Jumper

The science fiction thriller leaps into a new realm with JUMPER, which begins the
epic adventures of a man who discovers that he possesses the exhilarating ability to instantly
teleport anywhere in the world he can imagine. From New York to Tokyo, from the ruins of
Rome to the heart of the Saharan Desert, anywhere is possible for David Rice (HAYDEN
CHRISTENSEN), until he begins to see that his freedom is not total, that he’s not alone . . . but
part of an ongoing, global war that threatens the very survival of his rare and extraordinary
kind.

David Rice has grown up with a mysterious power of which many have dreamed. He is
completely and utterly mobile, able to zap through wormholes in the space-time fabric to any
city, any building, any place at all that his mind desires. In the blink of an eye, he can “jump”
from one side of the earth to the other and back again – he can tour twenty different sunsets in
one night, he can have breakfast on the Egyptian Sphinx, spend the day surfing in Australia,
then pop over to Paris for dinner and enjoy dessert in Japan. He can pass through walls and
locked bank safes and enter the most forbidden chambers. So far, he has used his powers to
run away from his past, to take advantage of unlimited wealth, to remain fiercely independent.
He’s never known limits or boundaries or consequences. Or true connection. Until now.

But when David discovers another young man like himself, a fiery, globetrotting rebel
named Griffin (JAMIE BELL), the truth of his existence begins to dawn. He is not just a lone
freak of nature, but part of a long line of genetic anomalies known as Jumpers, none of whom
are safe. Now, David has now been identified by the secret organization sworn to kill him and
all Jumpers. And he is about to be relentlessly pursued in a chase that will literally bound
around the planet – as he becomes a key player in an unseen battle that has been raging,
invisible to most of humanity, through the ages.

Director Doug Liman, who has developed a reputation for forging visceral, high-style
action in such critical and box office hits as The Bourne Identity and Mr. and Mrs. Smith,

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brings the mythic fantasy of JUMPER to life with a mix of state-of-the art special effects,
international intrigue and a savvy twist on a modern-day superhero in the making.

JUMPER stars Hayden Christensen (Star Wars Episodes II & III, Shattered Glass),
Jamie Bell (Billy Elliot, Flags of Our Fathers), Rachel Bilson (The Last Kiss, television’s “The
OC”), Samuel L. Jackson (Coach Carter, Snakes on a Plane), Oscar® nominee Diane Lane
(Unfaithful), Michael Rooker (JFK), AnnaSophia Robb (Bridge to Terabithia), and Max
Thieriot (The Pacifier).

The screenplay is by David S. Goyer (Batman Begins, Blade), Jim Uhls (Fight
Club) and Simon Kinberg (Mr. & Mrs. Smith, X-Men: The Last Stand), based on the
novel by Steven Gould. The producers are Arnon Milchan, Lucas Foster, Jay Sanders,
and Simon Kinberg. Executive producers are Stacy Maes, Kim Winther, Vince Gerardis
and Ralph M. Vicinanza.

Heading the creative team who shot around the world in such authentic, as well as
unprecedented, locations as Rome’s Colosseum are: director of photography Barry Peterson
(Dark Blue); production designer Oliver Scholl (Independence Day, Artificial Intelligence: AI);
editors Don Zimmerman A.C.E (Night at the Museum), Dean Zimmerman and Saar Klein (The
Thin Red Line, The Bourne Identity), costume designer Magali Guidasci (The Professional);
and Academy Award®-winning visual effects supervisor Joel Hynek (What Dreams May
Come, The Matrix).
 

JUMP START:
The Mythology of JUMPER


The thrilling and imaginative tale of JUMPER is, in the words of co-writer and
producer Simon Kinberg, “the origin story of a hero -- an accidental, very reluctant hero who is
just on the cusp of beginning to wonder what would happen if he used his extraordinary power
to help others in jeopardy.” Director Doug Liman, Kinberg and producer Lucas Foster spent
the last several years developing not just the JUMPER screenplay but the rich mythology and
back-story of an epic adventure about a young man trying to forge a real life in spite of his
fantastic, temptation-filled power to teleport anywhere on earth in an instant.

For Doug Liman, whose deft passion for character-driven, unpredictably high-wire
action has come to the fore in two of the most popular and acclaimed thrillers of recent times –

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Mr. and Mrs. Smith and The Bourne Identity – the potential for JUMPER was irresistible. It
was a chance to put his own hyper-modern twist on a now venerable genre of storytelling.

“Most of the stories we see about superheroes were actually written a century ago,”
Liman points out. “But what I loved about JUMPER is that it felt very fresh and modern.
Ultimately, it became the biggest creative challenge of my career.”

The evolution of the story began with a duo of young-adult, sci-fi novels by Steven
Gould –Jumper and Reflex– which introduced the character of David Rice, a troubled young
man whose seemingly inexplicable teleportation abilities help him to start a dream-like new
life far from the pain of his past. After debuting to high praise from both critics and readers,
Gould’s series quickly developed a strong following; but it was clear the story had the potential
to go even further. When executive producers Vince Gerardis and Ralph M. Vicinanza
encountered the books they knew immediately they had the material for a great cinematic
adventure.

That’s when David Goyer, the sought-after screenwriter who cut his teeth working with
classic superheroes and villains in such action-thrillers as Blade and Batman Begins, entered
the picture. He not only adapted Gould’s tale for the screen but enlarged it, bringing in the new
character of Griffin, another mysterious Jumper who has been on the run since he was a child,
and forging a larger scope for the story. Along the way, Goyer shattered the usual conventions
of superpower tales, delving into how his characters struggle mightily with the very real
temptations of their consummately escapist powers. He unfolded the story’s non-stop thrills
against an unlikely story of a young man learning the consequences of total freedom.

“What I loved about David Goyer’s original draft is that it was about somebody who
gets superpowers and the first thing he does with them is go out and rob a bank. I really liked
the honesty of that,” says Doug Liman. “It was something I hadn’t seen before and as a
character-driven director it really interested me. I was also drawn to how imaginative and
outrageous this canvas would allow me to be. Having done two action films in a row, I was
attracted to the challenge of working with these profoundly human, complex characters.”

Producer Lucas Foster was also drawn to Goyer’s approach, especially the way it
emphasized the humanity roiling beneath a young man’s one superhuman power. “Jumping
gives David Rice a way to escape his unhappy home life, but it also puts him out into the world
on his own where he has to learn how to be an adult and to be courageous enough to deal with

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the tough issues in his life,” says Foster. “The way David has to learn to step up and face his
demons head-on is something to which I think everyone can relate. Unique as his situation as a
Jumper is, there’s something very universal about his story.”

A FLYING JUMP:
Developing the Rules of Jumping

Taking off from what Gould, Goyer and a second screenwriter, Jim Uhls, had started,
Liman, Kinberg and Foster began forging a vast, eons-long history for the Jumpers, whose
ability to bend time and space with their minds is passed down in a family lineage than can be
traced back in time for thousands of years.

The team began by researching the pantheon of beliefs about teleportation, from the
mystical to the cutting-edge physics theories that could make it possible. “We talked to a lot
physicists so we could understand the science of how teleportation might work and we used
that to ground the story in reality. But we also researched the mythology of teleporting, which
has been part of the cultural imagination for thousands of years,” explains Kinberg. “Sufi and
Hindu mystics supposedly practiced teleportation centuries ago. I think the idea of being able
to put yourself instantly on a mountain that no one can climb, or just the ability to do mundane,
everyday things in life such as being able to skip over the line in the passport office, offers
huge appeal to the imagination. The wish fulfillment element is really strong.”

But the wide-open nature of Jumping also offers equal opportunities for evil-doers.
“Instead of using jumping to do cool, fun things like eating breakfast on top of the Sphinx then
going surfing in Australia in the blink of an eye, someone with bad intentions could take a
nuclear weapon and drop it in the White House, or do other evil things. When you think it
through, you realize that while Jumping is amazing, it can also be a kind of curse,” notes
Foster. "If the power is in the wrong hands, or used by someone to manipulate Jumpers, they
could be anywhere and do anything.”

This stark reality in turn led to the concept of the Paladins, a highly secretive, elite
force that for several thousand years has tried to stop Jumpers from using their dangerous
powers for ill gain. Those Jumpers who make it to adulthood become the instantaneous targets
of the merciless Paladin agency, who will do anything to eliminate them, no questions asked,
no matter what.

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To set a solid foundation for the epic story’s complex inner mechanics, the team came
up with two foundational rules of Jumping:

1) You can jump anywhere that you can currently see; and

2) You can jump anywhere that you’ve seen before, even in a photograph, so long as

you have a strong visual memory of it.

Also integral to the rules of Jumping are the “Jump Scars,” momentary blips or rends in
the space-time fabric left behind by a Jumper – and which any other Jumper can use to follow
their trail.

Then there are “tethers,” electronic weapons which the Paladins use to ground, trace
and ultimately eliminate free-roaming Jumpers. A tether is a Jumper’s worst nightmare.

Despite the fantastical nature of all these elements of teleportation, the emphasis always
remained on keeping things as rooted in the real world as possible. “We wanted this story to
feel like it could truly take in our world in our time,” notes Kinberg. “David Rice doesn’t wear
a cape, he doesn’t have a code ring. In most ways he’s an ordinary guy with a single
incredible, abnormal ability – and how he deals with that is really the core of our movie. How
would any of us react if we suddenly discovered we’d inherited an ability that could make our
lives very exciting and free? David has a very human impulse to use his teleportation to better
his own life. It’s only in the course of the story that he learns that he can do much more than
just rob banks and live in penthouses. He begins to see that he can help his loved ones and
even strangers.”

Equally vital to the story is how a Jumper like David Rice might handle falling in love.
Continues Kinberg: “The Jumping allowed us to explore a theme that’s central to every good
love story – which is whether you can ever really be in a good relationship with someone
unless you’re fully honest with them. It’s something we also explored in Mr. And Mrs. Smith
in a very different way.”

By now, the producers were also getting very keyed up about having Doug Liman at
the helm of this truly unique vehicle. His spontaneous, creative, on-the-fly, guerrilla style of
filmmaking seemed a perfect fit for a story about unbridled mobility. “What’s going to be
really exciting about this story is not just the ideas behind it but the tone, the look, the
grittiness, the rawness and the real emotion,” sums up Kinberg. “It’s not something you’ve
seen before in the superhero world. It’s not the bright and shiny universe of Spider-Man. It’s

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not the dark and gothic netherworld of Batman. Doug’s strong sense of realism brings some
very fresh blood to the superhero genre, and twists and tweaks it in playful ways.”

Adds Foster: “Doug pumped new life into the espionage theme with The Bourne
Identity, raised the bar on action/comedy with Mr. and Mrs. Smith and now does the same now
for Jumping.”

JUMPING IN:
Hayden Christensen And Jamie Bell Become Jumpers

At the heart of JUMPER’s mythology is David Rice, whose mother left him when he
was five, who grew up in an unhappy home life and has all kinds of problems he’d like to
escape from – until he discovers he possesses the amazing ability to do just that: escape from
it all whenever, and wherever, he chooses. At first, David believes he is completely alone in
his powers of teleportation, but as he comes of age and tests the limits of his skills, he makes a
chilling discovery that he is part of a long line of people just like him – and is about to be
relentlessly hunted down because of it.

