“DRAGONBALL: EVOLUTION” is the long-awaited, live-action motion picture based

on the popular Japanese manga created by Akira Toriyama. Toriyama’s work spawned best

selling graphic novels, videogames and a phenomenally successful television series.

The manga, series and games bring to the new film a rich mythology and exciting,

complex characters – all of which have captivated millions of fans, of all ages, around the globe.

One of the greatest manga franchises ever created, Dragonball has an enormous online fan base

and is consistently one of the most frequently searched-for terms on Google and Yahoo!

Dragonball has exploded into a global phenomenon that has generated more than four

billion dollars in merchandising sales. It is considered the gold standard of anime-based video

games, with more than 25 different games and over ten million units sold since May 2002. The

series – 500 episodes strong – posted top ratings in Europe, Asia and the U.S.

The motion picture “DRAGONBALL: EVOLUTION” features a cast of rising young

stars and veteran acclaimed actors. Justin Chatwin, who portrayed Tom Cruise’s son in Steven

Spielberg’s “War of the Worlds,” takes on the role of the heroic Goku, a powerful warrior who

protects the Earth from an endless stream of rogues bent on dominating the Universe and

controlling the mystical objects from which the film takes its name. Emmy Rossum (“The Day

After Tomorrow”) is Bulma, a beautiful woman intent on retrieving the mystical Dragonballs for

her own reasons; Jamie Chung (“Samurai Girl”) is Chi Chi, a young martial artist who captures

Goku’s eye; and screen legend Chow Yun-Fat (“Crouching Tiger, Hidden Dragon”) is Roshi, the

Master who guides Goku on the young man’s epic quest to save the Earth from the forces of

darkness.

James Marsters (“Buffy the Vampire Slayer”) is Lord Piccolo, whose return could signal

the Earth’s destruction; international performing sensation Joon Park is Yamcha, a charismatic

“bad boy” whose schemes could thwart the heroes’ journey; popular Japanese actress Eriko

(“Heroes”) is Mai, an assassin who works with Piccolo; Ernie Hudson (“Ghostbusters”) is Sifu

Norris, a Master and contemporary of Roshi’s; and Randall Duk Kim (“The Matrix Revolutions”)

is Goku’s grandfather Gohan, whose lessons for Goku begins to prepare the young man for the

monumental tasks that lie ahead.

Many of these actors underwent a rigorous training regimen under the auspices of the

premier stunt performance company, 87Eleven, which has executed or designed some of the

biggest action pieces ever seen on film, in pictures such as “The Matrix,” “The Bourne

Supremacy,” “Mr. & Mrs. Smith” and “300.”

“DRAGONBALL: EVOLUTION” is produced by legendary filmmaker Stephen Chow

whose best known films as an actor, director and screenwriter – “Shaolin Soccer” and “Kung Fu

Hustle” – have featured a unique blend of martial arts action, CGI and comedy. The director is

James Wong, formerly an executive producer/writer on the noted genre series “The X-Files,”

“Millennium” and “Space: Above and Beyond,” and the co-writer/director of the big-screen hits

“Final Destination” and “Final Destination 3.” Ben Ramsey (“Love and a Bullet”) penned the

screenplay based upon the graphic novel series Dragonball by Akira Toriyama. The Shonen

Jump Comics division of the Tokyo-based publishing house Shueisha is the publisher of the

Dragonball manga.

Goku’s quest – with nothing less than the fate of our world at stake – begins innocently

enough in the backyard of his grandfather’s home, where Gohan is training the young man in

some exotic martial arts moves. It is Goku’s 18th birthday, and Gohan’s gift to his grandson is a

Dragonball, a small, round ball whose surface is smooth and pearl-like, but with a milky

translucence that gives it depth. Four stars float inside the ball. There are only six others like it

in the world, and it is said the seven Dragonballs together will grant the holder one perfect wish.

Connected to the legend of the Dragonballs is Goku’s own mysterious past – he never

knew his parents – as well as the coming solar eclipse, which superstitions mark as a sign of a

coming apocalypse. Gohan promises to reveal all to Goku at the special birthday dinner Gohan

is preparing for his grandson.

But Goku skips out on Gohan’s feast, to attend a party hosted by Chi Chi, a fellow

student to whom Goku is drawn. As the two teens get to know one another, a tragedy at home is

triggered by the arrival of a dark force – propelling Goku, Roshi, Bulma, Yamcha and Chi Chi

into a race to collect all seven Dragonballs. The stakes couldn’t be higher. Goku will face the

deadliest enemies on Earth, master a powerful force called Ki, which marshals the energy of the

universe – and learn the truth of his incredible past…and of a potentially unthinkable future.

Turning a beloved global property into a motion picture event is no easy task, and it took

years after Twentieth Century Fox acquired the rights to the graphic novel series Dragonball to

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make that happen. A big-screen adaptation finally began to come together when filmmaker

James Wong, who has worked extensively in the science fiction/fantasy genre, took an interest in

the property. Wong recalls: “I read the mangas, which really sparked my interest in the property.

The graphic novels take us to a fantastic world with great characters – and they’re a lot of fun.”

Inspired by the manga, Wong and screenwriter Ben Ramsey worked to achieve a mix of

action, humor and character relationships for the new movie. “We strove to hit the right

combination of the fantastic and the relatable,” says Wong. Huge action set pieces, state of the

art visual effects, and elaborate martial arts sequences would be key elements of

“DRAGONBALL: EVOLUTION,” but there was also much to explore with the characters, their

rich histories, and their evolving relationships.

“I believe that the appeal of Dragonball, beyond its super-cool action, is the richly

creative world that Akira Toriyama invented,” says Ramsey. “There is a complexity and

humanity to the superhuman characters who inhabit that world, as well as an overwhelming sense

of optimism that its lead character (Goku) embellishes.”

The challenges in adapting Dragonball for the big screen were formidable, starting with

creating a story that would satisfy the hardcore fans and introduce the world to non-fans. “So the

concept was to start off in a world that felt familiar, then gradually introduce the fantastic

elements of Dragonball, so by mid-movie we are in full on Dragonball mode,” notes Ramsey.

“The biggest challenge in adapting a manga or animated series for a live action movie is

the burden of reality,” he continues. “Once characters are brought to life by flesh and blood

humans, the rules change, if ever so slightly. Animated characters can get away with a lot more

than live action characters. Writing for live action characters has to allow for nuance in dialogue,

character dynamics and action.”

Ramsey and Wong took note of the fact that the manga’s characters and environments are

central to its universal appeal and relatability. “DRAGONBALL: EVOLUTION” is set in the

near future, in a multi-cultural environment. It is a world where “future and past become one,”

says Wong, and where “race plays no significant role.” To that end, the casting process for the

film was, as Wong puts it, “color blind.” The production set up casting offices in Los Angeles,

New York, Vancouver, London, Hong Kong and Japan – “the broadest net we’ve ever thrown

over a casting process,” notes the director.

Justin Chatwin landed the role of Goku after an exhaustive worldwide search. Goku is a

high school student whose innocence and guilelessness are left behind when he begins his hero’s

journey. “The character has a great arc – from high school nerd to the planet’s savior,” says

Wong. “One minute, Goku is a high school student who doesn’t fit in with his peers; the next,

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he’s on an incredible quest.” Chatwin sparked to the idea of the hero’s journey, having long been

an admirer of the work of mythologists like Joseph Campbell, whose writings often dealt with the

role of the hero figure. “Goku begins his journey as an everyday teen who discovers he’s meant

for something more,” says Chatwin. “He becomes a symbol of moral good.”

Goku’s transformative journey is all well and good, as are his martial arts skills, but a

subject of equal scrutiny was the character’s….hair. The legions of Dragonball fans identify

Goku through his uniquely styled, spiked coif. “That was my first question to Jimmy Wong,”

says Chatwin with a laugh. “‘What are you going to do with the hair?’ It’s so important, that

even the hair has an arc!” (Goku’s hairstyle evolves through the film into its signature, spiky

“do.”)

One of the first steps in Goku’s journey is to seek out Roshi, an elderly Master who

completes Goku’s training, helps him unlock the secret of his past – and joins him in a quest to

save the world. Roshi is unlike any Eastern Master you’ve seen before; he has an eye for the

ladies and favors Hawaiian shirts. According to Wong, the role required nothing less than an

iconic actor who could convey the character’s many dimensions and incredible abilities. “We

had to really reach high to find our Roshi,” says Wong, “and we decided to just go for it and

approach Chow Yun-Fat,” the legendary international superstar who has toplined some of the

cinema’s most acclaimed action films, including the Oscar®-winning “Crouching Tiger, Hidden

Dragon.”

Chow wasn’t an obvious physical match to the Roshi fans know from the manga and

anime. Wong explains: “In the manga, Roshi is a quirky, elderly figure, who’s unpredictable.

He’s definitely not your traditional Master who dispenses sage advice.” While no amount of

makeup and prosthetics could transform the strapping Chow – whom People magazine called one

of the 50 most beautiful people in the world, and the Los Angeles Times termed “the coolest actor

in the world” – into the diminutive, aged figure of the manga, Chow worked hard to capture the

character’s spirit. “I’ve never had the kind of challenge I’ve had with the role of Roshi,” says the

actor. “There is so much to him – humor, action, romance, emotion. He has extraordinary

powers, but he’s still funny, recognizable and human.”

One of the many ideas the actor proposed for the character was donning gray-tinted

contact lenses, hinting at the onset of cataracts. “I thought the lenses would add to the realism

and relatability of Roshi,” says Chow, who also regularly practiced Tai Chi and mediation before

and during the shoot.

Thrilled to be working with a cinema icon, the cast and crew were equally impressed with

Chow’s work ethic off camera. He never retreated to his trailer to relax between scenes, and

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would often help out the camera crew – including moving heavy equipment (becoming the most

high-profile grip in the business). “Chow never left the set,” marvels director of photography

Robert McLachlan, ASC/CSC. “He was like part of the crew.” But to Chow, his behind-thescenes

work was not a big deal. “It’s how we’ve been doing things in Hong Kong since the

beginning of my career in television,” he points out. “The crews were tiny, and we always helped

each other out.”

Chow was an inspiration to all, especially the younger actors like Justin Chatwin and

Jamie Chung. Chung has the lead role in the popular ABC Family series “Samurai Girl,” whose

title character possesses fighting skills that came in handy for “DRAGONBALL: EVOLUTION”.

