deep, deep disdain, not just for the

law, but for police officers themselves. To be that close to that kind of selfless sacrifice

every day and then to want to undo it says a lot about who he is. There were so many

things I was able to bring to my performance that I would not have known without that

time with the experts, so what Duffy did for me was incalculable,” Damon states.

Duffy also advised Martin Sheen and Alec Baldwin on the correct demeanor for

ranking members of the state police. In fact, Sheen notes, “I based my character a lot on

Tom Duffy. Whenever I shot a scene, I would try to think how Tom would do it…and he

was right there to make sure I did it right.”

Although DiCaprio’s Billy Costigan spends most of the movie acting more like a

criminal than a cop, the actor was nevertheless able to profit from Duffy’s years of

undercover experience. “Working undercover requires a certain state of mind,” Duffy

says. “Leo and I talked a lot about the toll it can take over time.”

“The whole idea of what it is to be a cop in that circumstance, and the mindset I

had to get into, would not have been as authentic without him,” DiCaprio attests. “He

was a tremendous help throughout the entire shoot.”

In preparing to play a native Bostonian, DiCaprio also knew the importance of

immersing himself in the local culture. “I definitely felt I needed to go to Boston and

walk around and get a feeling for the people,” he says. “Everyone there was extremely

supportive and tried to help me as much as they could. There was someone I hung out

with, who took me down to the old neighborhoods and also helped me with the accent. It

really helped me get into the character.”

“Leo was at a real disadvantage coming into this movie,” Damon allows. “I

mean, he had to do a lot of preparation work that Mark Wahlberg and I didn’t have to do

because we both grew up in Boston. There is a very particular attitude and culture there,

and Leo did a great job capturing that. It was truly impressive.”

THE BIG APPLE MEETS BEANTOWN

While “The Departed” is set entirely in Boston, principal photography on the film

was accomplished in and around the cities of both Boston and New York. Production

designer Kristi Zea, who had earlier collaborated with Scorsese on “GoodFellas,”

observes, “‘The Departed’ does have some of the same elements as ‘GoodFellas,’ but, of

course, this film takes place in Boston. Because we had worked together before, Marty

could refer to things we had done back then and say, ‘Remember that thing we did on

‘GoodFellas?’ I want something like that…only, what’s the Boston version? I’d scratch

my head and say, ‘Well, I’m not sure, Marty, but we’ll find out,’” she laughs. “It was

great to do another film with him.”

Almost all of the film’s exterior scenes were shot in Boston at such sites as

Boston Common, Boston Harbor, Chinatown, and, of course, South Boston, known to the

locals as “Southie.” Traveling outside of the city, the company also filmed in the

neighboring towns of Braintree, Quincy and Mark Wahlberg’s hometown, Dorchester. In

New York, the company stayed primarily outside of Manhattan proper, instead having

areas of Brooklyn double as Boston, mostly for interior scenes.

“The fact that we shot this movie in two different cities is not unusual,” Zea

relates, “but in this case, the differences between New York and Boston are pretty evident

as you drive around. Outside of downtown Boston, most of the structures are quite low

and there is lots of sky, whereas most of the New York sky is filled with high-rises. It’s

very difficult to do much in New York that looks like Boston from an exterior point of

view, which is why we stayed mainly in Brooklyn. In Boston, there is also a specific

style of New England architecture that doesn’t exist in New York, like the three-story

wooden houses with front or back porches on each floor. That is something of a

signature Boston look that we made sure to have in our film. Another element that was

fascinating to me is the “brutalist” mode of architecture, which is the cement look that

certain buildings were designed with in Boston, including City Hall and the Hurley

Building.”

Juxtaposed with the city’s historical landmarks, the imposing, cement-gray

Hurley Building, in the heart of Boston’s Government Square, was selected to serve as

the exterior for the utilitarian headquarters of the Massachusetts State Police. Zea and

her team then created the interiors of the headquarters on a cavernous soundstage in the

Williamsburg section of Brooklyn, New York. “We decided to carry over the gray and

brown palette of the existing structure, which really worked well for those sets,” she says.

Director of photography Michael Ballhaus took a similar approach in lighting the

police headquarters. He offers, “Police stations are normally lit with fluorescents, but I

didn’t want to do that because fluorescents create a wash of light, which has no tension. I

decided to use direct light and shadows to add variety and texture to the atmosphere.”

Ballhaus, who had previously teamed with Scorsese on six films, states, “I don’t

think Marty and I have ever talked so much about lighting. The whole movie was

somewhat influenced by film noir. We lit it almost like a black-and-white film,

especially in the police station, which didn’t have much color. But even if you don’t

have a lot of color, color is still something you can use in a dramatic way.”

Costume designer Sandy Powell utilized color to set Jack Nicholson’s character

apart from the rest. She comments, “Basically, everybody else is in ordinary street

clothes in neutral tones of black, brown, gray and beige. That’s pretty much it.

Originally, we were just going to make Frank Costello blend in, but after meeting Jack, it

was obvious he wanted to take the look a little more to the extreme in terms of color and

design. Costello is a guy who has so much power, he can wear whatever he wants and no

one would dare question it. So we definitely had more leeway with his character’s

wardrobe.”

Within the almost colorless settings, the occasional injection of the color red was

both dramatic and deliberate. Zea confirms, “We intentionally made the costumes and

the sets fairly monochromatic, but Marty, Michael Ballhaus and I collectively made the

decision that whenever we used red, there was a reason for using red. It’s intended as a

subliminal message that something of a dangerous nature is about to happen, with blood

being the obvious correlation.”

The letter X was also used symbolically throughout the movie, at the behest of

Scorsese, who meant it as an homage to the 1932 movie “Scarface,” directed by Howard

Hawks and produced by Howard Hughes, in which the X has a special significance.

“Marty asked us to utilize the letter X wherever we could,” Zea reveals, “so you can see

X’s on windows, on walls, on floors…”

“The X is a sign of death, so Marty wanted us to include them—sometimes subtly

and sometimes not so subtly,” adds Ballhaus, who even used lighting to project X’s into

certain scenes.

The concept of death harkens back to the title. Monahan explains, “In the

Catholic Church, we would refer to the dead as ‘the faithful departed.’ I started playing

around with that idea and the fact that, ironically, this movie is about faithlessness—to

others, of course, but most fatally to the characters’ own best interests, so I thought the

title fit.”

Scorsese concludes, “William Monahan is an Irish American from Boston, so he

placed his characters in that milieu. Nevertheless, the movie is about people in a

situation that, in a sense, could be found in any city around the world. It is a story of trust

and betrayal and deception and loyalty, which could be told anywhere.”

# # #

ABOUT THE CAST

LEONARDO DiCAPRIO (Billy), a two-time Academy Award nominee, earned

his most recent Oscar nod for his portrayal of Howard Hughes in Martin Scorsese’s

acclaimed 2004 biopic “The Aviator.” For his performance in that film, DiCaprio also

won a Golden Globe Award for Best Actor in a Drama, and received Critics’ Choice

Award and BAFTA Award nominations. In addition, he was honored with two Screen

Actors Guild (SAG) Award nominations, one for Best Actor and another as part of the

“The Aviator” cast, nominated for Best Ensemble. In 2004, DiCaprio was also named

the Actor of the Year at the Hollywood Film Festival.