To play David Rice, the filmmakers turned to one of today’s fastest rising leading men:
Hayden Christensen. Christensen came to international fame when he was cast by George
Lucas as in the sought-after role of Anakin Skywalker in Star Wars Episodes II & III. He has
garnered equal acclaim in dramatic roles, including Life as a House and Shattered Glass.
Christensen’s mix of charisma and emotional veracity made him the entire team’s standout
choice.

“As soon as Hayden expressed an interest in playing the role, we didn’t really look any
further,” recalls Foster. “He’s perfect for the character of David Rice. Besides being a very
intuitive actor he’s just such a compelling and earnest guy, and I think those qualities come
across on screen.”

Doug Liman concurs: “I’ve become a huge fan of Hayden Christensen. He’s incredibly
talented and hard-working, and I’ve made him do some crazy things. He been physically and
emotionally pushed in this role, yet he’s given us one thousand percent. I think people are
going to say, ‘wow, we haven’t seen that guy do anything like that before.’ He’s a great David
Rice.”

Christensen knew the role would be unlike anything else he’s done on screen so far,
and that was a huge draw for an actor who thrives on taking risks. “The character of David

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Rice isn’t like anyone I’ve played before and it was exciting to get the chance to explore
something entirely new,” says Christensen. “He has a really interesting journey, and the whole
concept of teleportation is just so cool. I loved that the story presents a whole sort of Pandora’s
Box of fantasy ‘what-ifs?’ It’s the kind of movie I’d like to see as an audience member.”

In addition to taking boxing and deep-sea diving lessons, Hayden began his preparation
by contemplating many of the wild “what-ifs” of teleportation himself. “There are so many
things I would do if I could teleport. The thought of never getting on a plane again and
spending all your downtime traveling the world is really appealing,” he says. “I also fantasized
a lot about what it would feel like to do things like jump off a building, then teleport back to
the top before you hit the ground, and stay in a perpetual freefall. Basically, the whole idea
opens up infinite possibilities for your imagination.”

But Christensen was also acutely aware that David Rice’s life of endless opportunities
is masking a lot of internal turmoil. “Although David has become very acclimated to life as a
Jumper it’s a very solitary life because he has this secret he can’t share with anyone,” he
explains. “He has every toy any man could want but he’s still insecure and lonely. He really
believes that he just wants to be left alone. But I think what’s so interesting about David is that
he begins to change. He’s a very reluctant hero who resists his transformation into one the
whole way, which makes him so interesting. The events around him force him to mature, to
come clean and face his past as well as his uncertain future.”

David Rice feels isolated, in part, because he believes his teleportation ability is just an
accident of fate. But when he meets Griffin, another Jumper with the same method of zooming
around the world in milliseconds, he realizes there is far more to who he is than he ever
realized. Christensen loved working with British star Jamie Bell in the role of the Jumper who
is at once his rival and his mentor in this brave new Jumper world. “Jamie did wonders for the
role,” he says. “He likes to invent, to create things on the spot, and he brought new ideas every
day. He made Griffin into this very likeable sort of punk figure who has total disdain for
authority but does it with a wink and a grin.”

Christensen continues: “For me, it was great because you understand why my character
wants to team up with this guy. And once they do, they have some pretty amazing
experiences, doing things you could never do without teleportation. Both David and Griffin
are pushed to new heights in just trying to keep up with the other.”

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Christensen also loved that this role would reunite him with Samuel L. Jackson, with
whom he had starred in the Stars Wars films. Here, Jackson plays Roland, the Paladin agent
who seeks to destroy Jumpers like David Rice forever. “Sam provided guidance for me as a
young actor, so it was really exciting to come back and do another movie with him. He brings
so much weight and gravitas to the role, he elevates everyone around him,” Christensen
comments.

Meanwhile, even amidst all the mind-blowing, teleporting action, Christensen also had
to expose the vulnerable corners of David’s heart, as he starts to fall in love with the childhood
friend who reappears in his life, Millie, played by Rachel Bilson. “David and Millie have a
really unusual love story,” he muses. “David is tempted to bring her along on all his
adventures, but he can’t really ever come clean to her. You also have this juxtaposition of a
man trying to start a romance, while he’s also trying to escape from people who want to kill
him – and trying to never let those two paths cross.”

Christensen notes that, in attempting to “jump” fully into the no-limits life of a Jumper,
the most vital skills of all were an open mind and adaptability. “For six months, my character
was constantly on the run, constantly having things go wrong, constantly getting beat up or
tossed around,” he explains. “We were definitely put through the gauntlet but it came with a
lot of satisfaction.”

For Jamie Bell, who plays Griffin, the intense action of JUMPER was real change of
pace. Bell came to international acclaim in the poignant title role of Stephen Daldry’s Oscar®nominated
indie hit Billy Elliot, in which he played a working-class British boy with an
unlikely dream of becoming a dancer. He has gone on to diverse roles ranging from the
servant Smike in Nicholas Nickleby to a young seaman in Peter Jackson’s King Kong and a

U.S. Marine in Clint Eastwood’s Flags of Our Fathers – but the role of Griffin was like
nothing he’d attempted before.
This was key for the filmmakers who wanted a very unpredictable presence for Griffin,
the defiant Jumper who initiates David Rice into the entire mythology behind who he really is

– and explains the perilous stakes he faces. But Griffin also has his own story of loss and
anger-fueled vengeance that will become deeply intertwined with David’s survival.
“Griffin is this fast-talking, roguish, impish, crazy-pixie of a character and as such,
brings both a certain manic energy and comic relief to the film,” explains Simon Kinberg. “But

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we also wanted him to be emotionally honest and true, and to have a very personal back story
that would motivate his war against the Paladins. Jamie had the combination of skills that
would make all of that possible.”

Continues Lucas Foster: “We were incredibly lucky to get someone as amazingly
versatile as Jamie, who took the role and really ran with it. With his Griffin, you really never
know what he’s going to do next; he has this improvisational quality to him that has had us
writing furiously just to keep up. He turned this character into something we couldn’t have
expected.”

Bell was first and foremost magnetically drawn to the concept of JUMPER. “There
was something about the script that I really connected to, something that reminded me of being
a kid desperately searching for a way out,” explains Bell. “Teleportation is the ultimate out.
You can go anywhere at any time. Who doesn’t dream of that? As for Griffin, he’s incredibly
wild, colorful and funny. He has this intense, kinetic kind of energy; he doesn’t have anything
that’s permanent, he doesn’t have any sense of family or a social life, and in fact he has no real
social skills at all, but I think all that makes him a really dynamic and interesting character.”

Bell not only was intrigued by Griffin’s internal world but by the chance to use his
physical skills to explore Griffin’s external style as well. No stranger to bounding and soaring
on film, he worked closely with the filmmakers to develop Griffin’s own personal mode of
moving, and especially Jumping. “He’s got a frantic, kinetic way of being that I think you
need to see in his Jumping,” Bell explains. “His jumps are very intense and almost brutal,
which is something Doug wanted to see.”

Equally intriguing to Bell was the evolving relationship between Griffin and the
uninitiated David Rice, whose partnership gets off to a rather shaky start. “Every good
relationship starts with a punch,” laughs Bell. “Griffin has lived a renegade existence since his
parents were killed by Roland and so, at first, he sees David as a liability. But I think he also
secretly enjoys the fact that he is able to teach him the rules, to teach him to defend himself and
to really open up the world of Jumping to him.”

That edgy but real rapport came naturally between Bell and Hayden Christensen. Says
Bell: “Hayden really stepped up my game. We just reacted off each other so well.”

Adds Doug Liman: “Hayden and Jamie played off one another so beautifully that we
ended up re-writing entire scenes so there would be more of that. We redesigned the

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Colosseum fight sequence so that they would literally be tied together and it would be about
them and their relationship. We were constantly trying to come up with fun things for Griffin
to do to challenge David.”

Bell notes that Liman’s spontaneous bursts of vision were a big part of the production’s
fun. “I really respect that Doug’s mind is basically wild with creativity,” he summarizes. “It
was something I came to feed off in playing Griffin.”

THE HEART JUMPS:
Rachel Bilson And Diane Lane Join The Cast


An equally pivotal influence on David Rice is a young woman from the ordinary world
-- Millie Harris -- to whom David has been attracted since they were children with dreams of
traveling the world together. In David’s case, the dream became reality when he discovered
his teleportation powers. But Millie has never left her hometown, until David comes back into
her life in an unexpected way.

To play Millie, Doug Liman turned to the alluring young actress Rachel Bilson, with
whom he first worked when he cast her for the hugely popular show “The O.C.” Bilson went
on to become widely known as Summer Roberts on that show and, in 2006, was named one of
People Magazine’s “50 Most Beautiful People.” “I’ve been a huge admirer of Rachel’s talent
from the moment I met her,” says Liman. “She’s a terrific actress and she and Hayden have
incredible chemistry.”

In addition to the opportunity to reunite with Liman, Bilson was drawn in by the edge-
of-your-seat experience of reading the script. “JUMPER was so completely different from
anything I had ever read,” she says. “I found it really exciting. I loved the characters and the
fact that it was full of special effects and action. People don’t always think of me for action
movies so it was cool to get this chance.”

In playing Millie, Bilson was drawn to her feminine strength. “Millie’s an extremely
capable and independent woman,” she explains. “She had a lot of dreams and aspirations, she
wanted to travel the world but she never got out of her hometown and she’s okay with that.
She’s not apologetic, she’s living her life and she’s content. Then, of course, David turns up
and invites her to go to Rome . . . and everything changes, for both of them.”

A very human inner strength is at the heart of what makes Millie so different from the
conventional damsel-in-distress in superhero movies, notes Liman. “David Rice is the one

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with the superpower. She’s just a girl from Ann Arbor. But there comes a moment when it is
Millie who must rescue him,” he muses.

Hayden Christensen found an instant affinity with Bilson. “Rachel does an amazing
job as Millie. She’s very beautiful and brings a real sincerity to the part. The role is such an
important one because Millie is the only outsider to the Jumping world whom David has
contact with, so the audience sees a lot through her eyes,” he observes. “She goes from being
an outsider to David’s world to becoming a very proactive protagonist in the story.”

A far more shadowy female figure in the story is that of David’s mother, who left him
when he was five, yet is intimately connected with his fate. To play Mary Rice, whose
surprising past has everything to do with David’s future, the filmmakers recruited one of
today’s most acclaimed screen actresses: Academy Award® nominee Diane Lane. “As Mary,
Diane is an integral presence in the film, even when she’s not on screen,” explains Simon
Kinberg. “Mary Rice is the thing David has been running from since he was a child and he’s
about to discover some things that will help him to finally understand what happened, and that
will make his mother much more multi-faceted than he ever believed. We needed someone
with the presence to represent all those things to him.”

While not wanting to give away the secret revelations of her character, Lane says her
attraction to the film was three-fold: “First, I really wanted to work with Doug Liman and
second, I wanted to get to work with Hayden as my son because I’m a real fan of his,” she
says. “But I also think teleportation is a timeless human dream and what I liked most about
this story is that it gives shape to that dream.”