One of today’s brightest and most appealing young stars, Chung brought much more to Chi Chi

than martial abilities. She has the sparkling energy necessary to fully capture the two sides of the

character. “Chi Chi is the ‘It Girl’ – the most popular girl in high school,” says Chung. “She

comes from a wealthy family, and everyone expects certain things from her. But she has a

second life – a secret life – marked by her passion to fight. She comes off like the girl next door,

but when she turns it on, she kicks butt!”

The burgeoning relationship between Chi Chi and Goku comes from, in part, them being

kindred spirits. “Chi Chi is drawn to Goku’s secret ability to fight,” says Chung. “She feels

there’s something really special about Goku, and she’s able to bring that out in him.”

Another beautiful young woman joining Goku in his quest is Bulma, a scientist described

in the manga as the “smartest girl in the world.” The film retains the manga character’s

confidence, intensity and intelligence – and the fact that she knows exactly what she wants. And

what Bulma wants is the Dragonball stolen from her father’s company. Wielding a laser-guided,

high-tech magnum pistol and a Dragonball-tracker, Bulma will do anything to retrieve the five-

starred Dragonball, which she thinks will supply an unlimited source of energy – and immense

financial rewards.

Emmy Rossum appreciated the challenges of playing such a multi-faceted character

whose hard-nosed, take-no-prisoners attitude begins to change after she joins Goku and Roshi on

their search for the Dragonballs. “Bulma comes to realize that life is about much more than her

personal quest,” says Rossum. “The character in the manga and now our film is so alive, funny

and spunky. She’s anything but ordinary.” A bonus for the actress was learning to ride Bulma’s

speedster, which the production created from a Harley motorcycle.

In the manga, Bulma sports a blue bob, which became her signature look. Rossum

recalls that the filmmakers tried different ways to capture that coloring and style, including dyes,

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hair extensions and wigs, but ultimately went in a more realistic direction. Nevertheless, there are

traces of blue and purple laced throughout the character’s wardrobe.

In their search for the Dragonballs, Goku, Roshi and Bulma face their adversary, Lord

Piccolo. As depicted in the manga, Piccolo is a complex and intriguing figure whose journey

sees him embodying both good and evil. For in the Dragonball mythos, any character can turn

from good to evil, and vice versa. James Marsters, beloved to millions of fans around the world

for his lengthy stint as the vampire Spike in the hit television series “Buffy the Vampire Slayer”

and “Angel,” portrays Piccolo in the film. His Piccolo is the story’s antagonist – “In the film,

Piccolo is a figure of decrepitude, and his goals are centered on revenge,” says Marsters – but

there are hints that his journey is very much an evolving process.

Working with Piccolo is Mai, an exotic beauty tainted by malevolence. Her weapons of

choice are throwing knives known as shiruken. Japanese-born actress Eriko, who came to

“DRAGONBALL: EVOLUTION” after wrapping a recurring role on “Heroes,” says she enjoyed

playing a “strong, tough woman on a mission.” James Wong adds that Eriko gives the role a

“special quality and toughness.”

Rounding out the starring cast is Joon Park as Yamcha. Looking to get rich, quickly,

Yamcha traps Goku, Roshi and Bulma in the desert. But eventually, he joins them in their

journey. Park, a rock star in his native Korea, has performed in front of 100,000 screaming fans –

an experience that helped him capture the essence of the character. “Joon has all the qualities

necessary for Yamcha, including charisma and a sense of mischief,” says Wong. “Yamcha is

tough on the outside, but inside there’s a soft heart,” adds Park. “Something in his past has

scarred him, and he likes to skim across the details of life, looking for money.”

ACTION – “DRAGONBALL: EVOLUTION”-STYLE

“How do we make action sequences look and feel different from what audiences have

experienced before?” That was the first question Wong posed to his team when he began

thinking about the action fans would expect from a film based on Dragonball. The answers

coming from the acclaimed stunt team, 87Eleven, as well as from director of photography Robert

McLachlan and visual effects supervisor Ariel Velasco Shaw, certainly pleased Wong – and

promise to delight not only fans of the property, but action movie enthusiasts as well.

VFX supervisor Velasco Shaw employed what Wong calls “fist-cams” – from the noted

company Iconix – that are so small they could be attached to an actor’s fist, allowing a character’s

punch to come right into the audience. “It’s a kind of ‘fist POV’,” Wong elaborates. McLachlan

contributed the suggestion of using new high-speed digital Phantom cameras to create super-slow

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motion for key action sequences. “We did a lot of research and development with the Phantom

cameras,” says McLachlan, who had discovered the-then experimental photography on YouTube.

In the YouTube video, a balloon filled with water was popped, with the “action” caught at 1000

frames per second. McLachlan and Wong were impressed with the results. “The most

spectacular thing about it was that the water retained the shape of the balloon before it fell,”

Wong remembers.

More “low-tech,” but equally important to amping-up the action, were the training and

stunts overseen by 87Eleven, and stunt coordinators Jonathan Eusebio, Julian Bucio Montemayor,

and Jared Eddo. Their first order of business was to get the cast in shape, followed by having

them undergo an intensive program of action choreography, and finally, making the actors

comfortable with the considerable wire work and acrobatics they’d be required to perform. It was

an incredibly rigorous program – “When [the actors] weren’t working, they were training,” says

Eusebio.

The young cast members underwent individually-designed training regimens – no two

characters have identical fighting styles – as well as special diets to maintain their strength and

stamina during production. In Dragonball lore, Goku is the greatest warrior on the planet. And

Justin Chatwin took the responsibility of capturing the character’s skills, very seriously. Before

the start of principal photography, he underwent six weeks of nutritional guidance and stunt and

martial arts training with 87Eleven, continuing the demanding regimen during the shoot. “It all

got my adrenalin going,” says the actor, who also notes he gave up sugar, wheat and pasta during

his stint on the film. Chatwin spent a minimum of five hours training each day, studying karate,

kung fu and a Brazilian form known as capoeira, which ritualizes movement from martial arts,

games and dance. For the more extreme acrobatic maneuvers, Jackson Spidell stood in for the

actor. Spidell’s signature move: flipping up in the air, then spinning halfway, and, on his way

down, striking an opponent.

Chow Yun-Fat, as Roshi, was given “softer” martial styles, like Tai Chi, befitting the

character’s age and experience. Jamie Chung, as young and ever-enthusiastic martial artist Chi

Chi, was given “hard” fighting styles, including kickboxing, karate, and Thai boxing. Chung

especially delighted in a pivotal fight scene that has Chi Chi fighting…Chi Chi. (Mai, a shape

shifter, morphs into Chi Chi to steal a Dragonball.) “I had to play both sides of the fight and learn

choreography for both Chi Chi and Mai,” the latter a kung fu practitioner, Chung recalls. Visual

effects, including motion control and split composites, enhanced the complex battle.

And what kind of training is required for the actor playing one of the most powerful

figures in the universe – Lord Piccolo? According to James Marsters, it was drills involving

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punching/kicking/blocking combinations. “I thought my body would break,” says the actor with

a laugh. “But [the stunt team and trainers] knew exactly what my body could take.”

An early scene that sees Goku and his grandfather Gohan training on a laundry line,

several feet above ground, was one of the stunt team’s favorites. “Gohan and Goku are fighting,

but in a playful way,” explains stunt coordinator Jared Eddo. “Five riggers and a stunt crew of

eleven, including doubles and safety experts, were involved in the scene. Pulleys and machines –

along with old-fashioned manpower – allowed us to create the illusion that the characters were

standing on the laundry line, and a [special rig] allowed us to maneuver the stunt people and

actors.”

A climactic clash between Goku and Piccolo, set at the elaborate “Dragon Temple,” was

executed and photographed as an all-out brawl, taking no less than ten day days to complete.

Here, Goku executes his signature martial arts movie, “Kame-Hame-Ha,” in which he summons

energies, both alien and earthly to launch a blindingly intense bolt towards his adversary. For the

scene, Justin Chatwin and James Marsters were required to leap from twenty-feet above the

Temple’s floor, and appear to “fly” up to some rocky ledges – all with the help of wires and

cables, of course. Later, they battled in “mid-air,” suspended in front of a green screen.

DESIGNING “DRAGONBALL: EVOLUTION”

The unique look of the film’s action scenes complements its art direction and

cinematography. Production designer Bruton Jones, along with visual consultants Richard

Holland and Bruce Crone, referenced the Dragonball manga and anime, as well as a melting pot

of styles reflecting the film’s multicultural, past/future reference points. The Dragon Temple, for

example has Russian, Japanese and Chinese architectural influences.

Before production started, director of photography Robert McLachlan tested various film

stocks before going with Fuji, which helped provide the heavily color-saturated look he was after.

The color saturation adds to the intensity of the film’s solar eclipse, which in the story signals a

potentially cataclysmic event. “We wanted our eclipse to be much more surreal [than a typical

solar eclipse], with weird, intense, reddish colors,” says McLachlan.

Ariel Velasco Shaw oversaw the film’s many and varied visual effects, including the

energy force known as Ki. Harnessing the power of Ki is one of the central tenants of Eastern

philosophy – and connects the incredible goings-on of Dragonball to our real world. In the “air

bending” technique of Ki, the practitioner pushes out from his or her chest, causing the air around

them to ripple with distortion – and the ensuing energy force to impact their opponent. Ki is so

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strong that it draws the power of the universe as it is channeled through the practitioner skilled in

its technique. Its ultimate manifestation is Goku’s “Kame-Hame-Ha” move.

Velasco Shaw and his team created various, character-appropriate forms of Ki. For

example, a human character would possess a different Ki than an alien or a human-alien hybrid.

Moreover, there’s a “younger” Ki for the more youthful characters, and an “older,” more

developed Ki for Roshi.

The iconic and mystical Dragonballs were largely the creation of the visual effects team.

“Everybody had an idea about what they should look like and what they needed to do,” Velasco

Shaw says. The Dragonballs, courtesy of some intensive CG magic, have an otherworldly

luminescence befitting their numinous properties.

Velaco Shaw also oversaw the two fully-realized CG creations: the monstrous creature

Oozaru, as well as the Fu Lum, demon assassins, who regenerate when dismembered.