Born in Hollywood, California, DiCaprio started acting at the age of 14.

Following small parts on television, commercials and in films, he landed a regular role on

the hit sitcom “Growing Pains.” His breakthrough feature film role came when director

Michael Caton-Jones cast him in the coveted role of Tobias Wolff in the screen

adaptation of Wolff’s autobiographical drama, “This Boy’s Life,” in which DiCaprio

starred with Robert De Niro and Ellen Barkin.

DiCaprio then starred with Johnny Depp in 1993’s “What’s Eating Gilbert

Grape,” garnering his first Oscar and Golden Globe nominations for his performance as a

mentally handicapped young man. In addition, he won the National Board of Review

Award for Best Supporting Actor and the Los Angeles Film Critics Association’s New

Generation Award.

In 1995, DiCaprio had starring roles in three very diverse films, beginning with

Sam Raimi’s Western “The Quick and the Dead,” with Sharon Stone and Gene Hackman.

Continuing to challenge himself, DiCaprio received praise for his performance as drug

addict Jim Carroll in the harrowing drama “The Basketball Diaries,” and then portrayed

the disturbed pansexual poet Arthur Rimbaud in Agnieszka Holland’s “Total Eclipse.”

The following year, DiCaprio starred in Baz Luhrmann’s contemporary screen

adaptation of “William Shakespeare’s Romeo + Juliet,” for which he won the Best Actor

Award at the Berlin International Film Festival. That same year, he joined an all-star

ensemble cast, including Meryl Streep, Diane Keaton and Robert De Niro, in “Marvin’s

Room,” sharing in a SAG Award nomination for Best Ensemble Cast.

In 1997, DiCaprio starred in the blockbuster “Titanic,” for which he earned a

Golden Globe Award nomination. The film shattered every box office record on its way

to winning 11 Oscars, including Best Picture, and is still the top-grossing film of all time.

He subsequently played dual roles in “The Man in the Iron Mask,” and then starred in

“The Beach” and Woody Allen’s “Celebrity.”

DiCaprio gained his third Golden Globe nomination for his portrayal of con man

Frank Abagnale in 2002’s “Catch Me If You Can,” directed by Steven Spielberg. Also

that year, he starred in the drama “Gangs of New York,” which marked his first

collaboration with director Martin Scorsese.

DiCaprio next stars in the drama “Blood Diamond,” directed by Edward Zwick,

which is due out this December.

MATT DAMON (Colin) is an Academy Award-winning screenwriter and has

also been honored for his work as an actor. He most recently starred in the politically

charged drama “Syriana,” with George Clooney. Later this year, he stars with Robert De

Niro and Angelina Jolie in the dramatic thriller “The Good Shepherd,” directed by De

Niro. Damon is currently filming the sequel “Ocean’s 13,” which reunites him with

castmates Clooney, Brad Pitt, Don Cheadle, Andy Garcia and Bernie Mac, and director

Steven Soderbergh. He also stars with Anna Paquin in the upcoming drama “Margaret,”

directed by Kenneth Lonargan.

Hailing from Boston, Damon attended Harvard University and gained his initial

acting experience at the American Repertory Theatre. Following small roles in “Mystic

Pizza” and “School Ties,” he first caught the attention of critics and audiences with his

role as a guilt-ridden Gulf War veteran in 1996’s “Courage Under Fire.”

However, it was 1997 that would prove to be Damon’s breakout year. Together

with his friend Ben Affleck, he co-wrote the acclaimed drama “Good Will Hunting,” in

which Damon also starred in the title role of a troubled math genius. The film brought

him an Academy Award and a Golden Globe Award (shared with Ben Affleck) for Best

Original Screenplay. Damon also garnered Oscar and Golden Globe nominations for his

performance in the film, as well as two Screen Actors Guild (SAG) Award nominations:

one for his individual performance and a second for Outstanding Cast Performance,

shared with his co-stars. Also in 1997, Damon starred in Francis Ford Coppola’s “The

Rainmaker” and made a cameo appearance in Kevin Smith’s “Chasing Amy.”

In 1998, Damon played the title role in Steven Spielberg’s award-winning World

War II drama “Saving Private Ryan,” for which he shared in another SAG Award

nomination for Outstanding Cast Performance. He also starred that year in John Dahl’s

drama “Rounders,” with Edward Norton.

Damon earned his third Golden Globe nomination for his work in 1999’s “The

Talented Mr. Ripley,” under the direction of Anthony Minghella. Damon also reunited

with Ben Affleck and director Kevin Smith to star in the controversial comedy “Dogma.”

In 2000, Damon starred in Robert Redford’s “The Legend of Bagger Vance,” and

Billy Bob Thornton’s “All the Pretty Horses.” The following year saw Damon join an

all-star cast, including George Clooney, Brad Pitt, Julia Roberts and Don Cheadle, in

Steven Soderbergh’s hit remake of the “Rat Pack” comedy “Ocean’s Eleven.” Damon

took on his first action role when he starred as Jason Bourne in 2002’s mega-hit action

thriller “The Bourne Identity.” In 2004, he starred in the sequels “Ocean’s Twelve” and

“The Bourne Supremacy.”

Damon’s other recent film credits include the Farrelly brothers’ comedy “Stuck

On You,” with Greg Kinnear; Terry Gilliam’s “The Brothers Grimm,” opposite Heath

Ledger; and a cameo appearance in George Clooney’s “Confessions of a Dangerous

Mind.”

Lifelong friends Damon and Affleck formed the production company LivePlanet.

Among its film and television projects, LivePlanet produced three Emmy-nominated

seasons of “Project Greenlight.” It is currently producing the documentary “Running the

Sahara,” directed by Academy Award winner James Moll.

JACK NICHOLSON (Costello), one of the most honored actors of all time, has

worked with many of the film industry’s most esteemed directors during his career,

which has spanned five decades and encompassed more than 60 feature films.

In 2002, Nicholson received his twelfth Academy Award nomination for his

performance in the title role of Alexander Payne’s “About Schmidt,” giving him the

distinction of having earned the most Oscar nominations of any male actor. He has won

the Academy Award three times: twice for Best Actor for his work in Milos Forman’s

“One Flew Over the Cuckoo’s Nest” and James L. Brooks’ “As Good As It Gets”; and

once for Best Supporting Actor for his role in Brooks’ “Terms of Endearment.”

Nicholson has also been Oscar-nominated for his performances in Rob Reiner’s “A Few

Good Men,” Hector Babenco’s “Ironweed,” John Huston’s “Prizzi’s Honor,” Warren

Beatty’s “Reds,” Roman Polanski’s “Chinatown,” Hal Ashby’s “The Last Detail,” Bob

Rafelson’s “Five Easy Pieces” and Dennis Hopper’s “Easy Rider.”

Additionally, Nicholson won Golden Globe Awards for his work in “About

Schmidt,” “As Good as It Gets,” “Prizzi’s Honor,” “Terms of Endearment,” “One Flew

Over the Cuckoo’s Nest” and “Chinatown.” He also garnered Golden Globe nominations

for his roles in “Something’s Gotta Give,” “A Few Good Men,” Danny DeVito’s

“Hoffa,” Tim Burton’s “Batman,” “Ironweed,” “Reds,” “The Last Detail,” “Five Easy

Pieces” and “Easy Rider.”