JUMP BACK:
Samuel L. Jackson Leads The Paladins


Central to the complex history and mythology of the Jumpers in our midst are their
sworn enemies: the Paladins, a secret organization whose members have, century after century,
waged a relentless war against Jumpers in the hopes of stopping any nefarious Jumper from
destroying the earth.

For the filmmakers, the imperative was to keep the Paladins just as fascinating as the
Jumpers. They might be dangerous adversaries of the Jumpers, but they’re not exactly blackand-
white villains.

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“In JUMPER, we wanted to create a bad guy world that felt as fresh, textured and real
as the Jumpers themselves,” explains Simon Kinberg. “We spent a lot of time building up the
mythology of the Paladins, their philosophy, their powers and their weaponry. It was really
important to Doug – to all of us – that the Paladins become multi-dimensional characters who
are not just out to kill our heroes but actually have a very valid and moral ethic of their own.”

Adds Lucas Foster, “The Paladins believe that the Jumpers are ultimately a disaster for
humanity and that they must be stopped. They’re not doing it for money; they’re not doing it
for medals. They lead anonymous lives and they are anonymous heroes in their own world.”

To play the role of the head Paladin – the savvy, unflinching Roland -- the filmmakers
always had in mind one actor: Academy Award nominee Samuel L. Jackson, the rare
performer who seems to bring believability and authority to every role he plays, no matter how
diverse. “Sam brings a very thoughtful approach to his craft and the different characters he
plays. The character of Roland is absolutely vital to this story and Sam really helped him to
evolve, to give him validity,” says Liman.

Jackson has played a lot of tough, larger-than-life characters – from assassins to Jedi
Masters – in his career, but notes that Roland is unique even among that unconventional roster.
“He’s an iconic character who has a dynamic impact on the story that I think will be
memorable,” says Jackson. “Roland is a mysterious guy, because you’re never quite sure who
he works for. What you do know is that his main raison d’être is to kill Jumpers, no matter
what age they are, no matter who they are, no matter where they are. And that he does it with a
specific zeal.”

For Jackson, part of the Paladin mystique is how highly trained they are in their one
singular mission to keep Jumpers from impacting human history. “Paladins are ancient
warriors, soldiers who have honed skills over the centuries most people don’t have,” Jackson
explains. “You might think the Jumpers have the advantage because they can teleport, but
they’re not warriors like the Paladins.”

Jackson especially welcomed the opportunity to share the screen with his former Star
Wars co-star Hayden Christensen again. “It’s been fantastic watching Hayden grow since the
years we spent together on the Star Wars films. He has an interesting sort of James Dean
quality, brooding and intense, with something under the surface that feels like it might be
unleashed at any point.”

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Playing against such a formidable foe also was a physical challenge for Jackson.
“There was a lot of fighting, swinging and jumping off of high places, and I have old knees, ”
laughs Jackson, “but it was also very cool to get to fight two people with the abilities of David
Rice and Griffin.”

Most of all, Jackson was thrilled to work for the first time with Doug Liman, whose
style seemed so perfectly suited to this tale. “Doug is a unique individual who was able to see
this story from many different angles in one instant. It’s almost like he’s a Jumper in his
mind,” remarks Jackson. “He jumps from here to there and back into space which always
leads you into interesting territory.”

JUMP SHOT:
Creating the Jumping Effects


As soon as the filmmakers began developing JUMPER, they also began thinking about
the Jumping effects. Having carefully developed the rules of Jumping, they wanted the effects
to reflect them with credible realism; yet, at the same time, be original enough to give
audiences a fresh experience. That’s why they brought in visual effects supervisor Joel Hynek,
who won an Oscar for the eye-popping What Dreams May Come and was integral in
developing the cutting-edge effects seen in The Matrix, and visual effects producer Kevin Elam
(Mr. and Mrs. Smith) to create the visual essence of Jumping as well as the film’s other visual
effects shots. Stunt coordinator Simon Crane, who previously worked with Liman on Mr. and
Mrs. Smith and whose additional credits include such films as X-Men: The Last Stand and
Terminator 3: Rise of the Machines, also entered the mix, training and choreographing a whole
team of stunt-doubles in the tricky art of Jumping on screen.

For Liman, part of the challenge was mixing up cutting-edge effects with his signature
in-your-face, hand-held photographic realism. “I’m not interested in effects per se,” notes
Liman. “But with this film, I wanted to push the envelope in this arena and to try things that
hadn’t been done before.”

This was exhilarating territory for Joel Hynek, who has a longstanding reputation for
creative and technical innovation. “Just the idea of coming up with an effect we hadn’t seen
before but was so integral to the storytelling was very exciting to me,” he says.

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Hynek familiarized himself with the many different screen manifestations of teleporting
seen in movies from the past, then determined that JUMPER would offer a new view.
“Teleporting has almost always been seen from an objective view – in others words, you’re in
a place and you suddenly see somebody arrive or depart. But we’ve created true POV jumps
so that you get a sense of what it looks and feels like from the Jumper’s perspective to move
from one place to another on the other side of the earth or the other side of a wall. In other
words, this time the audience gets to go along for the ride.”

Hynek wanted the Jumping effect to be a dynamic, ever-changing event and never
exactly the same twice. “We didn’t want to see the same thing over and over throughout the
movie,” he explains. “So there are four things that effect how a teleporting Jump occurs: 1)
the Jumper’s skill level; 2) his intention – whether he’s trying to be stealthy or destructive or
just having fun; 3) his emotions at the time; and 4) the overall difficulty of that particular
teleportation. A Jumper who is panicked is going to create a different effect than a Jumper
who is feeling calm. The more upset the Jumper is, the more big effects you’ll see. This was a
lot of fun to play with.”

The highly variable Jumping effects do, however, have certain elements in common.
“There’s always a blur factor involved, which is basically a time exposed motion blur
generated by the Jumper’s evaporation into space. There’s what we’re calling a vacuum
condensation flow, which is the vacuum and the rapid suction of air the Jumper leaves behind
when he suddenly departs. And then there are the “Jump Scars,” or which is the window, or
more accurately the discontinuity in space, the Jumper creates to travel from one place to
another. You would expect large forces, such as gravity, to be pretty intense at the juncture
points that rupture space so objects come flying towards the scar to varying degrees, depending
on the intensity of the jump.”

Hynek mixed and matched all kinds of technology to create this ever-changing array of
effects. “What I love about working with Doug is that he’s like a student of cinema, willing to
try any trick so long as it might accomplish something interesting,” he explains. “The biggest
challenge was in blending Doug’s free-handed shooting with our wild effects without ever
killing the energy and the creativity. We had to find ways to let Doug do his thing with the
dynamics of the shot and solve the digital problems later.”

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Updating a page from his work on The Matrix, Hynek utilized multiple, variable-shutter
still cameras firing in sequence to create assorted blurring and stretching effects. He also relied
on complex, carefully choreographed motion-control. But, even more intriguingly, he relied
on a more Old School method that was surprisingly effective. This became known simply as
the “freeze and action method.”

Explains Hynek: “It’s a very simple method. If you want the Jumper in a scene to go
away, the director says ‘freeze.’ All the actors stop moving, the Jumper leaves the frame, the
camera backs up just a little bit, and then the director says ‘unfreeze’ and the action resumes
from where they left off. This works because with all the great digital tools that are now
available, you can later morph together separate frames that are slightly off from each other
and make it seamless.”

Stunt coordinator Simon Crane worked with large numbers of stunt-doubles to help pull
off some of the more complex Jumping sequences. This meant that, at times, there might be
five or six Davids and Griffins roaming the set. “It was like coordinating a dance routine,”
says Crane. “We’d have each of the doubles doing the same action but in different places all
around the set. This way, later, we could digitally rub four of them out. You only ever see one
in a shot, but there might have been five of them there!” Digital tools were also used to replace
the stunt doubles’ faces with those of Hayden Christensen and Jamie Bell, creating a kind of
family of clones.

In addition to the Jumping effects, Crane spent months inventing and rehearsing the
highly unconventional battles between the Jumpers and the Paladins -- which take place in
multiple locales simultaneously. “Choreographing fight scenes with Jumpers required a whole
new approach, an entirely different way of looking at things,” notes Crane. “The important
thing was that it not be silly or over-the-top. Even though they are teleporting in the middle of
their fight, these are very real, very gritty battles that simply use very different physical rules.”

JUMP CUT:
Designing The World of JUMPER


For Doug Liman, establishing the complexity of JUMPER’s characters and the
veracity of Jumping motion itself was just the start. Next, he would focus on creating a
completely enveloping, trans-national world for JUMPER that would be at once based in

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reality yet filled with the fantastic possibilities of humans who can manipulate the space-time
fabric to go anywhere, any time.

From the start, the filmmakers knew the production would be a major logistical
challenge – since it literally jumps around the world. But Liman had done so before, with the
globe-hopping espionage thriller The Bourne Identity, and knew that part of the key to making
the story feel dynamically alive would be using authentic locations. Thus it was that the
production itself leapt from Toronto to Rome, from Tokyo to New York, Mexico and Ann
Arbor, with a second unit filming in London, Paris and Egypt.

“We went all over the world in order to make this movie feel and be real,” says Simon
Kinberg. “What’s so great about the idea of being a teleporter is that you can go anywhere in
the blink of an eye and we decided early on that it was important to have our characters interact
in cities and places in the world that people recognize. We certainly created a lot of visual
effects and computer-generated images to enhance the action, but the real magic of the film
comes from the true locations.”

Kinberg also notes that these authentic locations will be seen in ways they haven’t been
seen before. “We’re not doing the National Geographic or guidebook version of a world
tour,” he points out. “This is a power version of the world tour – it’s about total wish
fulfillment, about being 25 years-old and what you would do if you believed you had no limits
or consequences.”

To create this real but dream-laden world, Liman surrounded himself with a crack team
of technical artists to bring his fluid and ever-changing vision to life. He brought in
cinematographer Barry Peterson, who’d brought a joyful kinetic quality to the action-comedy
of Starsky & Hutch. Also, very early on, he began working closely with production designer
Oliver Scholl, whose work has often been about bringing original worlds to life on screen. He
recently served as the production designer on The Time Machine, was a conceptual designer on
Stargate and did illustrations for Batman Forever.

Scholl couldn’t have been more excited than to tackle a project like JUMPER. “I’m a
total science fiction fan, so being asked to do a movie about teleportation was a gift, because
the possibilities are endless,” says Scholl. “I thought to myself, I’m going to have a lot of fun.”

Although Scholl would be working in many amazing historical locations, he also would
have to replicate those same locations on soundstage sets, in order to play with their physics to

16



accommodate the Jumpers. “For example, we needed to use a lot of foam walls to rig the
stunts, but obviously you can’t do that in a place like the Colloseum!” he notes. “So a lot of
the initial work was determining what locations we would go to and what we would have to
build.”

The scenes in the Colosseum were originally written to take place in the Pantheon and
it was Scholl’s idea to move them into the 2,000 year-old, iconic amphitheatre in the center of
Rome that once housed the gory spectacle of gladiator battles with hungry lions. The notion of
this building where the memory of sweat, blood and fear is still embedded in the very walls
appealed to everyone’s vision for the film – but it seemed like a pipe dream. Everyone knew
the Italian government hadn’t opened the doors of the precious monument to any motion
picture crews, let alone an action-thriller, in decades.