Alec Gillis and Tom Woodruff, Jr., principals of one of the industry’s top special makeup

and prosthetics houses, Amalgamated Dynamics Inc. (ADI), designed and created the prosthetic

makeup for Lord Piccolo. The sophisticated prosthetics for Lord Piccolo, designed by Gillis and

Woodruff, were applied by prosthetic makeup artist Edward French.

ABOUT THE LOCATIONS

“DRAGONBALL: EVOLUTION” began production in Mexico City, where a private,

ultra-modern school stood in for Goku’s high school. More than one hundred students were used

as extras filling in the classrooms, parking lots and hallways. A sprawling private mansion in an

exclusive residential area with English Tudor and Asian architectural elements was utilized for a

high school party scene. An area within the city limits became Paozu City, where Roshi lives in a

shack situated amidst towering skyscrapers.

After six days of filming in Mexico City, the production moved to Durango, Mexico,

where the rest of the filming took place. “Durango has the spectacular outdoor locations

including the high mountains, rock formations and deserts we required,” says executive producer

Tim Van Rellim, who had worked on a film production in Durango a decade earlier. The

production transformed an abandoned jeans factory with a million square feet into a working

studio production facility with office, storage and mill spaces, along with a wardrobe warehouse,

practical soundstages, and a ten-acre outdoor area that was turned into a backlot for outdoor sets.

High mountain desolate rock formations at Mexiquillo became the secret Toi San training

facility. Over 200 local Durango martial artists and their instructors were recruited and

transported to the remote location for a big martial arts training scene. The cast and crew faced

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daily extremes in temperatures from chilly early morning lows of 30 degrees (Fahrenheit) to hot

afternoon highs of 80 degrees (F.), as well as occasional dust storms fanned by windy conditions.

Later in the shoot, the filmmakers utilized a major recreation facility in Durango as the location

for the Toi San Tournament competition arena. One thousand extras filled the structure, cheering

the action.

Los Organos State Park, with its spectacular rock formations that resemble church organ

pipes, became the setting and inspiration for the story’s Dragon Temple, where pivotal action set

pieces where captured. Towering desert sand dunes, called “Las Dunas De Bilbao,” north of

Durango, were used for traveling scenes and as the exterior of a desert cavern in Yamcha’s

habitat.

The Toi San marketplace was realized out of a grain storage facility from the 1800s that

was found just outside of Durango. New architectural elements were added and then enhanced by

set decorations mixing Middle Eastern elements with a flea market atmosphere.

Interior sets constructed and housed at the Jeans factory production facility, included the

two-story interior of Roshi’s shack, a 20 foot high cavern interior, the Toi San Temple courtyard

and corresponding interiors, Lord Piccolo’s Genesis Chamber and dirigible, as well as the green

screen sets.

ABOUT THE CAST

JUSTIN CHATWIN (Goku) appears in the upcoming John Stockwell romantic comedy

“Middle of Nowhere,” with Susan Sarandon and Eva Amurri, which screened at the 2008 Toronto

International Film Festival.

Chatwin’s film credits include “The Invisible,” in which he starred opposite Marcia Gay

Harden; Steven Spielberg’s re-telling of the H.G. Wells classic, “War of the Worlds,” in which

Chatwin starred opposite Tom Cruise and Dakota Fanning; the independent film “The

Chumscrubber,” also starring Ralph Fiennes, Glenn Close, Rita Wilson and Allison Janney; and

“Taking Lives,” with Angelina Jolie and Ethan Hawke.

Chatwin first garnered recognition for his starring role in the in the USA miniseries,

“Traffic,” directed by Stephen Hopkins. Based on his performance in the program, Newsweek

singled him out as an “actor to watch.” Additional television credits include “Lost” and

“Weeds.”

The son of an engineer father and an artist mother, Chatwin was born and raised on

Vancouver Island (Nanaimo), British Columbia.

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EMMY ROSSUM (Bulma) is a gifted young actress and an accomplished musician.

Nominated for a Golden Globe® Award in 2004 for her starring performance as Christine in the

film “The Phantom of the Opera,” she won the National Board of Review’s Best Female

Breakthrough Performance Award and the Broadcast Film Critics Association’s Best Young

Actress Award in 2005. She starred in the action film “Poseidon,” in the blockbuster “The Day

After Tomorrow,” in the Clint Eastwood-directed drama “Mystic River,” and in the independent

feature “Songcatcher,” the latter winning the Special Grand Jury Prize for Outstanding Ensemble

at Sundance in 2001. Rossum’s performance in “Songcatcher” earned her an Independent Spirit

Award nomination in the category of Best Debut Performance.

Her television credits include guest starring appearances on “Law and Order,” and “The

Practice.”

In 2007, Rossum recorded her first album for Geffen records, “Inside Out.” Using her

classically trained voice as the primary instrument, she wrote and recorded all her own songs.

Rossum is working on her second album in between film roles.

Rossum began her theatrical career at the age of seven, when she sang the children’s roles

at the Metropolitan Opera at Lincoln Center. Until age 12, she trained there in stagecraft and

classical vocal technique, and performed in five languages in twenty different operas.

Rossum is the Youth Ambassador for the international organization Youth AIDS, which

works to educate young people in sixty countries on the prevention and treatment of AIDS. She

travels internationally, raising awareness of the pandemic by speaking at schools, universities and

government forums.

Rossum was born in New York City and attended the Spence School. She earned her

high school degree through Stanford University’s Education Program for Gifted Youth (EPGY)

and Northwestern University’s Center for Talent Development (CTD).

JAMIE CHUNG (Chi Chi) had the lead in the hit ABC Family original mini-series

“Samurai Girl.” The show revolved around Heaven (Chung), the adopted daughter of wealthy

parents, who strives to balance a normal life with the Samurai traditions of her ancestors.

She recently completed production on the independent film “Burning Palms,” directed by

Christopher Landen. Set in Los Angeles, the film interlaces five stories in which each character is

pulled toward a comically dark fate.

Chung completed production on the remake of the 1983 horror movie “The House on

Sorority Row.” The film also stars Carrie Fisher, and is currently scheduled for an October 2009

release. Additionally, Chung recently wrapped Disney’s television film “The Princess Protection

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Program,” opposite Selena Gomez and Demi Lovato. The comedy follows the tribulations of a

young princess who is taken into custody by a special protection program, when her tiny country

is invaded and relocated to rural Wisconsin. In the heart of the Midwest, she must learn to

behave like a normal American teenager.

Chung appeared in the hit movie comedy “I Now Pronounce You Chuck and Larry.” Her

other television credits include a leading role on “ER,” a guest-starring stint on “CSI: NY,” and

recurring appearances on “Greek.”

CHOW YUN-FAT (Roshi) grew up on Lama Island, a small fishing village off of Hong

Kong. His family moved to a city on the big island when he was ten. At age 17 he quit school to

pursue a career in acting, and at the suggestion of a friend, he applied to and was accepted to a

local Hong Kong television station’s actor trainee program. After the yearlong program, he was

quickly signed to the station as a contract player, which lasted 14 years.

Having done over 128 episodes of the popular television series “Hotel,” Chow was

considered a sex symbol and popular leading man in Hong Kong. The immense popularity of his

next series “The Bund,” made him a household name throughout Southeast Asia.

Chow’s first big break in films came when director Ann Hui approached him to star in

“The Story of Woo Viet.” His performance was critically acclaimed, as was the film, filmed when

Hong Kong was still mass-producing kung fu action films. Chow’s career skyrocketed. He

received a number of awards and made 12 films in 1986, a record for a Hong Kong-based actor.

Director John Woo then cast Chow in the role of Mark for the internationally acclaimed

film “A Better Tomorrow.” Chow reached megastar status in Asia, and the character’s trench

coat, sunglasses and blazing Berettas became iconic. After a series of romantic comedies and

dramas, Chow reunited with Woo, on “The Killer” and “Hard Boiled,” adding to Chow’s

international fanbase.

A new film genre emerged in Hong Kong, with Chow at the forefront. The stories were

reminiscent of the gangster films starring Humphrey Bogart and James Cagney, now with Chow

playing the tragic hero. Hong Kong director Ringo Lam’s “City on Fire,” for which Chow won a

Hong Kong Film Award for best actor award, was the inspiration for Quentin Tarantino’s

“Reservoir Dogs.”

Having conquered Asia with over 68 movies, Chow set out to Hollywood in 1996 for his

first English-speaking role, in “The Replacement Killers,” directed by Antoine Fuqua. He then

starred in the police drama “The Corruptor,” helmed by James Foley. In Twentieth Century

Fox’s epic “Anna and the King,” also starring Jodie Foster, Chow took on the role of the King.

12

But it wasn’t until the critical hit and box-office smash “Crouching Tiger, Hidden Dragon,” that

Chow became a recognizable face in the U.S.

After making “Bulletproof Monk,” Chow worked on Disney’s “Pirates of the Caribbean:

At World’s End” and reunited with Ann Hui on “The Postmodern Life of My Aunt.” Chow then

starred in “Curse of the Golden Flower,” and returned to work with John Woo in the videogame

“Stranglehold.” His next film project is the big-scale drama/thriller “Shanghai,” also starring

John Cusack.

Chow, whom the Los Angeles Times declared “the coolest actor in the world,” and whom

People magazine voted one of the fifty most beautiful people in the world, continues to live in

Hong Kong, where he is known to his fans as “Big Brother.” Chow spends his spare time

photographing landscapes and plans to sell them to raise money for a number of local and

international charities with which he is involved.

JAMES MARSTERS (Lord Piccolo) became a favorite of fans around the world when

he played the character Spike, a punk-Goth vampire on the critically acclaimed television series

“Buffy the Vampire Slayer.” After six seasons on “Buffy,” he continued the role on the equally

popular spin-off “Angel.” Marsters has received numerous nominations and awards, including the

Spacey award, the Saturn Award, the Cinescape Face of the Future award, the Golden Satellite

Award, and the Teen Choice Award.

He co-starred in the feature film “P.S. I Love You,” a love story also starring Hilary

Swank, Gerard Butler and Kathy Bates. His other feature film credits include “The House on

Haunted Hill,” “Winding Roads” and the independent thriller “Chance and Shadow Puppets.”