Nicholson’s film work has also brought him a myriad of critics groups’ awards.

In addition, he has been honored with the Lifetime Achievement Award from the

American Film Institute, and the Cecil B. DeMille Award from the Hollywood Foreign

Press Association.

His long list of film acting credits also includes the hit comedy “Anger

Management”; the Sean Penn-directed films “The Pledge” and “The Crossing Guard”;

Tim Burton’s “Mars Attacks!”; Mike Nichols’ “Wolf” and “Carnal Knowledge”; James

L. Brooks’ “Broadcast News”; George Miller’s “The Witches of Eastwick”; Bob

Rafelson’s “The Postman Always Rings Twice”; Stanley Kubrick’s “The Shining”; Elia

Kazan’s “The Last Tycoon”; and Michelangelo Antonioni’s “The Passenger.”

Nicholson made his feature film directorial debut in 1971 on “Drive, He Said,”

which he also wrote and produced. He went on to direct and star in “Goin’ South,” and

to direct, produce and star in “The Two Jakes,” which was the sequel to “Chinatown.”

MARK WAHLBERG (Dignam) is currently filming “Shooter,” for director

Antoine Fuqua, and recently wrapped “We Own the Night,” opposite Joaquin Phoenix

and Robert Duvall. Most recently, he starred in “Invincible,” playing real-life football

hero Vince Papale, as well as John Singleton’s “Four Brothers.” Both films opened in

the top spot at the box office.

He previously appeared in the critically acclaimed existential comedy “I Heart

Huckabees” and led a stellar cast in the heist movie “The Italian Job.” Wahlberg has also

enjoyed playing diverse characters for such visionary filmmakers as David O. Russell,

Tim Burton and Paul Thomas Anderson.

Wahlberg’s remarkable film career began with Penny Marshall’s “Renaissance

Man” and Scott Kalvert’s “The Basketball Diaries,” followed by a star turn opposite

Reese Witherspoon in “Fear.” His breakout performance in “Boogie Nights” launched

him into the public consciousness. He then headlined “Three Kings” and “The Perfect

Storm,” with George Clooney. Wahlberg subsequently starred in “Rock Star,” “Planet of

the Apes” and “The Truth About Charlie.”

In addition, Wahlberg is the executive producer of HBO’s hit comedy

“Entourage” and the documentary “Juvies,” an exploration of the juvenile justice system.

He is also very involved with his charity, the Mark Wahlberg Youth Foundation, which

benefits inner-city youth.

MARTIN SHEEN (Queenan) earned dual Emmy Award nominations this year:

one for his guest appearance on the comedy series “Two and a Half Men,” starring his

son Charlie Sheen; and another for his starring role on the acclaimed NBC series “The

West Wing,” created by Aaron Sorkin. During his seven-year “term” as President Josiah

Bartlet, Sheen also won a Golden Globe Award for Best Actor in a Drama Series, and

garnered four more Golden Globe nominations and five additional Emmy nominations in

the same category. In addition, he has been honored by his peers with four Screen Actors

Guild Awards: two for Best Male Actor in a Drama Series; and two shared with his “The

West Wing” castmates for Outstanding Ensemble in a Drama Series.

Sheen won his first Emmy Award in 1994 for his guest role on the comedy series

“Murphy Brown.” He had previously earned an Emmy nomination for his performance

in the title role of “The Execution of Private Slovik,” and received Golden Globe

nominations for his portrayals of John Dean in “Blind Ambition,” and John F. Kennedy

in “Kennedy.”

Born and raised in Dayton, Ohio, Sheen first gained the attention of critics when

he starred in the Broadway production of “The Subject Was Roses.” He later earned a

Golden Globe Award nomination when he reprised his role in the 1968 screen version of

the play.

Sheen went on to receive early praise for his chilling portrait of serial killer Kit

Carruthers in Terrence Malick’s “Badlands,” and for his performance as the enigmatic

Captain Willard in Francis Ford Coppola’s Vietnam War epic, “Apocalypse Now.”

Sheen’s other notable films credits include Richard Attenborough’s Oscar-winning Best

Picture “Gandhi,” Oliver Stone’s “Wall Street,” Rob Reiner’s “The American President,”

written by Aaron Sorkin, and Steven Spielberg’s “Catch Me If You Can.”

Sheen’s upcoming films include Gregory Nava’s “Bordertown,” with Jennifer

Lopez and Antonio Banderas; “Talk to Me,” directed by Kasi Lemmons and starring Don

Cheadle; and “Bobby,” in which Sheen joined an ensemble cast under the direction of his

son Emilio Estevez.

RAY WINSTONE (Mr. French) will next be seen in Anthony Minghella’s

“Breaking and Entering,” with Jude Law and Juliette Binoche, which premiered at the

2006 Toronto International Film Festival. His upcoming film credits also include the title

role in the fantasy adventure “Beowulf,” being directed by Robert Zemeckis for a 2007

release.

Earlier in his career, Winstone won a 1998 British Independent Film Award for

Best Actor, and earned a BAFTA Award nomination, for his performance in Gary

Oldman’s drama “Nil by Mouth.” The following year, he gained another British

Independent Film Award nomination for his work in Tim Roth’s drama “The War Zone.”

Winstone received his third British Independent Film Award nomination for Best Actor

for his role in the 2000 crime drama “Sexy Beast,” in which he starred with Ben

Kingsley. In addition, he shared in a National Board of Review Award for Best

Ensemble for the 2001 film “Last Orders.” Winstone most recently earned an Australian

Film Institute Award nomination for Best Actor for his work in “The Proposition.”

Born in Hackney in the East End of London, Winstone was a champion boxer in

school and fought twice for England. He studied acting at the Corona School before

being cast by director Alan Clarke in the controversial project “Scum,” which was

originally made as a BBC play but was banned for its brutally violent content. Later

remade as a feature film, “Scum” launched Winstone’s career. His subsequent film

credits include “Quadrophenia,” “Ladybird Ladybird,” “Face,” “The Sea Change,” “The

Very Thought of You,” “Agnes Browne” and “Fanny and Elvis.” More recently,

Winstone was seen in Anthony Minghella’s “Cold Mountain” and Antoine Fuqua’s

“King Arthur,” and was heard as Mr. Beaver in the fantasy blockbuster “The Chronicles

of Narnia: The Lion, The Witch and the Wardrobe.”

Winstone has also worked extensively on television, starring in both series and

television movies. His latest credits include the title roles in the British telefilms “Henry

VIII” and “Sweeney Todd.”

VERA FARMIGA (Madolyn) starred in the acclaimed independent film “Down

to the Bone,” which premiered at the Sundance Film Festival, where Farmiga won a

Special Jury Prize for her performance. In addition, she won the Los Angeles Film

Critics Award for Best Actress and earned an Independent Spirit Award nomination for

Best Female for her work in that film. Farmiga will next be seen in Anthony Minghella’s

“Breaking and Entering,” in which she co-stars with Jude Law and Juliette Binoche. The

film had its premiere at the 2006 Toronto International Film Festival.