Amazingly, Lucas Foster’s tenacious perseverance paid off when the production was
granted three days of unprecedented access to film not only in the Colosseum proper, but also
in the labyrinth of the amphitheater, an area completely off limits to the public. “In the end, it
came down to charm, endurance and winning their respect, and they opened their doors to us,”
says Foster.

Nevertheless, the filmmakers were presented with strict rules for shooting in the
fragile, ancient structure. They could only shoot between dawn and 8:15 a.m. and again from
3:30pm until dusk; they could rest no equipment of any kind on the hallowed ground of the
precious antiquity; and the only lighting allowed was natural sunlight. “We were really
challenged to come up with innovative ways to film – we had the crew carrying all our
equipment around on their backs,.” he recalls.

But the sacrifices were worth it, as no set could have been more awe-inspiring. “The
Colosseum was probably the most inspiring – and most stressful – environment I’ve ever
filmed in,” comments Liman. “It forced us to be super-organized; you had to get it right the
first time because you knew you could never go back. This flew contrary to my style of
filmmaking -- I like to shoot and reshoot. But to be in a location like that allowed me to
ground the film, and give it an honesty that you wouldn’t normally see in a special effects
movie.”

The cast was equally inspired by the history-drenched environs. “To be down there in
the bowels of the Colosseum where they kept the gladiators and the lions and the public

17



doesn’t even have access was really amazing,” says Hayden Christensen. “Your imagination
goes wild and, really, it is up there with the coolest things I’ve even done. As an actor, it helps
a lot to have that kind of actual interaction with a world that you can believe in.”

Scholl would then painstakingly recreate entire swaths of the Colosseum on a 6,000
square foot soundstage set in Toronto. He did so by first extensively exploring and
photographing the real thing, and measuring everything right down to the bricks in the wall.
He then replicated much of the structure’s labyrinthine level including the lower gladiator
rooms, grotto and underground corridors. A stickler for detail, Scholl even duplicated the type
of scaffolding currently being used in the ongoing restoration of the spectacular edifice. “With
our set, we tried to create something as visually dramatic as the real thing but that could serve
as a playground for the stunts and action sequences,” he explains.

Scholl’s success was vital in Doug Liman’s view. “It was important to me that the
audience, and even the crew members, ultimately not be able to tell what was shot in the real
Colosseum and what was shot on the replicated set,” he says.

In addition to the Colosseum, Scholl especially enjoyed creating both David’s
sprawling, penthouse apartment in Manhattan and Griffin’s well-hidden Egyptian lair. David’s
apartment, says Scholl, “reflects a time when he feels he’s at the top of the world, so we
created it with big windows overlooking New York to convey that feeling. It’s also very clean
and cold, because even though it’s where David is living right now, it’s not truly a place he
feels is his home.”

By contrast, Griffin’s lair, founding in a remote Saharan cave, is as wild and erratic as
he is. “Griffin’s lair was really fun place to create – and it also had to be fireproofed to
accommodate the flamethrower fight that takes place there,” notes Scholl.

Scholl also constructed on the Toronto stage such interiors as Millie’s apartment, the
Ann Arbor Public Library and David’s childhood home. But much of the work Scholl did was
with far-flung locations. In Italy, the authentic locations included the Piazza del Colosseo and
the Arch of Constantine, where cast and crew had to brave huge crowds of tourists. Filming
also took place in the Piazza della Rotonda where the Pantheon serves as the backdrop to
David and Millie’s romantic interlude at a trattoria; the Exedra Hotel in the Piazza della
Repubblica; and the Fiumicino Airport.

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In New York, the production filmed on the Observation Desk of the Empire State
Building, in Central Park, at Port Authority and in Times Square. Then it was off to Tokyo
where, amidst the blinding neon and urban chaos, the production took advantage of locations
ranging from a noodle shop in a claustrophobic alleyway in Shimbashi to Shibuya’s Hachiko
Square where, while walking through a seven-intersection crossing – renowned as the world’s
busiest – David convinces Griffin to join forces in the fight against the Paladins. Also in
Tokyo, Barry Peterson went to town shooting the Rainbow Bridge, a stunning suspension
bridge with views of the Tokyo Harbor, Tokyo Tower and Tokyo Bay, offering a stunningly
panoramic vantage point from which David and Griffin keep watch for Paladins One of the
most thrilling scenes in Tokyo takes place in a Ginza Mercedes dealership when Griffin jumps
a Mercedes SL65 AMG through the window of the dealership and takes David on a wild ride
through Tokyo. Director of photography Barry Peterson utilized a number of different rigging
techniques that allowed placement of up to three cameras on the car, and used techno cranes to
track the car and the action as Griffin and David flew through the neon-lit streets of Shibuya,
Shinjuku and Shimbashi. Says stunt coordinator Simon Crane: “This was a really exciting
scene to shoot because it’s every kid’s dream to drive a car like this without any rules. We had
a chance to show the full potential of these vehicles.”

Another thrilling location was one of Tokyo’s cyclotron facilities – where particle
accelerators are used in cutting-edge physics research – which provided the perfect atmosphere
for the secret facility where the Paladins conduct research on ways to stop Jumpers around the
world.

Back in the U.S., the suspenseful opening sequence where David falls through the ice
was filmed in Ann Arbor, Michigan, while the subsequent underwater shots were
accomplished at Fox Baja Studios in Rosarito, B.C., Mexico.

Meanwhile, the film’s French costume designer Magali Guidasci, best known for her
work with visually innovative director Luc Besson, also jumped from culture to culture,
creating a wide variety of international clothing while emphasizing an elegant feeling to the
film. She and cinematographer Peterson worked in a palette that emphasizes many shades of
grey with pop flashes of color. “It was important to stay very simple and understated to keep
things focused on the visual excitement of teleportation,” Guidasci notes.

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This was especially true in her designs for Hayden Christensen as David Rice, which
are sleek and classical. “I wanted to keep a timeless silhouette for David, iconic yet simple,
with a coat, white shirt and pair of jeans,” she says. “He has the look of someone who went
into a very expensive store and just bought the first thing he saw – and there are hints of the
little boy he used to be.”

Guidasci stretched her imagination into unknown realms with the Paladins, who wear a
variation on the classic secret agent’s trench coat, which hide specially crafted magnetic
holsters that keep their Jumper-snaring weaponry close at hand. “The idea was that they could
reach their weapons in the line of fire instantly,” she explains of the design. For Samuel L.
Jackson’s Roland, Guidasci even made a coat out of ceramic fibers so he could remain
comfortable on a set raging with fire.

As with the other elements of the film’s design, a mix of realism and imagination was
always at the center of the costumes. This mix, so intrinsic to Liman’s style, became a
constant source of inspiration for everyone on the set.

“Doug basically creates a living set,” says Lucas Foster. “It’s very unpredictable and
raw and not at all manufactured. It was like we were really living this experience, jumping
around the world.”

Hayden Christensen summarizes, “There’s a feeling that Doug Liman is constantly
pursuing the truth. On this film, everything outside of the teleportation had to feel completely
real to him. In so doing, he demanded the most of everyone working with him.”

ABOUT THE CAST

HAYDEN CHRISTENSEN (David Rice) is best known for his role as Anakin
Skywalker in the blockbuster epics Star Wars Episode II: Attack of the Clones and Star Wars
Episode III: Revenge of the Sith. He also gained critical acclaim for his role as a troubled
teenager in Irwin Winkler's 2001 drama Life as a House. For his performance, Christensen
was nominated for a Golden Globe® and Screen Actors Guild Award®. He also received the
award for Best Breakthrough Performance from the National Board of Review.

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Christensen’s film credits also include the recent thriller Awake, George Hickenlooper’s
Factory Girl, Sofia Coppola’s The Virgin Suicides, Sarah Kemochan’s All I Wanna Do and
John Carpenter's In the Mouth of Madness.

Additionally, Christensen starred in Billy Ray’s Shattered Glass, which was the first
feature film produced by Christensen’s production company, Forest Park Pictures, in
partnership with Cruise/Wagner Productions, Baumgarten/Merims Productions and Lions Gate
Films.

JAMIE BELL (Griffin) literally leapt into public recognition with his award-winning
role in Stephen Daldry’s worldwide smash hit Billy Elliot. He won the Best Actor award at the
BAFTAS and the Best Newcomer Award for the British Independent Film Awards, among
many other awards and honors.

His eclectic range of subsequent films include Clint Eastwood’s Flags of Our Fathers,
Peter Jackson’s King Kong, Thoms Vinterberg’s Dear Wendy, David Gordon Green’s
Undertow, Chumbscrubber opposite Ralph Fiennes and Douglas McGrath’s star-studded
adaptation of Nicholas Nickleby in the role of Smike. He also recently starred in the title role
of David Mackenzie’s award-winning Hallam Foe, which premiered at the Berlin Film Festival
and opened the Edinburgh Festival this year, and will next play one of the Bielski Brothers in
Edward Zwick’s Defiance with Daniel Craig and Liev Schreiber.

RACHEL BILSON (Millie Harris) is enjoying a successful and continually
developing career in television, feature films and on the stage. Recently, Rachel was seen in
Tony Goldwyn’s The Last Kiss opposite Zach Braff. Bilson was also a regular on the very
popular show “The OC” for four seasons on FOX.

After playing parts in stage productions of “Bye Bye Birdie,” “Once Upon A Mattress,”
and “The Crucible,” Bilson moved on to guest-starring roles in the television series “That ‘70s
Show,” “Mad TV,” “8 Simple Rules,” and “Buffy The Vampire Slayer.”

She currently lives in Los Angeles, where she was raised.

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Respectfully labeled as one of the hardest working actors in Hollywood, SAMUEL L.
JACKSON (Roland) is an undisputed star as demonstrated by the fact that his films have
grossed the most money in box office sales than any other actor in the history of filmmaking.

The recipient of worldwide acclaim and notoriety, Jackson has been honored with a
variety of awards from some of the most prestigious organizations. He won the Best
Supporting Actor award by the Cannes Film Festival in 1991 for Jungle Fever; the Silver Bear
Award at the Berlin Film Festival in 1998 on behalf of Jackie Brown; has received three
Golden Globe nominations for Pulp Fiction, A Time to Kill and Jackie Brown; garnered five
NAACP Image Award nominations and one win in 2005 for his performance in Coach Carter;
and most recently won two People’s Choice Award nominations in 2006 and 2007 for Favorite
Male Actor.

Jackson made an indelible mark on American cinema with his portrayal of Jules, the
philosophizing hitman, in Quentin Tarantino’s Pulp Fiction. In addition to unanimous critical
acclaim for his performance, he received Academy Award and Golden Globe nominations as
Best Supporting Actor as well as a Best Supporting Actor award from the British Academy of
Film and Television Arts. Among his many award-winning performances, Jackson made
movie history with his portrayal of a crack addict in Spike Lee’s Jungle Fever when he was
awarded the first and only Best Supporting Performance Award ever given by the judges at the
Cannes Film Festival.

Jackson was most recently seen starring in the Rod Lurie directed film, Resurrecting
the Champ and previous to this, a supporting role in the very successful horror film for the
Weinstein Co., 1408, based on the Stephen King novel. Earlier in 2007, Jackson starred in the
Craig Brewer film Black Snake Moan and Irwin Winkler’s MGM war drama Home of the
Brave.