Marsters’ additional television work includes a starring role in the original television film, “Cool

Money,” a role as the indefatigable Kryptonian villain Braniac on the popular series “Smallville,”

and guest starring roles on “The Mountain,” “Saving Grace,” “Strange Frequency,”

“Millennium,” “Andromeda” and “Without a Trace.” He most recently was seen in the two-part

Lifetime original movie “The Capture of the Green River Killer.”

Born in the remote northern California logging town of Greenville and raised in Modesto,

Marsters knew he wanted to be an actor after making his debut as Eeyore in a fourth grade

production of “Winnie the Pooh.” After honing his skills through his high school drama

department, he studied at New York’s prestigious Juilliard School. Marsters began his

professional theatrical career in Chicago, performing in stage productions such as “The Tempest”

and “Red Noses” at Chicago’s renowned Goodman Theater. He formed and ran successful theater

companies in both Chicago and Seattle.

13

It was while living in Seattle that Marsters was cast to guest star on the television series

“Northern Exposure.” This inspired him to move to Los Angeles. Within months he was sinking

his proverbial teeth into the role of Spike in “Buffy the Vampire Slayer.”

Marsters is also a successful singer/songwriter who for two years was the front man of

Ghost of the Robot, a band that enjoyed sold out tours around the world before disbanding in

2004. That same year, Marsters’ musical interests took yet another exciting turn as he performed

solo acoustic concerts of his own material. In conjunction with the release of his first solo album

in 2005, “Civilized Man,” Marsters enjoyed a triumphant solo tour of the United Kingdom and

Australia, selling out every performance to enthusiastic crowds. He continues to perform both

international tours as well as in U.S. clubs whenever his schedule permits.

JOON PARK (Yamcha) is an actor, singer and host. He has appeared on hundreds of

television shows in his native Korea. Park was born in Seoul and grew up in California. He

made his Hollywood film debut in “Speed Racer,” as a villainous Yakuza driver. Park appeared

in Janet Jackson’s “If” music video, and in Korea he hosted his own TV show “Non Stop.” Park

was the lead singer and rapper for the Korean hip-hop group G.O.D. (Gross Over Dose) from

1999 until 2005. The group sold out arenas and generated album sales of more than six million

throughout Korea and the Far East. Park is a graduate of California State University, Long

Beach.

ERIKO (Mai) is best known to American audiences for her guest appearances on the

television series “Heroes,” as Hiro, a love interest to Masi Oka’s character. She made her

American film debut as one of the leads in “Surf School.”

In Japan, Eriko is a well-known actress who has had leading roles in over 15 films and

television series. She made her screen debut at the age of 13 in the film “Flowery Afternoon,”

directed by Kazuki Omori, best known in the U.S. for his “Godzilla” film series.

Eriko was signed as a series regular on “Go with the Wild,” a primetime television show

on Fuji Television. She then starred in the mini-series “My Beloved Ultra Seven,” a docu-drama

depicting the life of famed actress Japanese actress Yuriki Hishimi.

Eriko was then cast in the NHK Annual Premiere Period drama “Hideyoshi,” in which

she portrayed a tragic woman of historical renown, who endured severe persecution as Japan’s

first woman to convert to Christianity.

In addition to her acting accomplishments, Eriko has enjoyed remarkable success as a

singer, having released ten original albums, and 15 singles from Toshiba EMI. She has been the

14

spokesperson for a variety of international companies and has been featured on the cover of most

of Japan’s top magazines.

RANDALL DUK KIM (Gohan) is a respected veteran stage actor who was born in

Honolulu, Hawaii of Korean/Chinese parentage. His feature motion picture credits include “The

Matrix: Reloaded” (as The Keymaker), “Memoirs of a Geisha,” “Anna and the King,” “The

Replacement Killers” and “Kung Fu Panda.” He appeared in the television movie “The Lost

Empire” and guest starred on the series “100 Centre St., “Cashmere Mafia” and “New

Amsterdam.”

Kim provided the voice of James Wong (opposite Chow Yun-Fat) in John Woo’s first

videogame, “Stranglehold,” and the voice of Shingen in the videogame “Red Ninja.” He

appeared as The Keymaker in the “Enter the Matrix” and “The Matrix: Path of Neo” videogames.

Kim’s Broadway stage credits include “Flower Drum Song,” “Golden Child” and a

revival of “The King and I.” He was also seen as Omar Khayyam in “Kismet” at New York City

Center Encores! Kim received an off Broadway Obie® award for “sustained excellence of

performance” in the legitimate theater.

He played Balarius in Cymbeline at the NY Shakespeare Festival, Marc in Yaasinia

Reza’s ART at the Singapore Repertory Theatre and kochi Asano in Leonard Spigellgass’s “A

Majority of One.”

Kim co-founded American Players Theatre in Spring Green, Wisconsin and served as

artistic director as well as acting in many of the Shakespearean productions. He now makes his

home in Newark, New Jersey.

ERNIE HUDSON (Sifu Norris) is best known for his role as Winston Zeddmore, one of

the ghostbusters of the classic film “Ghostbusters” and its sequel “Ghostbusters 2.” He played

the simpleminded handyman in the box-office hit “The Hand That Rocks the Cradle” and co-

starred with the late Brandon Lee in “The Crow.” His other feature film credits include “Miss

Congeniality,” “Spacehunter: Adventures in the Forbidden Zone” and “Basketball Diaries.” His

hundreds of guest starring television appearances include “Desperate Housewives,” “Las Vegas,”

“ER” and HBO’s critically acclaimed series “Oz,” in which he played Warden Glynis.

Hudson was born in Benton Harbor, Michigan and received his theatrical training at

Wayne State University, Yale School of Drama and the University of Michigan. He served in the

U.S. Marines before moving to Los Angeles, where he appeared in several theatrical stage

15

productions, including “The Great White Hope.” He made his feature film debut in director

Gordon Parks’ “Leadbelly,” about the legendary Blues singer.

ABOUT THE FILMMAKERS

JAMES WONG (Director) was born in Hong Kong and moved with his family to San

Diego, California at the age of ten. At El Cajon Valley High School, he met his future writing

partner Glen Morgan. Both attended Loyola Marymount University, where Wong intended to

obtain an engineering degree, before switching to film studies.

After graduation, Wong landed a job as an assistant to producer Sandy Howard. During

this time, Wong and Morgan wrote screenplays on spec, eventually having one produced, the

hard-hitting feature film “The Boys Next Door.” The two then signed on as writers at Stephen J.

Cannell Productions, on the series “21 Jump Street,” “Booker” and “The Commish.”

Wong and Morgan caught the attention of Chris Carter, who was setting up production in

Vancouver on a new series called “The X-Files,” about two FBI agents investigating the

paranormal. Wong and Morgan helped define the direction of the show during its first two

seasons and were instrumental in the development of its characters. Their work on “The X-Files”

led to more writing and producing assignments on the series “Space: Above and Beyond,”

“Millennium” and “The Others.”

In 2000 Wong made his feature directorial debut on the thriller “Final Destination,”

which he co-wrote with Morgan. The film became a box-office hit. He followed with “The

One,” starring Jet Li and “Final Destination 3.” the third installment in what has become a

continuing film franchise. He co-wrote and produced with Morgan, the remakes of “Willard” and

“Black Christmas.”

BEN RAMSEY (Screenplay) wrote the Mark Wahlberg starrer, “The Big Hit,” for Sony

Pictures. He wrote and directed “Blood and Bone” and “Love and a Bullet,” also from Sony.

Most recently he has been writing an untitled 3-D Kung Fu movie for MTV and Paramount.

Ramsey’s other martial arts-themed screenplays include high profile adaptations of Marvel

Comics’ “Luke Cage” for producer Neal Moritz at Sony, and “Roses are Red,” based on the novel

by James Patterson, for Morgan Freeman, at Paramount.

STEPHEN CHOW (Producer) is Asia’s number one comedy star and one of the

region’s most beloved entertainers. He has starred in more than fifty films, but it was the success

of 2001’s” Shaolin Soccer” and 2005’s “Kung Fu Hustle” that lifted him to a level of worldwide

16

stardom occupied by only a handful of others in the region who like Chow, write, direct and star

in their own films. Both films broke box office records across Asia, Japan, and South Korea and

received critical attention in the U.S. for their innovative styles.

A native of Hong Kong, Chow was one of three children in what he describes as a very

poor family. Chow started his entertainment career as the host of a children’s television show

“430 Space Shuttle.” He quickly made a name for himself with his witty style, and in 1989 he

began acting in films. In 1996, he made his motion picture directorial debut with “God of

Cookery,” which he also wrote and produced, and starred in. After the huge success of “God of

Cookery,” he helmed, wrote and starred in the critically hailed “King of Comedy,” a charming

story about a movie extra meeting the star of his dreams.

AKIRA TORIYAMA (Executive Producer) made his debut as a manga artist in 1979

with Dr. Slump, which appeared in the magazine Weekly Shonen Jump. The title quickly became

a huge success, selling with the books based upon it, over 35 million copies in Japan alone. It

was so influential that children in Japan began greeting one another with, “N`cha!” – the

signature line of the title’s robot heroine Arale.

In 1985, Toriyama’s Dragon Ball launched its run in Weekly Shonen Jump. The title

became the most successful manga in history, selling over 150 million copies in Japan. The

Dragon Ball series was a huge success not only in Japan, but all over the world, and the original

manga has been published in 27 countries. Toriyama is also known as a character designer on the

hugely successful game series, Dragon Quest.

TIM VAN RELLIM (Executive Producer) is a motion picture executive producer,

producer, assistant director and production executive. Van Rellim was associate producer for

director Nicolas Roeg’s “Eureka,” and produced “K-2” and “Ravenous.” Other film credits

include “Highwaymen,” “The Order,” “A Knight’s Tale,” “The Deceivers,” “Eat The Rich,”

“Invisible Circus” and “Snow White: a Tale of Terror.”

Earlier in his career, he became involved with Apple Films, producing “Born to Boogie”

with Ringo Starr and “Countdown” with Harry Neilsen. Van Rellim produced the first-ever pop

promos (forerunners of music videos) in John Lennon’s editing facilities for The Beatles and The

Rolling Stones.