Farmiga has also completed work on a wide range of upcoming films, including

the thriller “Joshua,” in which she stars opposite Sam Rockwell under the direction of

George Ratliff; Tom Roberts’ “In Tranzit,” which she filmed in St. Petersburg, Russia,

with John Malkovich and Thomas Kretschmann; the offbeat romance “Quid Pro Quo”;

and the romantic drama “Never Forever,” written and directed by Gina Kim.

Earlier this year, Farmiga starred opposite Paul Walker in the crime thriller

“Running Scared.” Her additional film credits include Jonathan Demme’s “The

Manchurian Candidate,” in which she co-starred with Denzel Washington, Meryl Streep,

Liev Schreiber and Jon Voight; “Dummy,” starring opposite Adrien Brody; “Love in the

Time of Money,” with Michael Imperioli and Adrian Grenier; “Fifteen Minutes,” with

Robert De Niro and Edward Burns; “Autumn in New York,” starring Richard Gere and

Winona Ryder; and “The Opportunists,” opposite Christopher Walken.

ALEC BALDWIN (Ellerby) previously collaborated with director Martin

Scorsese in the acclaimed Howard Hughes biopic “The Aviator,” for which he shared in a

Screen Actors Guild (SAG) Award nomination for Outstanding Cast Performance.

Baldwin had previously earned an Academy Award nomination for Best Supporting

Actor for the 2003 independent film “The Cooler.” His performance in that film also

brought him the National Board of Review Award for Best Supporting Actor, as well as

Golden Globe, SAG Award and Critics’ Choice Award nominations.

Baldwin next stars in two more films due out this fall: “Running With Scissors,”

in which he joins an ensemble cast, including Annette Bening and Gwyneth Paltrow; and

“The Good Shepherd,” with Robert De Niro, Matt Damon and Angelina Jolie, under the

direction of De Niro. He also stars in the new television series “30 Rock,” with Tina Fey

and Tracy Morgan.

Baldwin’s many additional film credits include “Along Came Polly”; “The Cat in

the Hat”; David Mamet’s “State and Main,” which won the National Board of Review

Award for Best Ensemble; “The Edge”; Rob Reiner’s “Ghosts of Mississippi”;

“Heaven’s Prisoners”; “The Juror”; “The Shadow”; “Malice”; the screen version of

Mamet’s “Glengarry Glen Ross”; “Prelude to a Kiss”; “The Hunt for Red October”; Mike

Nichols’ “Working Girl”; Jonathan Demme’s “Married to the Mob”; and Tim Burton’s

“Beetlejuice.”

Baldwin has also been honored for his work on television. He most recently

earned two consecutive Emmy Award nominations for Outstanding Guest Actor on a

Comedy Series for his role on “Will & Grace,” the latest coming this year. In 2002, he

received Emmy and Golden Globe Award nominations for his portrayal of Defense

Secretary Robert McNamara in the HBO movie “Path to War.” Baldwin had earlier

garnered Emmy, Golden Globe and SAG Award nominations for his work in “A

Streetcar Named Desire.” He also starred in and executive produced the miniseries

“Nuremberg,” gaining Emmy and SAG Award nominations for his performance, and a

Golden Globe Award nomination for Outstanding Miniseries for his work as a producer.

A native of Massapequa, Long Island, New York, Baldwin graduated from New

York University’s Tisch School of the Arts. An accomplished stage actor, he earned a

Tony Award nomination for his performance as Kowalski in the 1992 Broadway revival

of “A Streetcar Named Desire,” and an Obie Award for his work off-Broadway in 1991’s

“Prelude to a Kiss.” His other stage credits include the Broadway plays “Twentieth

Century,” “Serious Money” and “Loot”; the New York Shakespeare Festival production

of “Macbeth”; and David Mamet’s “A Life in the Theatre,” presented off-Broadway.

ANTHONY ANDERSON (Brown) co-starred with Terrence Howard in 2005’s

critically acclaimed urban drama “Hustle & Flow.” Anderson earned his third NAACP

Image Award nomination for his performance in the film, and also shared in a Screen

Actors Guild Award nomination for Outstanding Motion Picture Cast. He had earlier

received Image Award nominations for his work in the sleeper hit comedy “Barbershop”

and the romantic comedy “Two Can Play That Game.” Anderson next co-stars in the scifi

actioner “Transformers,” directed by Michael Bay, which is due out in July 2007.

Anderson made his feature film debut in 1999’s “Life,” with Eddie Murphy and

Martin Lawrence, and went on to appear in Barry Levinson’s drama “Liberty Heights,”

Andrzej Bartkowiak’s actioner “Romeo Must Die,” and the hit comedy “Big Momma’s

House.” He first gained the attention of critics and audiences when he starred as one of

Jim Carrey’s unlikely sons in the Farrelly brothers’ comedy “Me, Myself & Irene.”

Anderson has since starred in such films as “See Spot Run,” “Exit Wounds,” “Kangaroo

Jack,” “Cradle 2 the Grave,” “Malibu’s Most Wanted,” “King’s Ransom” and “Scary

Movie 3 & 4.”

On television, Anderson starred on his own WB series, “All About the

Andersons,” which was loosely based on his own life. He more recently joined the cast

of the award-winning FX police drama “The Shield,” during the 2005 season, and had a

recurring role on “The Bernie Mac Show.”

Anderson grew up in Los Angeles, where he attended the High School for the

Performing Arts. While in school, he took first place in the NAACP’s ACTSO Awards

with a monologue from “The Great White Hope.” That performance also led to a

scholarship from Howard University. In 1996, Anderson landed his first professional job

on the Saturday morning teen series “Hang Time.” His other early credits include guest

roles on “JAG” and “NYPD Blue.” Anderson also caught the attention of “Ally McBeal”

creator David E. Kelley, who wrote a two-episode arc especially for him on the series.

# # #

ABOUT THE FILMMAKERS

MARTIN SCORSESE (Director) recently directed the biopic “The Aviator,”

which was honored with five Academy Awards; three Golden Globe Awards, including

Best Picture – Drama; and four BAFTA Awards, including Best Film; as well as

numerous other accolades. In addition, Scorsese earned Oscar, Golden Globe and

BAFTA Award nominations, as well as a Directors Guild of America Award nomination

for Outstanding Directorial Achievement in Motion Pictures. He was also named the

Director of the Year by the London Film Critics Circle.

Scorsese was born in 1942 in New York City, and raised in the downtown

neighborhood of Little Italy, which would later provide the inspiration for several of his

films. In 1966, he earned a master’s degree in film communications from New York

University’s School of Film. During this time, he made numerous prize-winning short

films, including “The Big Shave.”

In 1968, Scorsese directed his first feature film, “Who’s That Knocking at My

Door?” He went on to serve as an assistant director and an editor on the 1970

documentary “Woodstock,” and then won critical and popular acclaim for his 1973 film

“Mean Streets.” The following year, Scorsese directed his first documentary film,

“Italianamerican.”

Scorsese’s “Taxi Driver” was awarded the Palme d’Or at the 1976 Cannes Film

Festival. He followed with “New York, New York,” “The Last Waltz,” and “Raging

Bull,” which garnered two Academy Awards. Scorsese subsequently directed such films

as “The King of Comedy,” “The Color of Money,” “The Last Temptation of Christ,”

“GoodFellas,” “Cape Fear,” “Casino,” “Kundun” and “The Age of Innocence.”