In 2008, Jackson’s films will include the Neil LaBute thriller Lakeview Terrace, and
the quirky crime drama Cleaner, directed by Renny Harlin, for which Jackson is also an
executive producer. Jackson just completed production in Frank Miller’s action drama The
Spirit, where he portrays the nemesis, “Octopus”. In early 2008, Jackson began production on
the comedy Soul Men in which he stars with Bernie Mac.

Other film credits include Snakes on a Plane, Coach Carter, Star Wars trilogy, In My
Country, The Man, The Incredibles, S.W.A.T., Formula 51, Changing Lanes, Caveman’s

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Valentine, Red Violin, Shaft, Unbreakable, 187, Eve’s Bayou, Jackie Brown, The Negotiator, A
Time To Kill, Die Hard with a Vengeance, The Long Kiss Goodnight and Deep Blue Sea.

On the small screen, Jackson serves as executive producer for the Spike TV animated
“Afro Samurai,” which premiered in 2007 and will be returning for a second season. In
addition, Jackson has a production deal with New Line Studios to produce and develop projects
in which he has the option of starring. His debut effort for the studio, which Jackson will
produce and star in, is called Man That Rocks the Cradle.

With four films set for release, DIANE LANE (Mary Rice) continues to flourish as an
award-winning actress who has seen success both in comedy and drama, on film as well as in
television. Lane plays an FBI agent Jennifer Marsh hunting down a tech-savvy serial killer in
Gregory Hoblit's Untraceable, starring Joseph Cross and due in theaters, January 2008. Lane
also re-teams with Richard Gere in Nights in Rodanthe, the adaptation of the Nicholas Sparks
novel, about two people who meet by chance in a small coastal town and have a life changing
romance, set for a fall of 2008 release.

In Killshot, Lane stars in an adaptation of the Elmore Leonard novel. Directed by John
Madden and executive produced by Quentin Tarantino, this cat and mouse action thriller
follows a couple who has landed in the Federal Witness Protection program after a failed
extortion scheme.

After garnering SAG, Golden Globe, and Oscar nominations, and being hailed as “Best
Actress” by the New York Film Critics and National Society of Film Critics for her turn as an
adulterous wife in the 2002 critically-acclaimed Adrian Lyne film Unfaithful, Lane has since
top-lined a diverse slate of both independent and major studio releases.

Lane's impressive filmography includes the acclaimed Francis Ford Coppola films, The
Outsiders, Rumble Fish and The Cotton Club. Additional credits include: Allen Coulter's
period piece, Hollywoodland, with Ben Affleck and Adrien Brody; the comedy Must Love
Dogs, with John Cusack; the drama A Walk on the Moon, which landed Lane an Independent
Spirit Award nomination; the Audrey Wells romantic comedy Under the Tuscan Sun, which
resulted in a Golden Globe nomination; Wolfgang Peterson's action film The Perfect Storm,
with George Clooney and Mark Wahlberg; the highly successful adaptation of Willie Morris'
childhood memoir, My Dog Skip; the critically acclaimed independent feature My New Gun;

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Hardball opposite Keanu Reeves; her portrayal of actress Paulette Goddard in Chaplin, for
director Sir Richard Attenborough; Peter Masterson's independent drama The Only Thrill
opposite Diane Keaton, Sam Shepard and Robert Patrick; the political thriller, Murder at 1600
opposite Wesley Snipes; Coppola's Jack opposite Robin Williams, and Walter Hill's epic
Western, Wild Bill, with Jeff Bridges.

On television, Lane was last seen starring opposite Bill Pullman in TNT's "The
Virginian." Lane's previous television credits include "A Streetcar Named Desire" opposite
Alec Baldwin and Jessica Lange, as well as her Emmy®-nominated role "Lorena" in the CBS
series "Lonesome Dove," opposite Robert Duvall. She also starred opposite Gena Rowlands in
the Hallmark Hall of Fame drama, "Grace & Glorie" for CBS. In 1994, Lane starred opposite
Donald Sutherland, Cicely Tyson and Anne Bancroft in the critically acclaimed CBS epic
miniseries, "The Oldest Living Confederate Widow Tells All." Based on the best-selling novel
by Allan Gurganus, Lane portrayed a character from her early teens into her sixties.

The daughter of drama coach Burt Lane and singer Colleen Farrington, at the age of
six, Lane answered a call for child actors at La Mama Experimental Theater. She won a role in
Andrei Serbian's unique version of "Medea" and subsequently appeared over the next five
years in his productions of "Electra," "The Trojan Women," "The Good Woman of Szechuan,"
and "As You Like It," both in New York and at theater festivals around the world. After
performing in Joseph Papp's productions of "The Cherry Orchard," and "Agamemnon" at
Lincoln Center in 1976-77, Lane starred at The Public Theater in "Runaways,” and made her
film debut opposite Sir Laurence Olivier, in George Roy Hill's "A Little Romance” in 1978.

Lane graced the cover of TIME magazine in 1979 as "A Hollywood Whiz Kid."

MICHAEL ROOKER’s (William Rice) many film credits include JFK, Cliffhanger,
Bastard Out of Carolina, Eight Men Out, Mississippi Burning, Music Box, Tombstone,
Mallrats, Sea of Love, The Replacement Killers, A Table for One and Brown’s Requiem (the
latter two of which he also produced). He received high praise for his performance in the
critically acclaimed Henry: Portrait of a Serial Killer. Rooker’s most recent work includes
Slither, Whisper and the forthcoming Bolden, The Lena Baker Story and The Great Observer.

Rooker’s long list of television credits includes guest spots on “Lucky,” “CSI: Miami,”
“Las Vegas,” “Crossing Jordan,” “Numbers,” “JAG” and “Thief.” He also starred in the

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Lifetime Television movie “On Thin Ice” opposite Diane Keaton, and in NBC’s “Saving
Jessica Lynch.”

Born in Jasper, Alabama, Rooker moved with his family to Chicago in the mid-1960s,
where he earned his B.F.A. from the Goodman School of Drama. After graduating in 1982,
Rooker began to make a name for himself in the Chicago theatrical community, appearing in
“Union Boys,” “The Crack Walker,” “Sea Marks” and “The Hostage.”

ANNASOPHIA ROBB (Young Millie) won the lead role of Leslie Burke in
Bridge To Terabithia, Disney and Walden Media’s adaptation of Katharine Paterson’s
novel directed by Gabo Csupo; and was also recently seen opposite Hilary Swank in the
horror/thriller The Reaping, directed by Stephen Hopkins.

Robb will next be seen in the indie-drama, Sleepwalking for director Bill Maher,
starring alongside Charlize Theron. She also stars in the romantic comedy, Have Dreams, Will
Travel for director Brad Isaacs, starring opposite Val Kilmer, Matthew Modine and Lara Flynn
Boyle. Other recent projects include the independent adventure movie, Doubting Thomas,
directed by Mark Blutman.

Robb previously starred in Tim Burton's Charlie and the Chocolate Factory for Warner
Brothers, portraying the role of Violet Beauregarde starring opposite Johnny Depp. She was
also seen by millions in the lead role of Opal, opposite Jeff Daniels, in the 20th Century Fox
film, Because of Winn-Dixie, directed by Wayne Wang.

Robb played the leading role of Samantha in “Samantha: An American Girl Holiday,” a
TV movie for The WB, which boasts some of the highest ratings for any movie broadcast in
the network's 10-year history.

Other television credits include her guest star appearance for Nickelodeon, where she
played Liza in Drake and Josh and a recurring role portraying Danielle, in Nickelodeon's
Danny Phantom.

Commercially, Robb booked her first radio voice over at eight and has subsequently
booked several national TV commercials.

Robb is a natural dancer enjoying jazz, hip-hop and break'n. She is also a gifted and
formally trained Irish Step Dancer. She loves animals, skiing, snowboarding, rafting,
gymnastics and swimming. She has a cultivated fashion sense and a penchant for fun, enjoying

25



and endearing herself to others. Robb loves a good joke and tells one on occasion. She truly
enjoys the companionship of several close friends and her ten cousins, eight girls and two boys.

MAX THIERIOT (Young David) was most recently seen as Emma Roberts’
love interest in Nancy Drew. He also recently appeared in The Astronaut Farmer playing
Billy Bob Thronton’s son. Thieriot is currently shooting HBO’s An American Girl’s
Tale: Kit Kitteridge with Abigail Breslin and Chris O’Donnel in Canada.

Thieriot was born in Los Altos Hills, California to Cameron Thieriot and Bridget
Snyder; he has a sister, Frances, and a brother, Aidan. His paternal grandfather was
Charles de Young Thieriot, the owner and publisher of the San Francisco Chronicle, and
a descendant of the de Young brothers, founders of the Chronicle.

Thieriot was signed to an agent after being noticed in an improvisation class. He
modeled for GAP and appeared in two short films before being cast in his first feature
film role, in 2004's Catch That Kid, a comedic thriller aimed at teenage audiences. He
was subsequently cast in 2005's The Pacifier, playing one of the family members
protected by a Navy Seal played by Vin Diesel. Thieriot performed all of his own singing
for the film.

Thieriot lives in Occidental, California and attends El Molino High School. He
enjoys basketball, hunting, surfing, fishing, and wrestling.

ABOUT THE FILMMAKERS

DOUG LIMAN (Director) has become acknowledged as one of the most vibrant and
original voices in American film with a solid track record of critically acclaimed features
including Swingers, Go, The Bourne Identity and most recently, Mr. and Mrs. Smith.

Liman made his splash with the indie hit Swingers, which he produced and directed and
made on a shoestring budget of $200,000. Liman acquired the script from the film’s
screenwriter, Jon Favreau and he cast him along with Vince Vaughn, Ron Livingstone and
Patrick Van Horne, to star in the story of the search for love in and around Los Angeles’ retro
swing bars. Liman’s adrenaline-driven next effort, Go, premiered at the Sundance Film
Festival and opened to overwhelming positive notices. Liman also served as director of
photography on both Swingers and Go.

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With his early success of Swingers and Go, Liman established himself as an innovator
in the independent film industry. Following Swingers, he directed cutting edge commercials
for Levi’s, Playstation and Nike. His spot with Tiger Woods for Nike received critical acclaim
during the Palm D’or in Cannes.

Liman is a founding partner of the production company Dutch Oven (formerly
Hypnotic), which produces, markets and distributes film and television properties including
Terry Tate Office Linebacker, Cry Wolf, and Mail Order Wife. Liman also served as associate
producer of the independent film Kissing Jessica Stein.

In 2003, Liman was executive producer of the first season of and the director of the
pilot and first episodes of the hit television series “The O.C.”

Liman created The Bourne Identity movie franchise as producer and director of the
blockbuster hit The Bourne Identity, starring Matt Damon, and subsequently was executive
producer of The Bourne Supremacy and The Bourne Ultimatum. He most recently directed the
blockbuster hit Mr. and Mrs. Smith, starring Brad Pitt and Angelina Jolie, for New Regency
Pictures.

In 1997, Liman received an MTV Movie Award™ for Best New Filmmaker. He
graduated in 1988 with a Bachelor of Arts from Brown University where he also founded the
cable TV station. He briefly attended the graduate program of the School of Cinema and
Television at the University of Southern California, where he directed his first feature project,
the comedy thriller Getting In.