ROBERT McLACHLAN, ASC/CSC (Director of Photography) has a long association

with director James Wong, having photographed “Final Destination,” “Final Destination 3,” and

17

“The One,” all helmed by Wong. He met Wong while serving as director of photography on 25

episodes of the second season of the television series “Millennium,” produced by Chris Carter

(“The X-Files”), James Wong and Wong’s former partner Glen Morgan.

McLachlan has earned eight outstanding achievement awards from the Canadian Society

of Cinematographers (CSC) along with three consecutive American Society of Cinematographers

(ASC) nominations for his work on the series “Millennium.” His credits include the telefilm

“Adrift,” “A Venus of Murder,” “Other Women’s Children” and a remake of the classic western

“High Noon,” receiving an ASC Award nomination for the latter.

Born in San Francisco but raised in Vancouver, McLachlan attended the University of

Vancouver, where he shot a short documentary that led to McLachlan forming, with a fellow

student, a small company to produce industrial films, TV commercials and documentaries.

In the late 1980s, McLachlan came to realize he was spending too little time doing what

he loved – photography. He left most of the business to his partner and ventured out on his own.

McLachlan received his first break shooting an adventure series, “Beachcombers,” before

shooting “Adrift.” That in turn led him to the Stephen J. Cannell/ABC-TV series “The

Commish,” and then to the Fox series “Strange Luck.” It was the latter that caught the attention

of Chris Carter. McLachlan formed a tightly knit relationship with Wong and Morgan, with the

duo bringing him along to shoot Wong’s first studio feature, “Final Destination.”

McLachlan shot second unit photography for the theatrical feature “The Golden

Compass” and photographed episodes of the short-lived series remake of “The Bionic Woman.”

Among his other feature credits are “Cursed” for director Wes Craven, “Black Christmas” for

director Glen Morgan and producer James Wong, and “Willard,” also for director Morgan and

produced by Wong.

BRUTON JONES (Production Designer) began his career as a set designer on the

television film “By Dawn’s Early Light” and the feature film “He Said, She Said.” He was an

assistant to the production designer on Spike Lee’s “Jungle Fever,” and continued his work as a

set designer on “Super Mario Bros.”

Jones was an assistant art director on Michael Bay’s “The Rock” and was a production

illustrator on “Blade.” His other credits as an art director include “Armageddon,” “Inspector

Gadget,” “Bicentennial Man” and “The Jackal.” Jones became a production designer on

“Underworld,” and his additional credits in that capacity include “Solstice,” “Lakeview Terrace,”

“Next Day Air,” “Stay Alive” and “Graduation.”

18

Jones was born in Fort Sill, Oklahoma and raised in Killeen, Texas. He studied at the

Center for Creative Design in Detroit, Michigan and graduated from the Otis Parsons School of

Design in Los Angeles with a degree in environmental studies.

MATTHEW FRIEDMAN (Editor) edited the studio features “What Happens in Vegas,”

“I Spy,” “John Tucker Must Die” and “Over Her Dead Body.” His many independent film credits

include “Certain Guys,” “We Married Margo,” “Cold Heart,” “The Last Run,” “The Truth About

Miranda,” “English as a Second Language,” “Novel Romance” and “The Deal.”

Friedman edited the TV pilots for the Fox series “The Loop” and the WB’s “Pepper

Dennis.” He held a variety of assistant editing jobs on such features as “Tollbooth,” “The Crew,”

“Doctor Dolittle,” “How to Make an American Quilt,” “Private Parts,” “The Muse,” “28 Days”

and “Road Trip.”

CHRIS WILLINGHAM, A.C.E. (Editor) is a three-time Emmy® Award-winning

editor for his work on the acclaimed Fox series “24.” His career has spanned three decades.

Willingham’s first association with James Wong came on the television series “21 Jump Street,”

“The X- Files,” “Millennium,” and “Space: Above and Beyond.” Willingham was editor on

Wong’s “Final Destination 3.”

ALEC GILLIS and TOM WOODRUFF, JR. (Special Make-up Effects Designers and

Creators) are the principals of Amalgamated Dynamics, Inc. (ADI), one of the industry’s leading

creature effects houses.

Early in his career, Gillis worked for many of Hollywood’s top makeup and creature

effects artists, including Stan Winston. Gillis was also one of Winston’s key designers on films

such as “Aliens,” “Alien Nation” and “Leviathan”. It was also during this time that he met Tom

Woodruff, Jr., with whom he would later form a new creature effects studio.

Woodruff joined Stan Winston's team on “Terminator.” That was the beginning of a five-

year period that saw Woodruff become a key coordinator under Winston, working on such

features as “Aliens” and “Predator,” as well as on the TV show “Amazing Stories.” During this

time, he began wearing the complicated make-up and costumes of the creatures designed at the

studio. His physical build and tolerance, as well as his ability to perform as an actor, led to his

portraying the title characters in the movies “Monster Squad,” “Pumpkinhead,” and “Leviathan.”

Woodruff and Gillis then formed Amalgamated Dynamics, Inc. Woodruff and Gillis

became two of the major character effects talents in the business today. They won an Academy

19

Award® for “Death Becomes Her” and Academy Award nominations for “Starship Troopers”

and “Alien 3.”

Woodruff continues to perform in a variety of creature and animal roles, as lead

characters in the features “AVP: Alien Vs. Predator,” “AVP-R,” “Scary Movie 3,” “Looney

Tunes - Back in Action,” “Evolution,” “Bedazzled,” “The Hollow Man,” “Alien Resurrection,”

“Alien3,” “Jumanji,” “The X-Files,” as well as on the television series “nip/tuck,” “Chicago

Hope” and “Seven Days.” Their upcoming films are “X-Men Origins: Wolverine,” “Race to

Witch Mountain” and “Cirque du Freak.”

BRIAN TYLER (Music) received his bachelor's degree from UCLA and his master's

degree from Harvard University. His love of film was greatly inspired by his Academy Award

winning art director grandfather Walter Tyler, who received ten Oscar nominations.

Brian Tyler began composing music at an early age, and by his mid-teens was performing

his own concert pieces around the United States and Russia. Tyler played piano, classical

percussion, guitar, bass, and drums in various orchestras, music ensembles, choirs, and bands,

before deciding to enter the world of film scoring.

His most recent projects include “Bangkok Dangerous,” “Eagle Eye,” “The Lazarus

Project,” “Fast & Furious,” “Final Destination: Death Trip 3D,” and “The Expendables.”

Before those, he scored “AVP-R,” “Rambo,” “Bug,” “The Fast and The Furious: Tokyo

Drift” and “Partition.”

In 2005, Tyler scored three films: “Constantine,” starring Keanu Reeves, based on the

DC/Vertigo comic Hellblazer; director Bill Paxton's “The Greatest Game Ever Played” and

director Justin Lin’s “Annapolis.”

Tyler was awarded Cinemusic's designation as Best New Film Composer of the Year in

2001. In 2002, he received an Emmy nomination for his score for “The Last Call.” In 2006 he

received an ASCAP Award for “Constantine.”

Other credits include “Panic,” “Los Muertos,” “Jane Doe,” “Bubba Ho-Tep,” “Timeline,”

“Frailty,” “The Hunted,” “The 4th Floor,” “A Piece of My Heart,” “Darkness Falls,” “Children Of

Dune” (for which Tyler produced a best selling soundtrack album), “The Big Empty,” “Thought

Crimes” and two episodes of the second season of the series “Star Trek: Enterprise.”

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©2009 Twentieth Century Fox Film Corporation. All rights reserved. DRAGONBALL: EVOLUTION Motion Picture

©2009 Twentieth Century Fox Film Corporation. Based on the DRAGONBALL graphic novel series created by Akira

Toriyama. DRAGONBALL™ & © Bird Studio/Shueisha, Inc. All rights reseved.

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.

21

TWENTIETH CENTURY FOX Presents

In Association with

DUNE ENTERTAINMENT III LLC

A STAR OVERSEAS Production

“DRAGONBALL”

Directed by.......................................................JAMES WONG

Screenplay by................................................... BEN RAMSEY

..........Based upon the graphic novel series “DRAGONBALL”

...........................................................by AKIRA TORIYAMA

Original Manga Published by .........................SHONEN JUMP

Produced by ................................................ STEPHEN CHOW

Executive Producers ...............................AKIRA TORIYAMA

.................................................................. TIM VAN RELLIM

Director of Photography .ROBERT McLACHLAN, ASC/CSC

Production Designer......................................BRUTON JONES

Edited by..........................................MATTHEW FRIEDMAN

...............................................CHRIS WILLINGHAM, A.C.E.

Co-Producers ................................................RODNEY LIBER

........................................................................ RICH THORNE

Visual Effects Supervisor .............. ARIEL VELASCO SHAW

Special Make-Up Effects Designed and

Created by...........ALEC GILLIS and TOM WOODRUFF, JR.

Music Composed by ........................................BRIAN TYLER

Costume Designer.....................................MAYES C. RUBEO

Casting by ....................................... JOHN PAPSIDERA, CSA

JUSTIN CHATWIN

EMMY ROSSUM

JAMIE CHUNG

JAMES MARSTERS

JOON PARK

ERIKO

RANDALL DUK KIM

ERNIE HUDSON

and CHOW YUN-FAT

TEXAS BATTLE

MEGUMI SEKI

Produced in Association with

INGENIOUS FILM PARTNERS / BIG SCREEN

PRODUCTIONS

Unit Production Manager.............................ADRIANA AIMO

First Assistant Director ........................... PAUL F. BERNARD

Second Assistant Director................... RENAN BENDERSKY

Mexico Line Producer ....................................JOSE LUDLOW

CAST

Goku .........................................................JUSTIN CHATWIN

Roshi........................................................... CHOW YUN-FAT

Bulma........................................................... EMMY ROSSUM

Chi Chi............................................................JAMIE CHUNG

Lord Piccolo ............................................JAMES MARSTERS

Yamcha................................................................ JOON PARK

Mai.................................................................................ERIKO

Gohan ...................................................RANDALL DUK KIM

Sifu Norris....................................................ERNIE HUDSON

Carey Fuller..................................................TEXAS BATTLE

Seki..................................................................MEGUMI SEKI

Oozaru .................................................................IAN WHYTE

Agundes.....................................................RICHARD BLAKE

Moreno ..............................................................JON VALERA

Butler .........................................................RAFAEL VALDEZ

Hildenbrand .....................................................MIKE WILSON

Palmer.............................................. FREDDY BOUCIEGUES

Emi ......................................................... SHAVON KIRKSEY

Mr. Kingery ........................................... JULIAN SEDGWICK

Weaver............................................................ LUIS ARRIETA

Avatar.........................................GABRIELA DE LA GARZA

Referee....................................................RICH-E CORDOBES

Stunt Coordinators..............................JONATHANEUSEBIO

...............JULIAN BUCIO MONTEMAYOR, JARED EDDO

Stunts by..................JACKSON SPIDELL, YOSHIO IIZUKA

..................... PABLO VINOS ZELAYA, HUGO AGUILERA

....CARLOS GOMEZ MARROQUIN, JANENE CARLETON

........................ HUBERT BOORDER, KIMBERLY CHIANG

...................................... LATEEF CROWDER DOS SANTOS

.................................................... DON TAI THEERATHADA

........EDUARDO GOMEZ MARROQUIN, RYAN WATSON

.................................SCOTT COSGROVE, CASEY D. NOEL

........................................................... DANNY HERNANDEZ

....... JOSEPH ALEXANDER PANCAKE, JEFFREY KNOTT

..................... RALF KOCH, MAX WHITE, DUŠAN HYŠKA

.................. MING QIU, SAM LOOC, DOUGLAS SNIVELY

........................................................ MIRIAM MEZA LAINEZ

Puppeteers................................ERIC HAYDEN, TIM LEACH

............................ KEVIN McTURK, TOM WOODRUFF, JR.