In 1996, Scorsese completed the four-hour documentary “A Personal Journey

with Martin Scorsese Through American Movies,” co-directed by Michael Henry Wilson.

The documentary was commissioned by the British Film Institute to celebrate the 100th

anniversary of the birth of cinema. In 2001, Scorsese made “Il Mio Viaggio in Italia,” an

epic documentary that affectionately chronicles his love for Italian cinema.

Scorsese’s long-cherished feature film project, “Gangs of New York,” was

released in 2002, earning a number of honors, including a Golden Globe Award for Best

Director. The following year, PBS broadcast the seven-film documentary series “Martin

Scorsese Presents: The Blues.”

In 2005, “No Direction Home: Bob Dylan” was aired as part of the “American

Masters” series on PBS and released on DVD worldwide. The documentary brought

Scorsese a Grammy Award for Best Long Form Music Video.

Scorsese is the founder and chair of The Film Foundation, a non-profit

organization dedicated to film preservation. He is also a co-chair of the Tribeca Film

Festival. Over the course of his career, he has received many awards and honors,

including: the Golden Lion from the 1995 Venice Film Festival; the AFI Life

Achievement Award in 1997; the Film Society of Lincoln Center’s 25th Gala Tribute in

1998; the Cavaliere di Gran Croce, Italy’s highest honor, presented in 2000; the DGA

Lifetime Achievement Award in 2003; and the Officer de la Legion d’Honneur,

presented by the Culture Minister of France for outstanding service to France, in 2005.

WILLIAM MONAHAN (Screenwriter) had already had success as a journalist

and author before segueing to screenwriting. In just a few years of writing screenplays

professionally, he has already worked with some of the biggest names in the business.

Prior to “The Departed,” Monahan wrote the script for 2005’s “Kingdom of

Heaven,” an epic action drama set during the Crusades, directed by Ridley Scott and

starring Orlando Bloom. In May 2006, the critically acclaimed director’s cut of the film

was released on DVD.

Born in Boston and raised in Massachusetts, Monahan attended the University of

Massachusetts at Amherst. Moving to New York City, he went on to work as a

journalist, essayist and critic, and was also an editor at SPY magazine.

In 1997, Monahan won a Pushcart Prize for short fiction, and published his first

novel, the widely praised Light House: A Trifle.

Turning to screenwriting in 2001, Monahan sold his script “Tripoli,” about

William Eaton’s epic march on Tripoli during the Barbary Wars, which Ridley Scott was

set to direct. Although the project never came to fruition, Monahan was commissioned to

write an original epic set in the Middle Ages. That film became Scott’s “Kingdom of

Heaven.”

Monahan is currently working on several upcoming projects, including

“Penetration,” an adaptation of David Ignatius’ novel, which will reunite him with

director Ridley Scott, and “The Venetian,” a historical epic based on the travels of Marco

Polo.

BRAD PITT (Producer), one of the film industry’s most prominent stars, is an

award-winning actor and is also quickly gaining success as a producer under his Plan B

Entertainment banner.

Pitt next stars with Cate Blanchett in Alejandro González Inárritu’s drama

“Babel,” which screened in competition at the 2006 Cannes Film Festival, earning

widespread acclaim and winning the award for Best Director. He also stars as Jesse

James in Andrew Dominik’s “The Assassination of Jesse James by the Coward Robert

Ford,” which Pitt also produced. The film is due out in 2007. Pitt is currently filming

“Ocean’s 13,” slated for release in summer 2007, and he will then begin production on

David Fincher’s “The Curious Case of Benjamin Button,” in which he again stars

opposite Cate Blanchett.

As a producer, Pitt’s upcoming films for Plan B include “Running With Scissors,”

starring Annette Bening, Gwyneth Paltrow, Joseph Fiennes and Alec Baldwin; “Peace

Like a River,” starring Billy Bob Thornton; “A Mighty Heart,” starring Angelina Jolie

and Dan Futterman; “Shantaram,” starring Johnny Depp; and “A Million Little Pieces.”

Plan B previously produced Tim Burton’s fantasy hit “Charlie and the Chocolate

Factory,” starring Johnny Depp; and Wolfgang Petersen’s historical epic “Troy,” in

which Pitt also starred.

Born in Oklahoma, Pitt began his acting career with smaller roles in films and on

television. In 1991, he first gained the attention of critics and audiences with his

breakthrough performance as the seductive hitchhiker in Ridley Scott’s controversial hit

“Thelma & Louise.” He went on to star in Robert Redford’s “A River Runs Through It,”

Dominic Sena’s “Kalifornia” and Neil Jordan’s “Interview with the Vampire.”

Pitt received a Golden Globe Award nomination for his performance in 1994’s

“Legends of the Fall.” Two years later, he was honored with an Academy Award

nomination and won a Golden Globe Award for Best Actor for his role in Terry Gilliam’s

“Twelve Monkeys.”

Pitt subsequently earned praise for his work in the David Fincher films “Se7en”

and “Fight Club”; Jean-Jacques Annaud’s “Seven Years in Tibet”; and Guy Ritchie’s

“Snatch.” He also joined an all-star ensemble cast, including George Clooney, Julia

Roberts, Matt Damon, Don Cheadle and Bernie Mac, in Steven Soderbergh’s hit remake

of “Ocean’s Eleven.” Pitt more recently starred in the sequel “Ocean’s Twelve,” which

reunited the cast and director Soderbergh; and the smash hit action comedy “Mr. & Mrs.

Smith,” opposite Angelina Jolie.

Pitt’s additional film credits include: Tony Scott’s “Spy Game,” with Robert

Redford; Gore Verbinski’s “The Mexican,” with Julia Roberts and James Gandolfini; the

title role in Martin Brest’s “Meet Joe Black”; Alan J. Pakula’s “The Devil’s Own”; Barry

Levinson’s “Sleepers”; Tony Scott’s “True Romance”; Ralph Bakshi’s “Cool World”;

and “Johnny Suede,” which was named Best Picture at the 1991 Locarno International

Film Festival. Pitt has also made cameo appearances in Soderbergh’s “Full Frontal” and

George Clooney’s “Confessions of a Dangerous Mind,” and lent his voice to the title

character in the animated feature “Sinbad: Legend of the Seven Seas.”

BRAD GREY (Producer) is the Chairman and Chief Executive Officer of

Paramount Pictures Corporation.

One of the foremost entrepreneurs in entertainment, Grey built his former

company, Brillstein-Grey Entertainment, into one of the industry’s elite organizations,

named by Forbes as “Hollywood’s most successful management and production firm.”

Grey also created the motion picture production company Plan B Entertainment,

in partnership with Brad Pitt. The first picture released by the company was Wolfgang

Petersen’s historical epic “Troy,” starring Pitt and Orlando Bloom.

Grey’s motion picture producer credits include last year’s “Charlie and the

Chocolate Factory,” starring Johnny Depp under the direction of Tim Burton. In

addition, Grey has produced some of the most celebrated programs on television,

including HBO’s Emmy award-winning series “The Sopranos.”

