MBN: THE MONTE BUBBLES NETWORK

Dec 22

Night at The Museum

The hallowed halls of the Natural History Museum are lined with the most amazing

things – wild-eyed prehistoric creatures, fierce ancient warriors, long lost tribes, African

animals and history’s legendary heroes – all frozen forever in time. Or . . . are they? In the

action-adventure-comedy, NIGHT AT THE MUSEUM, the brand new night guard at the

Natural History Museum is about to discover that when the visitors go home at the end of the

day, the real adventure begins – as the museum’s stuffed, waxed and well-preserved residents

come out to play.

The fantastical adventure kicks off when Larry Daley (BEN STILLER), a down-and-

out dreamer whose imaginative ideas have never paid off, finds himself in desperate need of a

job. Larry has always believed he was destined for big things. But he has no idea just how

literally gargantuan and hairy a challenge he will face when he grudgingly accepts the

supposedly menial graveyard shift as a security guard at the Natural History Museum. On his

very first night on the job, Larry is handed an over-sized flashlight and a dog-eared instruction

manual, then left all alone in the eerily quiet, cavernous museum. At least, he thinks he’s

alone.

But wait, what’s that noise? To his utter astonishment and disbelief, Larry watches in

shock and awe as, one by one, the primeval beasts and storied icons that surround him stir

magically to life – and total havoc ensues. Now, as Tyrannosaurus Rex and Attila The Hun

carve a swath of destruction through the marble corridors, and lions and monkeys prowl the

fragile exhibits, Larry is at a loss as to how to get the museum back under control. At his

wit’s end, Larry must recruit the help of historical heavyweight Teddy Roosevelt (ROBIN

WILLIAMS) just to survive the night. Facing the possibility of losing his job and letting

down his son Nick yet again, Larry must wage an incredible battle to save the museum,

hoping to become at last the bold, adventurous dad he’s always wanted to be. The man who’s

been forever waiting for his moment of greatness – just found it.

ENTERING THE MUSEUM:

THE FANTASY BEGINS

At the heart of NIGHT AT THE MUSEUM is an imagination-tickling dream that

anyone who’s ever wandered through a museum in wide-eyed awe has secretly harbored: that

outrageous fantasy in which the stuffed beasts and molded statues of the ancient past suddenly

burst their seams and bust out of their exhibits to come fully to life in the here and now.

“I think most of us have had that experience where you walk by a statue in a museum

and you could swear that you saw its eyes follow you,” says the film’s director Shawn Levy.

“It’s a little spooky and it’s also very cool to imagine what would really happen if that came

true – and, as a filmmaker, it’s exactly the kind of wild, incredible ‘what if’ that is completely

impossible to resist.”

Right from the beginning, the idea behind NIGHT AT THE MUSEUM proved

impossible to resist. It was all sparked when Croatian illustrator Milan Trenc first drew a

children’s storybook in which a brand new night guard at the Natural History Museum in New

York dozes off only to discover that one of the towering dinosaur skeletons he’s supposed to

be protecting has mysteriously wandered away! Suddenly, the guard discovers he is

surrounded by talking, growling and prowling statues, which turn the place upside down.

With its spirited humor and enchanting tale of an ordinary man faced with wrangling the

greatest legends of the past, the story became a family favorite.

It also seemed destined for the movies -- and the book was soon optioned by Fox, with

Chris Columbus and Michael Barnathan of 1492 Pictures attached to produce, and 1492’s

Mark Radcliffe attached to executive produce. The trio of filmmakers, who would later merge

contemporary humor and cutting-edge effects into modern adventure classics with the Harry

Potter series of films, envisioned an expanded story for NIGHT AT THE MUSEUM.

When Fox executives showed the book to screenwriters Thomas Lennon & Robert

Ben Garant – who came to the fore as partners with the runaway television hit “Reno 911”

(and the upcoming film version Reno 911!: Miami) -- the duo could barely contain

themselves. “We literally leapt from our seats,” says Lennon. “I mean, we’re both from New

York and we basically spent our boyhoods roaming the Natural History Museum. We could

draw you a map from memory, that’s how much we loved spending time there. It was simply

the coolest place on earth.”

Adds Garant: “The thing that really grabbed us is that we both had the same dream as

kids of hiding out in the museum and getting a chance to see what happens in there after it

closes. I think lots of kids, not to mention plenty of adults, have had that same dream. To be

there alone in the dark with all those legends of history and all those humongous creatures

would be the ultimate adventure.”

Inspired by these boyhood memories, the ideas came fast and furious to Lennon &

Garant. “The first thing we needed to figure out is where this spell has come from that is

bringing all the museum’s exhibits to life,” recalls Lennon. “We were both in complete awe

of the Egyptian Hall at the Met in New York and since Egyptians were very into keeping

things alive forever, it suddenly made sense that it all began with an ancient Egyptian slate

and the age-old wish for eternal youth.”

As they wrote, the core of the story became the character of Larry Daley, who

developed into an inveterate dreamer and schemer, unable to get even one of his endless slate

of overly ambitious projects off the ground. More importantly, Larry is also a wanna-be

stellar dad who takes the night guard job in the hopes of never disappointing his son again.

“Larry is that guy I think we all know who believes in his dreams but doesn’t entirely believe

in himself,” Garant explains. “He’s got these colossal ideas in his head all the time, but he’s

never had the opportunity to prove to himself or his family that he can actually make

something succeed – and he’s not sure he can, until now..”

With the characters set into motion, Lennon & Garant really started to have a blast, as

they began to figure exactly who and what Larry might encounter as his first night on the job

transforms from dull to downright mind-boggling. From the Hall of Civilizations to the

American Railroad Dioramas, there were myriad possibilities. “We started off by making a

list of all of our very favorite things from all our favorite museums – from the giant Easter

Island heads to the dioramas,” says Lennon. “We also knew we wanted Teddy Roosevelt to

be a major character because the Natural History Museum in New York is lined with quotes

from him and you really feel the spirit of the man in there – not to mention that he himself, as

a famous naturalist, wrangled some of the exhibits in there!” Roosevelt’s famous words of

wisdom – such as “it’s hard to fail but it’s worse never to have tried to succeed” – became

further inspiration for the themes underlying the entire story.

The screenwriters also engaged in an ongoing, typically boyish debate over which

creatures in the museum would prove most fearsome once awakened – and had fun dashing

any pre-conceived notions in that department. Notes Garant: “We decided the biggest things

in the museum might turn out to be shockingly fun-loving, while the scariest of all are some

of the smallest creatures!”

Along the way, Lennon & Garant refused to limit their writing in any way. “We

didn’t even think about if we were writing for kids or for adults – all we cared about was

writing a fun, action-packed movie that everyone would love,” sums up Lennon.

The results especially excited Shawn Levy, the director who has been behind some of

the last decade’s biggest comedy hits, yet who, ironically, had been looking for a “quieter”

film when he was offered the opportunity to take the helm of NIGHT AT THE MUSEUM. The

screenplay soon convinced him otherwise. “To me, what was so exciting was the story’s

blend of heart, humor and spectacle all in one big adventure,” he says. “The film, first and

foremost, tells a great story, but with a level of visual spectacle that goes way beyond what

you’d expect from a typical comedy and way more than any comedy I’ve ever done.”

Levy found himself not only dazzled by the audacious effects sequences but moved by

the plight of Larry Daley – who, at rock bottom, is simply a dad doing his bumbling and

blundering best to be a hero to his son. “I think if the story were only wild and funny and

filled with bells and whistles and visual effects it would miss part of the point,” notes Levy.

“What I loved about NIGHT AT THE MUSEUM is that it was clearly going to be all those

things but it was also very much about the heart of this character: a father who discovers that

the one great moment he has been waiting for all his life -- and was always telling his son was

coming – has finally arrived.”

Levy envisioned the film’s style as realistic, within the context of a big film with

fantastical elements. “It sounds like a weird thing to say about a movie in which museum

exhibits come to life, but because the whole premise is so wildly surreal, I felt that everything

around that premise should feel totally real – from the performances to the photography to the

digital effects,” he explains. “I think the best fantasies have that kind of grounding in reality.

Especially in this case, the fun was going to be in allowing the audience to really and truly

believe a museum could lead a whole other life by night. So that’s what we set out to do.”

THE NEW NIGHT GUARD:

BEN STILLER IS LARRY DALEY

Right off the bat, the filmmakers knew they wanted to cast Ben Stiller in lead role of

the hapless, yet ultimately heroic, new night guard Larry Daley. Not only is Stiller one of

today’s most popular comedic stars, but in films ranging from There’s Something About Mary

to Meet The Parénts, Stiller has established a reputation for embodying characters facing

circumstances that are outrageously stacked against them. His skill at depicting both the

humor and heartbreak of the ultimate common man who must break the mold made him a

perfect match for Larry Daley.

“Larry is a guy who never really got his act together, who is continually coming up

with another get-rich-quick idea that just doesn’t work,” explains Stiller. “He’s also worried

about losing his connection to his son because his wife is about to get re-married. Everything

is kind of coming to head and now, right before Christmas, he has to try to find a job. Of

course, there’s just one job available: night guard at the Natural History Museum. He thinks

it’s going to be the worst job imaginable but it turns out to be the most incredible thing that’s

ever happened to him.”

From the minute he read the script, Stiller knew he wanted to be part of Larry’s grand

adventure. “I just loved the ideas behind it,” he says. “I grew up about five blocks from the

Natural History Museum and as a kid it had this really magical aura about it. It’s not just

paintings on the wall but it’s where you can see all the very coolest things that ever existed --

lions and whales and Egyptians and dinosaurs – in one place. So the concept of everything

coming to life in there at night couldn’t have been more appealing and exciting. It was

something I felt I’d love to see.”

It was also something new for Stiller, whose comedy has never strayed into such a

magical zone before. “I’ve never had a chance to work in a movie that was this fantastical

before, where you have to sort of turn up the ‘fantastical meter,’” he notes. “But seriously, in

order to make the fantasy work, I think you have to keep it very real so that there’s always an

emotional connection to the characters. It’s that reality that allows you to believe in the magic

of Larry getting to encounter all these characters and creatures from the long ago past. For me,

the key was to just jump into the story and commit completely to the idea that this is really

happening.”

To help Stiller dive head-first into Larry’s implausible reality, especially in scenes

where he would be interacting with wholly digital creations, director Shawn Levy did what he

could to contribute – often by pretending he himself was some of the museum’s inanimate

creatures come to life! “There’s literally embarrassing, humiliating footage of me with fake

Tyrannosaurus talons saying “Ra-ahh” and chasing Ben down a hallway to get a realistic

reaction,” Levy admits. “Then they’d erase me in the computer and put in the dinosaur. And

that’s how we spent our days on this film.”

Adds Stiller: “I don’t know if Shawn worked in a dance troupe or a mime company or

an animal training facility, but he seemed to have a real affinity for playing off-camera

animals – he had me quite scared!”

Indeed, there were myriad physical challenges for Stiller, many of which unfolded

during his various and increasingly hilarious forms of running for his life. “Running was

huge in Ben’s role but he did wind up in great shape,” laughs Levy. But whether Stiller was

running from lions, Huns and miniature soldiers, or confessing his existential angst to Robin

Williams’s Teddy Roosevelt, or hoping to show his son just how cool his new job could be,

Levy found that the comic star was constantly pushing the bar – and the humor level. “The

thing about Ben, and I really admire this,” says the director, “is that he is always looking for

something better: a better performance, a better way of saying the line, a better nuance. So

there was always a lot of improvising on the set – and hence, there was also a lot of Ben and

the other actors cracking each other up!”

For Stiller, the key, he says, was keeping that childlike sense of wonder that hits

people of all ages in a museum, at the heart of his performance – something that came easily

to him. “I think all adults have a kid buried deep inside somewhere, but for some people it’s

closer to the surface --for me, my inner child is stuck in my throat,” he deadpans. “But it’s

that spirit that drew me to this film.”

THE OLD NIGHT GUARDS:

DICK VAN DYKE, MICKEY ROONEY AND BILL COBBS FORM A TRIO OF

TROUBLE

When Larry Daley takes the new night guard position at the Natural History Museum,

he replaces a trio of guards who appear to themselves be ancient relics – yet prove to have

their own diabolical agenda. To bring the colorful threesome of Cecil, Gus and Reginald to

life, the filmmakers ultimately chose three comic actors who have become legends in their

own right: the inimitable Dick Van Dyke, the beloved Mickey Rooney and the prolific star of

stage, television and screen Bill Cobbs.

Casting the octogenarian and septuagenarian stars was a blast for Shawn Levy. “I had

the great fortune of auditioning pretty much every exceptional actor over 65,” he recalls. “It

was amazing – I mean Dick Van Dyke actually came in for an audition. He doesn’t have to

audition but he and Mickey Rooney and Bill Cobbs all came in and really showed what they

could do with the material.”

Levy continues: “Once I saw those three actors together I knew it was going to be an

embarrassment of riches having them play these characters. Dick Van Dyke with his svelte,

debonair quality; Mickey with his charming, ‘non-tall’ quality and Bill, who has an enigmatic

depth, worked so well together and truly embodied the mischievous spirit of Cecil, Gus and

Reginald.”

Dick Van Dyke, who in addition to being one of the world’s most popular comedians,

is also indelibly entwined with such family film classics as Mary Poppins and Chitty Chitty

Bang Bang. Immediately enchanted by the story, Van Dyke was excited to take on the role of

Cecil, the former head night guard who helps to recruit and “train” Larry Daley. “With all of

the dinosaurs and Huns and animals, I thought it would be a riot,” Van Dyke says. “When I

read the script I knew it was that rare thing: a great all-audience film. So I said, I’ve got to be

a part of this. It’s one of those stories I can’t wait for my own grandkids to see. And between

Mickey Rooney and Bill Cobbs, we’re all about the same vintage, so we had great chemistry

as these old guys willing to do anything to be young again.”

For Ben Stiller, getting the chance to star with, and get duped by, Van Dyke was a

thrill. “I think Dick really does have an Egyptian tablet at home that’s the fountain of youth

because he’s like twice my age and I have about half his energy,” Stiller quips. “He’s a great

and funny actor who really knows his stuff so it was such a pleasure to watch him work.”

As for Mickey Rooney, Stiller says: “I never thought I’d get a chance to work with

the great Mickey Rooney – let alone be beat up by Mickey Rooney!”

Rooney, who began his career in the 1920s as an infant, has literally grown up with the

movies. “When I came to Hollywood, there was almost nothing here,” he recalls. “I was

right at the beginning of it and it’s been a thrill ever since.” Despite all the changes in motion

picture production, Rooney remains most attracted to what he believes is the consistent heart

and soul of movie-making – a great story – which is what drew him to NIGHT AT THE

MUSEUM. “I think we need more pictures like this,” he says. “Something the whole family

can see that’s historic, clever and funny. There aren’t many pictures like this that can bring

the whole family together in one entertainment.”

Rounding out the surprisingly treacherous trio is Bill Cobbs, a familiar face from

countless film and television roles, in the role of Reginald. He loved having the chance to riff

off Van Dyke and Rooney. “I’ve had a lot of good times in film, stage and television but this

was one of those truly great experiences where you not only get to combine comedy, drama

and improvisation but you get to watch masters come up with fantastic ideas,” he comments.

Cobbs especially enjoyed playing such a shady, and not even remotely geriatric,

elderly character. “To have me, Dick Van Dyke and Mickey Rooney playing the bad guys is

very unlikely, so you’ve got the makings of something very funny right from that idea. We

look like a bunch of harmless old men but we’re not -- and that’s what makes it so fun,” he

sums up.

Screenwriters Thomas Lennon & Robert Ben Garant were especially gratified by the

casting of the old night guards. Says Lennon: “We were thrilled by this trio – it’s like a little

time capsule of every funny actor since the Talkies began!”

THE MUSEUM’S RESIDENTS:

ROBIN WILLIAMS HEADS A CAST OF LARGER-THAN-LIFE CHARACTERS

Once the old night guards transfer their mantle to Larry Daley, he spends his first

night at the museum – a night that proves wildly unforgettable as the wax, stone and stuffed

exhibits that surround him in the dark roar to life. Amid the flying fur and chaos, Larry

discovers some amazing people whose help he’ll need if he’s going to survive until morning.

Larry’s greatest guidance comes from no less than one of the most lauded Americans

in history and a man who truly believed in the awesome inherent power of the “common man”

– the 26th President of the United States, Teddy Roosevelt.

To play Roosevelt, the filmmakers knew they would need someone who could hit all

the big comic notes of the situation while still bringing out the colorful, inspirational

personality of the real man. The person that came instantly to mind was Academy Award®

winner and four-time Oscar® nominee Robin Williams, whose career has careened between

unbridled comedy and intense dramatic portrayals. When offered the chance to play

Roosevelt – who, like Williams, sported a wide-ranging interest in history, politics, science

and nature – he could not pass it up.

“He was a larger-than-life figure in real life,” Williams says, “an extraordinary man

and an outrageously independent person who basically fought for what he called ‘the little

man.’ Reading about him established the idea that he was both a very ethical and charismatic

person. It was a blast getting to inhabit that kind of persona.”

Like the rest of his cast-mates, Williams, who previously starred in the hit family

fantasy Jumanji, couldn’t resist the imaginative concept of NIGHT AT THE MUSEUM.

“Museums naturally lend themselves to the question of just what goes on in there at night and

to have history come to life -- and confront you -- wow,” he says. “I love this kind of story

that’s part fable and part grand adventure. I especially loved the dioramas coming to life

because I collect miniatures and the idea of something on that scale coming alive is like ‘Yo,

dude!’ And it’s great fun to have Neanderthals and Huns running around again – they’re

always good for a party.”

Diving into research, Williams was increasingly fascinated by Roosevelt, and

especially his untiring, “can-do” attitude, which he attempts to get across to Larry Daley.

“His message to Larry is ‘you can do this, lad, and if you can bring order to this place,

imagine what else you can do.’ He offers him that old but great idea that you can pull

yourself up by your bootstraps.”

Once on the set, Williams was fully in his element. “This whole thing for me was like

Halloween,” he says. “One minute you’re with Tyrannosaurus Rex and then you see an

Egyptian King go by and the next you have a crush on Sacajawea. It was just like time

traveling.”

For Ben Stiller, working with Robin Williams made the fantasy all the more real, and

all the funnier. “Robin Williams was really the only the person who could do this role because

he’s so inimitable,” says Stiller. “He’s an iconic comedic fixture – which makes him sound

like a faucet or something – but he’s also a real student of history so he was perfect to play

Teddy Roosevelt. He brings the reality and soulfulness to this guy who, let’s face it, is really

just a wax figure – and he’s also incredibly funny. In the end, Teddy becomes Larry’s true

friend as he helps guide him through the museum and survive all the craziness.”

Other historical figures upon whom Larry Daley must rely in his quest to save the

museum include Sacajawea, the famous Shoshone guide who played an invaluable role in

Lewis & Clark’s historic expedition through the Pacific Northwest. In NIGHT AT THE

MUSUEM, she uses her famed skills to help Larry get the out-of-control museum back in line.

“She’s a tracker,” says rising young actress Mizuo Peck, who takes her first major Hollywood

role in the film, “so she’s smart and resourceful and really, really good at finding things.”

Peck was especially thrilled to get a chance to trade flirtations with no less than Robin

Williams, who plays Teddy Roosevelt, the fellow museum exhibit who catches Sacajawea’s

eye. “I still can’t believe it,” she says. “In our very first scene together, Robin has to come up

to me all awkward and shy and unable to talk. He was so sweet and vulnerable and tender, he

made it so easy for me. I instantly felt comfortable with him. Really this movie was

everything I’d ever dreamed about Hollywood magic – with all the giant sets, with sphinxes

and wild animals running around, plus Robin Williams. It couldn’t have been more exciting.”

Also excited to explore the ancient past was Rami Malek, the young Egyptian actor

currently seen on TV’s “The War at Home,” who portrays the Pharaoh Ahkmenrah, the

Egyptian mummy and teenaged king who has been sleeping for centuries, just waiting for his

chance to rule. Even Malek’s audition wasn’t run-of-the-mill – rather than simply read lines,

he had to reveal his own creative techniques for emerging from a sarcophagus!

Malek especially enjoyed the cliché-busting portrait of an Egyptian king. “You expect

this austere presence to come from a Pharaoh who is part of this big curse, but instead you get

someone who comes out with all this youthful exuberance, who’s basically a teenager looking

for a big adventure, so it’s a different take that’s really fresh and fun but still rooted in

tradition,” says Malek.

One of the most troublesome of the museum’s exhibits isn’t human at all, although he

is a primate – the diminutive capuchin monkey Dexter who wreaks mischief way out of

proportion to his size. Dexter isn’t digital either – he’s played by a real-life capuchin monkey

named Crystal who was trained by Mike Alexander and Tom Gunderson of Birds & Animals

Unlimited. “Dexter is a very mischievous little monkey but Crystal is quite good-natured,”

notes Alexander.

That was good news for Ben Stiller, who in one scene, has to endure Dexter biting his

nose, a trick that required some rather delicate training. “It was important that Ben be

completely comfortable with Crystal and that Crystal be comfortable with him before that

scene – so we actually went to Ben’s house and brought Crystal with us so they could get to

know each other. Lucky for everyone, Crystal liked him a lot,” Alexander says. “To be

honest, she mostly saw him as a prop!”

While Larry Daley is dodging fanged animals and spear-wielding tribesman by night,

by day he is fighting to keep his job – no easy feat considering he has a living nightmare of a

boss: the ridiculously officious Dr. McPhee. Playing McPhee is one of the brightest comic

stars from Britain, Ricky Gervais, who created and starred in the groundbreaking BBC series

“The Office.”

Gervais was drawn to the character of Dr. McPhee because he’s exactly the kind of

takes-himself-way-too-seriously character at which Gervais excels. “Here he is, in charge of

this place of education but he’s not quite articulate or smart enough to cut the mustard,”

Gervais explains. “He’s trying to run a tight ship and then he finds himself in a battle of wills

with this lowly security guard who has mucked up everything and frustrates him to no end.

There’s something very funny about a person in authority acting like a child!”

Especially fun for Gervais was the chance to trade barbs with Ben Stiller. “It’s been

such a joy working with Ben and we have a really fun dynamic in that we kind of each subvert

our roles,” he continues. “He’s supposed to be my subordinate and the kind of person who’s

always getting into trouble and I’m the one in charge – but when it comes down to it, my

character turns all bumbling and nervous, and Ben becomes the hero.”

Ben’s quest to get to the bottom of the museum’s mystery also leads him to grow

closer to one of the museum’s most impassioned Docents – Rebecca Hutman, who is fervently

researching a thesis on Sacajawea and is moved by Larry’s unexpected observations about

how “alive” history seems to be in the museum. To play Rebecca, the filmmakers chose Carla

Gugino, whose diverse career includes playing the mother of a family of underage spies in the

popular Spy Kids series and was most recently seen in Robert Rodriguez’s Sin City. Says

Levy of the choice: “Carla has a combination of intelligence, beauty and gravitas that was a

great match for the role of Rebecca.”

Gugino couldn’t put the script down, she was so riveted by the fantastical storytelling.

“To have a story like this one that celebrates history and brings the past and the present

together in such a fun and exciting way was really unique,” she says. “I had that same gut

feeling as with ‘Spy Kids’ that it had all the elements of a great, timeless story.”

Also joining the cast as Stiller’s son is newcomer Jake Cherry, who won the role after

extensive auditions. Though he was thrilled to get the part, Cherry really started to get excited

about what was ahead when he saw the sets for NIGHT AT THE MUSEUM. “There were

mummies and sarcophaguses and jackal guards and it was the coolest thing I’d ever seen,” he

sums up.

Another cast member already had a very intimate relationship with Ben Stiller – a

woman who is another legend in comedy history and Stiller’s real-life mother: Anne Meara.

Meara plays the employment agent who sets Larry up with the museum job. Although Meara

appeared in Reality Bites and Zoolander, it turns out this is the first time she and her son have

ever had a scene together one-on-one. Says Stiller: “She’s so funny and so talented, it was

great to finally work with her!”

Sums up Shawn Levy of the film’s entire cast: “This was a director’s dream – to have

actors ranging from Ben Stiller to Robin Williams and Ricky Gervais to Dick Van Dyke and

Mickey Rooney, you just knew that each performance would stand out on its own and be

exceptional. It was like a heavyweight bout of comic giants.”

BUILDING THE MUSEUM:

THE FILM’S DESIGN

When it came to NIGHT AT THE MUSEUM’s visual design, Shawn Levy knew he

faced a task of an out-sized scale. As he puts it: “When you have all of history to draw from,

that’s a pretty huge palette!” He began by assembling a crack team of artists led by Academy

Award winning production designer Claude Paré and sought-after costume designer Renée

April.

Their mission was nothing less than creating the interior of a world-class museum --

from scratch. While the film would use New York’s globally recognizable Natural History

Museum for exteriors, there was no way the production could unleash the story’s mayhem

within its halls lined with precious artifacts and priceless antiques. As Robin Williams notes:

You don’t want to hear, you’ve just knocked over a 14th century divan that was Louis the

Fourteenth’s!” So, the decision was made to create an unprecedented set of wonders on a

giant soundstage at the appropriately named Mammoth Studios in Vancouver – one that

would replicate a kind of “greatest hits” of the most riveting natural history exhibits in

existence.

The job of forging Shawn Levy’s vision for the innards of the museum fell in large

part to Claude Paré, who previously won an Oscar for the lavish, historical art design of

Martin Scorsese’s The Aviator. He knew this project would be a dizzying change of pace –yet

he couldn’t help but be excited by the gigantic challenge of it. “Usually a designer focuses on

one or two periods, but with NIGHT AT THE MUSEUM, there was a chance to touch on so

many different kinds of design, from ancient Egyptian temples to Western Cowboy scenes,

and to have fun with each of them,” says Paré.

Like an inspired curator, Paré put no limits on how far he could take things. “We did

match the big arched windows at the museum in New York for continuity from exterior to

interior,” Paré explains, “but other than that, from the moment you enter the revolving doors,

you’re entirely in the environment we created for the film -- apart from the Ocean Life Hall,

which is a digital composite of an exhibit at the New York Natural History Museum.”