His interests outside the world of filmmaking include working for the Legal Action
Center which provides pro-bono legal work on behalf of people with addictions, HIV and
convictions, and with Safe Space, which does work on behalf of homeless teens in New York.
He is also an avid outdoor enthusiast who guides river trips, climbs, mountaineers, and is an
accomplished pilot.

DAVID S. GOYER (Screenwriter) is a filmmaker who has long balanced the world of
smartest, hippest and most obscure comic books and other-worldly realms of super-heroes and
fantastical characters with his passion for telling character driven stories.

Goyer recently signed on to direct 20th Century Fox and Marvel Studios’ Magneto, a
spin-off of the successful X-Men franchise, which will focus on the villain’s origins. His most

27



recent directorial effort was The Invisible, a Spyglass Production which Touchstone Pictures
released in January, 2007. The supernatural thriller starring Justin Chatwin, Margarita
Levieva, and Marcia Gay Harden was Goyer’s feature directing follow-up to his success with
Blade: Trinity, which he directed, wrote and produced starring Wesley Snipes and Jessica Biel.

Goyer made his directorial debut with something completely different: ZigZag, a fresh,
funny, and fiercely poignant account of a robbery in reverse where two unlikely heroes fight to
return a large sum of stolen cash. The film featured stand-out performances from a cast
including Wesley Snipes, John Leguizamo, Oliver Platt, Natasha Lyonne and newcomer Sam
Jones III. ZigZag was also adapted by Goyer from the acclaimed novel by Landon Napoleon.

For television, Goyer alsoe served as director for the pilot of “Threshold.’ He further
served as executive producer with David Heyman (“Harry Potter”) and Brannon Braga (“Star
Trek: Voyager”) on the show which CBS debuted the hour-long contemporary sci-fi drama
about the government’s response to an alien threat in fall 2005.

Goyer’s last feature film screenwriting credit was as co-writer on the acclaimed
blockbuster Batman Begins with director Christopher Nolan, which explores the origins of the
Batman legend and the Dark Knight’s emergence as a force for good in Gotham. His
upcoming screenwriting credists include the forthcoming sequel, The Dark Knight, as well as a
remake of the 1981 classic sci-fi thriller Scanners.

Goyer made his big breakout with Blade, based on the Marvel Comic about a legendary
vampire hunter. Starring Wesley Snipes and Kris Kristofferson, the film drew accolades for its
unmatched, blazing action and exhilarating humor and became one of Hollywood’s most
successful superhero movies ever. Blade 2, also written by Goyer (who served as executive
producer) and directed by Guillermo Del Toro, featured Snipes again as the vampire-hunter
Blade.

Ever since he was a kid growing up in Ann Arbor, Michigan, Goyer wanted to write
comic books, which eventually lead to his bringing them to life for the big screen. Goyer sold
his first action script at the age of 22 while still at USC, which became the Jean Claude Van
Damme thriller Death Warrant, going on to pen among others Dark City (named Best Film of
1998 by Roger Ebert).

His love of comic books also lead to a four year stint actually writing one for DC
Comics -- co-writing The Justice Society, one of DC’s biggest hits.

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As a producer he is working on Super Max, a tale of DC Comics’ superhero Green
Arrow from a script by Justin Marks, which Goyer is producing with his wife, producer Jessika
Borsiczky, for Warner Bros.; and the Vertigo comic Y: The Last Man, for New Line, which he
is producing with Bender/Spink. He is also teaming with David Heyman to produce Here
There Be Dragons, a children’s novel by James A. Owen. The plan is to release six more
books, one each October.

Goyer also served as one of the Executive Producers on Sony’s Ghost Rider, the
blockbuster Marvel Comics’ film starring Nicolas Cage as the long ago, superstar motorcycle
stunt rider Johnny Blaze.

In addition to his several film projects, Goyer returned to television as Executive
Producer on “Blade,” the television series for Spike TV. As Spike TV’s first original scripted
series, the show debuted to positive reviews and strong ratings. The show was produced by
New Line Television, and starred Kirk “Sticky” Jones (“Over There”) as Blade.

JIM UHLS (Screenwriter) wrote the screenplay for Fight Club, starring Brad Pitt
and Edward Norton, directed by David Fincher; and the NBC television film, “Semper
Fi,” produced by Steven Spielberg, about young recruits in the Marine Corps.

His upcoming projects include an adaptation of the graphic novel Rex Mundi for
Warner Bros. and Johnny Depp, a screenplay adaptation of the cult novel Flicker for New
Regency and Darren Aronofsky, and a pilot, “Paranoid,” which he and Yalda will
produce at FX; Gideon Force for Imagine Entertainment, and an independent film, Sweet
Talk.

Uhls is also a playwright, with The Relative Importance of Jeri produced in New
York, and numerous plays produced in Los Angeles, including Collections of a Long-
Distance Garbageman.

He was born in Missouri, on the Mississippi River. He attended Drake
University, then UCLA. At various times, Uhls has studied with David Suchet and the
Royal Shakespeare Company, Estelle Parsons, playwright Robert Montgomery, and
composer Bob Merrill. He was an original member of the Actors Gang when it was
founded at UCLA as well as a member of the informal group of writers and directors
called Pad O' Guys. Uhls founded the Writer's and Actor's Lab (WAL), a scene

29



workshop for original material. He is also a member of a new, similar workshop,
Safehouse.

He publishes a blog and has been featured in a series of interviews with
established screenwriters.

SIMON KINBERG (Screenwriter/Producer) was born in London, England. He was
raised in Los Angeles, and went to college at Brown University where he studied film and
literature. He graduated Phi Beta Kappa, Magna Cum Laude in 1995.

Kinberg entered Columbia University’s Film School in 1998. In his first year, he sold
his first screenplay to producers Ira Deutchman (who was one of his professors) and partner
Peter Newman (The Squid and the Whale, Smoke). That same year, in another class, he sold a
pitch to producer Edward Pressman (Wall Street). While at Columbia, Kinberg received the
school’s highest screenwriting award, the Zaki Gordon Fellowship.

While still in film school, Kinberg sold his original pitch Ghost Town to Warner Bros.
Pictures and wrote scripts for Disney, Sony and DreamWorks, working with the likes of Steven
Spielberg, Jonathan Mostow, Stephen Sommers, and McG.

His final thesis project for film school was the original screenplay Mr. and Mrs.Smith.
He pitched the concept to Academy Award-winning screenwriter Akiva Goldsman, who
became the producer (and Kinberg’s mentor). The film went into production with Doug Liman
directing Brad Pitt and Angelina Jolie in 2004, as Kinberg was graduating film school. He
spent every day on set, working closely with the director, producers, and actors (even acting in
one scene).

Mr. and Mrs. Smith was released in June of 2005. It grossed over $50 million dollars
on its opening weekend, and has gone on to gross over $475 million worldwide, making it one
of the fifty most successful films in history. It has also garnered an MTV Movie Award, and
several People’s Choice Awards.

That same summer, Kinberg had two more films in wide release: XXX: State of the
Union, directed by Lee Tamahori and starring Samuel L. Jackson, Ice Cube, and Willem
Dafoe; and Fantastic Four, which he rewrote through production.

In 2005, Kinberg was named by Premiere Magazine as New Power Screenwriter of the
Year, and given Movieline’s Breakthrough Award for Screenwriting.

30



Most recently, he co-wrote X-Men: The Last Stand, which opened on Memorial Day
2006 to break box office records. Again, Kinberg spent the entire production on set, working
closely with the director and actors. Kinberg has numerous projects in development as a writer
and a producer. He also has a blind TV-deal with Jerry Bruckheimer and Warner Bros.
Television.

ARNON MILCHAN (Producer) is widely renowned as one of the most prolific and
successful independent film producers of the past 25 years, with over 100 feature films to his
credit. Born in Israel, Milchan was educated at the University of Geneva. His first business
venture was transforming his father’s modest business into one of his country’s largest agrochemical
companies. This early achievement was a harbinger of Milchan’s now-legendary
reputation in the international marketplace as a keen businessman.

Soon, Milchan began to underwrite projects in areas that had always held a special
interest for him – film, television and theater. Early projects include Roman Polanski’s theater
production of Amadeus, Dizengoff 99, La Menace, The Medusa Touch and the mini-series
Masada. By the end of the 1980s, Milchan had produced such films as Martin Scorsese’s The
King of Comedy, Sergio Leone’s Once Upon at Time in America and Terry Gilliam’s Brazil.

After the huge successes of Pretty Woman and The War of the Roses, Milchan founded
New Regency Productions and went on to produce a string of successful films including J.F.K,
Sommersby, A Time to Kill, Free Willy, The Client, Tin Cup, Under Siege, L.A. Confidential,
The Devil’s Advocate, The Negotiator, City of Angels, Entrapment, Fight Club, Big Momma’s
House, Don’t Say a Word, Daredevil, Man on Fire, Guess Who, Mr. and Mrs. Smith, Big
Momma’s House 2, Date Movie, Firehouse Dog and the recent box-office hit Alvin and the
Chipmunks..

Upcoming projects include: Starship Dave, a fish-out-of-water comedy starring
Eddie Murphy; What Happens in Vegas, a romantic comedy toplining Cameron Diaz and
Ashton Kutcher; Mirrors, a thriller starring Kiefer Sutherland; Shutter, a horror-thriller
directed by Masayuki Ochiai; and Bride Wars, a comedy starring Kate Hudson (who also
produces) and Anne Hathaway.

Along the way, Milchan brought on board two powerful investors and partners
who share his vision: Nine Network and Twentieth Century Fox. Fox distributes

31



Regency movies in all media worldwide (excluding an output arrangement Regency has
in Germany), including on U.S. pay television, and international pay and free television.

Milchan also successfully diversified his company’s activities within the sphere of
entertainment, most specifically in the realm of television through Regency Television
(“Malcolm in the Middle,” “The Bernie Mac Show”). Regency recently acquired a stake in
Channel 10, BabyFirstTV, and an Israeli TV network. In addition, Regency holds television
rights to Sony Ericsson Women’s Tennis Association events.

LUCAS FOSTER (Producer) began his film career working on low-budget films for
small companies such as Concorde (run by Roger Corman) and Empire (overseen by Charles
Band). Foster worked in physical production until he crossed over to the studio side of things
by becoming Executive Assistant to Frank Yablans when he was Vice-Chairman of MGM/UA.
He held a similar job with Alan Ladd, Jr. when he became Chairman of MGM/UA in 1985.

Foster moved full force into motion picture development and production working for
various producers, including Frank Yablans, Scott Rudin, and Don Simpson and Jerry
Bruckheimer. With Frank Yablans, Foster acquired, developed and produced the thriller Lisa,
starring D.W. Moffat. Foster also found Flatliners for Columbia Pictures while working with
Yablans. With Scott Rudin, Foster found, acquired and developed John Grisham’s
unpublished manuscript The Firm, which starred Tom Cruise, was directed by Sydney Pollack,
and subsequently became the famous bestseller. Among the other projects acquired or
developed for Rudin were Executive Decision and Rules of Engagement.