He is a Golden Globe and Emmy Award winner, as well as a four-time recipient

of the George Foster Peabody Award.

Grey serves on UCLA’s Board for the Medical Sciences, the USC School of

Cinema-Television Board of Councilors, and the Boards of Directors for Project A.L.S.

and NYU’s Tisch School of the Arts.

GRAHAM KING (Producer) is President and CEO of Initial Entertainment

Group, one of Hollywood’s leading independent film companies, which acquires,

produces or co-produces films for the worldwide market. King, who founded Initial in

1995, has emerged as a formidable producer of both major motion pictures and

independent features.

“The Departed” marks King’s third collaboration with Martin Scorsese. In 2004,

he produced Scorsese’s widely praised Howard Hughes biopic, “The Aviator,” starring

Leonardo DiCaprio, for which King earned an Academy Award nomination and won a

BAFTA Award for Best Picture. He was also honored by the Producers Guild of

America with a Golden Laurel Award for Producer of the Year. King had earlier been a

co-executive producer on Scorsese’s epic drama “Gangs of New York,” starring

DiCaprio, Daniel Day-Lewis and Cameron Diaz.

Under the Initial Entertainment banner, King has also served as an executive

producer on such films as “The Dangerous Lives of Altar Boys,” produced by and

starring Jodie Foster; Michael Mann’s biographical drama “Ali,” starring Will Smith in

the title role; and Steven Soderbergh’s Oscar-winning ensemble drama “Traffic.” King

went on to executive produce the television miniseries “Traffic,” for which he received

an Emmy Award nomination for Outstanding Miniseries.

Currently, King is a producer on such upcoming films as the Edward Zwickdirected

drama “Blood Diamond,” starring Leonardo DiCaprio, Djimon Hounsou and

Jennifer Connelly, due out this December; and the Nicolas Cage film “Next.”

A native of the United Kingdom, King began his career at the studio level in

1982, when he moved to the United States and joined the international distribution

department at Twentieth Century Fox. In 1987, King moved from Fox to Cori Films, a

Los Angeles-based international sales company, where he continued to widen his

knowledge of the international market. After a five-year tenure with Cori Films, King

joined Kings Road Productions. Three years later, he left to form Initial Entertainment

Group.

Recently, Initial Entertainment Group signed a first-look producing deal with

Warner Bros. Pictures. Initial also has an in-house production deal with Johnny Depp

and his company, Infinitum Nihil. Initial presently has a wide range of films in various

stages of production and development, on which King is also a producer, including

“Shantaram,” with Warner Bros. and Infinitum Nihil, “Benighted,” and “Prince of

Thieves,” to name a few.

ROY LEE (Executive Producer) made his producing debut as an executive

producer on the smash hit horror film “The Ring,” directed by Gore Verbinski and

starring Naomi Watts. The film was the first to be produced under the banner of Vertigo

Entertainment, the motion picture development and production company Lee co-founded

with Doug Davison. Lee also served as an executive producer on the sequel, “The Ring

Two,” which was directed by Hideo Nakata, the director of the original Japanese hit on

which “The Ring” was based.

Lee also produced “The Grudge,” the remake of the Japanese horror hit “Ju-On,”

which starred Sarah Michelle Gellar. The film had a record-breaking opening in October

2004, and still holds the all-time record for a horror film opening. Lee most recently

executive produced the sequel, “The Grudge 2,” starring Gellar and Amber Tamblyn,

which is due out this fall. His other producing credits include “Dark Water,” starring

Jennifer Connelly; the true-life family adventure hit “Eight Below,” starring Paul Walker;

and the romantic drama “The Lake House,” starring Keanu Reeves and Sandra Bullock.

A Korean-American, born in Brooklyn and raised in Bethesda, Maryland, Lee

earned a bachelor’s degree from George Washington University and a law degree from

American University. After a brief stint as a corporate attorney, Lee relocated from

Washington, DC, to Los Angeles in 1996, to pursue a career in the film industry. He

landed his first job with the production company Alphaville, where he worked on such

films as “The Mummy,” “The Jackal” and “Michael.”

With his experience tracking scripts at Alphaville, he later co-founded a website,

called ScriptShark.com, which allowed aspiring writers to have their screenplays

evaluated by industry professionals. Its success led to an assignment with a talent

management company, where Lee tracked short films to play on personal computers. In

2001, Lee began importing films from Japan, Korea, Hong Kong and Indonesia to be

remade in the United States, selling the rights to American movie studios on behalf of

their Asian distributors. This practice led to him being dubbed “The Remake Man” in a

2003 New Yorker magazine profile.

Lee and Davison formed Vertigo Entertainment in 2001. They are presently

developing and producing a variety of film projects for different studios. Some of the

titles Lee is producing for Vertigo include “The Visiting,” starring Nicole Kidman and

Daniel Craig; the thriller “Strangers,” starring Liv Tyler; and a remake of the paranormal

thriller “The Eye,” starring Jessica Alba.

DOUG DAVISON (Executive Producer) is partnered with Roy Lee at Vertigo

Entertainment, the motion picture development and production company the pair founded

in 2001. Under the Vertigo Entertainment banner, Davison produced “The Grudge,”

starring Sarah Michelle Gellar, which was based on the Japanese horror hit “Ju-On.”

Opening in October 2004, the film still holds the record for the biggest horror film

opening weekend ever. Davison went on to produce another horror thriller, “Dark

Water,” starring Jennifer Connelly and directed by Walter Salles. In 2006, Davison

switched gears to produce the romantic drama “The Lake House,” starring Sandra

Bullock and Keanu Reeves.

Davison most recently produced “The Grudge 2,” starring Sarah Michelle Gellar

and Amber Tamblyn, which is due out this fall, and he is in post-production on “The

Visiting,” a remake of “Invasion of the Body Snatchers,” starring Nicole Kidman and

Daniel Craig under the direction of Oliver Hirschbiegel. In addition, Davison is in preproduction

on “The Strangers,” a horror film starring Liv Tyler; the thriller “Addicted,”

starring Sarah Michelle Gellar and directed by Joel Bergvall and Simon Sandquist; and

“My Sassy Girl,” a romantic comedy starring Elisha Cuthbert, to be directed by Yann

Samuell.

A native of Washington, DC, Davison graduated from Hamilton College in

upstate New York with a degree in English literature. Moving to New York City, he

began his career as a set production assistant on “Die Hard: With A Vengeance” and then

worked as a script reader at New Line Cinema. Davison relocated to Los Angeles, where

he landed a job at Mad Chance Productions. Under the tutelage of Andrew Lazar, he was

the company’s director of development and worked his way up to President of

Production. Davison’s first producing credit was as a co-producer on “Death to

Smoochy,” directed by Danny DeVito, and starring Robin Williams and Edward Norton.

While at Mad Chance, Davison also developed such projects as “Space Cowboys,” “Cats

& Dogs” and “Confessions of a Dangerous Mind.”