For several weeks on end, the film’s set designers became temporary museum

designers, creating individual exhibits that tell unique stories -- from Inuit fisherman surviving

on the ice shelf to Neanderthals in their grotto attempting to make fire. “Each one of these

exhibits had to be individually illustrated, planned, built and set within their own niche,”

explains Paré. “At one point we had ten designers all working just on the plans for the various

museum exhibits. The goal was to make each one completely believable so we paid extreme

attention to detail.”

To keep up, the film’s construction shop ran 24 hours a day, 7 days a week, churning

out statues, models and miniatures. Paré even had his team building pyramids for the Egyptian

Hall, which was partly inspired by the beloved Egyptian exhibit at the Metropolitan Museum

in New York. Though Egypt’s pyramids required the labor of about 30,000 people for each

structure, Paré had to make do with a far smaller, but very resourceful, force. “Our goal was

to ride the line between creating a colorful and fun temple-of-doom kind of set while also

keeping the design authentic to what you would see in a museum,” he says.

Meanwhile, the team set about carving one of the film’s key statues: the famed

sculpture of Teddy Roosevelt mounted upon a horse and waving his sword through the air,

which had to be reconfigured to match the familiar silhouette of Robin Williams. To make

sure the statue would look just like the character who comes to life at night, Williams had to

pose in the position – meaning the famously hyperkinetic actor had to remain unusually still --

while being wrapped in plaster bandages to make the mold. Later, the mold was filled with

fiberglass and given finishing touches that lend it the essence of Roosevelt in the shape of

Williams.

Even as these larger-than-life objects were being built, a slew of skilled model makers

was recruited for work in the opposite extreme: carving the painstaking miniatures for the

museum’s mini-sized dioramas, which also come magically and robustly to life, turning Ben

Stiller’s Larry Daley into a kind of trapped Gulliver in the land of Lilliputians.

“For the dioramas, first we had to research the subjects of each of the exhibits – from

the Mayan culture to the history of the American railroad,” explains Paré. “Then, we really

got into the precise measurements and layout of the Diorama room so we could figure out

exactly how much space the models would need and then how much space would be needed

for Ben to have interaction with all the little figurines,” recalls Paré. “The work required lots

of patience and lots of care.”

While many of the film’s sets and props are spectacular in scope, one of Paré’s

favorite elements of the design is actually one of the most subtle: the museum’s high gloss

floor, which became key to NIGHT AT THE MUSEUM’s visual motif. “The floor might just

be the most important part of the set,” comments Paré. “You get all these wonderful

reflections from it which makes everything in the museum look more grand. And it was also

quite useful for Ben Stiller sliding across it!”

As the cast began to arrive at the Mammoth Studios, they too were transfixed by what

Paré and his team had accomplished. Comments Ricky Gervais: “Entering the set was a bit

like walking into the most giant toy box in the world.”

Like Claude Paré, costume designer Renee April face the unusual task of designing

costumes not just for one or two eras – but for periods throughout the whole of history,

ranging from fur-covered Huns to loin cloth-sporting Mayans to armored Romans to

uniformed Civil War soldiers, all the way to contemporary security guards. April, whose past

work includes the upcoming action-adventure film Pathfinder and the blockbuster The Day

After Tomorrow as well as such celebrated period films as The Moderns and Mrs. Parker and

the Vicious Circle, was attracted by the chance to dive into one aspect of her job that she

especially loves: historical research.

After several field trips to New York’s Natural History Museum, April was inspired.

Part of what she hoped to accomplish was to not only match the diversity she found there, but

to tie all the disparate costumes of NIGHT AT THE MUSEUM together into one consistently

comical big picture. “The challenge was to translate all those different period costumes so

that they each play equally well in a comedy,” April explains. “I needed to keep a thread of

veracity, but I also wanted to make everything bigger than life.”

One of the toughest costumes on April’s prodigious list was that of the Egyptian king

Akhmenrah, as played by Rami Malek. “Because he’s a mummy, we had to create a costume

that could be wrapped in cloth,” she remarks, “yet still give him all the splendor and the glory

of a great Egyptian King with a full headdress and big, golden coat. That costume took a lot

of work and many, many, many little beads.”

Another fun costume was that of Attila the Hun, of whom of course no pictures exist,

so April was able to go a bit wild with her imagination. “We bought old blankets and lined

them with fur and then we carved our own metal armor and those big, horse-hair helmets,”

she says. “It might not be entirely accurate but it’s very colorful and definitely Hun-like.”

When it came to Robin William’s Teddy Roosevelt, historical accuracy was easier.

“Roosevelt’s costume is probably the closest to historical reality because we pretty much

know what he wore right down to the buttons,” says April. “Once we put all the pieces

together and Robin tried them on, he was perfect.”

Key makeup effects supervisor Adrien Morot further enriched April’s designs, adding

finishing touches to each character, including a waxy, translucent sheen to the faces of those

playing living sculptures and facial prosthetics that transformed modern-day actors into

Neanderthals and Huns. “In most films you’re trying to make things look more real. The

interesting challenge with NIGHT AT THE MUSEUM was trying to take real actors and make

them look like fake statues!” says Morot.

For Shawn Levy, watching these artisans morph a bare soundstage into the museum he

had dreamed of when he first read the script was exhilarating. He says: “To see it all come to

life was an incredible experience. It kind of gets you addicted to filmmaking on a such a large

canvas.”

THE MUSEUM COMES ALIVE:

THE EFFECTS

With the characters in the hands of legendary and rising comic stars and the museum’s

elaborate sets being erected by dedicated craftsmen, there still remained that last bit of magic

that would actually allow the Natural History Museum to take on life – in this case, not an

ancient Egyptian spell but digital wizardry in the form of cutting-edge visual effects.

At first, Shawn Levy was nervous about the film’s intensive use of CG – especially

because he’d never headed a production as digitally driven as this one. But he was heartened

by the tremendous and highly experienced support he had behind him. “I got a lot of advice

early on from Chris Columbus and Michael Barnathan, my fellow producers, who, of course,

had worked on the Harry Potter franchise,” explains Levy. “They said not to worry about all

the high-tech lingo. Rather, they said, the important part was to really know exactly how you

want stuff to look in your head … and then let your team help with the how-to. So I took that

to heart and spent a lot of time storyboarding because I felt that if I could clearly show my

team what I wanted on the screen, they could figure out how to get it there!”

Levy also brought a fresh perspective to the effects, infusing them with comical

improvisation. “Usually, people preParé for effects shots well in advance, but we did it in a

completely unconventional way,” he explains. “Let’s say Ben was supposed to get hit by

Tyrannosaurus Rex’s tail and go sliding across the floor in a scene – but on the day he did the

scene, he decided instead ‘wouldn’t it be funny if instead I did a double back flip and landed

on the staircase’ – well, you want the best idea to win. So as a result, we were constantly

changing things and the visual effects team had to roll with that. They said it was by far the

most improvisational effects movie they’d ever experienced. And I think that’s because Ben

Stiller and I don’t really do effects movies. Everything we do is in the quest of the best joke

or the best moment. To their credit, the whole team rallied behind that edict.”

To bring movement and life to the museum’s creatures and statues, Levy relied on the

VFX Supervisor Jim Rygiel, (The Lord of the Rings trilogy) and one of Hollywood’s leading

visual effects houses, Rhythm & Hues – which is renowned for its exceptional work in

creating photo-realistic animals as seen recently in The Chronicles of Narnia: The Lion, The

Witch and the Wardrobe.

Right off the bat, the challenges were literally big and muscular as Rhythm & Hues set

about creating the lion that leaps out of the African Mammals hall and chases Larry Daley.

“The jeopardy for Larry in these scenes hinges on the fact that the CG lion has to be a

completely photo real animal,” says Dan Deleeuw, VFX Supervisor for Rhythm & Hues. “But

working with realistic animals in CG is difficult because you don’t have the kind of fantasy

environment that will let you get away with certain tricks. We used very original and careful

staging in this sequence so that it really looks like the lion’s claws miss Larry by mere

inches.”

Another big challenge for the VFX team came in working with the truly tiny – making

diorama armies of just a few inches high look like photo-real Mayans, Romans and American

Cowboys battling one another. “For the diorama armies, we created 89 base models which

then became the basis for several hundred variations that were created in the computer,”

Rygiel explains. “We used real actors, shot them in various action sequences, and then

duplicated them in their exact actuality so that now, when you see the cowboys fighting the

Romans across a whole diorama floor, there will be several hundred variants with individual

characteristics.”

The dioramas sequences also presented potential problems of scale. “If you’re

photographing something in the diorama world and the camera moves two feet, with the scale

issue, when you photograph a human on the green screen to match it, you’re actually moving

48 feet. and suddenly you’re above the height of the ceiling on the sound stage! So a lot of

planning had to go into the photography,” Deleeuw notes.

With the actors, designers and effects team all working hand in hand, the footage

suddenly took on the mix of reality, comedy and enchantment that Shawn Levy had sought

from the start. Sums up the director: “In the end, these guys literally were able to get the

museum and everything that happens in it to look exactly how I dreamed of it all in my head.”

Night at the Museum:

The IMAX Experience—Coming to Life in IMAX!

Night at the Museum: The IMAX Experience will be released in IMAX® theatres

worldwide beginning December 22, 2006, simultaneously with the film’s debut in

conventional theaters. This film has been digitally re-mastered into the unparalleled

image and sound quality of The IMAX Experience® with proprietary IMAX DMR®

(Digital Re-mastering) technology.

Night at the Museum: The IMAX Experience is the third IMAX film with

Twentieth Century Fox, following the release of Robots: The IMAX Experience in

March 2005 and Star Wars: Episode II Attack of the Clones: The IMAX Experience in

November 2002.

IMAX Theatres deliver images of unsurpassed clarity and impact, virtually

transporting audiences inside the movie as they watch museum exhibits magically come

to life on the world’s largest screens, surrounded by state-of-the-art digital surround

sound. IMAX screens can be three times larger than the average 35mm screen, 4,500

times larger than the average TV screen, and as wide as an NFL football field, creating a

completely immersive moviegoing experience.

Comments director Shawn Levy: “Night at the Museum is a wild ride of a movie.

It’s immersive—putting you in the thrilling position of participating in the secret life of a

museum after dark. I can’t think of a bigger treat for an audience than taking that wild

ride in the vivid scale and clarity of the IMAX format. It takes the film-going experience

to the next level. It makes a big movie even bigger.”

The sheer size of a 15/70 film frame, combined with the unique IMAX projection

technology, is key to the extraordinary sharpness and clarity of the images projected in

IMAX theatres.

To fully envelop IMAX theatergoers, the IMAX sound system is a specially

designed multi-channel stereo system that delivers exceptional clarity and quality for

maximum impact.

The IMAX® brand is world famous and stands for the highest-quality, most

immersive filmed entertainment. Visitors to IMAX theatres now number in the hundreds

of millions since the technology premiered in 1970. As the number of theatres grows, so

does the visibility of the IMAX brand—a name that is unique in the entertainment

business.

Founded in 1967, IMAX Corporation is one of the world's leading entertainment

technology companies and the newest distribution window for Hollywood films. IMAX

delivers the world's best cinematic presentations using proprietary IMAX, IMAX 3D, and

IMAX DMR technology. IMAX DMR (Digital Re-mastering) makes it possible for

virtually any 35mm film to be transformed into the unparalleled image and sound quality

of The IMAX Experience. The IMAX brand is recognized throughout the world for

extraordinary and immersive entertainment experiences. As of June 30, 2006, there were

274 IMAX theatres operating in 38 countries.

IMAX®, IMAX® 3D, IMAX DMR®, IMAX MPX®, and The IMAX

Experience® are trademarks of IMAX Corporation. More information on the Company

can be found at www.imax.com.

A BRIEF GUIDE TO THE MUSEUM’S EXHIBITS

TEDDY ROOSEVELT: Long before he became a waxen museum statute, Theodore

Roosevelt was the 26th President of the United States, and a man renowned for his widely

varied interests and accomplishments,. He was a historian, an author of more than 35 books,

rancher, conservationist, father of six children and a naturalist who made daring scientific

expeditions to South America and Africa to bring back museum exhibits like those in NIGHT

AT THE MUSEUM. Aside from his mustache, he is also famed for establishing the expanded

role of the modern President, the Panama Canal, consumer protection acts, the “Square Deal”

which provided a living wage to millions and for winning the Nobel Peace Prize, among

others.

SACAJAWEA: One of the legendary women of the American West, Sacajawea was the

daughter of a Shoshone chief whose skills and smarts enabled her to serve as a guide and

interpreter for Lewis and Clark’s famed early 19th century expedition from North Dakota to the

Pacific Ocean – and also come in pretty handy in helping Larry Daley track down the

museum’s run-away exhibits.

EGYPTIAN PHARAOHS: Pharaohs were the kings of Ancient Egypt’s mysterious and

powerful empire, which endured from the Neolithic Age of 3500 BC to the Roman era of 100

AD, one of the longest-lasting civilizations in human history. Each of the pharaohs was

believed to be the reincarnation of the Egyptian god Horus, and thus were usually mummified

in preparation for resuming their power in the afterlife – even if the after-life ended up being in

a museum!

OCTAVIUS: Octavius was the first of Rome’s great Emperors and went on to rule the Roman

Empire for an incredible 40 years. Adopted as the son of Julius Caesar, Octavius rose to power

in 31 BC and remained there until his death in 14 BC. After ending a slew of civil wars, he

introduced the “Pax Romana” – a fruitful period of extended peace and prosperity – the calm of

which has been shattered by his cowboy neighbors in the museum.

ATTILA THE HUN: Attila the Hun was king of the Hun Empires and the famed horse-riding

warrior who fought the Romans in the 4th Century. He became a legendary figure across

Europe for creating one of the fiercest and most feared armies the world, or any museum

corridor, has ever known.

NEANDERTHAL MAN: Neanderthal Man was an early subspecies of homo sapiens who

first inhabited parts of Europe and Asia as long as 350,000 years ago. They are known for their

short, stocky bodies, prominent brows and forward-jutting chins –- as well as for their hunting

skills and early use of tools, not to mention their burning quest for fire.

EASTER ISLAND HEADS: On one of the most isolated islands in the world, 2,000 miles

from any other land, in the middle of the South Pacific, a mysterious culture carved more than

800 massive stone heads weighing more than 10 tons each. Replicated in the museum, the

giant heads have a few words of advice for Larry Daley.

TYRRANOSAURUS REX: AKA “T-Rex,” Tyrranosaurus Rex was a large, carnivorous

dinosaur who lived in the late Cretaceous Period about 85 million years ago. Despite his tiny

arms, the dinosaur’s powerful body and large, pointy teeth made him a formidable predator –

but perhaps all he really wanted was a good game of fetch.

CAPUCHIN MONKEYS: Capuchin monkeys are a highly intelligent species of New World

monkey found in Central and South America. They have been trained as organ-grinders, pets

and even as aids for paralyzed people over the years – but are noted, as Larry Daley soon

discovers, for their mischievous and resourceful natures.

ABOUT THE CAST

BEN STILLER (Larry Daley) is an innovative actor, director, producer and writer who

continues to imprint his unique comedic and dramatic perspective on film, television and stage.

He is currently in production on The Untitled Farrelly Brothers Comedy which re-teams Stiller

with the writing-directing team of Peter and Bobby Farrelly. Loosely inspired by the 1972

classic hit, The Heartbreak Kid, the film tells the story of a man who hastily weds a woman

who he thinks is perfect--until he falls in love with another woman during the honeymoon.

Michelle Monaghan and Malin Ackerman will co-star with the Farrelly's Conundrum

Entertainment producing for Dreamworks. Additionally, Stiller will executive produce, direct,

and guest star in a pilot for CBS which will star his wife Christine Taylor. The pilot, written by

Ajay Sahgal, is about an actress married to Ben Stiller who contends with her family members

and their involvement in her life. CBS Paramount Network Television will produce. Finally,

Stiller has agreed to reprise his role in a second Madagascar film. He was most recently heard

in the 2005 Dreamworks' animated film along with co-stars David Schwimmer, Chris Rock

and Jada Pinkett Smith.

In the spring of 2005, Stiller completed a successful run Off-Broadway in Neil LeBute's

play, "This Is How It Goes" at New York's Public Theatre. Directed by George C. Wolfe and

co-starring Jeffrey Wright and Amanda Peet, the play explores an interracial romance

involving two men and a woman in small-town America.

Stiller was last seen on the big screen in the blockbuster comedy sequel Meet the

Fockers with Robert DeNiro, Dustin Hoffman and Barbra Streisand. Directed by Jay Roach,

the film introduces Stiller's in-laws to his Parénts played by Hoffman and Streisand to hilarious

results.

In 2004, Stiller starred in the hit comedies Dodgeball, Starsky & Hutch and Along

Came Polly. Other films include the comedy Zoolander based on the story of 'Derek

Zoolander,' the male model character Stiller co-created with Drake Sather for the VH-1

Fashion Awards. Stiller co-wrote, directed, starred and also produced the film through Red

Hour Films with partner Stuart Cornfeld. Prior to that, Stiller starred in Jay Roach's Meet The

Parénts, which won a People's Choice Award and earned Stiller an American Comedy Award

for Funniest Male Performance and an MTV Movie Award™ for Best Comedic Performance.

Additionally, he was nominated for Best On-Screen Team with Robert DeNiro. Stiller also

starred in Wes Anderson's eccentric comedy The Royal Tenenbaums

Having firmly established himself as a successful filmmaker, Stiller has an exclusive,

three-year, first-look film and television production deal with Dreamworks, in which he will

write, produce, and direct films under his own banner, Red Hour Films. Stiller made his

feature-length motion picture directorial debut in 1994 with the critically acclaimed Reality

Bites, in which he also co-starred with Winona Ryder, Janeane Garofalo and Ethan Hawke. He

went on to direct Jim Carrey and Matthew Broderick in The Cable Guy.

Stiller’s film credits as an actor also include Duplex, Keeping The Faith, Peter and

Bobby Farrelly's smash hit There's Something About Mary, Permanent Midnight based on

Jerry Stahl's controversial Hollywood memoir, Neil Lebute's Your Friends and Neighbors,

Jake Kasdan's Zero Effect, David O. Russell’s Flirting With Disaster, Steven Spielberg's World

War II epic Empire of the Sun, John Irvin's Next of Kin, David Anspaugh's Fresh Horses and

John Erman's Stella.

Stiller made his professional acting debut on Broadway in 1985 starring opposite John

Mahoney in John Guare's "The House of Blue Leaves." While appearing in the play, Stiller

persuaded Mahoney and fellow cast members Swoosie Kurtz, Stockard Channing, and Julie

Hagerty to appear in a short comedy film, his first true directorial effort, The Hustler of

Money. A parody of Martin Scorsese's The Color of Money, the film eventually aired on

"Saturday Night Live" where it was so well received, Stiller was subsequently hired as a

featured player and apprentice writer for the NBC comedy series.

Following his stint at "Saturday Night Live," Stiller directed a comedy special for MTV

called "Back to Brooklyn." Stiller followed that project by creating "The Ben Stiller Show,"

also for MTV, and later collaborated with Judd Apatow for a 13-episode run on FOX. A

critical success, Stiller, along with the rest of the writing staff, was awarded an Emmy® for

outstanding comedy writing. Stiller also co-edited the photo book, Looking at Los Angeles, a

pictorial representation of Los Angeles from the last three-quarters of a century. The book was

ranked among Amazon.com's "Best Books of 2005."

CARLA GUGINO (Rebecca) will next be seen starring opposite Danny DeVito and

Kim Basinger in the crime drama Even Money and in the thriller Rise starring Lucy Liu,

written and directed by Sebastian Gutierrez. She recently wrapped a role in Scott Frank’s

directorial debut, The Lookout, starring opposite Joseph Gordon-Levitt, which will be released

in 2007. Additionally, Gugino will have a six-episode arc on the upcoming season of HBO’s

hit comedy “Entourage.” She most recently appeared in the Robert Rodriguez adaptation of

the Frank Miller graphic novel series, Sin City, alongside Bruce Willis and Mickey Rourke.

Gugino’s film credits include her role in all three installments of Robert Rodriguez's

Spy Kids series, opposite Antonio Banderas; The Singing Detective, opposite Robert Downey,

Jr., Robin Wright Penn and Jeremy Northam; the Wayne Wang art house film The Center Of

The World; and The One, opposite Jet Li and Delroy Lindo. She also starred in Sebastian

Gutierrez’s Creature Feature Part 1: She Creature, opposite Rufus Sewell for Cinemax, as

well as Frank Whaley’s film The Jimmy Club, opposite Whaley and Ethan Hawke.

Gugino has starred opposite Academy Award winner Nicolas Cage in Snake Eyes,

directed by Brian DePalma. She served as a producer and starred in the independent film,

Judas Kiss, opposite another Academy Award winner, Emma Thompson. She also starred in

The War At Home with Martin Sheen, Kathy Bates and Emilio Estevez; Michael with John

Travolta and William Hurt; Miami Rhapsody opposite Sarah Jessica Parker; This Boy’s Life

with Robert DeNiro and Leonardo DiCaprio; and Son In Law. Additionally she has appeared

in the films Lovelife, HBO’s A Private Matter, Showtime’s The Motorcycle Gang and Troop

Beverly Hills, her first feature film.

Gugino’s television credits include her critically acclaimed performances in the CBS

series “Threshold” and as the title character in the series, "Karen Sisco," based on the character

from the Elmore Leonard novel Out Of Sight. She also appeared opposite Michael J. Fox on

“Spin City;” as a neurosurgeon on “Chicago Hope;” and in the Hallmark Hall of Fame movie

“A Season for Miracles,” starring opposite Kathy Baker, Laura Dern and Lynn Redgrave.

She received rave reviews as an American girl who finds her way into aristocratic British

society in the BBC/PBS mini-series “The Buccaneers.” Gugino made her Broadway debut in

the summer of 2004 at the Roundabout Theater’s revival of Arthur Miller’s “After the Fall.”

She received many accolades, including an Outer Critics’ Circle Award nomination and a

Theater World award for Outstanding Broadway Debut.

DICK VAN DYKE (Cecil Fredricks), in 1955, hosted “The CBS Morning Show” in

New York, with Walter Cronkite as news anchor and Barbara Walters as news copywriter.

Concurrently, he was auditioning for Broadway shows and eventually landed a spot in a revue

called “The Boys Against the Girls.” Director and choreographer Gower Champion caught the

show and signed to Van Dyke to star with Chita Rivera in “Bye Bye Birdie” in which he

introduced “Put on a Happy Face” in a 1960 Tony®-winning performance. “Bye Bye Birdie”

was in its second season when Carl Reiner and Sheldon Leonard chose Van Dyke to star in a

comedy series that became “The Dick Van Dyke Show.” Premiering in 1961, it ran for five

seasons and earned Van Dyke three Emmy Awards.

During hiatus periods, he starred in the film version of Bye Bye Birdie [1963], and the

Disney classic Mary Poppins [1964]. Other features included Lt. Robin Crusoe, USN [1966],

Divorce American Style [1967], Chitty Chitty Bang-Bang [1968], The Comic [1969], Some

Kind of a Nut [1969], Cold Turkey [1971] and The Runner Stumbles [1978].

After a year in England filming the family classic Chitty Chitty Bang-Bang, the Van

Dykes moved to their ranch in Carefree, Arizona where “The New Dick Van Dyke Show” was

produced for three seasons. His next project was the dramatic television movie, “The Morning

After,” adapted from the Jack Weiner novel about a talented and successful family man whose

life is destroyed by his alcoholism. The theme broke new ground for television dramas and

earned him an Emmy nomination.

Then it was back to song, dance and comedy in “Van Dyke and Company,” thirteen

variety specials on NBC. After that Van Dyke returned to the theater for a revival of “The

Music Man,” touring before taking it to Broadway. The following year he toured in “Damn

Yankees.”

Dick won his fifth Emmy for the 1982 CBS Library Special “Wrong Way Kid.” Other

TV movies include, “Drop-Out Father,” “Found Money,” The PBS Special “Breakfast with

Les and Bess,” the mini series “Strong Medicine” and a Showtime production of “The Country

Girl.”

His awards and honors include the Dance Legend of the Year Award from the

Professional Dancers Society of America; the 1998 Disney Legend Award; a Lifetime

Achievement Award from the American Comedy Awards; and a star on the Hollywood Walk

of Fame. In 1995 he was inducted into the Television Academy Walk of Fame.

Mark Sloane, the crime solving MD, was introduced in an episode of “Jake and the Fat

Man” before becoming the central character in several TV movies and the series ”Diagnosis

Murder,” which ran on CBS for eight seasons through the 1990s until 2001, followed by two

Dr. Sloane movies in 2002.

In 2003, Van Dyke reunited with Mary Tyler Moore to play two lonely retirees in D.L.

Coburn’s Pulitzer Prize-winning drama, “The Gin Game,” on PBS Hollywood Theater. The

following year they were together again as Rob and Laura Petrie in “Dick Van Dyke

Revisited.”

Threatening to retire for the last twenty years, Van Dyke returned to Broadway in

January 2006 to sing and dance in four performances of “Chita Rivera: A Dancers Life,”

receiving standing ovations after each number. His Hallmark movie, “Murder 101,” part of a

franchise series, also aired in 2006.

Van Dyke serves as fund-raising chairman for the 100-year-old Midnight Mission in

Los Angeles and was recently awarded the Golden Heart Award for his charitable service and

giving.

The honorary Oscar® is the motion picture industry’s highest acknowledgement of

film legends. It is given only occasionally, and the select recipients include such names as

Charles Chaplin, Gary Cooper, Cary Grant, Henry Fonda, Joan Crawford, Laurence Olivier

and Deborah Kerr. In 1983, it was presented to MICKEY ROONEY (Gus).

Rooney was born Joe Yule, Jr., on September 23, 1920 in Brooklyn, son of well-

known performers Joe Yule and Nell Carter. The consummate performer, he made his first

stage appearance at the age of one when he crawled out on stage during his Parénts’ vaudeville

act.