.........................................................DAVID COVARRUBIAS

Visual Consultants...............................RICHARD HOLLAND

....................................................................... BRUCE CRONE

Art Director ........................................... CHARLES DABOUB

Art Directors (Mexico).....................................MARCO NIRO

................................................................. HECTOR ROMERO

Assistant Art Directors ........................... JAIME RIVAS RUIZ

.................................................................CARLOS GAMBOA

Art Coordinators.................................ADRIANA GARDUÑO

.................................................................ALIDA CASTELAN

Art Researcher...................................................JORGE LARA

Illustrators.................................................... JAMES CARSON

..............................HARALD BELKER, DEAN TSCHETTER

.................................................... DAREN F. DOCHTERMAN

Set Designers............................................ HUGO SANTIAGO

.....................ARMANDO LOPEZ R., STEVEN M. SAYLOR

............... FRANCISCO BLANC, MARCO APOLO TORRES

..................................................................SANDRO VALDEZ

Graphic Designers ................................. ARMANDO PATIÑO

........................................................... GRACIELA REYNOSO

I

Animation Designer..................................MARK E. ZEPEDA

Storyboard Artists...............................................DAN FRAGA

.............................................................. JOSEPH STRACHAN

Set Decorator ........................................ ROBERTO BONELLI

Set Dressing Coordinator........................... HANA ESPINOSA

Leadman ..............................................TOMAS RODRIGUEZ

Swing Gang ............................................ JULIAN NAVARRO

....................HORACIO RAMIREZ, JUAN JOSE CISNEROS

............................................................TRINIDAD ESPINOSA

On Set Dresser...................................MIGUEL CERVANTES

Set Dresser ...............................................ISRAEL BECERRIL

Set Dressing Buyer .....................................MONICA GOMEZ

Set Dressing Assistants................. ANGEL JOSUE ROMERO

......................................................JESUS ANTONIO CERON

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

.................MICHELE “MIMI” CROWE, HIROMI KAMATA

Set Production Assistants.................... MARCO BOJORQUEZ

.............................JOSE LUIS FARFAN, ESTEFANIA LEAL

.................................................................. JESUS QUINONES

Visual Effects Producer ......JANET MUSWELL HAMILTON

A Camera Operator...................CASEY HOTCHKISS, S.O.C.

First Assistant Camera A..............................WILMAGOMEZ

Second Assistant Camera A.............GUSTAVO CASTILLON

B Camera Operator ...............................GUILLERMO ROSAS

First Assistant Camera B ...................... JOAQUIN CERVERA

Second Assistant Camera B ...........FRANCISCO PASTRANA

Loader.........................................................ELISEO OROZCO

Steadicam Operators ....... LUIS SANSANS, JUNICHI HOSOI

Video Assist Operator......... GABRIEL ROMERO TRUJILLO

Video Assist Assistant .......................VICTOR ALCANTARA

Phantom Camera Operators ................... PATRICK McGRAW

................................................................. GUSTAVO RIOJAS

Phantom Camera Tech................JUAN LUIS MALDONADO

Scorpio Head Tech...................................ANTONIO FLORES

Crane Operator........................................ DANIEL MORALES

Crane Assistant ......................................... JULIO C. VILCHIS

Galaxy Crane Operator ................................... PEDRO REYES

Galaxy Crane Assistant...................... MARCO HERNANDEZ

Super Technocrane Operator .................... CARY CARAWAY

Super Technocrane Assistant........................RYAN A. JONES

Technocrane Operator.......................... HECTOR MARTINEZ

Technocrane Assistant ..................................... JOSE VILCHIS

Power Pod Technician ................JOAQUIN TLAXCALTECO

Motion Control Operator ............... ROBERT A. MENAPACE

Motion Control Technician...............................LUIS ROCHIN

Video Motion Control...................... GUSTAVO MELENDEZ

Still Photographer ......................................MARTIN GAVICA

Production Sound Mixer....................FERNANDO CAMARA

Boom Person............................................ LEON SANDOVAL

Cable Person ..................................................RAUL ZAVALA

Property Master....................................... COLIN THURSTON

Property Master (Mexico)................FERNANDO ACEVEDO

Props Assistants....................................DEVORAH GALVAN

...............................JERMAN CRUZ, GERARDO ACEVEDO

Script Supervisor ....................................HELGA UNGURAIT

Sound Supervision & Design...........................JOHN MORRIS

.................................................................. CHUCK MICHAEL

Re-recording Mixers................................... STEVE MASLOW

...............................................................GREGG LANDAKER

Film Editor...............................................THOM CALDERON

1st Assistant Editor....................................JUSTIN C. GREEN

Assistant Editor ................................. JEFFREY L. JAMISON

Visual EffectsEditors....................................TOM BARRETT

.........................SCOTT W. ANDERSON, MARY WALTERS

Assistant Visual Effects Editors ....... SCOTT WESLEY ROSS

...................................................................LAURA RINDNER

Editorial Production Assistant ................. ANDREA KISTLER

Editorial Production Assistant (Mexico) ...................................

................................................. LIZADHAJAYEH CARRERA

Post Production Assistant.....................ANGELA SULLIVAN

Gaffer.......................................................JAVIER ENRIQUEZ

Best Boy Electric.........................MIGUEL ANGEL GARCIA

Electrics ..................................... JUAN MANUEL ALVAREZ

............................ADRIAN ENRIQUEZ, EMILIO SANCHEZ

.....................ALEJANDRO TAPIA, IVANHOE GONZALEZ

.................................................. RAYMUNDO HERNANDEZ

Chief Rigging Electric..................CARLOS OROZCO LUNA

Rigging Electrics ....................................... RAMON ACOSTA

.................................... MANUEL OROZCO, JOSE GALVAN

Key Grip ..........................................HUMBERTO DELGADO

Dolly Grips ...............ADRIAN ROMERO, SERGIO FLORES

Grips............................................JUAN MANUEL MORENO

.JOSE ALEJANDRO DIAZ, JORGE ALBERTO ENRIQUEZ

...................ALFONSO PANIAGUA, MARCELINNO LUNA

............................... ULISES GARCIA, JOSE LUIS JIMENEZ

.....................................................ERIK FERNANDO MERAS

Key Grip Rigger ..............................MIGUEL ANGEL NAVA

Rigging Grips ........................................ FERNANDO CORIA

...............MANUEL RODRIGUEZ, PASCUAL ALVARADO

Costume Consultant.............................IRONHEAD STUDIOS

Costume Consultant...............................EDUARDO CASTRO

Costumer Supervisor ..........................VALERIE CAMPBELL

Assistant Costume Designers ..........MARTHA CASTILLERO

................................................................... BRENDA MABEN

Costume Coordinator...................DANIEL PAUL ALARCON

Costume Assistants................ INDIRA KENYA GUTIERREZ

.......................... IRMA GARCIA RAMIREZ, DANA LOATS

Key Set Costumer......................................... AFRICA ZAYAS

Key Costumers ................................ZEFERINO GUTIERREZ

......................JOSE LUIS MONTERO, CARLOS MUNGUIA

..................................................... MARIANA MECHOULAM

Leather Master............................................... ADOLFO CRUZ

Pattern Makers ...........MIRIAM CRUZ, AIDE DOMINGUEZ

Dyeing Master .............................EMANUEL MECHOULAM

II

Dyeing Master Assistant............................ HECTOR PINEDA

Dyer ....................................MARIA DEL CARMEN DELFIN

Aging Masters............................. MARCO TULIO ESCOBAR

..............................................ARTURO ALFREDO VARGAS

..................................................EUSEBIO OMAR HERRERA

Tailors...............FAUSTO JARDON, RUFINO RODRIGUEZ

Seamstresses ......................................MARIA EMMA LOPEZ

....................... SOCORRO BALTAZAR, ROSA GONZALEZ

........................... LUCILA MORENO, PEDRO RODRIGUEZ

........ AURELIO HERNANDEZ, PRISCILA DEL SOCORRO

......................................... MARTHA CATALINA RAMIREZ

Wardrobe Production Assistant .................................................