Within seven months of arriving at Simpson/Bruckheimer, Foster helped find and
develop The Ref, starring Denis Leary and Kevin Spacey. In addition, Foster found, developed
and served as executive producer on Dangerous Minds, starring Michelle Pfeiffer; Crimson
Tide, starring Denzel Washington and Gene Hackman; and Bad Boys, which kicked off the
feature careers of Will Smith, Martin Lawrence and Michael Bay. In addition, Foster was
involved in the development of The Rock, starring Sean Connery and Nicolas Cage, and Enemy
of the State, starring Will Smith and Gene Hackman and directed by Tony Scott. Enemy of the
State was derived from Foster’s original story with David Marconi.

After Simpson/Bruckheimer, Foster joined Ted Turner’s movie company, Turner
Pictures, as Executive Vice President of Production. There he helped acquire and oversaw

32



production of Michael, starring John Travolta, William Hurt and Andie MacDowell, and
Fallen, starring Denzel Washington.

In May of 1996, Foster started his own production company, Warp Films, with an
exclusive deal at Columbia Pictures. Foster developed a wide variety of projects at Columbia
with talents like Ron Bass, John McTiernan, Barry Sonnenfeld, Martin Lawrence, and Brian
Henson. Foster was heavily involved in the pre-production process of the Mandalay feature
Wild Things before executives at Columbia/Tri-Star selected him to serve as consultant and
producer on the Amblin/Tri-Star adventure The Mask of Zorro, starring Antonio Banderas,
Anthony Hopkins and Catherine Zeta-Jones.

In 1998, Foster entered into a relationship with director Jan De Bont where he produced
Equilibrium, directed by Kurt Wimmer, for Dimension Films. This sci-fi action movie starred
Christian Bale, Emily Watson, Taye Diggs, Sean Bean, William Fichtner and Angus
MacFadyen. In 2001, Foster produced or exec produced a number of movies such as National
Lampoon’s Van Wilder, Jeepers Creepers 2, Imagining Argentina, and Eulogy.

Subsequently, Foster produced Man on Fire, directed by Tony Scott and starring
Denzel Washington, Dakota Fanning and Christopher Walken for New Regency/Fox, the
remake of Walking Tall, starring Dwayne ‘The Rock’ Johnson for MGM/UA, and found,
developed and launched the Sony Screen Gems release, Ultraviolet, starring Milla Jovovich.
Foster’s largest film production to date, Mr. and Mrs. Smith, staring Brad Pitt, Angelina Jolie,
and Vince Vaughn was released in June of 2005. The film grossed over $50 million dollars on
its opening weekend, and has gone on to gross over $475 million worldwide.

Foster is also working on several television projects as well as with leading feature
writers such as William Mastrosimone, Reed Steiner, and Kurt Wimmer.

JAY SANDERS (Producer) is a partner at Donaldson/Sanders Entertainment and has
almost 20 years of experience in the development and production of motion picture and
television programming.

Sanders began his career as a production assistant at Warner Bros. for producer Joel
Silver and subsequently, director Joe Dante on The Burbs and Gremlins II. In 1989 he joined
The Walt Disney Company as executive assistant to David Vogel, who subsequently became
President of Walt Disney and Touchstone Pictures. During Sanders tenure at Disney, the

33



studio was the worldwide box office leader with such high profile movies as Pretty Woman,
Dead Poets Society, Dick Tracy, The Mighty Ducks, Rocketeer and Turner and Hooch.

After 2 1/2 years at Disney, Sanders joined filmmaker Rob Cohen’s Poco Productions
as a story editor, where he worked on Cohen’s first directing feature, Dragon: The Bruce Lee
Story. During this period, Poco also produced four TV movies and launched the episodic
series “Vanishing Son.”

In 1996 Sanders joined filmmaker James Cameron’s Lightstorm Entertainment, where
he served as a creative director and director of development for five years. During this time
Lightstorm produced Titanic, the most successful feature of all time and winner of 11
Academy Awards. He was instrumental in the launch of Lightstorm Television as well as its
first series, “Dark Angel,” participating in the hiring of the writing staff for the show’s
inaugural season.

In 2001 Sanders became a Vice President of Eagle Cove Entertainment, a privately
owned, independent production company. In 2002 he entered into a housekeeping/producing
deal with company founders Alan Riche and Tony Ludwig.

In July of 2003 Sanders entered into a partnership with Peter Donaldson to form
Donaldson/Sanders Entertainment, a full service management and production company.
Sanders and Donaldson executive produced the two-hour television movie “Fallen,” which
aired on ABC Family, and is currently in pre-production for four more hours of programming.
Donaldson/Sanders also has several feature films in development at various studios including
Universal Pictures and Warner Bros.

Additionally, Sanders is co-producer on the recent December Boys, starring Daniel
Radcliffe.

STACY MAES (Executive Producer) is the President of Production at John Beldecchi
Productions, which has a deal at Sony Pictures. Previously, she was a production executive at
Regency Enterprises, where she oversaw the films First Daughter and Wrong Turn.

KIM WINTHER (Executive Producer) has worked in key production capacities on
some of Hollywood’s biggest films, including Mr. and Mrs. Smith, The Day after Tomorrow,
Godzilla, Independence Day, Little Women, The Patriot, Daredevil and Cocktail.

34



VINCE GERARDIS & RALPH M. VICINANZA (Executive Producers) are partners
of the management-production company Created By, and re excited to see their first large
budget studio feature JUMPER produced for the big screen. The underlying material came to
their attention eight years ago which they fell in love with instantly, seeing the big screen
potential.

BARRY PETERSON (Director of Photography) previously served as director of
photography on Starsky & Hutch, Hollywood Homicide, Dark Blue, and Zoolander.

OLIVER SCHOLL (Production Designer) most recently served as production
designer on The Time Machine for director Simon Wells. Previous to that he received acclaim
for his production design on several of Roland Emmerich’s films, including the blockbuster hit
Independence Day, as well as Godzilla and Moon 44. He also did the conceptual designs for
Stargate and Universal Soldier.

Scholl was also a production illustrator on Steven Spielberg’s A.I. and on David
Fincher’s Panic Room. His other film credits as a conceptual designer or illustrator include
Stealth, Zathura, Titan A.E., Mission to Mars, Polar Express, The Haunting, Bicentennial Man,
Batman Forever, Virtuosity, and Ghost in the Machine, as well as several TV pilots. He was
also the production designer on the internet short The Quantum Project.

Born in Germany, Scholl studied Industrial Design in Pforzheim and worked as an
illustrator in advertising and publishing before relocating to the United States.

DON ZIMMERMAN’s, A.C.E. (Editor) recent feature film editing credits
include Rush Hour 3, Night at the Museum, 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

35



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.

DEAN ZIMMERMAN (Editor) was an editor on Rush Hour 3, and worked in various
editorial capacities on Night at the Museum, Fun with Dick and Jane, Just Married, Galaxy
Quest, Liar Liar and The Nutty Professor, among other films.

SAAR KLEIN (Editor) is a two-time Academy Award nominee for his work on
Terrence Malick’s The Thin Red Line (which he co-edited with Leslie Jones and Billy Weber)
and Cameron Crowe’s Almost Famous (which he cut with Joe Hutshing). Klein previously
collaborated with director Doug Liman as editor of his 2002 blockbuster, The Bourne Identity.

His additional credits include co-editor on Malick’s The New World, co-editor on
Oliver Stone’s U-Turn, and supervising editor on The Elephant King among others. Klein also
served as an executive producer on director David Gordon Green’s The Undertow.

Klein was born in Israel and moved to New York with his family at the age of 10. He
graduated from Vassar College (with a BA in psychology) in 1989 and moved to Los Angeles
in 1992. Aside from editing, Klein has also directed public service announcements (Project
Open Hand, a non-profit meals-on-wheels service in San Francisco, and Gone Fishing, an
award-winning commercial for the 1992 Democratic National Convention). He also directs
commercials. Most recently, Klein wrote and directed two short films, Nouveau Riche No. 11
and Nouveau Riche No. 34. Both films were official selections of the Los Angeles Film
Festival, the Austin Film Festival and various other festivals in the U.S. and Europe. He plans
to continue both directing and editing.

JOEL HYNEK (Visual Effects Supervisor) is considered one of the most
knowledgeable visual effects supervisors in the industry. His background in effects and
animation comes with an uncompromising attention to detail, a reputation for creative and

36



technical innovation, as well as in-depth experience in many other aspects of feature film
production.

Hynek joined Digital Domain to work as Visual Effects Supervisor on the Rob Cohen
action film XXX. Cohen called on Hynek to create over 400 shots for the film, including a
photorealistic, fully-CG avalanche sequence. Following XXX, Hynek went on to supervise The
Missing for Ron Howard. He recently completed work as Visual Effects Supervisor on another
Rob Cohen project, the aviation-action film Stealth. The film pushes the envelope of
technology in flight simulation, flight animation and photorealistic environments that
seamlessly integrate a synthetically created world with the real one.

Hynek was awarded the Academy Award for Best Visual Effects as Lead Visual
Effects Supervisor on What Dreams May Come. His work on What Dreams May Come pushed
technology and artistry to another level, and to this day is considered some of the most unique
and beautiful CG work in film.

Based on his reputation, Hynek was approached by Joel Silver and the Wachowski
Brothers to lend his talents to The Matrix, a film that has been highly regarded as a
technological breakthrough for the development of ‘Bullet Time.’ Hynek was responsible for
the design of the camera rig and technical methodology used to create the now signature effect.

Hynek has also been awarded a Scientific and Technical Achievement Academy
Award® for his Optical Printer Design. This computerized optical printer allowed functionality
never before possible. Hynek used this new technology to create the effects on Predator, for
which he received an Academy Award nomination.

Prior to joining Digital Domain, Hynek was a key creative talent for Manex, Mass
Illusions, R/Greenberg Associates and The Trumbull Company. Hynek’s additional Visual
Effects Supervisor credits include Bless the Child, Eraser, Judge Dredd, Ladyhawke, Predator
2, Die Hard With a Vengeance and Zelig. Hynek was nominated for a British Academy of
Film & Television Arts (BAFTA) award for his work on Zelig, representing the first time an
actor was placed in archival film footage. He also supervised the three location-based film
attractions for Doug Trumbull’s Project Luxor in Las Vegas. Along with his film effects work,
Hynek has supervised and directed many high profile commercials. He is a member of the
Visual Effects Executive Committee at The Motion Picture Academy of Arts and Sciences.

37



JOHN POWELL (Music) landed a job composing music for commercials and
television at London’s Air-Edel Music in 1988. There, he worked alongside composers
Hans Zimmer and Patrick Doyle, and made his first foray into feature films by assisting
Doyle with the score of Into the West and writing cues for Zimmer on White Fang.

Adhering to just one musical style is not in Powell’s nature. Before moving to Los
Angeles, he played for more than 15 years with the Fabulistics, a London soul band that
performed for everyone, from Lady Diana to denizens of the local pub.

Powell’s hauntingly thematic score for the Nicolas Cage/John Travolta film
Face/Off put him on the map. Next he wrote romantic melodies with a quirky comedic
sensibility for Ben Affleck and Sandra Bullock in Forces of Nature. For DreamWorks’
animated Antz, featuring the voices of Woody Allen and Sharon Stone, Powell created a
musical mélange of jazz, Latin and classical sounds with a highly imaginative theme.