All of Rooney’s eighty-three years have been busy. At four, he made his motion

picture debut, as a midget in Not To Be Trusted. A year later, he became Mickey “Himself”

McGuire for seventy-eight short film comedies based on Fontaine Fox’s tough little cartoon

character. He outgrew the role at twelve and went on the road taking the name of Mickey

Rooney. In the 1930’s, he signed with Metro-Goldwyn-Mayer for whom he made the famous

Andy Hardy series. Box office receipts for 1938-1940 made him the number one star in the

world.

In 1939, he received a special Academy Award for the film Boy’s Town with Spencer

Tracy and for his work in the Andy Hardy series. This was also the year he made his first

major musical with Judy Garland, Babes in Arms, which earned him an Academy Award

nomination as best actor. It was the first time a juvenile had competed with adult stars for the

honor. The next time he was so honored was in 1943 for his work in The Human Comedy. In

1944, he made National Velvet with Elizabeth Taylor, before joining the army for World War

II. As a regular GI, during the war he entertained frontline troops with the “Jeep Shows,”

which consisted of three men in a jeep who delivered much needed entertainment to the troops

at the front. For his services in the war, he was awarded the Bronze Star with clusters.

After the war, Rooney set about rebuilding his career. He would make several classic

films including Killer McCoy, The Fireball (Marilyn Monroe’s first film), Baby Face Nelson

and Breakfast at Tiffany’s. His list of credits for the past eight decades is impressive,

containing more than three hundred films, including The Black Stallion for which he received

an Academy Award Nomination for Best Supporting Actor.

With the advent of television, Rooney dove into and conquered the new medium. He

appeared in many classic dramas, such as “The Comedian” with famed director John

Frankenheimer, (for which he received an Emmy nomination) and the classic “Twilight Zone”

episode “The Last Night of a Jockey.” In 1982, he portrayed Bill Sechter in the television film

“Bill” and received an Emmy, The Golden Globe®, and the Peabody Award for his

performance. He repeated the role two years later in “Bill On His Own.” He has starred in

numerous television series including “Hey Mulligan;” “Mickey” for which he won the Golden

Globe in 1964; “A Year At The Top” with Sammy Davis, Jr.; “One Of The Boys” with Nathan

Land and Dana Carvey; and “The Adventures of the Black Stallion.”

In 1979, Rooney achieved a new triumph, which took him to the cover of “Life”

magazine for his starring role in the theatrical production of “Sugar Babies,” which garnered

him a Tony nomination. The show ran successfully on Broadway for three years and had a

record-breaking eight-year run on the road. His stage success continued in 1989 when he and

Donald O’Connor made a twenty-city tour in “Two For The Show,” which they co-wrote. In

1990, they enjoyed similar success, with a thirteen-city tour in Neil Simon’s “The Sunshine

Boys.” He returned to Broadway in 1993 to appear with Larry Gatlin in “The Will Rogers

Follies.” He successfully revived “Sugar Babies” in 1995 at the Desert Inn in Las Vegas with

Juliette Prowse and appeared in Toronto at Royal Alexandra Theatre in “Crazy for You.” In

1997, he toured the United States and Canada as ‘The Wizard’ and ‘Professor Marvel’ in

Madison Square Garden’s acclaimed production of “The Wizard of Oz.”

In 1998 Rooney and his wife Jan launched a successful tour of “The One Man One

Wife Show” in Australia and New Zealand. The show has been a continued success delighting

audiences throughout the United States and Europe. Rooney is also an accomplished musician

and can play almost every instrument in an orchestra. As a member of ASCAP, he has

composed numerous pop songs, a symphony and several film scores.

The recipient of three stars on The Hollywood Walk of Fame®, in April of 2004,

Rooney was honored to received a Fourth Star on The Hollywood Walk of Fame®. He

proudly shares that star with his wife, Jan for their achievement in live entertainment. They

remain deeply in love with one another. They currently reside in Ventura County, California.

There they enjoy the pleasure and quiet of the country with the other loves of their lives,

children, grandchildren and their two birds. They are both strong Animal Rights advocates.

BILL COBBS (Reginald) was born and raised in Cleveland where his mother was a

cleaning lady and his father a construction worker. As an amateur actor in the city's Karamu

House Theater, he starred in the Ossie Davis play "Purlie Victorious.” Cobbs was an Air Force

radar technician for eight years; he also worked in office products at IBM and sold cars in

Cleveland. In 1970, at the age of 36, he left for New York to seek work as an actor. There he

turned down a job in the NBC sales department in order to have time for auditions. He

supported himself by driving a cab, repairing office equipment, selling toys, and performing

odd jobs. His first professional acting role was in "Ride a Black Horse" at the Negro Ensemble

Company. From there he appeared in small theater productions, street theater, regional theater

and at the Eugene O'Neill Theater. His first television credit was in “Vegetable Soup” (1976),

a New York public television educational series, and he made his feature film debut in 1974 in

the thriller The Taking Of Pelham One Two Three.

Cobbs has gone on to appear in numerous film and television roles. His film credits

include Decoration Day, The Hudsucker Proxy, Things to Do in Denver When You’re Dead,

New Jack City, That Thing You Do!, Ghosts of Mississippi, Carolina Skeletons and A Mighty

Wind. He has been a series regular on “The Gregory Hines Show” and “I’ll Fly Away,” among

others. He has also appeared on “The Drew Cary Show” and “Six Feet Under.” Earlier this

year Cobbs co-starred in the feature film Retirement with Peter Boyle, Peter Falk and Rip Torn.

In his free time Cobbs enjoys music, reading, playing his drums, and learning how to play golf.

ROBIN WILLIAMS (Teddy Roosevelt) is an Academy Award-winning actor and a

multiple Grammy®-winning performer unparalleled in the scope of his imagination – and

continues to add to his repertoire of indelible characters. Williams also stars this fall in Barry

Levinson’s Man of the Year and plays the lead role opposite Toni Collette in Patrick Stettner’s

The Night Listener based on the Armistead Maupin novel. He also re-teamed with director

Barry Sonnenfeld in the comedy, R.V. and stars in August Rush with Jonathan Rhys-Meyers

and Freddie Highmore.

In 1997, Williams received the Academy Award® and Screen Actors Guild Award for

his performance in Gus Van Sant's Good Will Hunting. The Academy previously nominated

Williams for The Fisher King, Dead Poets Society and Good Morning Vietnam. Williams

garnered a special honor from the National Board of Review for his performance opposite

Robert DeNiro in Awakenings. In 2004, Williams received the prestigious Career Achievement

Award from the Chicago International Film festival and, in 2005, the HFPA honored him with

the Cecil B. DeMille Award for outstanding contributions to the world of entertainment.

Robin Williams first captured the attention of the world as Mork from Ork on the hit

series “Mork & Mindy.” Born in Chicago and raised in Michigan and California, he trained at

New York's Julliard School under John Houseman. Williams made his film debut as the title

character in Robert Altman's Popeye. His early motion picture credits include Paul Mazursky's

Moscow on the Hudson and The World According to Garp, George Roy Hill's adaptation of

John Irving's acclaimed novel.

Williams' filmography includes a number of blockbusters. In 1991, Williams assumed

the dual roles of Peter Pan/Peter Banning in Steven Spielberg's Hook. In 1993, he starred in

Chris Columbus' Mrs. Doubtfire for Mike Nichols. Williams portrayed 'Armand Goldman' in

The Birdcage, for which the cast won a SAG ensemble award. In 1996, both The Birdcage and

Jumanji reached the $100 million mark in the USA in the same week. Next, he starred in

Disney’s Flubber, and played a medical student who treats patients with humor in Patch

Adams.

In a departure from the usual comedic and family fare he is best known for, Williams

collaborated with two accomplished young directors on dramatic thrillers. For Christopher

Nolan, he starred opposite Al Pacino as reclusive novelist ‘Walter Finch,’ the primary suspect

in the murder of a teenaged girl in a small Alaskan town, in Insomnia. In Mark Romanek's

One Hour Photo, Williams played a photo lab employee who becomes obsessed with a young

suburban family.

Using only his voice, Williams created one of the most vivid characters in recent

memory - the 'Blue Genie of the Lamp' in Aladdin. The performance redefined how

animations were voiced. Audio versions of his one-man shows and the children's record

"Pecos Bill," have won him five Grammy Awards. Most recently Williams lent his vocal

talents to the blockbuster animated feature Robots.

Williams' stage credits include a landmark production of Samuel Beckett's "Waiting for

Godot" directed by Mike Nichols and co-starring Steve Martin and, most recently, a short run

in San Francisco of "The Exonerated," which tells the true stories of six innocent survivors of

death row.

Williams, who began his career as a stand-up comedian, is well known for

monologues in which he makes free associative leaps punctuated by one liners about subjects

as varied as politics, history, religion, ethnic strife and sex. Williams did just that when he

toured in a critically acclaimed indefatigable one-man show that visited thirty-six cities. The

final performance was filmed by HBO and broadcast live from New York on July 14, 2002.

Offstage, Williams takes great joy in supporting causes too numerous to identify --

covering the spectrum from health care and human rights, to education, environmental

protection, and the arts. He toured the Middle East three times in as many years to help raise

morale among the troops and is, perhaps, best known philanthropically for his affiliation with

Comic Relief, which was founded in 1986 as a non-profit organization to help America's

homeless.

JAKE CHERRY (Nick) made his feature film debut starring Jennifer Aniston and

Frances McDormand in Friends With Money. He was a series regular on the Fox series “Head

Cases” and a guest star on “Bones” and “Third Watch.” He also starred in the Lifetime telefilm

“Miracle Run,” playing Mary-Louise Parker's autistic son.

Cherry got his acting start in commercials when he was just two years old,

accompanying his older brother to auditions. He has since appeared in over 20 national

commercials.

RICKY GERVAIS (Dr. McPhee) is best known for his role of co-creator (with Stephen

Merchant) and star of the hit British television series “The Office.” Gervais started his career in

television by writing and starring in a one-off called “Golden Years” about a businessman who

is obsessed with becoming a David Bowie look-alike. He next appeared on “The 11 O'Clock

Show'”- a topical comedy magazine series for which he adopted the persona of a half-

knowledgeable bigot, an outrageous and refreshingly funny foil to the satirical Oxbridge

pretensions of the show itself.

“Meet Ricky Gervais,” a chat show, came hot on the heels of his popularity in the “11

O'Clock Show.” When the show finished in October 2000, Gervais and Merchant had already

been developing their ideas for an office-based mock documentary, and months if not years of

work would come to fruition on 9 July 2001 when the BBC aired the first episode of “The

Office.”

Twelve episodes and a two-part Christmas special later, “The Office” was consigned to

broadcasting history. Showered with awards and critical acclaim the series' pivotal creation,

the character of David Brent, became a household name and so did Ricky Gervais. Not only a

mega-hit in England, “The Office” has gone on to become the most successful British comedy

exports of all time.

Gervais recently completed production on season two of 'Extras.’ He appears in the

starring role of this satirical television series that he created with Merchant, for the BBC and

HBO.

KIM RAVER (Erica Daley) has starred on the Emmy Award Winning Fox drama,

“24” for the past two seasons, as ‘Audrey Raines,’ an aide to the Secretary of Defense in

Washington. This fall, Raver can be seen starring in the new ABC prime time drama “The

Nine,” which follows the lives of nine people after they experience a 52-hour hostage situation.

Raver recently wrapped a role in the indie feature Prisoner opposite Julian McMahon.

She was also seen in the independent films Mind the Gap, directed by Eric Schaeffer, and Keep

your Distance, directed by Stu Pollard. Raver also starred in the 2005 Lifetime movie

“Haunting Sarah,” a supernatural thriller in which she portrays identical twins.

Raver endeared herself to critics and viewers during the five years she starred as

paramedic ‘Kim Zambrano,’ on the NBC drama “Third Watch.” Raver’s other television

credits include a lead role on NBC’s “Trinity”; guest starring roles in “The Practice,” “Spin

City,” “Law & Order”; and a recurring role on “Central Park West.” She also appeared in the

feature film City Hall with Al Pacino.

Born and raised in New York City, Raver had a regular role on the children’s television

series “Sesame Street” from the ages of 6 to 9. After “Sesame Street” she joined off-

Broadway’s first all-children’s theater. Raver’s big break came with her Broadway debut in the

play “Holiday” in which she co-starred with Laura Linney and Tony Goldwyn. She also

costarred with David Schwimmer and John Spencer in the Williamstown production of “The

Glimmer Brothers,” written by Warren Leight.

PATRICK GALLAGHER (Attila The Hun) was most recently seen in Final

Destination 3 and previously appeared in Peter Weir’s Master and Commander: The Far Side

of the World and in the Academy Award-winning indie hit Sideways.

Gallagher plays a principal role on the television series “Stargate Atlantis” and a

recurring role on the BRAVO series “Godiva’s.” He is a series regular on “Da Vinci’s City

Hall,” and played a recurring guest role on “Da Vinci’s Inquest.” Gallagher has played guest

starring roles on the series “Battlestar Galactica,” “La Femme Nikita,” “Dark Angel,” “Taken,”

“Kung Fu,” “F/X: The Series,” “Due South” and “Mysterious Ways.” His movie of the week

credits include, “My Father’s Shadow,” “American Meltdown,” “Skid Road” and “Damaged

Care.”

RAMI MALEK (Ahkmenrah) made his television debut after booking his very first

audition, on “The Gilmore Girls,” and can currently be seen playing ‘Kenny’ on the FOX

series “The War At Home.” He earlier played a recurring character in Steven Bochco’s

acclaimed Iraq war series “Over There” and has made guest starring appearances on the series

“FX” and “Medium.”

Malek decided to pursue acting professionally after being invited to join The O’Neil

Playwrights conference in Connecticut, where he trained in theater and worked to refine his

craft. There he performed in “The Bebop Heard in Okinawa” and “Fascination” before

heading to England to study Shakespeare. With his acting roots firmly planted in theater, he

returned to Los Angeles, where he was cast in a leading role for “Johnny Boy,” which was

met with critical acclaim. He then briefly relocated to New York City to appear in “Shoes,”

off-Broadway.

Egyptian actor Malek received his BFA at the University of Evansville and currently

live in Los Angeles with his family.

MIZUO PECK (Sacajawea), a native New Yorker, still lives a block from where

she grew up in Tribeca. Acting since age 11, Peck graduated from LaGuardia High

School of Performing Arts where she focused on acting. With a B.F.A. degree in Theatre

from the prestigious acting conservatory at SUNY Purchase, Peck has acted in theatre,

commercials, television and film and has modeled for photographer Bruce Weber for the

cover of L’uomo Vogue. She has also appeared in a Bruce Weber-directed music video

for the Pet Shop Boys and appeared with Angelina Jolie in the Rolling Stones’ music

video, “Anybody Seen My Baby?”

Peck’s television credits include “Law & Order: Criminal Intent,” “All My

Children” and “Witchblade.” Her film credits include Husky, Don’t Cry and Scenes of

the Crime, in which she acted alongside Jeff Bridges.

STEVE COOGAN (Octavius) is one of the icons of British comedy. He has created

some of British television’s most loved comedy characters, including the inimitable Alan

Partridge, for which he received several BAFTA Awards. A prolific writer and producer who

has been called a “comic genius,” Coogan is becoming increasingly well known as a comic and

dramatic actor. He will be seen this fall in Sofia Coppola’s Marie Antoinette and on BBC

America’s “Saxondale,” a comedy about a former rock-show roadie who becomes an

exterminator. His recent film credits also include the starring role in Michael Winterbottom’s

acclaimed comedy Tristram Shandy: A Cock And Bull Story, as well as Don Roos’s Happy

Endings, Around The World In 80 Days and Jim Jarmusch’s Coffee and Cigarettes. He’ll next

be seen in Hot Fuzz with Jim Broadbent, Nick Frost and Timothy Dalton.

Coogan began doing stand up and skits in his native Manchester after graduating from

drama school. For years he was a regular voice on “Spitting Image,” a hugely popular puppet

show that lampooned famous political and cultural figures. He soon moved on to creating his

own characters,who immediately became a part of the British cultural landscape and inspired

programs such as “The Office” and “Little Britain.” In 1992 he won the respected Perrier

Award for his show “Steve Coogan In Character With John Thompson,” where he launched

Paul Calf, a foul-mouthed, beer swilling Northerner who was soon joined by his sex-mad

sister Pauline. But it was to be Alan Partridge, the nerdy radio DJ from Norfolk with a terrible

taste in sweaters and an inflated ego who thrust Coogan into celebrity status.

Coogan created his first big screen vehicle with writing partner Harry Normal in 2001

with The Parole Officer, which received acclaim and went on to be the one of the top grossing

British films of the year. He received rave reviews for his portrayal of Tony Wilson in

Michael Winterbottom’s sleeper hit 24 Hour Party People, about the rise and fall of Factory

Records. His production company, Baby Cow Productions, has continually come up with

award-winning programs including Rob Brydon’s “Marion and Geoff” and “Human

Remains.” The company’s animated series “I Am Not an Animal,” featuring Coogan in two

roles, has been seen in the U.S. on the Sundance Channel.

ANNE MEARA (Debbie) is known as half of the comedy team, “Stiller & Meara,”

who gained nationwide fame as a comedy team on the “Ed Sullivan Show.” They have

performed together nationally in nightclubs and regional theatres and have made countless

appearances on television. Meara also boasts an impressive solo career. Her feature film work

includes Like Mike, The Search for One Eyed Jimmy, MIA, An Open Window, Judy Berlin, The

Daytrippers, Southie and Get Well Soon with Courtney Cox.

On television, she appeared for several years as Peggy Moody on ABC’s “All My

Children.” Other television appearances include the title role in the CBS series “Kate

McShane” and recurring roles on “Rhoda,” “Archie Bunker’s Place,” “Alf,” “Sex in the City”

and “King of Queens.” Guest appearances include “Murder She Wrote,” “Heat of the Night,”

“Homicide,” ‘Ed,’ “Will And Grace” and “Law and Order: SVU,” among many others.

Meara has received five Emmy nominations for her television work including a

1997 nomination for Outstanding Guest Actress in a drama series for “Homicide.” She

was co-writer (with Lila Garrett) and star of “The Other Woman,” a CBS Movie of the

Week which won a Writer’s Guild Award. Anne’s script “After-Play” was produced by

Manhattan Theatre Club and enjoyed a sold-out run. Anne received the Outer Critic’s

Circle John Gassner Award for Playwriting for “After-Play”. Her last play, “Down the

Garden Paths,” starred Eli Wallach and Anne Jackson, and was produced at The George

Street Playhouse, Long Wharf Theatre and Off-Broadway at the Minetta Lane Theatre.

ABOUT THE FILMMAKERS

SHAWN LEVY (Director/Producer) is one of the most commercially successful film

directors of the past decade. Levy has honed his craft, seamlessly weaving comedy and heart

into captivating stories that resonate with audiences. His youthfully enthusiastic approach to

filmmaking is evident in the storylines and characters he creates – reflecting his joyful intensity

for each project at hand.

Levy is currently developing several films to produce through his production company,

21 Laps Entertainment, which is housed at Fox. These projects include The Rocker, Father

Figure, and Back Magick for Fox; Me, Me, Me at New Line; and The Talent Thief for

Universal.

Levy directed the 2006 hit comedy The Pink Panther, starring Steve Martin, Kevin

Kline, Beyoncé Knowles, and Jean Reno. He also produced Cheaper By The Dozen 2, the

sequel to his blockbuster comedy, Cheaper By The Dozen, which he directed. Starring Steve

Martin, Bonnie Hunt, Ashton Kutcher and Hilary Duff, the film was released Christmas

Day 2003 and went on to gross more than $138m domestically.

Levy directed the hit romantic comedy Just Married, starring Ashton Kutcher and

Brittany Murphy. The surprise-hit film grossed over $100m worldwide. In 2002, Levy directed

the family comedy Big Fat Liar, for Universal Pictures with Frankie Muniz, Paul Giamatti and

Amanda Bynes.

On the television front, in 2006 Levy launched the series “Pepper Dennis,” starring

Rebecca Romijn. Levy served as executive producer of the series, which aired on The WB. He

also directed the pilot episode. He currently has an overall television deal with Twentieth

Television, through which he is developing the pilots, “The Institution” and “Swim Team.”

Levy graduated at the age of 20 from the Drama Department of Yale University. He

later studied film in the Masters Film Production Program at USC where he produced and

directed the short film Broken Record. This film won the Gold Plaque at the Chicago Film

Festival, in addition to being selected to screen at the Director’s Guild of America.

Following his well-received student film, Levy spent several years directing, writing

and executive producing for television. His pilots for “The Famous Jett Jackson,” “So

Weird,” “In A Heartbeat” (all for The Disney Channel) and “Caitlin’s Way” (Nickelodeon)

were all picked up for series. Shawn spent two seasons as the executive producer of the hit

Disney Channel series “The Famous Jett Jackson.” The series, for which Levy also wrote and

directed several episodes, culminated in the award winning telefilm “Jett Jackson: The

Movie,” which Levy produced and directed.

CHRIS COLUMBUS (Producer) is a major force in contemporary Hollywood

filmmaking. From his anarchic, genre-bending 1980s classics Gremlins and The Goonies to the

recent blockbuster Harry Potter films — which are among the most successful book-to-screen

adaptations of all time.

Columbus was born in Spangler, Pennsylvania and grew up outside of Youngstown,

Ohio. As a youngster, he aspired to draw cartoons for Marvel Comics and eventually made the

connection between comic books and movie storyboards. In high school, he began making his

own homegrown 8mm films and drawing his own storyboards (which he continues to this day).

After high school, he enrolled in the Directors Program at New York University’s prestigious

Tisch School of the Arts.

Columbus first attained success as a screenwriter. While still in college, he sold his

first script Jocks, a semi-autobiographical comedy about a Catholic schoolboy who tries out for

a football team. After graduating from NYU, Columbus wrote a small town drama entitled

Reckless (1984), based on his experiences as a factory worker in Ohio. The film was directed

by James Foley and starred Aidan Quinn and Daryl Hannah.

Columbus gained prominence in Hollywood writing several original scripts produced

by Steven Spielberg. The back-to-back hits of the Joe Dante-directed Gremlins (1984) and The

Goonies (1985), helmed by Richard Donner, were decade-defining films that intertwined high

notes of offbeat, edgy, often outrageous humor against more classic adventure-thriller

backdrops. He next wrote the fantasy adventure Young Sherlock Holmes, which was directed

by Barry Levinson.

These screenwriting achievements led Columbus to directing his first feature,

Adventures in Babysitting (1987) starring Elisabeth Shue. A meeting with John Hughes

brought Columbus to the helm of Home Alone (1990), the first of three collaborations. Home

Alone and its hugely successful follow-up, Home Alone 2: Lost in New York, were universal in

appeal and launched the career of Macaulay Culkin. Only the Lonely (1991), a bittersweet

comedy-drama directed by Columbus from his own screenplay, was praised for featuring one

of the late John Candy’s best performances, and for the return of legendary star Maureen

O’Hara to the screen.

Columbus’ smash hit comedy Mrs. Doubtfire (1993) starring Robin Williams and Sally

Field, bent genders as well as genres, to great critical and public success. Columbus directed

another comedy Nine Months (1995), with Hugh Grant and Julianne Moore, before turning to

drama with Stepmom (1998) starring Julia Roberts and Susan Sarandon.

Columbus faced a daunting task when he was called upon to direct Harry Potter and

the Sorcerer’s Stone (2001), the first film based on J.K. Rowling’s monumentally successful

series of books. With millions of avid and sometimes fanatical readers — both young and old

— in a high state of expectation and anticipation, Columbus cast completely inexperienced

youngsters Daniel Radcliffe, Emma Watson and Rupert Grint in the leading roles as Harry

Potter and his friends Hermione Granger and Ron Weasley. Once again, he demonstrated his

facility for nurturing and cultivating young talent and turning them into natural screen

performers.

The success of Harry Potter and the Sorcerer’s Stone was followed by Harry Potter

and the Chamber of Secrets (2002), which once again met with huge box office success. He

served as producer on the recent Harry Potter and the Prisoner of Azkaban and directed last

year’s film version of the Pulitzer Prize winning Broadway musical RENT.

MICHAEL BARNATHAN (Producer) is President of 1492 Pictures, in which he is a

producing partner with Chris Columbus and Mark Radcliffe. The company was formed in May

1994 and has a first look deal with Warner Bros. Barnathan has served as producer on Nine

Months, Jingle All the Way, Stepmom, Cheaper by the Dozen, Christmas with the Kranks,

Fantastic Four and most recently RENT. He also served as executive producer for Harry

Potter and the Sorcerer’s Stone, Harry Potter and the Chamber of Secrets and Harry Potter

and the Prisoner of Azkaban.

Prior to joining 1492 Pictures, Barnathan was Senior Vice President of Production at

Largo Entertainment for four years. His responsibilities included supervision of both

development and production of Largo’s films. Barnathan served as executive producer on Used

People and supervised such productions as Point Break, Dr. Giggles, Judgment Night and The

Getaway.

Before joining Largo, Barnathan spent seven years working for Edgar J. Scherick

Associates. For his last two years with Scherick he served as Executive Vice President of

Production. During his tenure, he produced and executive produced numerous cable movies,

movies of the week and mini-series, including “The Kennedys of Massachusetts,” which

received nine Emmy nominations.

ROBERT BEN GARANT (Screenplay) with his partner, Thomas Lennon, has written

the comedies Herbie: Fully Loaded, The Pacifier starring Vin Diesel, Taxi starring Queen

Latifah – and the upcoming feature comedy Reno 911!: Miami, based on the hit Comedy

Central series on which her serves as co-creator, executive producer and star.

Garant is currently making his directorial debut with his screenplay Balls of Fury for

New Line.

Garant is an executive producer, writer and star of the Comedy Central show “RENO:

911!” He performed with the comedy sketch troupe The State in the early nineties in New

York City. The group went on to critical success with their self-titled hit series on MTV. “The

State” was nominated for a 1995 CableACE award for Best Comedy Series and ran for three

seasons. With Lennon, Garant then created, produced, wrote and occasionally starred in

Comedy Central’s “Viva Variety,” which was an instant critical smash for the new network,

and received a CableACE nomination for Best Comedy Series in 1997 and enjoyed three

successful seasons.