.................................................ANA GABRIELA VILLEGAS

Key Make Up ......................................... EDUARDO GOMEZ

Make Up Assistant.................................... FELIPE SALAZAR

Prosthetic Make Up Artist .......................EDWARD FRENCH

Key Hair.............................................. LOURDES DELGADO

Hair Assistants .......................................... GERARDO PEREZ

...................................................................MANUEL GOMEZ

Location Manager (Durango)....................MARTIN CORKIDI

Location Manager (Mexico City) .............AGUSTIN MUNOZ

Location Assistants .......................................... PETER DOWD

......................... ALBERTO REBOLLO, CUBERTO BERTIN

Stage Manager ........................................ MAURICIO NUNEZ

Unit Manager .......................................... IRAM COLLANTES

Unit Chief ......................................JOCELINE HERNANDEZ

Durango Production Liaison ............................ YESICA SOTO

Production Coordinator..................................MARK SHULTZ

LA Production Coordinator .............................PHIL CHAVEZ

Assistant Production Coordinator ......EFREN VALLADARES

Housing Coordinator............................ADRIANA POBLANO

Travel Coordinator................................... GABRIELA REYES

Special Effects Coordinator ............................ JOE PANCAKE

Special Effects Coordinator (Mexico) ..MANUEL CORDERO

Special Effects Motion Control......................MARK T. NOEL

Special Effects Techs.....................................JOHN WONSER

............................CASEY D. NOEL, STEVEN W PANCAKE

Special Effects Assistants ..................... H. BARCLAY AARIS

............................DARIN O’NEILL, RICHARD CORDOBES

...................ALFREDO GONZALEZ, RUBEN RODRIGUEZ

.....................JAIME RAMIREZ, LUIS EDUARDO AMBRIZ

...................FERMIN MUNOZ, RAYMUNDO RODRIGUEZ

....................................................................... SERGIO LOPEZ

Creatures by AMALGAMATED DYNAMICS,

INCORPORATED

.. YURI EVERSON, GARTH WINKLESS, DAVE PENIKAS

............... STEVE FRAKES, STEVE KOCH, MIKE O'BRIEN

.................MIKE LARRABEE, KAREN KEENER MANZEL

.. MATT KILLEN, AKIHITO IKEDA, HIROSHI KATAGIRI

.CASEY LOVE, BRIAN CLAWSON, TAMARA CARLSON

.................................. CHRIS WALKER, JARED MARANTZ

........................ MATT MASTRELLA, CONSUELO DURAN

...................... LON MUCKEY, TIM MARTIN, BILL JACOB

................................... DAWN DININGER, PETER CLARKE

... TETSUFUMI SAKAE, JAN PEARCE, JASON BARNETT

........................ JORDU SCHELL, PATRICIA VILLALOBOS

....................................ANTHONY DIAZ, DAVIS FANDINO

Visual Effects Coordinator .............................IVY AGREGAN

Assistant Visual Effects Coordinators ....... FAHED ALHABIB

............................JAMES BALDANZI, JILL CHRISTENSEN

Visual Effects Data Wrangler........MARCUS A. TAORMINA

Visual Effects Plate Supervisor 1st Unit....................................

.........................................CHARLENE EBERLE DOUGLAS

Visual Effects Plate Supervisor 2nd Unit ..................................

..................................................................PATRICK DINHUT

Visual Effects Plate Coordinator 1st Unit..................................

......................................................FERNANDO DEL CAMPO

Visual Effects Plate Coordinator 2nd Unit ................................

........................................................ NICHOLAS DUNLEVEY

Visual Effects Data Assistant ......... MORGAN McLACHLAN

Visual Effects Production Assistants.....DAVID FEINSILBER

............. MIKE NAKAMURA, SERGIO AVILA MARTINEZ

................................................................KELLY KUROWSKI

Motion Control Ops.................................... ROB MENAPACE

....................................LUIS ROCHIN NAYA, MIKE LEBEN

...............................................................GUSTAVO MADRID

Visual Effects by

Frantic Films, a Prime Focus Company

Visual Effects Supervisors..................................... Chad Wiebe

Visual Effects Producers.............Genevieve West, Mike Shand

..............................................................................Randal Shore

Compositing Supervisors................................. Shane Davidson

VFX Designer..................... Kenneth Nakada, Christine Albers

Digital Artists ...........Alex Barker, Matt Broeska, Alex Carney

....Todd Carson, Patrick Conaty, Rick Curts, Megan Danderfer

.. Michael Davis, Aaron Davis, Darryl Doherty, Conrad Dueck

.........Mike Fagundes, Brian Fisher, Frederic Fortin, Ian Fraser

.................... Evan Fraser, Nick Fredin, Sigurjon F. Gardarsson

................... Matthew Giampa, Elias Gonzalez, Kyle Haywood

........... Steve Hill, Brian Howald, Shane Jackson, Mike Jahnke

............... Jiwoon Kim, Matt Krentz, Wing Kwok, Jason Labbe

........................ Michel LeBlanc, Emanuele Lecchi, Danny Lee

............................Joel LeLievre, Daniel Lowenberg, Yuan Mai

.Brett McLaughlin, Tracey McLean, Vinay Mehta, Lori Miller

..........Jon Mitchell, Ben Myers, Toby Newell, Merysa Nichols

................. Rui Padinha, Borislav (Bobo) Petrov, Brian Reimer

.................. Jonathan Reynolds, Brian Ritz, Cynthia Rodriguez

........................ Corey Belina, Richard Schipper, Jane Sharvina

.......................... Bobby Silman, Marion Spates, Marcus Steeds

........... Susan Stewart, Jeremy Stewart, Tammy Sutton-Walker

......................... Jerry Whitaker, Anna Terekhova, Jeff Tetzlaff

......................Joel Thompson, Keith Turner, Martijn Van Herk

....................... Anselm Von Seherr, Darren Wall, Jeremy West

............................ Mark Wiebe, Kim Wiseman, Travis Yohnke

..................... Mike Yurick, Brandon Young, Christian Zurcher

........................................................ Melissa Best, Sean Konrad

Production Management......................Dana Jurcic, Dean Gula

....................... Matthew Sabourin, Kim Boyle, Rosmary Conte

IT Support................ Sean Cody, Travis Best, Robert Guderian

III

............Darren Hildebrand, Stephane Lafleche, Andrew Single

..................................................................... Shawn Wallbridge

Additional Paint and Rotoscoping by

Prime Focus Ltd

Visual Effects by Hybride

.................Pierre Raymond, Michel Murdock, Richard Martin

........................ Michel Barrière, Olivier Beaulieu, Pierre Blain

.................. Caroline Brien, François Chancrin, Joanie Croteau

.................................... Christophe Damiano , Thierry Delattre,

Anouk Deveault Moreau, Laflèche Dumais, Yanick Gaudreau

............. Véronique Guay, Mylène Guérin, Pierre-Simon Henri

.......... Nadine Homier , Jean-François Houde, Steve Jubinville

.....................Alain Lacroix, Mathieu Lalonde, François Leduc

................Danny Lévesque, Anouk L'Heureux, Martine Losier

...........David Louis, Christian Morin, Nicolas-Alexandre Noël

.................... Sean O’Connor, François Métivier, Steve Pelchat

............Sébastien Rioux, Joao Sita , Guillaume St Aubin Seers

.............. Philippe Théroux, Gaétan Thiffault, Marco Tremblay

.......................................Véronique Tremblay , Céline Velasco

Visual Effects by Zoic Studios

.............................Patti Gannon, Arlend Engar, Injoon Hwang

......................Caleb Wagner, Tong Zhou, Harrison Rutherford

...........Mike Rhone, Chris Derochie, Karl Sisson, Tara Conley

........................... Neil Ghaznavi, Trevor Adams, John Barrigar

.................................................. Stu Macrae, Mary Jane Bolton

Visual Effects by

SOHO VFX

..................Christopher Bozzetto, Warren Douglas, Daniel Lu

...............Tom Nagy, David Rose, Bill Bridges, Nadav Ehrlich

....Alex Manita, Ciarán O'Connor, Keith Sellers, Ryan Cromie

....................... Martin Hesselink, Jim Maxwell, Mihaela Orzea

................... Bryan Smeall, Colin Cunningham, Bryan Howard

............Lee McNair, Simon Park, Frankie Stellato, Dave Dean

........Pavlo Lemeshko, Toshiko Miura, Vasisht Ramachandran

......................Andrew Winters, Mark Della Rossa, Derick Loo

.................................... Hailey Moore, Jorge Razon, Kai Zhang

Additional Visual Effects by:

CafeFx

Wildfire Visual Effects

COSA vfx

Big American Films

Spin VFX

West Wing Studios, Inc.

Previsualization:

Ollin VFX Studios

&

Image Engine Visual Effects

Cyber Scanning:........................................................Eyetronics

Lidar Scanning: ..................................................... Gradient FX

Supervising Construction Coordinator ......................................

.............................................................MICHAEL KOCUREK

Supervising Construction Foreman ....... JESUS A. CARRERA

Construction Coordinator ..............ALBERTO VILLASENOR

Assistant to Construction Coordinator.......................................

.............................................................ALEJANDRO AYALA

Construction Foremen ...................... ISRAEL LOPEZ MERA

......................................... RODOLFO MARTINEZ MIJAREZ

.............SERGIO AMEZCUA ROMERO, JAVIER MENDEZ

...............................................................JOSE LUIS MENDEZ

Construction Buyers ................ MARIO “BLACK” MONROY

.................................................................... MIGUEL PINEDA

Construction Accountant ....................... LAURA GONZALEZ

Construction Comptrollers.................. FABIOLA MARTINEZ

.......................................................................JORGE FLORES

Lead Painter......... FIDENCIO TEOFILO LOPEZ CUBILLAS

Scenic Painter........................................ARTURO LOZCANO

Head Sculptor .................ARTURO DEL MORAL ANGELES

Sculptor Foremen .................... JUAN JOSE MONTEMAYOR

................................................................. MARCO ZUPPELLI

Model Makers............................GUSTAVO CASTELLANOS

.............................MARIA GIRASOL BOTELLO MIRANDA

Greens Coordinator............................. JUAN DE LA FUENTE

Head Welder............................CECILIO GALVEZ ROMERO

Head Steel-Frame Fabricator........................ISMAEL MARIN

Construction Medics.............. MARTHA MENDOZA PEREA

........... CONCEPCION MORALES, RAUL GOMEZ TOVAR

On Set Medic..................................... FERNANDO OCAMPO

Assistants to James Wong .......................................ALBA GIL

.......................................................................MAX ENGOIAN

Assistant to Tim Van Rellim .................. TONY PATTERSON

Key Production Assistant ............................... YHARA MEJIA

Production Assistants ................................. CARLOS LARIOS

...................................JUAN JOSE ORTIZ, JUAN SANCHEZ

............................................................. ANTONIO MORALES

Mexico Production Coordinator ...........ARTURO SALDIVAR

Production Accountant ................................... JOHN PARKER

Assistant Accountant (US) .......................... HALLIE RIVERA

Accounting Assistants ..............MARIA DOLORES ACOSTA

...........................GERARDO ARELLANO, JUAN AGUIRRE

...................... SALVADOR MELGOZA, KARINA OROZCO

................................ AGUSTIN MORGAN, GENNY AYALA

Accounting Clerks ........................................ ABRIL MARION

............................................................... JAZMIN MARTINEZ

Los Angeles Casting Associates.................JENNIFER CRAM

.......................................................................... DYLAN JURY

Tokyo Casting by.......................................MIYAKO SONOKI

Mexico Casting by............................................CARLA HOOL

New York Casting by ...........................................LINA TODD

Asia Casting by ........................................PoPING AuYEUNG

Extras Casting / Mexico ................................ JULIO TOLEDO

Extras Casting Assistants / Mexico . TAVATHA MENENDEZ

................................................ EDUARDO ESTEVEZ LOPEZ

Acting Coach....................................................WENDY WAY

Unit Publicist.......................................................LUIS REYES

IV

Dialect Coach....................... GREGORY CHARLES RIVERS

ADR Dialect Coach ................................. KATHLEEN DUNN

Transportation Coordinator...................... JAVIER GUNTHER

Transportation Captain........................XAVIER RODRIGUEZ

Picture Car Coordinator ........................ HECTOR SALOMON

Security Coordinator...........................JOSE RICARDO SOTO

Post Production Facilities Provided by ......................................