G. MAC BROWN (Executive Producer) is currently collaborating with Baz

Luhrmann on his as-yet-untitled pre-World War II drama, set in Australia and starring

Nicole Kidman and Hugh Jackman. Prior to “The Departed,” Brown executive produced

Sydney Pollack’s thriller “The Interpreter,” starring Nicole Kidman and Sean Penn, and

produced Adrian Lyne’s acclaimed dramatic thriller “Unfaithful,” starring Diane Lane

and Richard Gere. He was the sole producer on Beeban Kidron’s “To Wong Foo, Thanks

for Everything! Julie Newmar,” starring Wesley Snipes, Patrick Swayze and John

Leguizamo.

Brown also had a long association with director Nora Ephron, co-producing the

comedy “Michael,” starring John Travolta, William Hurt and Andie MacDowell; and

executive producing the romantic comedy hit “You’ve Got Mail,” pairing Tom Hanks

and Meg Ryan, and the crime comedy “Lucky Numbers,” starring John Travolta and Lisa

Kudrow. His other film credits include “Scent of a Woman,” “In & Out,” “Flesh and

Bone,” “Anna and the King,” “Gloria,” “She-Devil,” “With Honors,” “The Cowboy

Way” and “Last Exit to Brooklyn.”

KRISTIN HAHN (Executive Producer) co-directed, wrote and produced the

award-winning documentary “Anthem,” which was released theatrically and aired on

HBO. She also co-wrote the companion book, Anthem: An American Road Story,

published by HarperCollins. Hahn went on to write In Search of Grace: An Exploration

of Religious Faith in America, also published by HarperCollins.

Following the release of In Search of Grace, Hahn started a production company

with Jennifer Aniston and Brad Pitt. That venture became Plan B Entertainment, where

Hahn oversaw a large slate of projects for over three years. She continues to produce a

handful of projects with Plan B, while also producing independently and with Jennifer

Aniston at a variety of studios.

GIANNI NUNNARI (Executive Producer) is the founder and principal producer

of Hollywood Gang Productions, established in 1997. Nunnari’s producing credits

include Oliver Stone’s “Alexander,” Robert Rodriguez’s “From Dusk Till Dawn” trilogy,

and David Fincher’s “Se7en.”

Nunnari is also a producer on the upcoming film adaptation of Frank Miller’s

graphic novel “300,” starring Gerard Butler and directed by Zack Snyder, set for a March

2007 release; “N: Napoleon and Me,” directed by Paolo Virzi and starring Daniel Auteuil

and Monica Bellucci, which debuted at the Rome Film Festival; “11 Minutes,” the film

adaptation of Paulo Coelho’s bestselling novel of the same title; and “Everybody’s Fine,”

a remake of the Italian classic, to be directed by Kirk Jones. Nunnari is also currently in

development on a feature adaptation of Frank Miller’s graphic novel “Ronin,” with DC

Comics, and “Silence,” the film adaptation of Shusaku Endo’s novel Chinmoku, to be

helmed by Martin Scorsese.

JOSEPH REIDY (Co-Producer/First Assistant Director) most recently

collaborated with Martin Scorsese as the co-producer and first assistant director on “The

Aviator.” “The Departed” marks Reidy’s eleventh film project with the director, having

previously served in the same capacities on “Gangs of New York” and “Bringing Out the

Dead,” and as the first assistant director and associate producer on “Casino” and “The

Age of Innocence.” He was also the first assistant director on “Cape Fear,” “The Last

Temptation of Christ” and “The Color of Money,” as well as the first assistant director

and second unit director on “GoodFellas.”

Reidy has also worked multiple times with other directors. For Oliver Stone, he

served as the first assistant director and associate producer on “JFK,” “The Doors” and

“Born on the Fourth of July,” and as the first assistant director on “Talk Radio.” Reidy

teamed up with Robert Redford as the first assistant director and co-producer on “The

Horse Whisperer” and as the first assistant director on “Quiz Show,” and worked with

Mike Newell as the first assistant director on “Mona Lisa Smile” and “Donnie Brasco.”

His additional credits as a first assistant director include Barry Levinson’s “Sleepers,”

Robert De Niro’s “A Bronx Tale,” Irwin Winkler’s “Night and the City,” Adrian Lyne’s

“Jacob’s Ladder,” Ridley Scott’s “Someone to Watch Over Me,” Peter Yates’ “The

House on Carroll Street,” and Sidney Lumet’s upcoming dramatic thriller “Before the

Devil Knows You’re Dead.”

MICHAEL BALLHAUS (Director of Photography), a three-time Academy

Award nominee in the category of Best Cinematography, earned his most recent Oscar

nod for Martin Scorsese’s “Gangs of New York.” He had previously been Oscar-

nominated for his work on Steve Kloves’ “The Fabulous Baker Boys” and James L.

Brooks’ “Broadcast News.” Ballhaus also received BAFTA Award nominations for his

work on the Scorsese-directed films “Gangs of New York,” “The Age of Innocence” and

“GoodFellas,” and gained an Independent Spirit Award nomination for Scorsese’s “After

Hours.” “The Departed” marks Ballhaus’ seventh project with Scorsese, also including

“The Color of Money” and “The Last Temptation of Christ.”

A native of Germany, Ballhaus lensed 15 films for the late German director

Rainer Werner Fassbinder. In 1983, he made his U.S. debut as a director of photography

on John Sayles’ “Baby, It’s You.” He has since worked with such filmmakers as Francis

Ford Coppola on “Bram Stoker’s Dracula”; Wolfgang Petersen on “Air Force One” and

“Outbreak”; Mike Nichols on “What Planet Are You From?,” “Primary Colors,”

“Postcards from the Edge” and “Working Girl”; Robert Redford on “Quiz Show” and

“The Legend of Bagger Vance”; Barry Levinson on “Sleepers”; and, more recently,

Nancy Meyers on “Something’s Gotta Give.”

In 2006, Ballhaus received the Berlinale Camera at the 56th Berlin International

Film Festival for his contributions to film.

KRISTI ZEA (Production Designer) reunites with director Martin Scorsese on

“The Departed,” which is her third film project with the director. She previously served

as the production designer on Scorsese’s “GoodFellas,” as well as the “Life Lessons”

segment from “New York Stories.” Her credits as a production designer also include

multiple collaborations with Jonathan Demme on “The Manchurian Candidate,”

“Beloved,” “Philadelphia,” The Silence of the Lambs” and “Married to the Mob”; and

Brett Ratner on “Red Dragon” and “The Family Man.” Her other production design

credits include Roger Michell’s “Changing Lanes,” Barry Levinson’s “Sleepers,” Jon

Avnet’s “The War,” George Miller’s “Lorenzo’s Oil,” and Thomas Schlamme’s “Miss

Firecracker.” She most recently completed work on Neil Jordan’s “The Brave One,”

slated for release in fall 2007.

Zea has had a multi-faceted film career, also encompassing work as a producer,

second unit director and costume designer. Zea was a producer on James L. Brooks’ “As

Good As It Gets,” for which she shared in an Oscar nomination for Best Picture with

Brooks and Bridget Johnson. She was also a second unit director and associate producer

on “Philadelphia”; an associate producer on “Broadcast News” and “Lucas”; and a

second unit director on “Sleepers” and “Beloved.”

As a costume designer, Zea’s credits include Lawrence Kasdan’s “Silverado”;

George Roy Hill’s “The Little Drummer Girl”; Franco Zeffirelli’s “Endless Love”; and

three films for director Alan Parker, “Birdy,” “Shoot the Moon” and “Fame.”