THOMAS LENNON (Screenplay), with his partner, Ben Garant, has written the

comedies Herbie: Fully Loaded, The Pacifier starring Vin Diesel,Taxi starring Queen Latifah –

and the upcoming feature comedy Reno 911!: Miami, based on the hit Comedy Central series

on which her serves as co-creator, executive producer and star.

Lennon began his career as a graduate of NYU’s Tisch School of the Arts’

experimental theater wing, where he co-founded the sketch comedy troupe “The State.” The

group went on to critical success with their self-titled hit series on MTV, with Lennon one of

its stars, producers and writers. “The State” was nominated for a 1995 CableACE award for

Best Comedy Series and ran for three seasons. Lennon then created, produced and starred in

Comedy Central’s “Viva Variety,” which was an instant critical smash for the new network,

and received a CableACE nomination for Best Comedy Series in 1997 and enjoyed three

successful seasons.

Lennon is the co-creator, executive producer and star of the Comedy Central show

“RENO 911!” Lennon has had guest roles on NBC’s “Friends,” “Jesse” and “MDs,” and he

also co-created and starred in the pilot “Hey Neighbor!” for Fox Television. Lennon has

appeared in the films “Memento,” “Out Cold,” “A Guy Thing,” “How To Lose A Guy in 10

Days” and “Le Divorce.”

MARK RADCLIFFE (Producer), who served as producer on Harry Potter and the

Prisoner of Azkaban and executive producer on both Harry Potter and the Sorcerer’s Stone

and Harry Potter and the Chamber of Secrets, continued his long-term collaboration with

Chris Columbus as producer on RENT. He previously served as producer on the box office hits

Mrs. Doubtfire, Stepmom, Fantastic Four, Nine Months, Christmas with the Kranks and Jingle

All the Way, having also been executive producer on Home Alone 2: Lost in New York, co-

producer of Only the Lonely and associate producer and assistant director on Home Alone. He

and Columbus first worked together on Heartbreak Hotel.

A native of Oklahoma, Radcliffe began his film career as assistant director on the

Francis Ford Coppola production The Escape Artist. He later worked for Coppola on

Rumblefish and Peggy Sue Got Married. Other credits include assistant director on John

Hughes’ She’s Having a Baby and Planes, Trains and Automobiles, Jerry Zucker’s Ghost,

Donald Petrie’s Mystic Pizza and Paul Schrader’s Light of Day.

GUILLERMO NAVARRO, ASC (Director of Photography) was born and raised in

Mexico City. He moved to France to work as an apprentice and assistant to director of

photography Ricardo Aronovich, AFC. Upon his return to Mexico, Navarro shot the critically

acclaimed film Cabeza de Vaca, for director Nicolas Echeverria, earning a Best

Cinematography award from the Mexican Academy. The movie was also Mexico’s entry for

Best Foreign Film at the Academy Awards. Navarro moved to Los Angeles and has frequently

collaborated with directors Robert Rodriguez and Quentin Tarantino on such films as

Desperado, Four Rooms, From Dusk Till Dawn and Jackie Brown.

Navarro credits also include a number of action and effects movies including The Long

Kiss Goodnight, Zathura, Spawn and Stuart Little. He has enjoyed a long-time collaboration

with Guillermo Del Toro and served as cinematographer on Cronos, The Devil’s Backbone,

Pan’s Labyrinth and Hellboy.

CLAUDE PARÉ (Production Designer) was honored with an Academy Award,

BAFTA and LAFCA (Los Angeles Film Critics Association) Awards for Best Art Direction

for The Aviator, on which he served as supervising art director. Prior to The Aviator, he served

as supervising art director on Roland Emmerich’s blockbuster The Day After Tomorrow.

In 2002, Paré art directed Beyond Borders starring Angelina Jolie and Clive Owen.

He served as supervising art director on Frank Oz’s The Score, starring Robert De Niro,

Marlon Brando and Edward Norton; The Sum Of All Fears, starring Ben Affleck and Morgan

Freeman; Battlefield Earth starring John Travolta and Forest Whittaker; The Bone Collector

starring Denzel Washington; and 7 Years In Tibet, starring Brad Pitt.

Paré, a native of Montreal, served as production designer on the Canadian features This

Is My Father, Les Boys, La Comtesse De Baton Rouge and Rainbow; and as supervising art

director on Grey Owl, directed by Richard Attenborough and starring Piece Brosnan.

DON ZIMMERMAN, A.C.E.’s (Editor) recent feature film editing credits include Fun

With Dick And Jane, Flight Of The Phoenix, The Cat In The Hat and Just Married.

Zimmerman also cut the Fox feature A Walk In The Clouds (shared credit) and served as editor

on Nutty Professor, Liar, Liar, Half Baked, Patch Adams and Dragonfly.

His early work as a film editor includes two of Hal Ashby’s classic films: Being There

starring Peter Sellers and Coming Home starring Jon Voigt and Jane Fonda. He went on to cut

Sylvester Stallone’s starring vehicles Rocky III and Rocky IV (shared credit).

Zimmerman also served as editor on the feature films Friends for Norman Jewison;

Roxanne for Fred Schepisi; Prince Of Tides, directed by Barbra Streisand; Everyone is All-

American, Fatal Beauty, Navy Seals, Diggstown, Indecent Proposal, Ace Ventura: Pet

Detective and The Scout.

JIM RYGIEL (VFX Director/Additional Second Unit Director) collaborated with

Peter Jackson, as VFX Supervisor on all three installments of the Academy Award and

BAFTA winning The Lord Of The Rings trilogy. He also served as 2nd Unit Director

(uncredited) on The Lord Of The Rings: The Return Of The King, the final installment of J.R.

Tolkien’s epic fable. Rygiel was honored with the AFI Digital Effects Artist award for the first

episode in the trilogy and the two latter episodes received Visual Effect Society Awards for

Best Visual Effects in an Effects Driven Movie.

Rygiel previously designed the visual effects for the feature Click starring Adam

Sandler. He served as visual effects supervisor on Paul Verhoeven’s Starship Troopers,

Jonathan Frakes’ Star Trek: Insurrection, Species starring Ben Kingsley and Wolfgang

Peterson’s Outbreak, starring Dustin Hoffman, Renee Russo, Kevin Spacey and Morgan

Freeman.

Earlier in his career, Rygiel served as digital supervisor on the VFX-laden action

adventures, Batman Returns, Last Action Hero, Cliffhanger and Last Of The Mohicans.

RENEE APRIL (Costume Designer) most recently designed costumes for Marcus

Nispel’s fantasy epic about Vikings and American Indians, Pathfinder, and for Darren

Aranofsky’s time-traveling story The Fountain. She previously worked with director Roland

Emmerich on the Fox blockbuster The Day After Tomorrow, starring Dennis Quaid and Jake

Gyllenhaal. She also designed the costumes for the award winning drama Confessions Of A

Dangerous Mind, starring George Clooney, Sam Rockwell and Drew Barrymore; and in a

lighter vein April worked with director Bill Paxton on the sports drama The Greatest Game

Every Played.

April earlier collaborated with director Alan Rudolph on the acclaimed period dramas

The Moderns and Mrs. Parker And The Vicious Circle, starring Jennifer Jason Leigh and

Matthew Broderick. Her other film credits include, Children Of A Lesser God, starring

William Hurt and Marlee Matlin; Agnes Of God, directed by Norman Jewison and starring Jane

Fonda and Meg Tilly; Black Robe, directed by Bruce Beresford and the critically acclaimed

independent from Working Title Films Map Of The Human Heart.

April is a native of Montreal whose Canadian film credits include the critically

acclaimed Red Violin, starring Samuel Jackson and Greta Scacchi; and Grey Owl, starring

Pierce Brosnan, which garnered April the Genie Award (Canadian Oscar) for Achievement In

Costume Design. April also received a Genie for her work on The Bay Boy, starring Liv

Ullman and Kiefer Sutherland, and was nominated for a Genie on Pen Densham’s The Kiss,

starring Joanna Pacula.

ALAN SILVESTRI (Music) recently received an Oscar® nomination and won a

Grammy for the song “Believe” written for Robert Zemickis’ Polar Express. He formerly

earned nominations from both the Academy and the Golden Globes for Best Score for

Zemeckis' Forrest Gump. In addition to Polar Express and Forrest Gump, he has scored many

other motion pictures for director Zemeckis including Cast Away, What Lies Beneath, Contact,

Romancing the Stone, all three Back to the Future films, Who Framed Roger Rabbit? and

Death Becomes Her.

Silvestri's other recent credits include The Wild, Van Helsing, Lara Croft Tomb Raider:

The Cradle of Life, Identity, Maid in Manhattan, The Mummy Returns, The Mexican, Stuart

Little and Stuart Little 2, Lilo and Stitch and Serendipity. Among his additional film credits

are What Women Want, Reindeer Games, Star Trek: Insurrection, Practical Magic, The Parént

Trap, Mousehunt, Volcano, The Long Kiss Goodnight, Eraser, Sgt. Bilko, Grumpier Old Men,

Father of the Bride Part II, Judge Dredd, The Perez Family, The Quick and the Dead, Richie

Rich, Blown Away, The Bodyguard, Grumpy Old Men, Judgment Night, Super Mario Brothers,

FernGully: The Last Rainforest, Father of the Bride, Shattered, Ricochet, Soapdish, Predator

2, Young Guns II, The Abyss, Overboard, Predator, Outrageous Fortune, Flight of the

Navigator, Clan of the Cave Bear, American Anthem and Fandango.

©2006 Twentieth Century Fox. All rights reserved. Property of Fox.

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.

This press kit, in whole or in part, must not be leased, sold, or given away.

TWENTIETH CENTURY FOX Presents

In Association with

INGENIOUS FILM PARTNERS

A 1492 PICTURES / 21 LAPS Production

A SHAWN LEVY Film

BEN STILLER

CARLA GUGINO

DICK VAN DYKE

MICKEY ROONEY

BILL COBBS

JAKE CHERRY

RICKY GERVAIS

and ROBIN WILLIAMS

KIM RAVER

PATRICK GALLAGHER

RAMI MALEK

PIERFRANCESCO FAVINO

CHARLIE MURPHY

Directed by..............................SHAWN LEVY

Produced by............................SHAWN LEVY

.......................................CHRIS COLUMBUS

.................................MICHAEL BARNATHAN

Screen Story and Screenplay by......................

.............................ROBERT BEN GARANT &

.........................................THOMAS LENNON

Based upon the book by..........MILAN TRENC

Executive Producers...THOMAS M. HAMMEL

.................................................IRA SHUMAN

.........................................MARK RADCLIFFE

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

.......................GUILLERMO NAVARRO, ASC

Production Designer...............CLAUDE PARÉ

Film Editor.............DON ZIMMERMAN, A.C.E

Co-Producer......................JOSH McLAGLEN

Associate Producer.........ELLEN M. SOMERS

Visual Effects Supervisor.............JIM RYGIEL

Costume Designer...................RENÉE APRIL

Music by.............................ALAN SILVESTRI

Casting by..................ILENE STARGER, CSA

Unit Production Manager......ANNE SIMONET

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

...................................THOMAS M. HAMMEL

Unit Production Manager..........IRA SHUMAN

First Assistant Director....................................

MARTY ELI SCHWARTZ

First Assistant Director.......JOSH McLAGLEN

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

.........................................MISHA BUKOWSKI

CAST

Larry Daley...............................BEN STILLER

Rebecca...............................CARLA GUGINO

Cecil.....................................DICK VAN DYKE

Gus...................................MICKEY ROONEY

Reginald.....................................BILL COBBS

Nick Daley..............................JAKE CHERRY

Dr. McPhee..........................RICKY GERVAIS

Teddy Roosevelt................ROBIN WILLIAMS

Erica Daley...................................KIM RAVER

Attila The Hun...........PATRICK GALLAGHER

Ahkmenrah................................RAMI MALEK

Christopher Columbus.....................................

...........................PIERFRANCESCO FAVINO

Taxi Driver.......................CHARLIE MURPHY

Octavius..............................STEVE COOGAN

Sacajawea................................MIZUO PECK

Neanderthal # 1...KERRY VAN DER GRIEND

Neanderthal #2........................DAN RIZZUTO

Neanderthal #3...........MATTHEW HARRISON

Neanderthal #4......................JODY RACICOT

Don.............................................PAUL RUDD

Debbie.....................................ANNE MEARA

Lewis.......................MARTIN CHRISTOPHER

Clark........................................MARTIN SIMS

Hun #1........................................RANDY LEE

Hun #2 .................................DARRYL QUON

Hun #3.................................GERALD WONG

Hun #4..................PAUL CHIH-PING CHENG

Teacher (Mike)...........TEAGLE F. BOUGERE

TV News Anchor.....................PAT KIERNAN

Friend #1................................NICO McEOWN

Friend #2........................MESHACH PETERS

Politician........................MATTHEW WALKER

Irish Worker......................JASON McKINNON

Chinese Rail Worker............JONATHAN LEE

Vikings................................JASON VAISVILA

................................................CADE WAGAR

Chinese Terra Cotta Solidier..CORY MARTIN

Easter Island Head (Voice Over).....................

............................................BRAD GARRETT

Dexter....................CRYSTAL THE MONKEY

Stunt Coordinator........................JJ MAKARO

Fight Choreographers................DEAN CHOE

............................................JEFF ROBINSON

Stage Coach Unit Stunt Coordinators..............

.................JOHN BRANAGAN, CORY GLASS

Stunt Safety Team..........RICHARD BROOKS

..............MITCH LEE YUEN, COLIN DECKER

...............DUSTIN BROOKS, DARRYL QUON

...............................................HUGO STEELE

Blind Driver.............................JASON GLASS

Larry Riding Double..........BRENT WOOLSEY

Stunt Soldiers........................CODY LAUDAN

...LLOYD ADAMS, MIKE DOPUD, BRIAN HO

.....................TREVOR JONES, MIKE CHING

...............................................ROGER LEWIS

Stunt Doubles .................................................

.................GREGORY JAMES FITZPATRICK

.............MIKE MITCHELL, PAUL RUTLEDGE

...................................................CHAD SAYN

Stunt Romans.......................TREVOR ADDIE

........DARREN SHAHLAVI, LOYD BATEMAN

.............SHAWN BEATON, CHRIS GORDON

.........CLINT CARLETON, MIKE DESABRAIS

.....JON KRALT, KIT MALLET, TODD SCOTT

Stunt Cowboys..................SIMON BURNETT

........GREG SCHLOSSER, YVES CAMERON

.....................................HEATH STEVENSON

...LAURO CHARTRAND, CHAD COSGRAVE

...................JOE A. DODDS, KIRK JACQUES

................TOM EIRICKSON, ROGER LEWIS

..DAVE HOSPES, KEN ZILKA, JOHN SCOTT

Stunt Railroad Workers.............ALEX GREEN

..............................ROB BOYCE, AARON AU

.......................................KIMBERLY CHAING

Stunt Driver.....................BLAISE CORRIGAN

Teddy Stand-In......................ADAM BRYANT

Additional Stunts...............CHARLIE ATTRILL

...................TOM GLASS, LEO BYUSA TETA

............RAYMOND CHAN, BILL LAWRENCE

.....................MIKE VERZINA, ALEX CHIANG

..........................RANDY LEE, CLAY VIRTUE

.....TROY DORCHESTER, JOVAN NENADIC

......................GERALD WONG, REG GLASS

................DAN RIZZUTO, ELI ZAGOUDAKIS

.......................................SONNY SUROWIEC

Second Unit Director..................BRIAN SMRZ

Supervising Art Director.........HELEN JARVIS

Set Decorator....................LIN MACDONALD

Set Designers...................GLENN BYDWELL

.............PETER BODNARUS, CHRIS BEACH

.............................................DOUG GIRLING

Art Directors.....................MICHAEL A. DINER

.......................................BRIDGET McGUIRE

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

......................................DANIEL MANSFIELD

Third Assistant Director.....RHONDA TAYLOR

Additional Assistant Director............................

......................................ALLISON CHRETIEN

‘A’ Camera Operator...............DAVID CRONE

‘B’ Camera Operator.............GLEN DICKSON

‘A’ Camera Focus Puller.......TIMOTHY KANE

‘B’ Camera Focus Puller........GREG BEATON

‘A’ Camera Second Assistant ........................

..............................................RICH SINCLAIR

‘B’ Camera Second Assistant..AMIE GIBBINS

Loader.................................SCOTT COZENS

Video Playback.......................LANCE WHITE

Stills Photographer..........DOANE GREGORY

Production Sound Mixer..ROB YOUNG C.A.S

Boom Person.............MICHAEL HIBBERSON

Cable Person.......................KAREN SCHELL

Production Supervisor...ANDREA BOORMAN

Unit Manager................MICHAEL WILLIAMS

Script Supervisor...................DIANE DURANT

Associate Editor.............DEAN ZIMMERMAN

Visual Effects Editor..............MILLER DRAKE

1st Assistant Editor.........................................

..............................H. DWIGHT RAYMOND IV

Assistant Editor.MELODY GEHRMAN-COOK

Visual Effects Assistant Editor.........................

.............................................LINDA SUNDLIN

Editorial Production Assistants........................

.................RAND GEIGER, TYLER RUOCCO

Digital Producer.........................SERGE RIOU

VFX Coordinator.............KEITH HAMAKAWA

On Set Data Coordinators...............................

......BLAINE LOUGHEED, FELIX POMERANZ

VFX Production Assistants..............................

....JESSIKA CANIZALEZ, ROSMARY CONTE

Supervising Sound Editors.JOHN A. LARSEN

.........................................CRAIG HENIGHAN

Sound Mixing ........................PAUL MASSEY

......................................DAVID GIAMMARCO

Property Master....................ELLEN FREUND

Assistant Property Masters....TIARA MOTEM

...................................................EA BIRKETT

Assistant Set Decorators.................................

...................................MICHAEL A. BILLINGS

Set Decorator Coordinator / Buyer.ZOË JIRIK

Set Decorator Foreman..............KEITH BURK

Storyboard Artist................TRACEY WILSON

Graphic Artists................LOREE WERSHLER

..........................................................RAY LAI

Casting Associate................ZOË E. ROTTER

Casting Assistant.........VALERIE LINDQUIST

Los Angeles Casting Associate.......................

...........................................DEANNA BRIGIDI

Vancouver Casting by.....................................

..................................COREEN MAYRS, CSA

................and HEIKE BRANDSTATTER, CSA

Vancouver Casting Assistant...........................

........................................TRICA THOMPSON

UK Casting by......................CARRIE HILTON

Extras Casting...................JAMES FORSYTH

Gaffer (US)....................................DAVID LEE

Gaffer (Canada)............STEPHEN JACKSON

Best Boy Electric.............................................

............................JOHN MARILLEY BODNER

Company Electrics................DENNIS JONES

...............TERRY CALHOUN, SCOTT CLARK

.....CHUCK REID, VINCENT A. UYTDEHAAG

.................JAY STROBURG, VANCE VEGAS

........ANDY TOLLASEPP, DAVE ROUGHLEY

..................PHILIPPE LACROIX, RICK DEAN

Key Grip (US).....................RICK STRIBLING

Key Grip (Canada)....................MATT ALMAS

Best Boy Grip....................BRUCE BEAULAC

Dolly Grips.........................JAMES SALBERG

...............................................NEIL McBRIDE

Company Grips......................KEVIN McCLOY

..................ROBERT LITTLE, JOHN HARKIN

....................SHANE KJAR, TROY BASSETT

...............................TODD MUNN, STAN DIM

....................RICK GUENTHER, DALE VRBA

..........MICHAEL LEMMERS, JULIEN BOSSE

..................................RALPH RUTHERFORD

.......RICHARD NELLESS, MIGUEL GELINAS

....................TOM AINSWORTH, GAVIN HILL

.......................................JONATHAN BOSSE

Costume Supervisor.......BLANCHE BOILEAU

Assistant Costume Designers..........................

...................................CHRISTINE GRENIER

...............................COURTNEY ANDERSEN

Mr. Stiller's Wardrobe designed by .................

..............................................KAREN PATCH

Set Costumers......................SUSAN O’HARA

...ANDRÉ BROUWER, CHRISTINE COUTTS

Makeup Artist......................VICTORIA DOWN

Hair Stylist............................SHERRY GYGLI

Location Manager............NEIL ROBERTSON

Production Coordinator (Vancouver)................

.........................................FAWN McDONALD

Production Coordinator (LA)..SEAN GOWRIE

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

.....................................WILLIAM "BILL" ORR

Special Effects........ANDREW SCULTHORPE

.......DENNIS BRIEST, ANDRE DOMINGUEZ

SCOTT TRELIVING, STEPHEN HEPWORTH

.....................................JOHN A. WILKINSON

..........TERESA WILKINSON, GRANT SMITH

..................................................IAN KORVER

Construction Coordinator........JAN KOBYLKA

Construction Foreman............JOHNNY DALE

Stage Foreman..................BOB NICHOLSON

Mill Foreman..........................DALE MENZIES

Paint Coordinators.................MARIO TOMAS

............................................ALAIN GIGUÉRE

Labor Foreman....................JOHN KOBYLKA

Head Greens....................DAVID EMMONDS

Assistants to Mr. Levy............JUDD CHERRY

...........REGINA TAUFEN, KENNEDY DAVEY

Assistant to Mr. Hammel.......JEREMY SMITH

Financial Controller.....................BOB ROATH

Assistant Production Coordinators...................

..................TARA MEWS, PETER J. LAPRES

..............................................TONI BULLOCK

2nd Assistant Production Coordinators...........

.................................CHRISTIAN CHARLTON

......................CARL GRUELL, TROY SITTER

Office Production Assistants...........................

.......RAYAN CHARLTON, ALLISON CLARKE

Accountant .......................JOSÉE BRODEUR

Assistant Accountants...........KAREN MARCH

.............................................JESSICA GIHON

.................................NERISSA McCORMACK

......................................SHANNON HARRON

Unit Publicist........................GLORIA DAVIES

Head Wrangler.........................JOHN SCOTT

Animals provided by .......................................

.....................BIRDS & ANIMALS UNLIMITED

Monkey Trainers..............MIKE ALEXANDER

........................................TOM GUNDERSON

Transportation Coordinator...ROB VREUGDE

Transportation Captain.........WAYNE POWER

Catering.............................CINEMA SCENES

Tutor..............................DANIKA DINSMORE

............A.B.C. On Set Tutoring Company, Inc.

Clearance & Product Placemen

Coordinator.....................PETER CUMMINGS

Assistants to Mr. Stiller............LIZ MAHONEY

.............DANIELLA WELLS, HELEN HARLAN

Costumer for Mr. Stiller..........ROBERT MATA

Hair Stylist for Mr. Stiller....NINA PASKOWITZ

Makeup Artist for Mr. Stiller.....KATE BISCOE

Assistant to Mr. Williams.................................

........................REBECCA ERWIN-SPENCER

Hair & Makeup to Mr. Williams.CHERI MINNS

Sound Design and Additional Mixing by..........

.........................................CRAIG HENIGHAN

ADR Supervisor............................R.J. KIZER

ADR Editor.............MILLY IATROU MORGAN

Dialogue Editors................HELEN LUTTRELL

..............................................SUSAN DAWES

FX Editor.........................DAVID KULCZYCKI

Foley Supervisor..............JOHN M. MURRAY

Foley Editor.................DONALD SYLVESTER

1st Assistant Sound Editor..............................

.....................................WARREN HENDRIKS

Assistant Sound Editor..SKIP LONGFELLOW

Supervising Music Editor......TERRY WILSON

Score Music Editor...................KEN KARMEN

Post Production Facilities provided by.............

........TWENTIETH CENTURY FOX STUDIOS

Recordist..............................TIM GOMILLION

........DENNIS ROGERS, MATT PATTERSON

Re-Recording Engineers..............BILL STEIN

..............................................PAUL PAVELKA

Sound Editorial EngineersGEOFF ETHRIDGE

.................................ERIN MICHAEL RETTIG

ADR Mixer...................CHARLEEN STEEVES

ADR Recordist.................DAVID LUCARELLI

Foley Artists.......................DAN O'CONNELL

..................................................JOHN CUCCI

Foley Mixer.........................JAMES ASHWILL

Voice Casting by ......THE LOOPING GROUP

Voice Actors....................KIMBERLY BAILEY

..............GIL BIRMINGHAM, ROBBY BRUCE

..................DOUG BURCH, ALEX CASTILLO

...........CATHERINE CAVADINI, PAUL CHEN

.....................ALEX CONG, JESSIE FLOWER

.........PEDRO U. GARCIA, AARON HENDRY

....................BARBARA ILEY, ERICA JONES

COHL KENNETH KLOP, DAAMEN J. KRALL

...................TOMMY LAMEY, MIRAYDA LEVI

RAYMUNDO MAGANA, ZAHN McCLARNON

.............ROBERTO MEDINA, ARLIN MILLER

......KHANYA MKHIZE, ABDOULAYE N'GOM

...................VIVIANNE NACIF, BENJAMIN A.