............................. TWENTIETH CENTURY FOX STUDIOS

Additional Re-Recording Mixer ...............CHUCK MICHAEL

Supervising ADR Editor...........................................RJ KIZER

Dialogue Editor....................................... MICHAEL MAGILL

Sound Effects Editors .............................. DAVID GRIMALDI

.......................................................................... SIMON COKE

ADR Editor............................................... LAURA GRAHAM

Supervising Foley Editor ............................. JOHN MURRAY

Foley Editor...................................SCOTTCURTIS, M.P.S.E.

First Assistant Sound Editor .......MATT "SMOKEY" CLOUD

Foley Artists......................................... ALICIA STEVENSON

....................................................................... DAWN FINTOR

Foley Mixer ...................................... DAVID BETANCOURT

ADR Mixer .........................................CHARLEEN STEEVES

ADR Recordist.......................................DAVID LUCARELLI

Recordists ................................................... TIM GOMILLION

.................................................................. BLAKE CORNETT

Re-Recording Engineers ....BILL STEIN, THOMAS LALLEY

ADR / Foley Engineer ..................................DEREK CASARI

Voice Casting.................................................LOOP DE LOOP

Additional Voices ..................................... TOSHIYO AGATA

...................................JOHN GIDCOMB, JEREMY GLAZER

........................................ABBY HENCMANN, HOPE LEVY

........................ KAZUMI NAKAMURA, MASASHI ODATE

....................................... NATALIE N. OKAMOTO, LEI YIN

... COURTNEY PELDON, JUSTIN MORAN SHENKAROW

.........................JASON GRANT SMITH, MARK SUSSMAN

Prologue, Main and End Titles Designed and Produced by.......

.................................................................PROLOGUE FILMS

Art Director....................................... CLARISSA DONLEVY

VFX Supervisor ............................................. DONG HO LEE

Executive Producer .................................... CLAIRE O'BRIEN

Producer ................................................RYAN ROBERTSON

3D Artists.........................HEEBOK LEE, TROY BARSNESS

..............................................JESSE JONES, ADAM SWAAB

2D Artist ...................................... ANDREW HILDEBRAND

Flame Artist ................................................... LORI FREITAG

Editors.................GABRIEL DIAZ, ZACHARY SCHEUREN

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

..................................... LASER PACIFIC, A Kodak Company

Digital Intermediate Colorist ............................DAVID COLE

Digital Intermediate Project Managers ......................................

............................DONNIE CREIGHTON, RYAN HELSLEY

Digital Intermediate Editor ................. VALANCE EISLEBEN

Digital Intermediate Assistant

Project Manager.......................................... SADIE JOHNSON

Color Timer.................................................DALE E. GRAHN

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

Music Editor ................................................JOSEPH LISANTI

Temp Music Editors ................................ THOMAS MILANO

................................................................ STEVE SALTZMAN

Assistant Music Editor................................. KYLE CLAUSEN

Score Conducted by.........................................BRIAN TYLER

Score Orchestrated by ...................................ROBERT ELHAI

............................................. DANA NIU, BRAD WARNAAR

.............................................ANDREW KINNEY, PAKK HUI

Recorded and Mixed by.......................BOBBY FERNANDEZ

Orchestra Contracted by ................................PETER ROTTER

Score Preparation Supervisor ....................GARY L. KRAUSE

Music Preparation by .............................. ERIC STONEROOK

Additional Arrangements by .....................................................

................................MATT MARGESON and TJ LINDGREN

Digital Recordist .........................................VINNY CIRRILLI

Score Recorded at .....................................................................

.....THE NEWMAN STAGE, TWENTIETH CENTURY FOX

Recordist............................................................TIM LAUBER

Engineer...................................................DENIS ST. AMAND

Stage Managers .TOM STEEL, FRANCESCO PERLANGELI

Score Mixed at ....................GLENWOOD PLACE STUDIOS

Assistant Engineer .......................................... ISHA ERSKINE

SECOND UNIT

Second Unit Director.......................................RICH THORNE

Second Unit Director /

Second Unit Director of Photography ................ GARY CAPO

Director of Photography.............................TONY CUTRONO

Unit Production Manager ........................... ARTURO NUNEZ

Production Coordinator ........................MARINA FILIPPELLI

Assistant Unit Production Manager...............WALTER VEGA

First Assistant Director................................JOAQUIN SILVA

Second Assistant Director ................BARBARA JANE COLE

Second Second Assistant Director.........ANGELICA TORRES

Set Production Assistant........................... RAMIRO VALDEZ

Camera A Operator.......................SANTIAGO NAVARRETE

First Assistant Camera A.............................SERGIO GARCIA

Second Assistant Camera A................. JUAN PABLO OJEDA

First Assistant Camera B.............................CARLOS DOERR

Second Assistant Camera B........ JOAQUIN TLAXCALTECO

Loader.......................................... ARMANDO HERNANDEZ

Technocrane Operators ..........................ANDRES SALAZAR

.....................................................................RAUL SALAZAR

Scorpio Head Tech ................................ RUBEN ARELLANO

Gaffer..................................................... IGNACIO SANCHEZ

Best Boy Electric.................................FERNANDO GARCIA

Electrics ..................................................JOSE ISABEL PENA

....JESUS MEZA, OCTAVIO ALFONSO, ANGEL ORTEGA

.................................................................. FRED ALBARRAN

Key Grip ................................................. CARLOS MURILLA

Dolly Grip............................................PEDRO HERNANDEZ

Grips ......................................................... JOSE RODRIGUEZ

....................... HECTOR HERNANDEZ, SALVADOR PENA

V

....... HUGO OROZCO, DIEGO GONZALEZ, ERIK MERAZ

Dolly Tech ...............................ANGEL FRANCISCO PEREZ

Hair Stylist .................................................. MARIBEL ROMO

Hair Assistant..............................................ESTHER LOMELI

Make Up Artist .............................................LUIS ANTONAR

Make Up Assistant............................JOSEFINA ARELLANO

Location Manager.............................HORACIO SANDOVAL

Location Assistant..........................FRANCISCO SILVESTRE

On Set Medic..............................................PABLO OCAMPO

Property Master................................. ALEJANDRA CUERVO

Script Supervisor.................................................. PAT BERRY

Set Dressing ........................................... JOSE LUIS CUEVAS

Production Sound Mixer..............................EMILIO CORTES

Boom Operator .................................... RICARDO CABRERA

Special FX Assistants ............. JUAN CARLOS RODRIGUEZ

............................................... VICTOR MANUEL RAMIREZ

Transportation Captain.......................RICARDO GALLARZO

Video Assist Operators.............................DANIEL ZAMORA

..................................................................... ARGEL GARCIA

Phantom Camera.........................................ABEL CINETECH

Grip and Electric........................... REVOLUTION RENTALS

Scorpio Head......................................SERVICE VISION USA

Cranes ..................................TRATA FILMS, EFD RENTALS

Super Techno Crane................ ACTIVE REMOTE SYSTEMS

Revolvo Shot..............................................................................

....................HOLLYNORTH PRODUCTION SUPPLY LTD.

Motion Control ...............................................ROCOMOTION

Tyler Mount.................................................RENTA IMAGEN

SONGS

"Rule"

Lyrics by AYUMI HAMASAKI

Music by MIKI WATANABE

Performed by AYUMI HAMASAKI

Arranger H?L

Produced by MAX MATSUURA

Courtesy of AVEX ENTERTAINMENT INC.

"Worked UP!"

Written and Performed by BRIAN ANTHONY

Courtesy of SOGNI RECORDS – 7 ENTERTAINMENT,

LLC

THE PRODUCER WISHES TO THANK THE

FOLLOWING FOR THEIR ASSISTANCE:

BIRD STUDIO

SHUEISHA INC.

GOVERNOR OF THE STATE OF DURANGO MEXICO

CITY OF MEXICO CITY

ASOCIACION NACIONAL DE ACTORES (ANDA)

SINDICATO DE TRABAJADORES DE LA INDUSTRIA

CINEMATOGRAFICA (STIC)

FILMED ON LOCATION IN MEXICO CITY AND

DURANGO MEXICO

CAMERA SYSTEMS BY

CLAIRMONT ®

FUJI FILM

CAMERA

NEGATIVE

(logo)

Prints by

DELUXE

KODAK

FILM STOCK

(logo)

DOLBY (logo)

In Selected

Theatres

DTS

Approved No 44706

© 2009 Twentieth Century Fox Film Corporation and Dune

Entertainment III LLC in all territories except Brazil, Italy,

Japan, Korea and Spain.

© 2009 TCF Hungary Film Rights Exploitation Limited

Liability Company, Twentieth Century Fox Film

Corporation and Dune Entertainment III LLC in Brazil, Italy,

Japan, Korea and Spain.

Ingenious Film Partners LLP, Ingenious Film Partners 2 LLP,

Big Screen Productions LLP, Big Screen Productions 2 LLP

and Drag 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.

VI

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.