In addition to her film work, Zea teaches Production Design for Film in the

Graduate Program at New York University’s Tisch School of the Arts.

THELMA SCHOONMAKER (Editor) is a two-time Academy Award winner

for her editing on Martin Scorsese’s “The Aviator” and “Raging Bull.” She also received

Oscar nominations for her work on two more Scorsese films, “Gangs of New York” and

“GoodFellas.” Early in her career, Schoonmaker earned her first Oscar nomination as the

supervising editor for the documentary “Woodstock,” on which she shared the editing

room with Scorsese, among others. In addition, Schoonmaker won BAFTA Awards for

Best Editing on “GoodFellas” and “Raging Bull,” and was honored by her peers with

Eddie Awards for “The Aviator,” “Gangs of New York” and “Raging Bull.”

Schoonmaker met Scorsese during a six-week summer course at New York

University’s Film School. A few years later, she was editing his first full-length feature,

“Who’s That Knocking at My Door.” They later reunited on “Raging Bull,” and she has

since edited all of the director’s feature films, including “The King of Comedy,” “After

Hours,” “The Color of Money,” “New York Stories,” “The Last Temptation of Christ,”

“Cape Fear,” “The Age of Innocence,” “Casino,” “Kundun” and “Bringing Out the

Dead,” as well as the aforementioned films.

Schoonmaker has also edited several of Scorsese’s documentaries, including “A

Personal Journey with Martin Scorsese Through American Movies,” and “Il Mio Viaggio

In Italia” (“My Voyage to Italy”).

Apart from her editing career, she works tirelessly to promote the films and

writings of her late husband, the Academy Award-nominated director Michael Powell.

SANDY POWELL (Costume Designer) is a two-time Academy Award winner

and has earned five additional Oscar nominations. In 1999, she received dual Academy

Award nominations for her work on John Madden’s “Shakespeare in Love” and Todd

Haynes’ “Velvet Goldmine,” winning the Oscar for “Shakespeare in Love.” She more

recently won her second Oscar for her work on Martin Scorsese’s “The Aviator.” Powell

has also been Oscar-nominated for the costume designs in Scorsese’s “Gangs of New

York,” as well as “Mrs. Henderson Presents,” “The Wings of the Dove” and “Orlando.”

Powell was similarly honored with BAFTA Award nominations for all of the

above titles, winning the BAFTA Award for “Velvet Goldmine.” In addition, she

garnered BAFTA Award nominations for her work on the Neil Jordan-directed films

“Interview with the Vampire” and “The End of the Affair.” Powell has also collaborated

with Jordan as the costume designer on “The Butcher Boy,” “Michael Collins,” “The

Crying Game” and “The Miracle.”

Powell’s other film credits include “Sylvia,” starring Gwyneth Paltrow; Todd

Haynes’ “Far From Heaven”; Atom Egoyan’s “Felicia’s Journey” and “Hilary and

Jackie”; Mike Figgis’ “Miss Julie” and “Stormy Monday”; “Rob Roy” starring Liam

Neeson and Jessica Lange; and “Being Human,” starring Robin Williams.

In addition to films, Powell has designed costumes for the theatrical stage, as well

as for the ballet and the opera.

HOWARD SHORE (Composer) has collaborated with Martin Scorsese on four

previous films: “The Aviator,” “Gangs of New York,” “Made in Milan” and “After

Hours.” He is a three-time Academy Award winner for his work on “The Lord of the

Rings” films. Shore took home his first Oscar for 2001’s “The Lord of the Rings: The

Fellowship of the Ring.” Two years later, he won dual Oscars for the last installment of

the trilogy, “The Lord of the Rings: The Return of the King,” one for Best Original Score

and a second for Best Original Song for “Into the West.” Shore’s work on “The Lord of

the Rings” films also earned him two Golden Globe Awards in the categories of Best

Score and Best Song for “The Return of the King”; a Golden Globe nomination for “The

Fellowship of the Ring”; four Grammy Awards, including one each for the soundtrack

albums for “The Fellowship of the Ring,” “The Two Towers” and “The Return of the

King,” and one for Best Song for “Into the West”; the American Film Institute Award for

Composer of the Year; and numerous critics groups awards. In addition, he received

BAFTA Award nominations for the “The Fellowship of the Ring” and “The Return of the

King.”

Shore more recently won a Career Achievement Award for Music Composition

from the National Board of Review. For his work on Martin Scorsese’s “The Aviator,”

Shore won a Golden Globe Award and earned a BAFTA Award nomination. He had

earlier received BAFTA Award nominations for the scores for Scorsese’s “Gangs of New

York” and Jonathan Demme’s “The Silence of the Lambs.”

The composer has collaborated with director David Cronenberg on 11 films,

beginning in 1979 with “The Brood,” and going on to include “Scanners,”

“Videodrome,” “The Fly,” “Dead Ringers,” “Naked Lunch,” “M. Butterfly,” “Crash,”

“eXistenZ,” “Spider” and, most recently, “A History of Violence.” Shore is also writing

an opera based on Cronenberg’s “The Fly,” to be directed by Cronenberg and staged for

the Los Angeles Opera’s 2007-2008 season.

Shore’s other film credits include David Fincher’s “Panic Room” and “Se7en”;

Kevin Smith’s “Dogma”; Stephen Frears’ “High Fidelity”; Harold Ramis’ “Analyze

This”; Tom Hanks’ “That Thing You Do!”; Tim Burton’s “Ed Wood”; Joel

Schumacher’s “The Client”; Jonathan Demme’s “Philadelphia”; Chris Columbus’ “Mrs.

Doubtfire”; Barbet Schroeder’s “Single White Female”; and Penny Marshall’s “Big.”

Leonardo DiCaprio, Matt Damon, Jack Nicholson and Mark Wahlberg star in Martin

Scorsese’s new crime drama “The Departed.”

“The Departed” is set in South Boston where the state police is waging war on organized crime. Young undercover cop Billy Costigan (DiCaprio) is assigned to infiltrate the mob run by gangland chief Costello (Nicholson). While Billy is quickly gaining Costello’s confidence, Colin Sullivan (Damon), a hardened young criminal who has infiltrated the police department as an informer for Costello, is rising to a position of power in the Special Investigation Unit.

Each man becomes deeply consumed by his double life, gathering information about the plans and counter-plans of the operations he has penetrated. But when it becomes clear to both the gangsters and the police that there’s a mole in their midst, Billy and Colin are suddenly in danger of being caught and exposed to the enemy – and each must race to uncover the identity of the other man in time to save himself.

Warner Bros. Pictures presents, A Plan B / Initial Entertainment Group / Vertigo Entertainment Production, in association with Media Asia Films, a Martin Scorsese Picture, “The Departed,” starring Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winstone, Vera Farmiga and Alec Baldwin.

The film is directed by Martin Scorsese, from a screenplay by William Monahan. Brad Pitt, Brad Grey and Graham King produced “The Departed,” with Roy Lee, Doug Davison, G. Mac Brown, Kristin Hahn and Gianni Nunnari serving as executive producers and Joseph Reidy co-producing.