....ONYANGO OCHIENG, MAGGIE PALOMO

......MARTIN POZ PEREZ, MICHAEL RALPH

.....NOREEN REARDON, RICHARD SCOBIE

................................CRAIG RICCI SHAYNAK

....................................GUBBI SIGURDSSON

......................STEFAN KARL STEFANSSON

...............MARK SUSSMAN, JOEL SWETOW

REGINA TAUFEN, TRAVIS QUENTIN YOUNG

.......................................RUTH ZALDUONDO

Negative Cutter.....................GARY BURRITT

Color Timer.............................CHRIS REGAN

Main Titles by ........................PICTURE MILL

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

Digital Intermediate Facility...................EFILM

Digital Intermediate Producer..TERRA BLISS

Supervising Digital Colorist .......MIKE EAVES

Digital Intermediate Editor.....DEVON MILLER

SECOND UNIT

Additional Second Unit Director...JIM RYGIEL

Director of Photography...LARRY BLANFORD

First Assistant Director.....MATTHEW DUNNE

.................................................SAM HARRIS

Art Director............GRANT VAN DER SLAGT

Camera Operator..................JUNICHI HOSOI

First Assistant CameraTAYLOR MATHESON

Script Supervisor...........LORELEI KUCHERA

Gaffer............................BURTON KUCHERA

Key Grip...........................TONY WHITESIDE

Property Master........................JOHN WATTS

Costume Supervisor..................LISE HACHE

NEW YORK UNIT

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

.....................................RAYMOND QUINLAN

Second Assistant Director..CHRISTO MORSE

Art Director...........JOHN WRIGHT STEVENS

Set Decorator..........................LYDIA MARKS

Leadman.............................DAVID WEINMAN

Assistant Set Decorator..JENNIFER STARKE

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

............................................KYLE RUDOLPH

A Camera 2nd AC.........JAMIE FITZPATRICK

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

...........................................MICHAEL GREEN

B Camera 1st AC......JOHN R. MACDONALD

B Camera 2nd AC..............MATT BALZARINI

Camera Loader......................DANA TURKEN

Video Playback..................KEVIN MCKENNA

Still Photographer..........PHILLIP V. CARUSO

Production Coordinator.............ILKA RIVARD

Assistant Production Coordinator....................

................................GWEN LAURA SCHMITT

Production Accountant.ANDREW WHEELER

Payroll Accountant...................ALICIA IVERY

First Assistant Accountant...............................

..................................BETH M. SCHNIEBOLK

Second Assistant Accountants........................

......................PEDEN YOUNG, NELL DRAKE

2nd 2nd Assistant Director..............................

................................DEANNA LESLIE KELLY

Art Department Production Asst.....JOJO L. LI

Production Sound Mixer...........GARY ALPER

Boom Operators.....................PETER FONDA

..................................................JERRY YUEN

Gaffers...............................COLLIN QUINLAN

Rigging Gaffer.....................THOMAS DOLAN

Best Boy Electric...................RYAN QUINLAN

Genny Operators.....................KEVIN WALSH

...........................................JAMES F. WALSH

Electrician...............................JASON VELEZ

Key Grip...........................GEORGE PATSOS

Key Rigging Grip...............WILLIAM PATSOS

Best Boy Grip..................................................

...................CONSTANTINE GUS MAGALIOS

Dolly Grip.............................KEITH BUNTING

Grips........NEIL NOVICH, ROCCO PROSCIA

..........RONALD WATERS, ERNEST YURICH

..........................................MICHAEL YURICH

Assistant Costume Designer...........................

..........................................AUTUMN SAVILLE

Wardrobe Supervisor.......WINSOME MCKOY

Key Costumer.....................KEVIN FAHERTY

Costumer..........................ROSE POLANSKY

Costume Production Assistant........................

..................................COURTNEY FREEMAN

Key Makeup Artist....MARYANN MARCHETTI

Key Hair Stylist............MICHELLE JOHNSON

Location Manager............MICHAEL KRIARIS

Assistant Location Manager............................

........................................KRIS SCHACKMAN

Location Assistants..........BRIAN K. BARNES

......................................MATTHEW E. KANIA

Parking Coordinator...............KERRY CLARK

Unit Production Assistant................................

.....................................MATTHEW WIESNER

Location Production Assistant (IT)...................

...........................................NICHOLAS CARR

Extras Casting ...........SYLVIA FAY CASTING

Extras Casting Associate...........LEE GENICK

Set Dressers......CHRIS VOGT, ERIC LEWIN

.........................JULIO DANIEL RODRIGUEZ

.....JOSEPH DELUCA, RODNEY STERBENZ

Special Effects Coordinators..MICHAEL BIRD

.........................................STEVE KIRSHOFF

Special Effects Foreman..................................

..................................GILBERT H. GERTSEN

Construction Coordinator.................................

....................................JOSEPH ALFIERI, JR.

Key Construction Grip....STEVEN FRATIANNI

Charge Scenic.................PATRICIA SPROTT

Camera Scenic............STEPHEN SIERSEMA

Industrial Member.........ELIZABETH SCHULA

Property Master...............ROBERT GRIFFON

Assistant Property Masters..............................

.......JOHN B. MCDONNELL, BRENT GODEK

Assistant to Mr. Stiller in NY....EDITH HAGIGI

Production Secretary...........KYLE VILLEGAS

Office Production Assistants..CRISTINA LOIS

.......................................................ERIC RAU

Key Production Assistant.................................

.....................................BELLAMY FORREST

Set Production Assistants................................

.........MICHELLE SLADINSKI, AMY SPIEGEL

.....JASON BOOTH, ANGELIQUE VILLEGAS

.................................PATRICK BEVILACQUA

Transportation Captain....................................

.................................STEVEN R. HAMMOND

Transportation Co-Captain...............................

........................................PETER J. CLORES

Transportation Office Coordinator....................

....................................CHRISTINA SCHAICH

Catering....................PREMIERE CATERERS

Craft Service................DAVID DREISHPOON

Unit Publicist..............................JACEY TAUB

Pre-Visualization by ........................................

......................IMAGE ENGINE DESIGN, INC.

Miniatures by ..................................................

..............CINEMA PRODUCTION SERVICES

Motion Capture by ..............GIANT STUDIOS

Cyber Scanning by ...............GENTLE GIANT

VISUAL EFFECTS BY RHYTHM

& HUES STUDIOS

Visual Effects Supervisor.......DAN DELEEUW

RAINMAKER ANIMATION & VISUAL

EFFECTS

VISUAL EFFECTS & ANIMATION BY THE

ORPHANAGE

VISUAL EFFECTS BY: LOLA VFX

Additional Visual Effects by:

SANDBOX F/X

PACIFIC TITLE AND ART STUDIO

WETA DIGITAL LTD.

WELLINGTON, NEW ZEALAND

Makeup Effects by...........................................

..........................MAESTRO STUDIO FX, INC.

Key Makeup Effects Supervisor......................

.............................................ADRIEN MOROT

Lead Sculptor......................MICHEL BOUGIE

Makeup Effects Artist.FRANÇOIS GAUTHIER

Lab Technician..........MARK UNTERBERGER

Score Conducted by............ALAN SILVESTRI

Score Orchestrated by .........CONRAD POPE

..............................JOHN ASHTON-THOMAS

.........................................DAVID SLONAKER

Score Contracted by .SANDY DeCRESCENT

.............................................PETER ROTTER

Score Coordination................DAVID BIFANO

Score Preparations by ....................................

..................JOANN KANE MUSIC SERVICES

Score Recorded and Mixed by........................

..............................................DENNIS SANDS

Additional Engineering by ..JOHN RICHARDS

Digital Recording by......MICHAEL ATWATER

Vocal Contracting by...........SALLY STEVENS

Score Recorded at ...THE NEWMAN STAGE,

.........................TWENTIETH CENTURY FOX

.........................TODD-AO SCORING STAGE

Recordist....................................TIM LAUBER

Engineer..................................BILL TALBOTT

Stage Managers..........................TOM STEEL

...........................FRANCESCO PERLANGELI

SONGS

EYE OF THE TIGER

Written by James Peterik and Frank M.

Sullivan, III

DEM BONES

Traditional

TEQUILA

Written by Chuck Rio

Performed by The Champs

Courtesy of Sony/ATV Music Publishing

LLC d/b/a Masters International

MANDY

Written by Richard Kerr and Scott English

Performed and Produced by LeeTown

CAMPTOWN RACES

Written by Stephen Foster

SHE'LL BE COMIN' ROUND THE

MOUNTAIN

Traditional

WEAPON OF CHOICE

Written by Ashley William Slater, Sylvester

Stewart, William Earl Collins, Norman

Cook, William R.

McLean and Andres Titus

Performed by Fatboy Slim featuring Bootsy

Collins

Courtesy of Astralwerks

Under license from EMI Film & Television

Music

Bootsy Collins appears courtesy of WEA

Records Germany

SEPTEMBER

Written by Maurice White, Al McKay and

Allee Willis

Performed by Earth, Wind & Fire

Courtesy of Columbia Records

By arrangement with SONY BMG MUSIC

ENTERTAINMENT

TONIGHT

Written by Dameon Beckett, Ali “Dee”

Theodore, Zach Danziger, Julian Davis,

Alana Dafonseca and

Dave Kelly

Performed by Keke Palmer featuring Cham

Produced by Ali Dee for DeeTown

Productions

Keke Palmer performs courtesy of Atlantic

Recording Corporation

Cham performs courtesy of

Madhouse/Atlantic Recording Corporation

THE PRODUCERS WISH TO THANK THE

FOLLOWING FOR THEIR ASSISTANCE:

AMERICAN MUSEUM OF NATURAL

HISTORY

NEW YORK MAYOR’S OFFICE OF FILM,

TELEVISION AND BROADCASTING

Technicolor NY &

Vancouver

DOLBY STEREO (logo)

In Selected Theatres

KODAK

FILM STOCK (Logo)

DTS

Approved No. 42837

IATSE "Bug"

Copyright © 2006 Twentieth Century Fox

Film Corporation in all territories except

Brazil, Italy, Korea, Japan and Spain.

Copyright © 2006 TCF Hungary Film

Rights Exploitation Limited Liability

Company and

Twentieth Century Fox Film Corporation in

Brazil, Italy, Korea, Japan and Spain.

Ingenious Film Partners 2 LLP and Night

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Dec 15 2006

ERAGON, a fantasy adventure for young people based on the phenomenally successful novel by Christopher Paolini – the first book in the young author’s epic Inheritance Trilogy – is a timeless yet modern tale.

The book’s most fantastical character – a flying dragon named Saphira – arrives via the high-tech wizardry of the industry’s most honored visual effects houses: WETA Digital (the “Lord of the Rings” trilogy, “King Kong”) and Industrial Light & Magic (the “Star Wars” films, “Jurassic Park”). In addition, WETA created ERAGON’s climactic and massive battle scene, in which the forces of good, led by the young Dragon Rider Eragon and Saphira, battle the armies of the evil King Galbatorix.

For over two millennia, dragons have been – depending on the culture and times – beloved, feared, or even worshipped. Today, the mythical creatures are a mainstay of pop culture. ERAGON’s Saphira is inspired by the rich heritage of the storied winged creatures, but for the first time, the power of state-of-the-art computer generated imagery brings myth to photo-real, emotional life. What “Jurassic Park” was to dinosaurs, ERAGON is to dragons. Indeed, Saphira is a step beyond the dinosaurs of “Jurassic Park,” as her facial imagery conveys thoughts and feelings.

THE VISION AND TRIUMPH OF CHRISTOPHER PAOLINI: BRINGING

ERAGON TO THE SCREEN

Upon its initial release in hardcover by Knopf in August 2003, the novel Eragon became a worldwide publishing phenomenon. The book was an instant bestseller and has since spent 87 consecutive weeks on The New York Times Bestseller List, and 21 consecutive months on Publisher’s Weekly Young Adult Fiction Bestseller List, including nine months at #1. Eragon has sold 2.5 million copies in hardcover and paperback in North America alone, and the book has been published in 38 countries.

Eragon is the first novel of a trilogy. The second book, Eldest, was published in the United States and Canada in August 2005, and quickly became the number-one selling book in the United States. It has sold over one million hardcover copies, was number-one on The New York Times Children’s Best Seller list, and was a USA Today Top-50 Bestseller. It won the Young Adult/Teen 2006 Quill Book Award.

At the time of release of the ERAGON motion picture, the novel Eragon held the number-one slot on The New York Times Children’s Paperback Best Seller List, and Eldest was number-one on the Times’ Children’s Hardcover Best Seller List. Sales of both books increased steadily with the release of the Eldest Limited Edition the move tie-in books – and with the help of the film’s promotional activities.

Paolini’s own story is a fantasy in itself. The first edition of Eragon was self- published by his family. The following year, Alfred A. Knopf published the novel worldwide, to huge acclaim.

Paolini, now 22, grew up in Paradise Valley, Montana – a location which inspired much of the story’s fantastic environments. His novels reflect his personal experiences growing up in a valley of the Beartooth Mountains of Montana, not unlike the valley that Eragon called home.

Screenwriter Peter Buchman, whose credits include “Jurassic Park III,” wrote the screenplay. Buchman, a fan of fantasy and science fiction literature and films, says he was “blown away” by the author’s precociousness, his mastery of plot lines and characters, and his ability to create several completely imaginary worlds. Buchman worked hard to serve the richness of Paolini’s story and characters – and the book’s legions of fans – while crafting a screenplay that would attract newcomers to the world of ERAGON.

At the center of both novel and film is the bond between Eragon and Saphira.

“Christopher came up with this wonderful idea of a young man who develops a bond with a dragon,” says Buchman. “That relationship is at the core of the book, and that’s what we had to translate to film.”

It was Buchman’s script that drew the attention of Stefen Fangmeier. “I found it to be an exciting read,” says the director. “With the book’s fantastical aspects, people would look at me in terms of the visual effects requirements. However, my first reaction to the material was that it was a great story that had an emotional arc.”

ERAGON presents a mythology in which Dragon Riders had once brought peace and prosperity to the land of Alagaësia. Dragons gave their Riders magical powers, even immortality. No enemy could defeat them – until one of their own, Galbatorix, decided to take all the power for himself and cut down the Dragon Riders. But with Eragon’s discovery of a gleaming sapphire egg, which hatches a dragon he names Saphira, the time of the Dragon Riders has come again.

Having discovered his true path as a Dragon Rider, and with the help of his mentor Brom, Eragon is determined to bring back the golden age of justice once known throughout the land, if he can survive the machinations of King Galbatorix. Eragon is swept into a world of magic and power, becoming a true hero to – and the last hope of – the people of Alagaësia.

Taking on the title role is newcomer Ed Speleers, 18, who got the part after Twentieth Century Fox and the filmmakers conducted a worldwide casting search, which rivaled the hunt for a cinematic “Harry Potter” and included hundreds of auditions and dozens of screen tests.

The film also stars Academy Award® winner Jeremy Irons as Brom, a former Dragon Rider who becomes Eragon’s mentor; Oscar® nominee John Malkovich as the powerful and evil King Galbatorix; BAFTA Award winner Robert Carlyle as the powerful sorcerer Durza; Oscar nominee Djimon Hounsou as Ajihad, the leader of the rebel Varden; Sienna Guillory as the beautiful warrior Arya; and Garrett Hedlund as a young man with a past.

Befitting Saphira’s regal bearing, one of today’s finest actors – Academy Award winner Rachel Weisz – provides the dragon’s “voice.” Weisz’s performance brings to life Christopher Paolini’s key idea for the novel: the method by which Saphira communicates with Eragon. Saphira does not speak; her lips never move as they would with a traditional CG character. Instead, the dragon connects telepathically with her rider, which reinforces the emotional, almost spiritual bond between the two characters.

ERAGON is directed by Stefen Fangmeier, one of the motion picture industry’s true visual effects geniuses. During his tenure at Industrial Light & Magic, Fangmeier supervised films such as “Saving Private Ryan,” “Twister,” “The Perfect Storm” and “Master and Commander: The Far Side of the World.” He is a three-time BAFTA Award winner, and is a four-time Oscar nominee.

For ERAGON, Fangmeier’s visual effects teams employ every state-of-the-art technique to create Saphira and take the audience to the magical, timeless world of Alagaësia – not forward to a futuristic science fiction creation. Under his direction, Wolf Kroeger’s production design, Hugh Johnson’s cinematography, and Kym Barrett’s sleek costumes, give the film a contemporary edge.

THE CAST

For the filmmakers, the stakes couldn’t have been higher in casting their young

Dragon Rider, Eragon. Newcomer Ed Speleers emerged from the months-long,

worldwide casting search. “Ed came in [to the casting session], and we just looked at

each other and said, ‘That’s Eragon, that’s the guy from the book,’” says director Stefen

Fangmeier: “I got a strong sense of Ed’s sparkle, of his life. It’s the kind of thing where

you just know he’s destined to become a movie star.”

Speleers won the role as he was trying to learn his lines for a school production of

“Hamlet.” He couldn’t help but be awed by this, his professional acting debut. “During

production in Slovakia, we were lifted by helicopter to the top of a large mountain

surrounded by incredible scenery,” he remembers. “I stood at the edge of this mountain,

thinking, ‘What’s going on here? I’m supposed to be at school taking my exams, and I’m

here having the best time of my life.’ If I continue to make movies – which I would love

to do – I don’t think I will ever get that same, overwhelming feeling.”

The young actor easily grew into the role. Indeed, Speleers sees parallels between

his experiences making ERAGON and his on-screen character’s journey. “I was on a

new adventure, just like Eragon was,” he explains. “I had a well-structured life, doing

regular things, and then I was suddenly thrown into this incredible world, starring in a

movie. It’s been a great time for me to find myself (as Eragon does in the story), meet

new people, and have new experiences.”

A highlight of Speleers’ experiences on ERAGON was working opposite Jeremy

Irons, who portrays Eragon’s mentor, Brom. The actors’ off-screen relationship mirrored

what was happening on camera. “Jeremy always provided words of advice, and always

nurtured me,” Speleers recalls. “He was doing so out of the kindness of his heart, but at

the same time so much of Brom was in Jeremy.”

Irons says he was ready to tackle a big action-adventure picture. “ERAGON

reaches an audience that I haven’t reached in a while,” he says. “Equally important,

Brom appealed to me; he has a wryness and fierceness, but at the same time he’s a good

man.”

To prepare for the role, Irons read Eragon, and trained in the method of

swordplay Paolini describes in his book. “It’s a specific style of fighting,” Irons notes.

“It’s like Eastern swordplay, and is more esoteric than English medieval styles. I

practiced almost every day to build the wrist strength necessary to realistically play the

fighting scenes.” The many riding scenes were less of a challenge to Irons, an

experienced horseman.

Brom’s and Eragon’s fates are closely tied to the evil King Galbatorix, played by

Oscar-nominee John Malkovich. Galbatorix is a central character in the film, one whose

presence and menace are felt even when he’s offscreen.

Although Malkovich shares no scenes with Ed Speleers, the young actor and his

growing following made a distinct impression on him. “Before leaving for Budapest, a

friend of mine told me that he had a bunch of kids who wanted Ed’s autograph,” he

recounts. “I hadn’t experienced anything like that since working with Leonardo

DiCaprio [in “The Man in the Iron Mask”].

The chief “aide” to Malkovich’s Galbatorix is Durza, a sorcerer possessed with

demonic spirits. Durza is tall, handsome and pale, with red hair and maroon eyes. He is

lordly in manner, but his refinement masks something unnatural.

BAFTA Award-winner Robert Carlyle, as Durza, made a strong impression on Ed

Speleers. “Our first meeting was intense,” says Speleers. “Robert wore a long wig,

contact lenses and full-flowing outfit. I didn’t need to get into character to react opposite

Robert as Durza,” laughs Speleers. “He was Durza!”

“Robert came in very much wanting to do ERAGON, and his approach to Durza

was to not make the character obvious and over-the-top in his villainy,” says Wyck

Godfrey. “Durza has an agenda and with his red eyes and hair, and pale skin, there are

things visually apparent about the character; you don’t need to work hard to force him to

be evil.”

Early in the story, Durza uses his formidable powers to try and stop the female

warrior Arya, who’s on a mission to find the next Dragon Rider. “Arya has been

entrusted with a dragon egg stolen from Galbatorix, carrying it across Alagaësia looking

for its owner,” says Sienna Guillory, who portrays Arya. “Her warrior side uses a Zen-

like fighting style. Because she’s an elf, she understands nature – the trees, light and

wind – and is capable of seeing danger before it happens.

“It’s great to play a female action role that’s not all ‘hero’ and that’s not rough

and unfeminine,” she continues. “I love horses and this was a film where I got to ride a

horse and fight with a sword – brilliant!”

Guillory makes special note of the work of costume designer Kym Barrett, whom

the actress says “brings a wonderful modernity and edge” to the picture. “Kym’s work

reflects the timelessness of the film,” Guillory elaborates. “It’s not about being medieval

or going back to another period in the past. Kym’s designs for Arya are about ecology

and the environment. Arya is a kind of eco-warrior, who is in tune with nature.

Everything she wears look and feels worn and soft. Kym really works amazingly well

with movement.”

Arya and Eragon take a stand against Galbatorix, Durza, and their minions in the

final battle of Farthen Dûr. This stronghold of the rebel Varden forces is led by Ajihad,

played by Oscar nominee Djimon Hounsou. “I was attracted to ERAGON because it is

an enormous adventure,” the actor explains. “Everything about it is bigger than life.”

Also taking a stand at Farthen Dûr is Murtagh, played by Garrett Hedlund, one of

the few Americans in the cast. Like several of his fellow castmates, Hedlund underwent

intensive physical training, including boxing and working with a long bow. But Hedlund

notes that it was what’s underneath the character’s skin that intrigued him. “There’s

something about Murtagh that lies under the surface,” he explains. “Murtagh has a secret

and a past he’s not necessarily proud of.”

SAPHIRA

ERAGON’s distinguished cast is impressive, but the filmmakers acknowledge the

picture’s “biggest” – and most expensive – star is the dragon Saphira. Christopher

Paolini has said that he wanted Saphira to be “the best friend anyone could have.” In

order to pull off such a character, the filmmakers realized they needed someone to

completely “own” Saphira, both creatively and technically, and to serve as the point

person between themselves and the facilities.

Visual Effects Supervisor Michael McAlister became that person and served,

among other things, as the arbiter of the dragon. “Bringing Saphira to life was a huge

undertaking that required my full attention and energies – much as a live action character

requires the full attention of an actor,” says McAlister. “There were thousands and

thousands of specific decisions to be made in terms of how she would look, how she

would act, how she would feel, and how she would fly. I did not invent her nor decide

what her character would be, but I was responsible for understanding her – inside and out

– and deciding specifically how we would achieve her.”

Constant communication between the filmmakers and visual effects facilities was

the key, and McAlister likened himself to the skinny part of an hourglass. “With a hopper

of desire above me and an army of eager and talented artists below, I took the broad

desires of the filmmakers and focused them into instructions the others could act on. A

major part of my job was to make specific decisions regarding Saphira, and keep those

decisions clear to all parties so that the efforts of the hundreds of artists were in constant

alignment with the desires of the filmmakers.”

Under McAlister’s supervision, the artists and technicians at the renowned visual

effects houses Industrial Light & Magic and WETA Digital, have created nothing less

than the most dynamic, expressive dragon in motion picture history.

Samir Hoon was the ILM visual effects supervisor and Glen McIntosh was ILM’s

animation director. McIntosh, who helped create the performances for Yoda and General

Grievous in “Star Wars Episode III: Revenge of the Sith,” coordinated the team of ILM

animators. “The tricky part in creating the performance was that Saphira was never

meant to be a monster or creature,” notes McIntosh. “She is a character and one of the

stars of the movie. She delivers a nuanced, layered performance.”

WETA Digital animation supervisior David Clayton, working with WETA visual

effects supervisors George Murphy and Guy Williams, made additional character

refinements, especially for the climactic battle scene in which Saphira becomes like a

sleek and powerful jet fighter.

Saphira’s complexity of character and design stemmed from an “evolutionary”

process – from the stylized artwork that adorned the book’s cover to the first movie

character sketches to the final imagery we see on film. “The big question we faced,” says

ILM’s Samir Hoon, “was, ‘How do we make a dragon that the audience has never before

seen and still be consistent with Christopher Paolini’s vision of the character?’

Saphira’s design evolved as we discovered the character through the color of her

wings, the size of her head, and the length of her neck. We see her emerge from the egg

as being ten-inches tall. By the end of the film, she stands fifteen feet, with a wing span

of 20-30 feet, length of 32 feet – and weighing about four tons.”

After many renderings and tests, the visual effects artists gave Saphira a slim,

graceful look, adhering to the character’s feminine and regal qualities. “She moves and

walks like a lion, with front legs almost equal in length to her back legs,” says McIntosh,

who notes that he and the ILM animators spent time studying lion movement.

The design of Saphira’s wings evolved into that resembling eagle wings. But

instead of the more classic look of feathers, Saphira’s wings are a combination of scales

and feathers, which the ILM team dubbed “scethers.”

Saphira begins life as a hatchling, which the filmmakers endeavored to make as

endearing as possible. To that end, Hoon and his team studied wildebeest cubs, lion

cubs, and wolf cubs.

THE BATTLE OF FARTHEN DÛR

ERAGON has many grand set pieces, but none as big as The Battle of Farthen

Dûr, where Urgals and Galbatorix’s elite army attack the Varden stronghold. The battle

marks the end of Eragon’s journey and the climax of the story.

As the battle opens, Eragon and Saphira are helping fight off the king’s invading

troops – leading to an aerial battle between Eragon and Durza, with Eragon atop Saphira,

and Durza riding an enormous beast conjured from the dead soldiers on the ground

below. The ground battle, involving hundreds of extras and stunt people captured on film

during principal photography, as well as the CG extensions added during post-

production, provides a backdrop for the aerial conflict – all under a dramatic moonlit sky.

As the massive conflict unfolds, Farthen Dûr becomes nothing less than a vast theater of

destruction.

As described in the story, the Varden stronghold is constructed in the crater of an

extinct volcano. Against the cliff face are the remnants of an eroded white marble city,

stoic ruins of a time past, built into the volcano wall, stretching and twisting a mile high.

Under the supervision of production designer Wolf Kroeger, the filmmakers built

one of the biggest practical sets in motion picture history. The set was too spectacular to

erect on a soundstage, so the production, after conducting several scouting expeditions,

found an abandoned rock quarry and crater at a volcano in Hungary, near the Austria

border. “That location worked out very well,” says Kroeger, since it’s written in the

script that Farthen Dûr is in a volcanic area.”

Before construction could begin on this massive set, the filmmakers had to build

an access road to get to the top of the crater. It took 16 weeks of planning, building and

landscaping to create the set from an empty quarry into a lived-in community.

Peter MacDonald, one of the industry’s top second unit directors and action

specialists – he worked on two “Superman” films, two “Batman” pictures and four

“Harry Potter” blockbusters – collaborated with Stefen Fangmeier to bring the epic battle

to life. “We wanted to give the sequence an edgy, combat-like feel,” notes MacDonald, a

director in his own right.

To capture the action, MacDonald worked with 450 extras and stunt people, 10

hours each night – often during frigid conditions (it was winter) – for several weeks.

The sequence involves Urgals (who are uncommonly tall) and elves; many of the “Urgal”

extras were 6’6” or taller, with those playing elves 5’0” or less.

The decision to shoot at night presented challenges to director of photography

Hugh Johnson. “The location was a vast area with terraces and it was very difficult to get

any lights up there,” says Johnson, whose department went to elaborate lengths to rig the

volcanic crater’s vast and treacherous spaces – employing a team of Russian

mountaineers to haul the equipment.

For this sequence, Kym Barrett designed non-traditional costumes, this time of

“armor.” “I thought of what armor would be like in this particular world,” says Barrett.

“In this scene, Eragon rides Saphira and fights the invading forces, and he couldn’t be

lugging around 25 pounds of armor plating. I also didn’t want the characters to look like

they were wearing big, clunky suits of armor. I wanted it to be more streamlined, so I

used leather for the armor.” Barrett called in noted London couture leather makers to

manufacture the unique pieces.

The completion of the second unit work in Hungary marked only the first step in

the scene’s creation. Fangmeier, MacDonald and crew then moved to Pinewood Studios

in England, where they shot blue screen work of Ed Speleers “riding” Saphira, battling

Robert Carlyle’s Durza who is astride his own flying Beast. The filmmakers wanted to

push these flying scenes to get, as MacDonald says, “the most dynamic sensation

possible. It’s a real roller-coaster ride.”

The actors were placed on computer-controlled rigs on hydraulics, upon which

saddles were mounted. All the dragon’s movements – flying, gliding, banks-and-turns –

could be experienced by Ed Speleers as Eragon. “Ed was a natural,” says MacDonald.

“He loved flying, and really wanted to get things right.” Before Speleers began work on

the motion rig, the filmmakers screened for him the pre-visualization footage as a

reference for his “flying” maneuvers.

“ERAGON is the first film to really show the experience of flying on a dragon,”

says Fangmeier. “It was a lot of fun to create the flying sequences. We were challenged

to maintain a physical reality but also have an element of the fantastical. We wanted

dragon riding to feel like being on a jet fighter – with lots of ‘Wow’ moments.”

Many of these “wow” moments were realized by New Zealand-based visual

effects house WETA Digital, whose many credits include the “Lord of the Rings” trilogy,

“King Kong” and “I, Robot.” For the climactic Battle of Farthen Dûr sequence, WETA

worked on giving Saphira a more aggressive “performance.” “She’s taking on a more

mature air at this point; she’s come of age,” says WETA visual effects supervisor George

Murphy. “We gave Saphira an additional sense of command, presence and agility that

would get her through the battle.”

“We developed Saphira in a physical way,” adds WETA visual effects supervisor

Guy Williams. “We have lots of views of her wings that occur during the battle, which

are different from those of other scenes.” Williams and Murphy also made the dragon

combat-ready, with an impressive suit of armor.

In creating the lighting environments for the battle sequence, Williams and

Murphy’s goal, again, was to have audiences connect with Saphira, as they would with

the film’s human characters. They devised a realistic yet striking look for shots of her

soaring majestically through the night – or conducting “strafing runs” on the enemy

forces. “If we had relied only on light that was available, we’d have ended up with a

couple of highlights of Saphira from the moon and that’s about it,” notes Murphy. “So

we came up with a color palette and levels that render Saphira visible, while reinforcing

the fact that this is happening at night.”

Murphy and Williams also created the fearsome creature that Durza conjures up

out of the essence of the dead troops below. The Beast battles Saphira in an epic airborne

duel. As described in the script, the conjured creature is a methodical killing machine

bereft of fear or remorse. It is an enormous, dark, broiling cloud of smoke and ash – the

face of death itself.

“Durza’s Beast provides a sharp physical contrast to Saphira’s naturalistic look,”

says Williams. “The beast is a completely task-built creature – a flying mouth of teeth,

oversized head and teeth, and no legs. If you combined a large tarantula with a bat, then

added a bull’s head with vampire teeth, you’d have the Beast.”

“The character’s design came quickly,” adds Murphy, “but developing the

technology to render it was a challenge due to the inherent difficulties in

‘choreographing’ smoke, and action amongst the smoke.”

WETA created effects extensions for the practical Hungary sets for the battle.

“We had to master the exact terrain of the practical set so that we could match into

portions of the live-action footage,” says Williams. “All our action biases more towards

one side of the volcano, which is visually more interesting because we’re closer to the

volcano walls and get an enhanced sense of Saphira’s flying speed.”

WETA worked on another big action sequence that combines spectacle with

emotion, further exploring the connection between Eragon and Saphira, and a moving act

of personal sacrifice. “We get to explore Saphira’s softer, gentler side in this scene,” says

Williams. “We pushed and refined her facial animation, keeping her movements very

subtle, and letting the moments work for themselves.”

In a magical moment that propels the character and story forward, WETA created

a sequence in which Saphira undergoes a metamorphosis from adolescence to adulthood.

The visual effects from WETA and ILM, along with the exotic and rugged

locations in Hungary and Slovakia, created the illusion of Alagaësia. ERAGON was one

of the biggest productions ever to be filmed in Hungary and Slovakia.

The production crew of over-500 was headquartered in the historic city of

Budapest. The set for Garrow’s Farm, where Eragon lived with his Uncle Garrow and

cousin Roran, was built on privately owned land in a valley at Budakesi, a forty-five

minute drive from Budapest.

The production constructed Galbatorix’s lair in a hillside cave, with access

available only through a hole in the cave’s roof. Special cranes were used to move

equipment – including cameras, sound recorders and set dressing – into the cave. Once

inside the cave, the filmmakers’ activities were limited due to the area’s status as a

national monument. Later, the mountains of Slovakia would provide a number of natural

settings with spectacular views across valleys, gorges and waterfalls.

These worlds and characters created by these locations, effects artists, technicians,

craftsmen, filmmakers and actors stem from the imagination of Christopher Paolini,

whose novel is linked to the film in an unexpected way. "I originally conceived

ERAGON as a movie,” he points out. “I saw the characters and action clearly in my

mind. But since I didn't have the money to produce a film, I ended up writing the story as

a book.”

At the time, it was beyond Paolini’s wildest dreams that a major studio would

adapt his epic tale. But then, Paolini’s own life story, his imagination – and the journey of

his heroic title character – remind us that no dream is too big.

ERAGON CHARACTER PROFILES

ERAGON

Eragon discovers his true path as one of the fabled Dragon Riders. With his own dragon, Saphira,

and Brom as his mentor, Eragon is determined to bring back the golden age of justice once known

throughout the land – if he can survive the evil machinations of Galbatorix. Eragon becomes a

true hero – and the last hope for the people of Alagëisia.

BROM

One of the last of the Dragon Riders, Brom has been a disconsolate, broken man since the death

of his own dragon. He has become a storyteller resigned to the rule of the evil king, but he has

new hope as the mentor and father-figure to Eragon.

GALBATORIX

Galbatorix is the ruler of an enormous empire that occupies the western part of Alagaësia. The

former Dragon Rider brought about the demise of the storied order, and he now rules the land

with an iron fist, stopping at nothing to capture or destroy Eragon and his dragon. Galbatorix’s

forces include the loathsome and brutish Urgals, whose faces are grotesquely patterned with

scars.

DURZA

Durza is a Shade, a sorcerer possessed by demonic spirits. Considered one of the most powerful

beings in Alagëisia, he can only be killed through the heart. As one of Galbatorix’s deadliest

minions, the sorcerer is privy to palace intrigues (and possibly has dreams of power of his own).

AJIHAD

Ajihad is the leader and general of the rebel Varden. In the secret stronghold of Farthen Dûr,

located in a volcanic crater in the Beor Mountains, Ajihad and the Varden plot to overthrow

Galbatorix.

ARYA

As the guardian of the dragon egg, the beautiful warrior Arya is willing to die to protect the line

of dragons. She joins Eragon, Saphira, and the rebellious Varden in a desperate stand against the

forces of Galbatorix.

MURTAGH

Murtagh is the son of Morzan, who betrayed the Dragon Riders to Galbatorix. Desperate to

expunge the guilt of his father’s sin, Murtagh seeks refuge in battle, fighting for the forces of

good.

SAPHIRA

The story’s most fantastical character is the flying dragon Saphira, who connects telepathically

with her Rider, Eragon. As Saphira soars majestically through the sky – or conducts “strafing

runs” on enemy forces – audiences will experience the most dynamic, fierce dragon ever, in the

ultimate dragon movie.

ERAGON: GLOSSARY

Alagaësia: a kingdom stretching from the western coastal wilderness of the Spine into the inland

Hadarac desert, which spreads to the southern summits of the Beor Mountains. It is a world of

humans, sorcerers, monsters – and mighty dragons.

The Ancient Language: a form of communication that enables certain people to use magic.

Beor Mountains: a huge mountain range in the southeast of Alagaësia, where the Varden make

their home.

Carvahall: Eragon’s hometown; a small town near the Spine.

Dragon Riders: those who help maintain peace in Alagaësia with the help of their dragons.

Gil’ead: a heavily guarded city where Arya is imprisoned by Durza.

Ra’zac: demonic mercenaries that serve Durza.

Shade: a sorcerer possessed by evil spirits.

Spine, The: Vast mountain range covering almost all of Alagaësia’s west coast.

Urgals: loathsome and brutish troops who serve Galbatorix. Their faces are grotesquely

patterned with scars.

Varden: a group of rebels based in Farthen Dûr.

Zar'roc: Eragon's sword, given to him by Brom.

ABOUT THE CAST

ED SPELEERS (Eragon), 18, won the title role of ERAGON after Twentieth

Century Fox and the filmmakers conducted a worldwide casting search, which rivaled the

hunt for a cinematic “Harry Potter” and included hundreds of auditions and dozens of

screen tests.

Speleers, who hails from South England, landed the part following a half-hour

audition – and only days before the start of principal photography.

Previously, he had appeared in amateur school productions. Speleers has

completed his schooling, and is looking forward to continuing his acting career.

JEREMY IRONS (Brom) began his career in England in theatre at the Bristol

Old Vic and then debuted in London in Godspell as John the Baptist. His work in the

West End and at Stratford Upon Avon culminated with his performance of “Richard II”

for the Royal Shakespeare Company. He made his Broadway debut in Tom Stoppard’s

“The Real Thing” opposite Glenn Close, for which he won both the Drama League

Award and Tony® Award for Best Actor.

Irons has played many roles for television, most notably “Love for Lydia” and

Paolini Hampton’s “Tales from Hollywood.” His performance in “Brideshead Revisited”

brought him worldwide acclaim and nominations for an Emmy® Award, the British

Academy and he received a Golden Globe® Award for Best Actor. In 1996, he directed

and co-starred with his wife, actress Sinead Cusack in “Mirad, A Boy from Bosnia,” a

Channel 4 Television film about refugees, written by Ad De Bont. In 1997 Irons won an

Emmy for Outstanding Voice-Over for: "The Great War and the Shaping of the 20th

Century.” In 2006 Irons co-starred with Helen Mirren in HBO’s Elizabeth I. Irons

portrayal as the Earl of Leicester won him the Emmy for best supporting actor in a

miniseries.

On the big screen he has starred in such films as Jerzy Skolimowski’s

“Moonlighting,” Harold Pinter’s “Betrayal,” Volker Schlondorff’s “Swann in Love” and

“The Mission” with Robert De Niro. Irons played opposite Meryl Streep in “The French

Lieutenant’s Woman,” for which he received the Variety Club Award for Best Actor and

a BAFTA nomination, and opposite his son Sam in Roald Dahl’s “Danny, Champion of

the World.” His performance in David Cronenberg’s “Dead Ringers” brought him a Best

Actor Award from the New York Film Critics Circle and a Canadian Genie. Irons starred

again with Glenn Close in the film based on the re-trial of Claus von Bulow, “Reversal of

Fortune.” For this performance, Irons received the 1990 Academy Award and Golden

Globe Award for Best Actor.

Irons went on to work in such films as Steven Soderbergh’s “Kafka,” David

Cronenberg’s “M. Butterfly” and Bille August’s “The House of the Spirits,” with Streep

and Close again. In 1994, Irons created the voice of Scar for Disney’s “The Lion King.”

He followed that with the action film “Die Hard with a Vengeance” also starring Bruce

Willis, and Bernardo Bertolucci’s “Stealing Beauty,” also starring Liv Tyler.

Irons more recent films include Wayne Wang’s “Chinese Box,” and “The Man in

the Iron Mask,” in which he starred with Gerard Depardieu, Leonardo DiCaprio, and

John Malkovich. He played Humbert Humbert in Adrian Lyne’s controversial film

“Lolita” and starred in “Longitude,” an A&E Granada film that premiered on BBC. Irons

had four films in 2001, including “And Now…Ladies and Gentleman,” directed by

Claude Lelouch, “The Time Machine,” based on the H.G. Wells novel, “Callas Forever,”

directed by Franco Zeffirelli, and “Last Call,” a Showtime Original Picture directed by

Henry Bromell, also starring Neve Campbell.

He also starred in István Szabó’s “Being Julia” with Annette Bening. In late 2004

Irons played Antonio, in Michael Radford’s production of Shakespeare’s “Merchant of

Venice,” also starring Al Pacino. In spring 2005 Ridley Scott’s “Kingdom of Heaven”

was released, in which Irons starred opposite Orlando Bloom. In Lasse Hallström’s

“Casanova,” released Christmas 2005, Irons starred opposite Heath Ledger. Irons

recently completed the upcoming feature “Inland Empire,” directed by David Lynch.

In 2003 Irons returned to his roots in theatre and debuted in the New York City

Opera production of Stephen Sondheim’s “A Little Night Music” in the role of Frederik,

directed by Scott Ellis. Irons played King Arthur in the Hollywood Bowl’s summer

presentation of “Camelot,” part of the Hollywood Bowl’s weekend spectacular series. In

February 2006 Irons starred as Henrik in “Embers,” a play by Paolini Hampton, directed

by Michael Blakemore.

SIENNA GUILLORY (Arya) is best known to American audiences for her work

in the acclaimed miniseries “Helen of Troy,” in which she played the title role. She has

starred in the film “Resident Evil: Apocalyspe,” “The Time Machine,” and a featured role

in “Love, Actually.”

After appearing on the British miniseries “The Buccanneers,” and several

independent films, Guillory got her big break when she won the starring role in the BBC

adaptation of Kingsley Amis' “Take a Girl Like You.” Guillory has since starred on

London's West End in Neil La Bute's “The Shape of Things” and continued to work with

independent U.K-based filmmakers on productions such as “Kiss Kiss, Bang Bang,”

“Late Night Shopping,” “The Principles of Lust” and “Silence Becomes You.”

She recently starred opposite Academy Award nominee Catalina Sandino Moreno

in the Spanish independent film “Hearts of the Earth.”

ROBERT CARLYLE (Durza) was born in Glasgow, Scotland and enrolled in

acting classes at the Glasgow Arts Centre after reading Arthur Miller’s “The Crucible.”

Following his movie debut as Big Woodsy in “Silent Scream” (1990), Carlyle

appeared in several films, but it was his performance in the title role of the TV series

“Hamish Macbeth” (1995) that brought him to the attention of British audiences. And it

was the role of Begbie in “Trainspotting” (1996) that introduced him to American

audiences. This was followed by his BAFTA-winning role of Gaz in “The Full Monty”

(1997).

After playing Plunkett in “Plunkett & Macleane” and Col. Ives in “Ravenous”

(both 1999), he played the villain, Renard, in the James Bond adventure “The World Is

Not Enough” (1999), followed by the roles of Malachy in “Angela’s Ashes” (1999) and

Daffy in “The Beach” (2000).

More recently, he has been seen in “There’s Only One Jimmy Grimble” (2000),

“To End All Wars,” “The 51st State” (both 2001), “Once Upon a Time in the Midlands,”

“Black and White” (both 2002), “Dead Fish” (2004), “Marilyn Hotchkiss’ Ballroom

Dancing and Charm School” and “The Mighty Celt” (both 2005).

His recent TV appearances have been the title role in “Hitler: The Rise of Evil”

(2003) and King James 1 in “Gunpowder, Treason and Plot” (2004). He portrayed the

role of Sergei Karpovich in the TV miniseries “Human Trafficking” (2005).

Carlyle founded the Raindog theatre company in 1991, together with four other

actors, and is a partner in the British film production company 4 Ways. He was awarded

an OBE in the 1999 New Year’s Honours List.

DJIMON HOUNSOU (Ajihad) was born in Benin, Africa. At age 13, he moved

to Paris, where he was discovered by French fashion designer Thierry Mugler and

subsequently graced the catwalks of Paris and London as a popular male model.

After making his movie debut in “Without You I’m Nothing” (1990), Hounsou

appeared in “Unlawful Entry” (1992), “Stargate” (1994) and “The Small Hours” (1997)

before playing the role of Cinque in “Amistad” (1997), a performance that brought him to

the attention of international audiences. He went on to appear in “Ill Gotten Gains”

(1997) and “Deep Rising” (1998).

He then played the role of Juba in Ridley Scott’s “Gladiator” (2000) before

appearing in “Passage du Milieu” (2000), “The Tag” (2001), “Le Boulet” and “The Four

Feathers” (both 2002). His performance as Mateo in “In America” (2002) brought him

an Academy Award nomination.

He went on to play leading roles in “Heroes” (2001), “Biker Boys,” “Lara Croft

Tomb Raider: The Cradle of Life” (both 2003), “Blueberry” (2004), “Constantine,”

“Beauty Shop” and “The Island” (all 2005). He has a starring role opposite Leonardo

DiCaprio in the drama “Blood Diamond,” directed by Edward Zwick.

GARRETT HEDLUND (Murtagh) was born in Roseau, Minnesota, and spent

his early years growing up on a farm. When his family moved to Scottsdale, Arizona, he

began taking private acting lessons. After graduating high school, Hedlund moved to Los

Angeles to pursue an acting career.

One month later he landed the role of Achilles’ cousin Patroclus in the movie

“Troy” (2004) opposite Brad Pitt. His next feature was “Friday Night Lights” (2004) in

which Hedlund played a high school football player.

He then landed a starring role opposite Mark Wahlberg in “Four Brothers”

(2005), playing one of four brothers whose mother is murdered.

Academy Award-winning actress RACHEL WEISZ (voice of Saphira) is known

for portraying women of incredible spirit and intelligence and continues to seek out

challenging projects and roles both on screen and on stage.

Weisz received overwhelming critical praise and awards from Screen Actors

Guild, Golden Globe and ultimately an Oscar for her performance in "The Constant

Gardener," directed by Fernando Meirelles ("City of God") and based on the best-selling

John le Carré novel.

Weisz currently stars in Darren Aronofsky's much-anticipated sci-fi/romantic

fantasy adventure, "The Fountain," opposite Hugh Jackman.

She recently wrapped production on "My Blueberry Nights" directed by Wong

Kar Wei. The romantic comedy also stars Jude Law, Norah Jones and Natalie Portman

and is the story of a young woman (Jones) who travels across America to find the true

meaning of love while encountering offbeat characters along the way.

Weisz is currently shooting Working Title's comedy "Definitely, Maybe," written

and directed by Adam Brooks. Weisz will begin filming the dramedy "Smart People,"

written by Mark Poirier, this fall starring opposite Dennis Quaid and Thomas Haden

Church. Noam Murro, 2005 DGA Director of the Year, will make his feature directorial

debut. Later in the year Weisz is also set to star in the international con man adventure

"The Brothers Bloom," written and directed by Rian Johnson

Past film credits include Francis Lawrence's hit thriller Constantine, Gary Fleder's

"Runaway Jury"; James Foley's "Confidence"; and Chris and Paul Weitz' "About a Boy."

She is known to audiences worldwide for her lead role opposite Brendan Fraser in

Stephen Sommers' blockbuster movies "The Mummy" and "The Mummy Returns."

Weisz also starred in Jean-Jacques Annaud's "Enemy at the Gates"; Michael

Winterbottom's "I Want You"; David Leland's "The Land Girls"; Beeban Kidron's

"Swept from the Sea"; and Bernardo Bertolucci's "Stealing Beauty."

Weisz received critical acclaim for Focus Features "The Shape of Things" which

also marked her first venture into producing. She had previously starred in writer/director

Neil LaBute's staging of his original play of the same name, in both London and New

York City.

Her performance in Sean Mathias' U.K. staging of "Noel Coward's Design for

Living" garnered her the London Drama Critics Circle Award for Outstanding

Newcomer. She also starred in the West End production of "Suddenly Last Summer",

directed by Mathias. Weisz began her career as a student at Cambridge University where

she formed the Talking Tongues Theatre Group, which performed numerous

experimental pieces and won the prestigious Guardian Award at the Edinburgh Festival.

JOHN MALKOVICH (King Galbatorix) joined Chicago’s Steppenwolf Theatre

in 1976 and made his New York stage debut seven years later in “True West,” a

performance that won him an Obie®. In 1984 he appeared with Dustin Hoffman in the

Broadway revival of “Death of a Salesman,” which earned him an Emmy when it was

made into a TV movie the following year.

His movie debut was as the blind lodger in “Places in the Heart” (1984), a

performance that earned him an Academy Award nomination for Best Supporting Actor.

Next came “The Killing Fields” (1984) and “The Glass Menagerie” (1987). After

playing Vicomte de Valmont in the costume drama “Dangerous Liaisons” (1988), he was

cast as the psychotic political assassin in Clint Eastwood’s film “In the Line of Fire”

(1993), for which he was nominated for the Academy Award and the Golden Globe.

A prolific and versatile actor, Malkovich has appeared in a wide variety of roles

in films such as “Mulholland Falls” (1996), “The Man in the Iron Mask” (1998), “Being

John Malkovich” (1999), “Shadow of the Vampire” (2000), “Hotel” (2001), “Ripley’s

Game,” The Dancer Upstairs,” “Hideous Man” (2002), “Johnny English” (2003), “The

Libertine” (2004) and “The Hitchhiker’s Guide to the Galaxy” (2005). Upcoming

pictures include “The Great Buck Howard,” “The Mutant Chronicles,” “Gardens of the

Night,” and “Beowulf,” the latter directed by Robert Zemeckis.

His most notable television appearances have been in “Heart of Darkness” (1994),

“RKO 281” (1999), “Les Miserables” (2000) and “Napoleon” (2002).

In addition to his acting career, he wrote and directed “Hideous Man” (2002),

directed and produced “The Dancer Upstairs” (2002) and produced “Ghost World”

(2000), “The Loner” (2001), “Kill The Poor” (2003), “Found in the Street” (2004), “The

Libertine” (2004), and he starred in and produced “Art School Confidential” (2006). He

also produced “Some Assembly Required” (2004) for television.

ABOUT THE FILMMAKERS

STEFEN FANGMEIER (Director) received a degree in Computer Science from

the California State University of Dominguez Hills in 1983. He worked as a systems

programmer and image processing analyst at Aerospace Corporation and scientific

visualization project manager at the famed National Center for Supercomputing

Application (NCSA) at the University of Illinois.

His first foray into the entertainment industry was when he joined Digital

Production (co-founded by Gary Demos and John Whitney Jr. and most famous for their

pioneering work on “The Last Starfighter”) in the mid 1980s where he worked in a

division that provided computing services for businesses and the scientific community (to

help during film and commercials down time).

When Digital Productions closed in 1987 after the Omnibus hostile takeover in

1986, he joined Mental Images, creators of the mental ray rendering engine, where he

became Director of Production. At that time mental images had a production division that

served and demonstrated the features of mental ray. During his tenure there he met future

VFX Supervisors John Nelson (who would work at Imageworks and won the Oscar for

“Gladiator”) and John Berton (who would also join him at ILM and last worked on “I,

Robot”).

Fangmeier joined ILM in 1990 where his first major project was “Terminator 2:

Judgment Day” as a CG shot supervisor. Other credits include such notable projects as

“Hook,” “Casper” and “Jurassic Park.” His first project as VFX Supervisor was

“Twister” for which he received an Oscar nomination and won the BAFTA. Other

projects include “Small Soldiers,” “Saving Private Ryan,” “The Perfect Storm,” “Galaxy

Quest,” “The Bourne Identity,” “Signs,” “Dreamcatcher” and “Master and Commander:

The Far Side of the World.”

His last project at ILM was “Lemony Snicket's A Series of Unfortunate Events.”

He won a BAFTA for “Saving Private Ryan,” was nominated for an Oscar and won a

BAFTA for “The Perfect Storm” and was nominated for an Oscar, BAFTA and VES

Award for “Master and Commander: The Far Side of the World.” He has also served as

Second Unit Director on “Galaxy Quest” and “Dreamcatcher.”

JOHN DAVIS (Producer) is chairman of Davis Entertainment, a motion picture

and television production company that, over the last ten years, has produced more than

50 movies and telefilms.

Davis currently is producing the sequel to “Alien vs. Predator,” having produced

the original box-office hit in 2004. Recently, he produced the features “Garfield: A Tail

of Two Kitties” (the follow-up to the box-office hit “Garfield,” also produced by Davis)

and the thriller “When a Stranger Calls,” which took the number-one slot its opening

weekend. Upcoming are the comedies “The Heartbreak Kid,” starring Ben Stiller,

directed by the Farrelly Brothers, and “Norbit,” toplining Eddie Murphy.

Earlier, Davis produced “Flight of the Phoenix,” an action-adventure starring

Dennis Quaid; “Fat Albert,” based on Bill Cosby’s phenomenally popular character;

“First Daughter,” starring Katie Holmes; the blockbuster sci fi thriller “I, Robot” and the

John Woo-helmed thriller “Paycheck,” starring Ben Affleck.

Davis’ other recent feature releases include “Daddy Day Care,” starring Eddie

Murphy, “Life or Something Like It” starring Angelina Jolie and the action hit “Behind

Enemy Lines” with Owen Wilson and Gene Hackman. The Davis-produced comedy

“Dr. Dolittle 2,” starring Eddie Murphy, grossed more than $113 million domestically,

and “Heartbreakers” starring Sigourney Weaver, Gene Hackman and Jennifer Love

Hewitt, opened as the number one film in the country.

For television, Davis produced the made-for-television movies “The Jesse

Ventura Story” and “Little Richard,” as well as the ABC telefilm “Miracle at Midnight”

starring Sam Waterston. He also produced the highly rated NBC mini-series “Asteroid,”

the network movies “Volcano: Fire on the Mountain,” “One Christmas” and “This Can’t

Be Love,” as well as the cable movies “Tears and Laughter,” “The Last Outlaw,”

“Silhouette,” “Voyage,” “Irresistible Force,” “Wild Card,” “Dangerous Passion,”

“Curiosity Kills” and “Caught in the Act.”

Among Davis’ other major theatrical features are “Dr. Dolittle” with Eddie

Murphy, “Out to Sea” starring Jack Lemmon and Walter Matthau, the blockbuster

adaptation of John Grisham’s “The Firm” with Tom Cruise, the comedies “Grumpy Old

Men” and “Grumpier Old Men,” “Courage Under Fire” starring Denzel Washington and

Meg Ryan, Grisham’s “The Chamber,” “Daylight” starring Sylvester Stallone,

“Waterworld” with Kevin Costner and “Richie Rich.” Other movies he has produced

include “Predator,” “Predator 2,” “The Thing Called Love,” “Fortress,” “Gunmen,”

“Storyville,” “Shattered,” “Little Monsters,” “The Last of the Finest,” “License to Drive,”

“Three O’clock High” and “The Hunted.”

Davis is a graduate of Bowdoin College, attended Amherst College and received

an M.B.A. from the Harvard Business School.

WYCK GODFREY (Producer) is a partner/producer, with Marty Bowen, in

Temple Hill Entertainment. He is a producer on The Nativity Story,” for New Line

Cinema.

Godfrey was a producer on “Flight of the Phoenix,” “First Daughter,” “Daddy

Day Care” as well as serving as an executive producer on “I, Robot,” “Alien vs.

Predator” and “Behind Enemy Lines.”

Godfrey began his career as a creative executive at New Line Cinema after

graduating from Princeton University in 1990 with a degree in English. In 1995, he

switched to Horizon Pictures as senior vice president of production before joining Davis

Entertainment two years later, where he served as president for the past four years.

PETER BUCHMAN (Screenwriter) recently wrote two screenplays on the life of

Che Guevara for Steven Soderbergh to direct and Benicio del Toro to star. Those movies

will begin production in April, 2007. Buchman also recently adapted The Piano Tuner by

Daniel Mason, into a screenplay for Focus. Currently, he is working on a remake of

“Capricorn One,” with director David Dobkin.

Since he began earning his living as a screenwriter, Buchman has worked with

such directors as Steven Spielberg, Martin Scorsese, Sydney Pollack, and David O.

Russell. He is a credited writer on “Jurassic Park III.”

CHRISTOPHER PAOLINI (Author) was born on November 17, 1983 in

Southern California. Aside from a few years in Anchorage, Alaska, he spent his entire

life in Paradise Valley, Montana, where he still lives with his parents and younger sister,

Angela. They have two pets, Otis, a black and white cat, and Annie, a frisky

cocker/Australian shepherd mix.

Tall, jagged Beartooth Mountains rise on one side of the Paradise Valley.

Snowcapped most of the year, they inspired the fantastic scenery in Eragon. A few years

ago, Paolini hiked to the top of one peak and could see the Grand Teton mountain range,

100 miles to the south.

Paolini was homeschooled by his parents. He often wrote short stories and poems

in an attempt to put his thoughts into words. He made frequent trips to the library and

read widely. Some of his favorite books were Bruce Coville's Jeremy Thatcher, Dragon

Hatcher, Frank Herbert's Dune, Raymond E. Feist's Magician, and Philip Pullman's His

Dark Materials, as well as books by Anne McCaffrey, Jane Yolen, Brian Jacques, E. R.

Eddison, David Eddings, and Ursula Le Guin.

Paolini grew up listening to a variety of music, but classical music fired his

imagination and helped him write. He often listened to Mahler, Beethoven, and Wagner

while writing Eragon. The final battle of Eragon was written while listening to

“Carmina Burana,” by Carl Orff.

The story of Eragon began as the daydreams of a teen. Paolini's love for the

magic of stories led him to craft a novel that he would enjoy reading. The project began

as a hobby; he never intended to be published. He took a month to plot out the entire

trilogy, then sat on the sofa and began writing in a notebook. When he reached sixty

pages, he gained enough confidence to transfer his work to his Macintosh computer,

where most of Eragon was written, although he sometimes found that the story flowed

better when he wrote by hand. All the characters in Eragon are from Paolini's

imagination except Angela the herbalist, who is loosely based on his sister.

It took him a year to write the first draft of Eragon. He took a second year to

revise the book and then gave it to his parents to read. The family decided to self-publish

the book and so a third year was spent with another round of edits, designing a cover,

typesetting the manuscript, and creating marketing materials. During this time Paolini

drew the map for Eragon, as well as the dragon eye that appears inside the hardcover

edition. Finally, the manuscript was sent to press, and the first books arrived.

The Paolini family spent the next year promoting the book themselves.

Beginning with presentations at the local library and high school, they then traveled

across the U.S. In all, Paolini gave over 135 presentations at libraries, bookstores, and

schools in 2002 and early 2003. He did most of the presentations dressed in a medieval

costume of red shirt, billowy black pants, lace-up boots, and a jaunty black cap.

In summer 2002, author Carl Hiaasen, whose stepson had bought and devoured a

copy of the self-published book while on vacation in Montana, brought Eragon to the

attention of his publisher, Alfred A. Knopf Books for Young Readers, who subsequently

acquired the rights to publish Eragon and the rest of the Inheritance trilogy. Knopf

published Eragon in August 2003 and Eldest, Book Two in Inheritance, in August 2005.

Eragon, which has been published in 41 countries, has been a #1 bestseller in both its

Alfred A. Knopf Books for Young Readers hardcover and paperback editions and has

spent 164 weeks on the New York Times bestseller list.

Eldest hit the marketplace in August 2005 as one of the most anticipated books of

the fall season, and its first week on sale achieved the biggest single-week sale in

Random House Children’s Books history. Currently in its 15th printing, Eldest, also a #1

bestseller, has been on the New York Times Bestseller list for 60 weeks, and has been

published in 41 countries. Most recently, Eldest won a 2006 Quill Award. Together,

Eragon and Eldest have sold more than 8 million copies worldwide.

Paolini is currently writing Book Three in Inheritance, the title of which has not

yet been announced. Once the trilogy is completed, Paolini plans to take a long vacation,

when he will ponder which of his many story ideas he will write next.

GIL NETTER (Executive Producer) has also produced the features “A Walk in

the Clouds,” “High School High,” “BASEketball,” “Dude, Where’s My Car?” “Phone

Booth,” “My Boss’s Daughter,” the Farrelly Brothers comedy “Fever Pitch,” and

“Flicka.”

Netter served as executive producer on the films “The Naked Gun 2 1/2: The

Smell of Fear,” “My Life,” “The Naked Gun 33 1/3: The Final Insult,” “First Knight,”

“My Best Friend’s Wedding” and “Unconditional Love.”

CHRIS SYMES (Executive Producer) was co-producer on “AVP,” “Resident

Evil,” and on the romantic comedy “The Match.” He was a producer on the 20th Century

Fox Television mystery thriller film “The Sight.”

HUGH JOHNSON (Director of Photography), like many great cameramen

before him, began his career in commercials, working with such directors as Alan Parker

Hugh Hudson, Ridley Scott, Tony Scott and Adrian Lyne.

Moving into the movie industry, he had an additional photography credit on Tony

Scott’s “The Hunger” (1983), and then progressed to second unit director for “1492:

Conquest of Paradise” (1992), the first of four films with director Ridley Scott. He was

the director of photography for Scott’s “White Squall” (1996), followed by director of

photography and second unit director on “G.I. Jane” (1997). For “Kingdom of Heaven”

(2005), he was second unit director and director of photography. In between, he worked

as director of photography on David Twohy’s “The Chronicles of Riddick” (2004).

WOLF KROEGER (Production Designer), before attaining the position of

production designer, worked as art director on such films as “U-Turn” (1973), “Breaking

Point” (1976), “In Praise of Older Women” (1978) and “Quintet” (1979).

He became a production designer on “Popeye” (1980), followed by “Rambo:

First Blood, Part 2” (1982), “Split Image” (1982) and “Streamers” (1983), “Streamers”

(1983), “The Bad Boy” (1984), “Ladyhawke” (1985), “Year of the Dragon” (1985) and

“The Sicilian” (1987).

After designing the sets for Mario Puzo’s TV miniseries “The Fortunate Pilgrim”

(1988), he went on to design “Let It Ride” (1989), “Casualties of War” (1989), “We’re

No Angels” (1989), “The Last of the Mohicans” (1992), “Shadow of the Wolf” (1992)

and “The Three Musketeers” (1993).

In the past decade Kroeger designed “The Edge” (1997), “The 13th Warrior”

(1999), “Enemy at the Gates” (2001), “Reign of Fire” (2002), “Equilibrium” (2002),

“Beyond Borders” (2003) and “Racing Stripes” (2005).

He was also visual consultant on “Highlander III: The Sorcerer” (1994) and

“Cousin Bette” (1998).

ROGER BARTON (Co-Producer, Film Editor) began his career editing

television features such as “Love, Honor and Obey” for CBS, “Not Without My

Children” for ABC, and “Indictment: The McMartin Trial” for HBO, which won an

Emmy for Best Achievement in Editing.

He then went on to features, editing “That Darn Cart,” and more recently, “Star

Wars Episode III: Revenge of the Sith,” “The Amityville Horror,” “Bad Boys 2,” “Ghost

Ship,” “Pearl Harbor,” “Gone in 60 Seconds” and “Get Rich or Die Tryin’.” He was an

associate editor on “Titanic,” which won an Oscar for Best Achievement in Film Editing.

KYM BARRETT (Costume Designer) was born in Brisbane and attended the

National Institute of Dramatic Art in Sydney before entering the movie industry in the

costume department.

After working as a wardrobe assistant on “Strictly Ballroom” (1992), Barrett

moved to Los Angeles where she became recognized for her individuality. Her big break

came when she designed the costumes for “William Shakespeare’s Romeo + Juliet”

(1996). Barrett’s reputation was further enhanced with “The Matrix” (1999), her work

winning her a Costume Designers Guild Award nomination. She went on to work on

“The Matrix Reloaded” (2003) and “The Matrix Revolutions” (2003).

Her other credits include “Three Kings” (1999), “Red Planet” (2000), “Titan

A.E.” (2000), “From Hell” (2001), “Gothika” (2003) and “The Virgin of Juarez” (2005).

More recently, Barrett designed the costumes for “Monster-in-Law” (2005), starring Jane

Fonda and Jennifer Lopez, and “Rumour Has It” (2006).

PATRICK DOYLE (Music) has a prolific career as a highly respected composer

on a number of films and was awarded Best Score for “A Little Princess” by the Los

Angeles Film Critics Association in 1995.

Doyle’s most recent film credits include “Harry Potter and the Goblet of Fire,”

“Man to Man,” “Nanny McPhee,” “Secondhand Lions” and “Calendar Girls.” Doyle’s

other high profile credits include “Killing Me Softly,” “Gosford Park,” “Bridget Jones’s

Diary,” “Blow Dry,” Love’s Labour’s Lost,” “Great Expectations” and Mike Newell’s

“Donnie Brasco.”

After graduating the Royal Scottish Academy of Music and Drama, Doyle

composed music scores for television including Scottish television’s “Charlie Endell” and

the BBC’s “The Butterfly Hoof.”

In 1987, Doyle joined Kenneth Branagh’s Renaissance Theatre Company after he

was commissioned to write the music for the televised version of Shakespeare’s “Twelfth

Night.”

In 1989 he was asked to write the score for Branagh’s film adaptation of

Shakespeare’s “Henry V,” which began his career in film scoring. He then wrote the

music for other productions including “Hamlet,” “As You Like It,” “Much Ado About

Nothing,” “King Lear” and “A Midsummer Night’s Dream.”

©2006 Twentieth Century Fox. All rights reserved. Property of Fox.

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.

This press kit, in whole or in part, must not be leased, sold, or given away.

FOX 2000 PICTURES Presents

In Association with

INGENIOUS FILM PARTNERS

A DAVIS ENTERTAINMENT

COMPANY Production

“ERAGON”

ED SPELEERS

JEREMY IRONS

SIENNA GUILLORY

ROBERT CARLYLE

DJIMON HOUNSOU

GARRETT HEDLUND

JOSS STONE

With RACHEL WEISZ

As the Voice of Saphira

And JOHN MALKOVICH

ALUN ARMSTRONG

CHRIS EGAN

GARY LEWIS

STEVE SPEIRS

CAROLINE CHIKEZIE

Directed by..................STEFEN FANGMEIER

Produced by..............................JOHN DAVIS

..........................................WYCK GODFREY

Screenplay by...................PETER BUCHMAN

Based upon the novel by.................................

...............................CHRISTOPHER PAOLINI

Executive Producers...................GIL NETTER

...............................................CHRIS SYMES

Director of Photography......HUGH JOHNSON

Production Designer...........WOLF KROEGER

Film Editor..........................ROGER BARTON

Co-Producers.....................ROGER BARTON

..........................................ADAM GOODMAN

Costume Designer.................KYM BARRETT

Visual Effects Suupervisors......SAMIR HOON

...................................MICHAEL McALISTER

Music Composed by...........PATRICK DOYLE

U.K. / E.U. Casting by......................................

.................................PRISCILLA JOHN, CDG

U.S. Casting by........................MINDY MARIN

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

...................MALCOLM SCERRI-FERRANTE

First Assistant Director.....................................

.............................CHRISTOPHER NEWMAN

Second Unit Director....PETER MACDONALD

Made in Association with DUNE

ENTERTAINMENT LLC and MAJOR

STUDIO PARTNERS

CAST

Eragon...................................ED SPELEERS

Brom.....................................JEREMY IRONS

Arya................................SIENNA GUILLORY

Durza..............................ROBERT CARLYLE

Galbatorix.........................JOHN MALKOVICH

Murtagh........................GARRETT HEDLUND

Uncle Garrow.................ALUN ARMSTRONG

Roran........................................CHRIS EGAN

Hrothgar....................................GARY LEWIS

Ajihad.............................DJIMON HOUNSOU

Voice of Saphira....................RACHEL WEISZ

Horst..................................RICHARD RIFKIN

Sloan.....................................STEVE SPEIRS

Angela ......................................JOSS STONE

Villager #1..............MICHAEL A. MEHLMANN

Villager #2................................TAMÁS DEÁK

Tall Soldier ............................MATT DEVERE

Sergeant............................MÁTÉ HAUMANN

Horst’s Wife.....................ANDREA FAZEKAS

Nasuada.......................CAROLINE CHIKEZIE

Varden Woman ................ÁGNES BÁNFALVI

Varden Guard ............................PÁL MAKRAI

Razac #1........................SPENCER WILDING

Razac #2....................GÁBOR HORTOBÁGYI

Voice Actors..........................MAGGIE BAIRD

...............JOHN GIDCOMB, JULIAN BARNES

........MELISSA BICKERTON, NEIL DICKSON

.......SEAN MAHON, DARREN RICHARDSON

......................JULIAN STONE, PETER LAVIN

.............................RANDALL MONTGOMERY

............................ANTHONY ARMATRADING

............KENNETH DANZIGER, JEAN GILPIN

.........................KEVIN OWERS, IAN RUSKIN

...MARK SUSSMAN, PAULA JANE NEWMAN

........................................MARK SILVERMAN

...........................DEANNE MERCER DENNIS

.................PETER DENNIS, MARTIN JARVIS

...........WARREN PRESS, ALAN SHEARMAN

......................................................DIZ WHITE

Stunt Coordinators.........STEVE M. DAVISON

.............................................GÁBOR PIROCH

Assistant Stunt Coordinator.............................

.....................................MELISSA R. STUBBS

Motion Rig Stunt Coordinator..........................

...................................MARK SOUTHWORTH

Vancouver Stunt Coordinator......JJ MAKARO

Vancouver Stunt Coordinator (Horses)............

.................................................JOHN SCOTT

Sword Master.................................CC SMIFF

Assistant Sword Master.ALLAN POPPLETON

Stunts.............CRITTER, VIRGINIE ARNAUD

.ELISARA BAKER, TROY BELLINGHAUSEN

.................MENYHÉRT DUTOMBÉ BALOGH

...........ATTILA BALOGH, JAMES BAMFORD

......ALEXANDER BARANOV, PETR BARVIK

...............LOYD BATEMAN, CHAD BELLAMY

.................FERENC BERECZ, KIMO KEOKE

....SÁNDOR BOROS, ANDREW BRADSHAW

...............ERIC BRYSON, ZOLTÁN BURGER

......VIKTO CERVENKA, KIMBERLY CHIANG

.........GEO CORVERA, KRISZTIÁN CZIRJÁK

.........DAVID CRONNELLY, ZOLTÁN DANKÓ

...............RICHARD DROWN, GÁBOR DUCK

.......ZDENEK DVORACEK, JAMES EMBREE

....................BALÁZS FARKAS, ATTILA FÁSI

.....TONIA FORSBERG, KOICHI FUNAYAMA

..............VLADIMIR FURDIK, BÉLA GERNER

....................................CHRISTIAN GNEISSL

...WINHAM HAMMOND, GERGÖ HORPÁCSI

............LOU HORVÁTH, ROMAN JANKOVIC

............KIRK JAQUES, FLEMMING JETMAR

...TREVOR JONES, ROLAND KOLLÁRSZKY

............LÁSZLÓ KÓSA, NORBERT KOVÁCS

...........MIKLÓS KOVÁCS, JÓZSEF KOVALIK

.................ÁGNES KRUCHO, STANO KUTIK

............MIROSLAV LHOTKA, DEZSÖ LIBOR

.................ANGELICA LISK, MARC MAILLEY

................................BRANISLAV MARTINÁK

..........LÁSZLÓ MEDRICZKY, MIKE MÖLLER

................ZOLTÁN MOLNÁR, ATTILA MÓRA

...GIEDRIUS NAGYS, MIROSLAV NAVRATIL

........FERENC NOVINECZ, PETER OLGYAY

......................JANE OSHITA, ZOLTÁN PAPP

...DOMONKOS PARDANYI, NINON PARENT

...............GÁBOR PESTA, TOMÁS PETERÁ?

....................REZSÖ PIROCH, ALES PUTNIK

......................DUSAN PUVY, MÁRIO RAPAK

.....................LÁSZLÓ ROMAN, KENJI SATO

................TIBOR SAUERWEIN, CHAD SAYN

..............ÁKOS SCHENEK, SHAYNA SEGAL

....................ZSOLT SÉRA, JIRI SIMBERSKY

..........ÁKOS SINKÓ, STANIMIR STAMATOV

.................................NILS ALLEN STEWART

........SYLVESTA STUART, GÁSPÁR SZABÓ

.........................................GYÖRGY SZÁNTÓ

..........................ZOLTÁN ‘CERNA’ SZÉKELY

............ISTVAN SZIGETI, BARNABÁS TÓTH

.........LÁSZLÓ ÚJVÁRI, MARTIN UHROVCIK

...........GYÖRGY ULRIK, RAYCHO VASILIEV

.......................JAN VOSMIK, RUDOLF VRBA

.........................................RALIEGH WILSON

Stunt Riggers.............THOMAS STRUTHERS

..............CLAUDE BOUCHARD, DAVE LANE

..................ADAM KIRLEY, ANDREW OWEN

......................CORBIN FOX, ENDRE PENCZ

...BRADLEY JAMES ALLAN, NEAL MURRAY

...........................WAI-LEUNG “JACK” WONG

Associate Producer.......KEVIN R. BUXBAUM

Artist Coach........................MEL CHURCHER

Supervising Art Director..................................

................................JONATHAN McKINSTRY

Art Directors.......JOHN HELY-HUTCHINSON

..........................JOHN KING, STUART ROSE

.................TIBOR LÁZÁR, STUART KEARNS

Art Director (Fargo)...............TOMAS BERKA

Standby Art Directors...............MARK SWAIN

.....................................................HEIDI GIBB

Art Department Coordinator............................

..........................................KATE McCOLGAN

Set Decorators.............................ELLI GRIFF

..............SIMON WAKEFIELD, ISTVÁN TÓTH

Supervising Set Dresser........DAVID MIDSON

Supervising Chargehand Set Dresser.............

....................................................RENE KNOL

Lead Concept Artist.........CLAUDIA MULLALY

Concept Artist...............DEREK THOMPSON

Property Master......................PAUL HEDGES

Buyers.........MARK RIMMELL, GÁBOR TÓTH

Supervising Prop Maker..................................

...................................ROLAND STEVENSON

Military Advisors.........................BILLY BUDD

.........................................MICHAEL STOKEY

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

.....................................RICHARD GOODWIN

Second Second Assistant Directors................

....................LÁSZLÓ KÁDÁR, BOGI MÓRICZ

.................................NICK SHUTTLEWORTH

Key Third Assistant Director.JAMES CHASEY

Third Assistant Director...................................

....................................STEWART HAMILTON

Key Set Production Assistant..........................

.......................................CATHERINE TYLER

Service Company........MID ATLANTIC FILMS

A Camera Operators............PETER TAYLOR

.................................................DES WHELAN

A Camera First Assistant Camera...................

......................................MILES PROUDFOOT

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

.......................................MARC ATHERFOLD

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

..........................................STUART HOWELL

B Camera 1st Assistant Camera.....................

...............................................CRAIG BLOOR

B Camera 2nd Assistant Camera....................

.........................................PAUL WHEELDON

C Camera Operator...STEFAN STANKOWSKI

C Camera 1st Assistant Camera.....................

...............................................GRAHAM HALL

C Camera 2nd Assistant Camera....................

...............................................ÁKOS GULYÁS

Still Photographer................DAVID APPLEBY

Production Sound Mixer...............MAC RUTH

Boom Person............................PÁL SZÜRÖS

Cable Person (Utility Sound)............................

..........................................GYÖRGY MIHÁLY

Script Supervisor........GABRIELLA WINKLER

Film Editors..........CHRIS LEBENZON, A.C.E.

.................................MASAHIRO HIRAKUBO

Post Production Supervisor......TIM GROVER

Sound Designer &

Supervising Sound Editor........RANDY THOM

1st Assistant Editors...........WARREN PAEFF

............NEIL WILLIAMS, TONY SOLOMONS

2nd Assistant Editors.....ELANA JOY LIVNEH

...................................JENNIFER MARTINEZ

Visual Effects Editor........TONY TROMPETTO

Additional VFX Editors.............SARA HYOUN

.............................SHARON SMITH HOLLEY

Assistant Editors (London)...............................

.............RUSS WOOLNOUGH, PAUL APTED

Apprentice Editor .....................LUKE AVERY

Editorial Production Assistant..........................

...................................ASHLEY RODRIGUEZ

Music Editors...................GRAHAM SUTTON

................JOE E. RAND, CHRIS BENSTEAD

Assistant Music Editor.....................................

...............................BARBARA MCDERMOTT

Temp Music Editors.........................................

..MARK WLODARKIEWICZ, KEVIN CREHAN

Supervising Sound Editor................................

........................................DENNIS LEONARD

Sound Re-Recording Mixers....RANDY THOM

..............................................GARY A. RIZZO

Visual Effects Producers.........DENISE DAVIS

.........................................ARTHUR WINDUS

VFX Associate Producer...JENNIFER SILVER

VFX Coordinators......................BETH HOWE

.............NATALIE LOVATT, DAWN BROOKS

VFX Assistant Coordinators.............................

.JUSTIN CHRISTENSON, NICHOLAS CREW

VFX Plate Data Coordinator...PADDY KELLY

VFX Post Production Data Coordinator............

..........................................CHRIS F. MOORE

Additional VFX Supervisor..JOHN VAN VLIET

Gaffers....CHUCK FINCH, JÓZSEF SZÜCSIK

Rigging Gaffers...............WILLIAM MERRELL

...................................................ZSOLT BÜTI

Best Boy Electric.................PÉTER BOGNÁR

Key Grips.............................DAVID APPLEBY

...................................................JÁNOS KISS

Best Boy Grip.......................ISTVÁN TÖRÖK

Dolly Grips.................................PÁL PALUCH

..............................................ANDRÁS TÓTH

Mega Head Operator............MARK RAMSEY

Techno Crane Operator...................................

.................................ROBERT JAMES BOVA

Assistant Costume Designer...........................

...............................DEBORAH LYNN SCOTT

Additional Assistant Costume Designers.........

............................HOLLY DAVIS, TIM ASLAM

Costume Supervisors..........SUZI TURNBULL

.................................................ZSÓKA HÓKA

Crowd Costume Supervisor............................

.................................ANTHONY BROOKMAN

Costume Coordinator.MARTIN MANDEVILLE

Assistant to Costume Designer.......................

..........................................MEGAN WORTHY

Key Set Costumer.............LUCILLA SIMBARI

Costumer.............................PAUL COLFORD

Principal Couture Leather................................

........................................WHITAKER MALEM

Chief Makeup Artist.............TREFOR PROUD

Chief Hair Stylist...................TRACEY WELLS

Hair and Makeup Coordinator.........................

.........................................ELIZABETH LEWIS

Makeup Artist..............KATHERINE RAYNER

Hairdresser..................................ZOE TAHIR

Hair and Makeup Artist.........BOGYÓ KAJTÁR

Key Greensman......................JON MARSON

Supervising Armourer.....STEVE CUMMINGS

Armourer...............................DAVID SILLERY

Supervising Location Manager........................

...........................................TERRY BLYTHER

Location Managers.........LÁSZLÓ RORÁRIUS

..........................................JÁNOS CSERVEN

Location Coordinator..........CLAUDIA KOSSIK

Location Scouts..............BARNABÁS KIRÁLY

..........................................ANDRÁS RUDOLF

Unit Location Manager – Varden.....................

.....................................STEVE MORTIMORE

Unit Managers..............................RAVI DUBÉ

..............................................GERGÖ BALIKA

Production Manager................MIKLÓS TÓTH

Assistant to Production Manager.....................

.........................................KATI MAGENHEIM

Production Coordinators..................SAM MILL

......................................GABRIELLA CSOMA

Travel & Accommodations Coordinator...........

.......................................................ÉVA ZÖLD

Assistant Production Coordinators..................

.......KRISZTIÁN KERTAI, CLAIRE STEWART

Special Effects SupervisorGERD FEUCHTER

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

..................................BERND RAUTENBERG

Special Effects Foremen...MARKUS GEIGER

........................................MICHAEL LUPPINO

Special Effects Technical/Crew Coordinator...

.............................................KLAUS MIELICH

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

..........................................GÁBOR KISZELLY

Creature Effects Supervisor.......BRIAN BEST

Construction Managers...............JOHN PARK

..........................................JOHN PATERSON

.........................................LÁSZLÓ NAGYIDAI

Construction Manager (Fargo).........................

..........................................DALIBOR VASICA

Assistant Construction Managers....................

........MARTIN HAYES, MICHAEL HAYWARD

.......................................THOMAS RENNICK

HOD Plasterer.....................DENIS MURRAY

HOD Rigger.......................DAVID McMAHON

Supervising Sculptor...........JOHN BLAKELEY

US Casting Associate..............KARA LIPSON

UK Casting Associate........FAITH ALLBESON

US Casting Assistant....SAMANTHA MORRIS

Additional UK Casting.................PIPPA HALL

Assistant to Mr. Fangmeier...EM?KE VÁGÁSI

Assistants to Mr. Davis....BROOKE BROOKS

................................CHRISTOPHER TIPTON

Associate to Gil Netter........TOM CARSTENS

Assistant to Gil Netter .................MIKE ADES

Assistant to Mr. Symes, Mr. Godfrey and

Mr. Goodman........................RITA GALÁNTAI

Financial Controller........KEVIN R. BUXBAUM

Hungarian Production Accountant...................

............................................BÖBE BODZSÁR

Key First Assistant Production Accountant......

....................................LISA-KIM LING KUAN

Foreign Locations Accountant.........................

.......................................DEBERA BARAGER

1ST Assistant Production Accountant..............

.....................................CHRISTIAN HOLDEN

1st Accounts Assistant.......GYORGYI BALOG

2nd Assistant Production Accountants.............

....TOSHIKO BANTON, CRISTIANO D'URSO

Accounts Assistants............GERAINT JONES

....................ANIKO ZALAVARI, AGNES KUN

Accounts Clerks.....................DORA SZANKA

..........................................ANIKO HEGEDUS

Production Secretary...........AMY SZABADOS

Production Assistants.RÓBERT KOROKNYAI

.........................................CSABA BAGOSSY

Cast / Crew Catering.......................................

................................BÉLA "KOKO" DÉVÉNYI

Unit Publicist.....................GEOFF FREEMAN

EPK.......................................JASON GROFF

Transportation Coordinator..............................

........................................STEVEN BRIGDEN

Transportation Captain.........GYÖRGY FOHN

Video Operators........PÉTER "TIGRIS" RÁCZ

......................................CSABA NEMESHÁZI

Cable Man / Video Assistant....GÁBOR TÓTH

Video Trainee......................ATTILA KOVÁCS

Pilot / Aerial Coordinators....DAVID W. PARIS

................................................MARC WOLFF

Aerial Directors of Photography.......................

.....................JOHN MARZANO, ADAM DALE

Aerial Production Manager......SAMMI DAVIS

Wescam Technician / Camera.........................

............................................GYLN WILLIAMS

Safety Engineer.........................TOM CLODE

Aerial First Assistant Director...........................

..........................................SIMON EMANUEL

Co-Pilots...................WILLIAM SAMUELSON

..............................................MARTIN KROLL

Mechanics....................ERICH LADSTATTER

...........................................NICOLAS KHELIF

Walkie Talkies Provided by.............................

......AUDIOLINK RADIO COMMUNICATIONS

Post Production Sound Services by

SKYWALKER SOUND,

A LUCASFILM LTD. COMPANY

MARIN COUNTY, CALIFORNIA

Dialogue / ADR Supervising Editor..................

...........................................JONATHAN NULL

Dialogue Editor................MICHAEL SILVERS

ADR Editor............................DANIEL LAURIE

Sound Effects Editors..................AL NELSON

......................................DOUGLAS MURRAY

Foley Editor...................E. LARRY OATFIELD

Foley Artists..............................JANA VANCE

.................DENISE THORPE, ELLEN HEUER

Foley Mixer.........................FRANK RINELLA

Foley Recordist...................SEAN ENGLAND

Assistant Supervising Sound Editor................

....................................................MAC SMITH

Assistant Sound Designer......WILLIAM FILES

Assistant Dialogue / ADR Editor...TIM BURBY

Assistant Sound Effects Editor........................

..........................................DUSTIN CAWOOD

Saphira's Voice Designed by...........................

...........................................BRUCE BOTNICK

ADR Stages.............WILSHIRE STAGES, LA

..............................FUTURE POST, LONDON

ADR Mixers..........................ERIC THOMSON

.........................................TED SWANSCOTT

ADR Editor (London)..................IAN WILSON

Loop Group...........................LOOP DE LOOP

Negative Cutter.....................GARY BURRITT

Color Timer................................JIM PASSON

Motion Picture Laboratory (Hungary) ..............

.......................KODAK CINELABS HUNGARY

Dailies Telecine (Hungary)..............................

.....................................FOCUS-FOX STUDIO

Title Design ..............................................PIC

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

Digital Intermediate by...........................EFILM

Supervising Digital ColoristSTEVEN J. SCOTT

Digital Intermediate Producer......LOAN PHAN

Digital Intermediate Editor...............................

..........................................AMY PAWLOWSKI

Digital Opticals........................PAT CLANCEY

Color Timing Assistant................NTANA KEY

Cameras & Lighting Equipment Provided

by........SPARKS CAMERA & LIGHTING LTD.

UNDERWATER UNIT

Underwater Unit Director of Photography........

...................................MICHAEL VALENTINE

Underwater Unit Focus Puller..........................

............................................DEAN MORRISH

Underwater Unit Loader...........JAMES LEWIS

Underwater Unit Camera Assistant / Safety.....

.......................................ROBERT JOHNSON

Underwater Unit Coordinator...........................

..............................FRANCOISE VALENTINE

SECOND UNIT

Second Unit Directors.......... E.J. FOERSTER

......................................ANDY ARMSTRONG

Directors of Photography.................................

.....................................HARVEY HARRISON

...................................MICHAEL BREWSTER

First Assistant Directors...MICHAEL MURRAY

...........................................KEVIN WESTLEY

Second Assistant Directors...TOBY HOSKING

.................................................TAMÁS VASS

Third Assistant Director........TAMÁS LUKÁCS

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

......................................RICHARD SHARKEY

Production Manager....................EDIT NAGY

A Camera Operator.........GARY SPRATLING

B Camera Operator.............TONY JACKSON

C Camera Operator................LÁSZLÓ BILLE

Gaffers..................................STEVE FOSTER

.................CHRISTOPHER "TOMMY" FINCH

Key Grips..........................WILLIAM GEDDES

.......................................DARREN HOLLAND

Armourer..........................STEPHEN RALPHS

Special Effects Supervisor..........ULI NEFZER

Production Coordinator....................................

.................................DANICA MATULAYOVA

SLOVAKIAN UNIT

Production Manager..........BRANKO JEHLAR

Unit / Transport Manager......VACLAV MOTTL

Location Manager.....................BEN RIMMER

Production Coordinator.........MIRKA TAYLOR

MOTION RIG UNIT

Unit Director.................PETER MACDONALD

Director of Photography.........SHAUN O’DELL

Unit Production Manager................SAM MILL

First Assistant Director........EDWARD BRETT

Second Assistant Director........JEFF TAYLOR

Art Director...................................HEIDI GIBB

Camera Operator.............GARY SPRATLING

1st Assistant Camera.......................................

.................................DANNY SHELMERDINE

2nd Assistants Camera....................................

..............RUSSELL KENNEDY, RAY MOODY

Production Sound Mixer........TIM BLACKHAM

Gaffer....................................PERRY EVANS

Key Grip.......................ADRIAN MCCARTHY

Durza Makeup Artist.........................VE NEILL

Chief Makeup Artist.....KATHERINE RAYNER

Continuity.................................LAURA MILES

Production Coordinator......FIONA GARLAND

Post Production Accountant............................

...........................................GAYLE SANDLER

Special Effects Supervisor.......TONY AUGER

Video Assist Operator...........ANDY SHEILDS

VANCOUVER - ADDITIONAL

PHOTOGRAPHY

Co-Producer for Canadian Shoot....................

........................................KEVIN HALLORAN.

Director of Photography........SHAUN O’DELL

Production Manager.........MARY GUILFOYLE

First Assistant Director........EDWARD BRETT

Second Assistant Director.....DAVID ARNOLD

Supervising Art Director.........HELEN JARVIS

Art Director..........................MICHAEL DINER

Camera Operator.....................DAVE CRONE

First Assistant Camera.........SEAN HARDING

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

........................................TYLER L. WOESTE

Production Sound Mixer..................................

.......................................ERIC BATUT, C.A.S.

Script Supervisor..............HELGA UNGURAIT

Gaffer....................................DAVID TICKELL

Key Grip...........................KIMBERLY OLSEN

Dolly Grip................................RYAN MUNRO

Costume Coordinator ...GRACE ANDERSON

Key Hair Stylist .................THOM MCINTYRE

Key Makeup Artist .......ROSALINA DA SILVA

Production Accountant ..DEBERA BARAGER

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

...............................CAMERON WALDBAUER

Special Effects Advisor..............MIKE VEZINA

Construction Coordinator.....JOHN KOBYLKA

General Construction Foreman.......................

...............................................JOHNNY DALE

Construction Foremen........BOB NICHOLSON

..............................................DALE MENZIES

Extras Casting....................ANDREA BROWN

Supervising Property Master....JIMMY CHOW

Set Decorator......................SANDY WALKER

Location Manager.............ROBIN MOUNSEY

Assistant Location Manager.....SEAN GRANT

Transportation Coordinator.............................

......................................WILLIAM C. WILCOX

Transportation Captain.....KELLY CHARLTON

Transportation Co-Captain..TONY JOHNSON

Wrangler...............................JAMIE PAYTON

Video Assist Operator.....GEORGE COLLINS

Video Assist Assistant...CASEY MACINTYRE

Chapman Camera Cranes & Dollies

Provided by.....................................................

..........P S PRODUCTION SERVICES, LTD. –

.........................................................CANADA

Motion Rig VFX Production Supervisor............

.................................................MARCIA GAY

CAD Designer...........DAVID DUNSTERVILLE

Motion Rig Consultant..............CHRIS SHAW

Motion Control Data Operator......ANDY BULL

Cyclops Operator.......................JAY MALLET

Motion Rig Operator...........DANNY MURPHY

VFX Dragon Build Supervisor..........................

....................................CRAIG NARRAMORE

VFX Senior Modeler..............GLENN MARSH

VFX Modelers............................BRIAN BEST

.....................................EMMA NARRAMORE

....................ZSUZSA KISMARTY-LECHNER

..................KEVIN GILMARTIN, POPPY KAY

...............................................LOUISE MILLS

VFX Production Supervisor Canada................

.......................................KEITH HAMAKAWA

VFX Plate Data Coordinator Canada...............

......................................BLAINE LOUGHEED

VFX Digital Double Dense Stereo

Technicians...................MICHAEL SANDERS

.........................................COLIN DAVIDSON

Viewpaint Photographer............DAVID OWEN

Production Assistants..............RHETT FINCH

...................LUAN HALL, SZABOLCS MAKAI

............KEVIN GILMARTIN, TÍMEA BALOGH

......CHELSI SCHRIVER, KRISZTIÁN KÖVES

..................ROB CRONE, ANDRÁS GYENES

SPECIAL VISUAL EFFECTS and

ANIMATION

INDUSTRIAL LIGHT & MAGIC

A Lucasfilm Ltd. Company

San Francisco, California

Animation Supervisor.........GLEN MCINTOSH

Visual Effects Producers...GRETCHEN LIBBY

..................................................JEFF OLSON

Digital Production Supervisor...........................

........................................MICHAEL DICOMO

Creature Supervisor.......AARON FERGUSON

Computer Graphics Supervisor.JOHN HELMS

Digital Compositing Supervisor........................

.........................................DORNE HUEBLER

Visual Effects Production Manager..................

.....................................WAYNE BILLHEIMER

Animation Sequence Supervisors....................

....RICK O'CONNOR, DELIO TRAMONTOZZI

Sequence Supervisors........KEVIN BARNHILL

.....................JEFF DORAN, KEVIN REUTER

.....................STEVE BRAGGS, RAUL ESSIG

...................JASON ROSSON, JAY COOPER

.......MICHAEL KENNEDY, R. JAY WILLIAMS

Concept Artists...........CHRISTIAN ALZMANN

.........................................CARLOS HUANTE

Digital Model Supervisors...........KEN BRYAN

..........................................PAUL GIACOPPO

Viewpaint Lead..........................JEAN BOLTE

Lead Digital Matte Artists................................

............BRETT NORTHCUTT, JOSHUA ONG

Lead CG Layout Artist..................ALIA AGHA

Digital Paint and Roto Supervisor....................

...........................................PATRICK JARVIS

Visual FX Editor......................TONY PITONE

Animators..................................ISMAIL ACAR

................PETER KELLY, JAKUB PISTECKY

.........CHARLES ALLENECK, SHAWN KELLY

..........................JAY RENNIE, STEVE APLIN

...............MAKOTO KOYAMA, DAVE SIDLEY

...........................SAMATI BOONCHITSITSAK

.................KEVIN MARTEL, GREG TOWNER

CAMERON FOLDS, CHRISTOPHER MITCHELL

...........CHI CHUNG TSE, JEAN-DENIS HAAS

................THAI NGUYEN, JAMES WHELESS

..................MAIA KAYSER, STEVE NICHOLS

.............ANDY WONG, JOHN ZDANKIEWICZ

Digital Artists..............................MIMI ABERS

................TIMOTHY GIBBONS, KEVIN PAGE

..................................GEORGE ALECO-SIMA

......JEREMY GOLDMAN, BENOIT PELCHAT

............TRANG BACH, BRIDGET GOODMAN

.................SCOTT PRIOR, LANCE BAETKEY

..........BRYANT GRIFFIN, RICARDO RAMOS

...........KENNETH BAILEY, GILES HANCOCK

....PHILIPPE REBOURS, KATHARINE BAIRD

......................DAVE HANKS, MICHAEL RICH

........MICHAEL BALOG, JEFFREY HATCHEL

...TRACEY ROBERTS, JEFFREY BENEDICT

..........................MARK HOPKINS, KIM ROSS

......................STELLA BOGH, JEN HOWARD

...JEFFREY SALTZMAN, AMANDA BRAGGS

.......................PEG HUNTER, JERRY SELLS

....................TRIPP BROWN, PAUL HUSTON

................PAUL SHARPE, CATHY BURROW

................KEITH JOHNSON, KEN SJOGREN

................MICHAELA CALANCHINI-CARTER

....................SCOTT JONES, LINDA SIEGEL

......PAUL CAMPBELL, STEPHEN KENNEDY

.......MARK SIEGEL, MARSHALL CANDLAND

.........GREG KILLMASTER, JAMES SOUKUP

........BRIAN CANTWELL, DREW KLAUSNER

........JOE STEVENSON, TERRY CHOSTNER

.............SUSAN KLAUSNER, JOSEPH SUEN

.......IAN CHRISTIE, JEAN-CLAUDE LANGER

.............NIGEL SUMNER, PAUL CHURCHILL

.......................JEROEN LAPRE, ALEX TANG

...............GRADY COFER, JESSICA LASZLO

..............RENITA TAYLOR, BRIAN CONNOR

........................KELVIN LAU, ALEX TROPIEC

.......................KARIN COOPER, KERRY LEE

........KATE TURNER, MICHAEL CORCORAN

.................SEUNGHUN LEE, YUSEI UESUGI

..........................CASEY DAME, JOHN LEVIN

..........MICHAEL VAN EPS, MICHELLE DEAN

................JOSHUA LEVINE, ERIC VOEGELS

.........RICHARD DUCKER, ANDREA MAIOLO

....................................BRANDON WARNER,

..YANICK DUSSEAULT, ALYSON MARKELL

.......DAVID WASHBURN, SELWYN EDDY III

............MARCEL MARTINEZ, HOWIE WEED

........DAN FEINSTEIN, JENNIFER MCKNEW

........................LI-HSIEN WEI, BRIAN FLYNN

......TIM MCLAUGHLIN, GREGORY WEINER

.......CHRISTIAN FOUCHER, KATIE MORRIS

.......JOHN WHISNANT, ALEC FREDERICKS

................MARK NETTLETON, ERIC WONG

.........ANGELA GIANNONI, MARLA NEWALL

........................................................PING XIE

Visual Effects Coordinators..............................

.....LAURA DENICKE, KATHERINE FARRAR

...........................................ERIN O'CONNOR

Research & Development................................

........STEPHEN BOWLINE, PETER MURPHY

................ALEX SUTER, EDUARDO HUESO

.........................................JOHN OLMSTEAD

Visual FX Editorial..............JEROME BAKUM

....................................GEORGE GAMBETTA

Production and Technical Support...................

.............STEVE BESSELMAN, MORGAN HO

............DOROTHY SNOOK, DANIEL CAVEY

.........MIKE PARKINSON, JENNIFER SUTER

...................LANCE ENGLE, SAM PENROSE

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

..............................................KHUYEN DANG

Visual Effects by WETA DIGITAL LTD.

WELLINGTON, NEW ZEALAND

Visual Effects Supervisor........George Murphy

Co-Visual Effects Supervisor......Guy Williams

Supervising VFX Editor................Matt Holmes

VFX Producer ............................Eileen Moran

VFX Editor................................Lucas Putnam

Digital Producer.......................Kathryn Horton

Head of Digital Imaging.............Pete Williams

Animation Supervisor.................David Clayton

3D Sequence Supervisors...............................

............................Jake Lee and Keith F. Miller

Models Supervisor..............Florian Fernandez

Roto & Paint Supervisors.................................

.................Quentin Hema and Sandy Houston

Creature Supervisor.....................Dana Peters

Animation Technical Supervisor..Shawn Dunn

Camera Supervisor....................Lee Bramwell

Art Directors.....................................................

................Michael Pangrazio and Gus Hunter

Compositing Supervisor................Colin Alway

Compositing HOD.......................Matt Welford

Massive Supervisor...........................Jon Allitt

Production Coordinators..................................

.........................Jonny Doig and Kristina Flach

Animation / Models / Creatures / Camera

Teams ..............Christine Arboit, Julian Butler

.......................Peter Godden, Kaori Miyazawa

..Michael Sarkis, Alvise Avati, Michael Cozens

............Joe Han, Andrea Merlo, Jens Schwarz

.....Michael Bain, Richard Dexter, John Homer

....................Simon Millanta, Gershom Sissing

..........................Jamie Beard, Marco Di Lucca

..Richard Hopkins, James Moore, Justin Steel

....James Bennett, Gord Dunick, Paul Jenness

.....Wolfgang Niedermeier, Albrecht Steinmetz

......................Graham Binding, William J. Earl

.....................Marchand Jooste, Alex Nowotny

......................Adam Slater, Shweta Bhatnagar

.Oliver Exmundo, Lars Kramer, Niklas Preston

..Peter Syomka, Matt Bullock, Ramahan Faulk

.....Gary Laurie, Stephan Remstedt, Eric Tang

.........Fernando Borges-Pacheco, Ben Forster

...Mike Leonard, Marco Revelant, Geoff Tobin

....................................Alex Burt, Eric Gambini

..........Ruth-Anne Loveridge, Matthew Riordan

.................................................Denis Trutanic

Lighting / FX / Shaders / Textures Teams.......

..........Belinda Allen, Paul Campion, Anne Hall

...................Sergei Koudriavtsev, David Ostler

............................Peter Baustedter, Rob Conn

...........Allen Hemberger, Dmitri Krasnokoutski

............Anne Ritter, Cory Bedwell, Daniel Cox

.........................Christian Hipp, Jason Lazaroff

......Kevin Romond, Hamish Bell, Mark Davies

.....................Katherine Hurst, Thomas Mikota

....Mahria Sangster, Sam Bui, Zachary Franks

...Sandip Kalsy, Yvonne Muinde, Glen Sharah

..Barbara Busch, Nick Gabchenko, Miae Kang

.................Jane S. O'Callaghan, Sean Walker

Compositing / Roto & Paint Teams.................

.............................Johan Aberg, Evan Christie

.......David Houghton Williams, Steve McGillen

.........Brad Selkirk, Holly Acton, Jim Croasdale

......Bryan Jones, Alfred Murrle, Petra Stueben

............Paula Bell,Steve Cronin, Danny Jones

...................................George Edwin Oliver Jr

........................Roxanne Sutherland Valentine

.....................Adam Bradley, Areito Echevarria

................................Simon Jung, David Owen

..............Phil Van der Reyden, David Brunette

..................Erich Eder, Jan Kruse, Helen Paul

......................Mark Richardson, Sonia Calvert

...............Paul Everitt, Michael Lanzensberger

...Hannah Peirce, Karim Sahai, Norman Cates

.....................Geoff Hadfield, Phillip Leonhardt

..................Emrys Plaisted, Caterina Schiffers

.................Tim Cheng, Tim Hey, Seth F. Miller

................Troy Ramsey, Hamish Schumacher

..Peter Connelly, Christine Feistl, Ben Morgan

.....................Jennifer Scheer, Martin Simcock

Production & Support Teams..........................

..Svend Andersen, Loren Brookes, Mike Gunn

.....................Tristan McMahon, Teresa Shand

.Daniel Ashton, Luke Chamberlain, Paul Gunn

..................................Milton Ngan, Nick Shore

....Sindharmawan Bachtiar, Tom Chamberlain

.......Ben Hall, Filippo Paganoni, Brett Skinner

.........................Steve Bayliss, Shane Cooper

...Dave Hampton, Christine Penn, Holger Spill

..........Kris Bieringa, Aaron Cubis, Ben Hatton

..................Martin Preston, Taisuke Tanimura

....Hannah Bianchini, Shawn Dunn, Martin Hill

..........................................Jennah Ramussen

..........................Campbell Taylor Fairweather

........Kristie Breslin Husson, Samuel Edwards

.........Erin Horton, Phillip Reed, Joseph Wilkie

..........Nick Booth, Fiona Foster, Lance Lones

.............Adam Shand, Richard Addison-Wood

Visual Effects by CINESITE (EUROPE)

LTD

........................MATT JOHNSON, JON NEILL

.......CATHERINE DUNCAN, LEE CHIDWICK

..................CHAS CASH, FLORIAN ZACHAU

................MATT KASMIR, GRANT CONNOR

.............JASON MCDONALD, DAN HARROD

...................LUCA ZAPPALA, KAREN WAND

Visual Effects by CIS HOLLYWOOD

....................BRYAN HIROTA, JULIE OROSZ

.PATRICK KAVANAUGH, JULIA GAUDETTE

Additional VFX by.....................CAFÉFX, INC.

....CHRISTOV EFFECTS AND DESIGN, INC.

.......................SVENGALI VISUAL EFFECTS

Previsualization by...........................................

............................PERSISTENCE OF VISION

..........................PIXEL LIBERATION FRONT

POPE BOT ANIMATION, CRACK CREATIVE

Score Conducted by ......JAMES SHEARMAN

Score Orchestrated by........PATRICK DOYLE

..JAMES SHEARMAN, GEOFF ALEXANDER

Score Contracted by........................................

....THE LONDON SYMPHONY ORCHESTRA

Orchestra Leader.................CARMINE LAURI

Score Coordinated by.....MAGGIE RODFORD

Score Preparation by.................VIC FRASER

Score Recorded and Mixed by.........................

.............................................NICK WOLLAGE

Assistant Score Engineers..CHRIS BARRETT

..............................................OLGA FITZROY

Score Programming byJAMES MCWILLIAMS

Vocal Contracting by ........DOUBLEFVOICES

Score Recorded and Mixed at ........................

..........AIR LYNDHURST STUDIOS LONDON

SONGS

"KEEP HOLDING ON"

Written by Avril Lavigne and Lukasz

Gottwald

Performed by Avril Lavigne

Produced by Dr. Luke for Kasz Money

Productions, Inc.

Avril Lavigne performs courtesy of RCA

Records

"ONCE IN EVERY LIFETIME"

Written by Patrick Doyle, Jem Griffiths and

Lester Mendez

Performed by Jem

Produced by Lester Mendez

Jem appears courtesy of ATO Ventures

Soundtrack Available on RCA / BMG

THE PRODUCERS WISH TO THANK THE

FOLLOWING FOR THEIR ASSISTANCE:

Hungarian National Film Office

Hungarian Ministry of Culture

Hungarian Ministry of Environment and

Water

Hungarian National Park ?rség

Hungarian National Park Duna-Ipoly

Mayor’s Office of Celldömölk

Mayor’s Office of Tatabánya

Frontier Guard of Hungary

National Environmental Authority

Riley Kathryn Ellis

Prints by

DELUXE®

Filmed With

PANAVISION®

CAMERAS & LENSES

KODAK

FILM STOCK (Logo)

DOLBY STEREO (logo)

In Selected Theatres

DTS (logo)

Approved No. 42356 (MPAA Globe)

MOTION PICTURE ASSOCIATION OF

AMERICA

© 2006 Twentieth Century Fox Film

Corporation and Dune Entertainment LLC

in all territories except Brazil, Italy, Japan,

Korea and Spain.

© 2006 TCF Hungary Film Rights

Exploitation Limited Liability Company,

Twentieth Century Fox Film Corporation

and Dune Entertainment LLC in Brazil,

Italy, Japan, Korea and Spain.

Ingenious Film Partners LLP and Erag

Service, Inc. are the authors 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.