Next came Endurance, developed and co-produced by Terrence Malick. In an
almost wordless film, Powell’s score serves as dialogue, conveying the central
character’s joy, dignity and struggle. For the animated films Shrek and Shrek 2, Powell
impressed audiences and critics alike in creating a sophisticated and intelligent score. He
again won the hearts of audiences with the poignant score for I Am Sam.

Powell has scored a wide variety of films, including Alfie, Be Cool, Chicken Run,
and the action films The Italian Job, The Bourne Identity, The Bourne Supremacy, The
Bourne Ultimatum, Paycheck, and X-Men: The Last Stand.

Other credits include the acclaimed drama United 93, Drumline, and the recent
romantic comedy P.S. I Love You. He composed the scores for a trio of hit animated
films – Fox’s Robots and Ice Age: The Meltdown, and Warner Bros.’ Happy Feet

Upcoming for Powell is another venture into the world of animation: Dr. Seuss’
Horton Hears a Who! for Twentieth Century Fox.

MAGALI GUIDASCI (Costume Designer) has worked extensively with renowned
French filmmaker Luc Besson, designing costumes for The Big Blue and The Professional (aka
Leon). She also co-designed costumes on Besson’s Subway, starring Christopher Lambert and
Isabelle Adjani, and served as a consultant on the filmmaker’s hit La Femme Nikita.

38



Among her American film projects are Michael Bay’s blockbuster Armageddon,
starring Bruce Willis and Ben Affleck, and for which she shared a Saturn Award nomination;
The Prince & Me, directed by Martha Coolidge, and Alien vs. Predator, which were both
filmed in the Czech Republic; Ballistic: Ecks vs. Sever, starring Antonio Banderas and Lucy
Lui; and the sci-fi thriller, Wing Commander, which was shot in the United Kingdom. Her
additional European film credits include Kamikaze, The Passport, Hors La Vie, and 23:58.

A native of France, Guidasci studied dance at the celebrated Sorbonne, and danced
professionally for two years before turning her attention to the world of film.

©2008 Twentieth Century Fox and Regency Enterprises. 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.


39

And
REGENCY ENTERPRISES
Present


A NEW REGENCY / HYPNOTIC
Production


A DOUG LIMAN Film


HAYDEN CHRISTENSEN
JAMIE BELL
And SAMUEL L. JACKSON



RACHEL BILSON
MICHAEL ROOKER
With DIANE LANE


ANNASOPHIA ROBB
MAX THIERIOT
JESSE JAMES


Directed by....................................................... DOUG LIMAN
Produced by ............................................. ARNON MILCHAN
...................................................................... LUCAS FOSTER
........................................................................ JAY SANDERS
................................................................... SIMON KINBERG
Screenplay by....................DAVID S. GOYER and JIM UHLS
.............................................................and SIMON KINBERG
Based on the novel by..................................STEVEN GOULD
Executive Producers .........................................STACY MAES
........................................................................KIM WINTHER
..................................................................VINCE GERARDIS
......................................................... RALPH M. VICINANZA
Director of Photography ......................... BARRY PETERSON
Production Designer....................................OLIVER SCHOLL
Film Editors ....................................................... SAAR KLEIN
................................................... DON ZIMMERMAN, A.C.E.
..............................................................DEAN ZIMMERMAN
Associate Producer .........................................SIMON CRANE
Visual Effects Supervisors.................................JOEL HYNEK
.......................................................................... KEVIN ELAM
Music by .........................................................JOHN POWELL
Music Supervisor...................................JULIANNE JORDAN
Costume Designer..................................MAGALI GUIDASCI
Casting by ................................. JOSEPH MIDDLETON, CSA


Unit Production Manage............................. JAMES POWERS
Unit Production Manager................. DAVID COATSWORTH
First Assistant Director ..................................KIM WINTHER
Second Assistant Director................... ANDREW ROBINSON
Second Assistant Director............... HEATHER STERBARTH


Stunt Coordinator/
Second Unit Director......................................SIMON CRANE
Visual Effects Producer ......................... ELLEN M. SOMERS

CAST

David Ric...................................... HAYDEN CHRISTENSEN
Griffin................................................................. JAMIE BELL
Millie ..........................................................RACHEL BILSON
Mary Rice .......................................................... DIANE LANE
Roland .............................................. SAMUEL L. JACKSON
William Rice ..........................................MICHAEL ROOKER
Young Millie ...................................... ANNASOPHIA ROBB
Young David ................................................MAX THIERIOT
Young Mark ......................................................JESSE JAMES
Mr. Bowker......................................................... TOM HULCE
Sophie....................................................KRISTEN STEWART
Mark Kobold ................................................... TEDDY DUNN
Ellen.....................................................BARBARA GARRICK
Day Bank Manager...............................MICHAEL WINTHER
Italian Desk Cop ................... MASSIMILIANO PAZZAGLIA
English Bartender .....................................SHAWN ROBERTS
English Beauty .............................................NATHALIE COX
Fiona.............................................MEREDITH HENDERSON
Psychologist..................................................DAMIR ANDREI
NYPD Detective...............................................TONY NAPPO
Owner Of Millie’s Old House ........................ GEORGE KING
Bank Guard..........................................CLARK BEASLEY JR.
Italian Woman ................................................... SIMONA LISI
Italian Detective........................... MATTEO CARLOMAGNO
Italian Police Officer 1 ...............................FABRIZIO BUCCI
Italian Police Officer 2 ..................GIORGIO SANTANGELO
Italian Cabbie 1..................................MARCELLO SANTONI
Italian Cabbie 2......... FRANCO SALVATORE DI STEFANO
Coffee Shop Manager.............................BRAD BORBRIDGE
Doorman...................................................... ANGELO LOPEZ
Bellhop ............................................ ROBERTO ANTONELLI
Italian Ticket Agent........................... VERONICA VISENTIN
Toby..........................................................CHRISTIAN PIKES
Landlord .......................................................GEORGE GHALI
Jungle Jumper...........................................RYNY GYTO OUK
Kids in Detroit Airport ........................... FRANTIŠEK JÍCHA
...................................................................... ROBIN ZENKER
Angry Japanese Cook .....................MASAHIRO KISHIBATA
Japanese Chef’s Wife ..............................SUMIKO YAMADA
Japanese Chef’s Daughter......................... TAMAKI MIHARA
Japanese Scientist .................................MANSAKU IKEUCHI
Mexican Truck Driver . ROLANDO ALVAREZ GIACOMAN
London Pub Patron .................................ADAM CHUCKRYK
Hoolihan’s Bar Patrons................................JORDAN GATTO
................................ NICHOLAS KUSIBA, ARIEL LUKANE
.......................... VANESSA REID, STEPHEN WHITEHEAD
Surfers ................. MAHMUD WATTS, BRADEN MUNAFO
................................ TAMARA BUCHWALD, MAIA SMITH
Police Officer............................... VALENTINO VISENTINI
Lamplighter Clerk..............................................JOHN BAKER
Hospital Aid............................................................JOSIE LAU


I



Stunt Coordinator................................. WADE EASTWOOD
Stunts .......................... NICK ALACHIOTIS, WADE ALLEN
........... MIKE AVERY, LEIGH BIANCO, MARCO BIANCO
.............................. CHAD CAMELLERI, CLINT CARLTON
............................DARREN CERULLO, MARK CHINNERY
..........................JAMES CHURCHMANk, STUART CLARK
...........VINCE CUPONE, NEIL DAVISON, KIANTE ELAM
...................... TOM FARR, STEPHANE FIOSSONANGAYE
.................... MATTHIEU FLATRES, KOICHI FUNAYAMA
...........................CHRISTOPHER GORDON, JOEL HARRIS
...........................STEPHANNIE HAWKINS, BRENT JONES
...TATSURO KOIKE, MIKE LANGLOIS, KEVIN LAROSA
....DEREK LEA, STEPHANE LEFEBVRE, DAVID LEITCH
............. DANNY LIMA, ANGELICA LISK, TOM LOWELL
...................... JOHN MACDONALD, DARREN MARSMAN
............................JAMES MICHAEL MARK, CHRIS MARK
............ JANET MORIN, NOBU OBIGANE, JEFFERY ONG
........................................SHAWN ORR, LOUIS PAQUETTE
..........................MAURO “CICO” PERUZZI, AVI PHILLIPS
......DARRIN PRESCOTT, KEN QUINN, BUSTER REEVES
..................................BRYAN RENFRO, BRIDGETT RILEY
.................................SHAYNA A. SEGAL, JEFF SHANNON
....................LARISSA STADNICHUK, CHAD STAHELSKI
.............................BRYAN THOMAS, NANCY THURSTON
..................................ANGELA UYEDA, DAVE VAN ZEYL
........................................................MAX WHITE, PAUL WU


MADE IN ASSOCIATION WITH DUNE
ENTERTAINMENT LLC


Co-Producer.......................................... JOE HARTWICK, JR.
Second Assistant Director.......................................JOEL HAY
Script Supervisor....................... SAMANTHA ARMSTRONG
International Production Supervisor ..........AVRAM LUDWIG
Production Liaison ....................................CHRISTINA WISE
Supervising Art Directors ..................THOMAS VALENTINE
................................................. ELINOR ROSE GALBRAITH
Art Director (Toronto) .................................PETER GRUNDY
Set Decorator ......................................HILTON ROSEMARIN
Set Designers ............................................ WILLIAM CHENG
............................... MICHAEL SHOCRYLAS, ERIC DEROS
Assistant Art Director (Toronto-Japan) .... ITSUKO KURONO
First Assistant Art Directors ....................... BRAD MILBURN
.......................... DAVID G. FREMLIN, MAYUMI KONISHI
........................................................ VLADISLAV FEDOROV
Second Assistant Art Directors..........MEAGHAN H. LYNCH
...................................................................BRITT DOUGHTY
Storyboard Artists .................................ROB BALLANTYNE
........................ RAYMOND CONSING, ROBBIE CONSING
.......................DARREN DENLINGER, JAMES GOODMAN
.............................. PATRICK JANICKE, ROB MCCALLUM
.......MARTIN MERCER, JAMIE RAMA, JEREMY SIMSER
Graphic Designers............. JOHN MORAN, TIMOTHY PEEL
Assistant Set Decorator..........................DANIELLE FLEURY
Lead Set Dressers...................................GEORGE VENCKUS


............................................................... KEVIN HAEBERLIN
Buyer ............................................... PETER NICOLAKAKOS
On Set Dresser.........................................BRENTON BROWN
Set Dressers .........................GREG PELCHAT, RON DICKIE
..............ROBERT JAMES, KEN CLARK, DAVID RITCHIE


In memory of David Ritchie

Head Greens Person............................................. JIM PETERS
Assistant Greens ................................ BARBARA WALLACE
On Set Greensman..................................MALCOLM BYARD
A Camera and Steadicam Operator ...........................................
..................................................... ANGELO COLAVECCHIA
First Assistant Camera........................................MARK CYRE
Second Assistant Camera ............................ MICHAEL CARR
B Camera Operator................................PERRY HOFFMANN
B Camera First Assistant ................... JOHN COLAVECCHIA
B Camera Second Assistant........................ ROBYN CLARKE
Loader............................................................ GUY GODFREE
Camera Trainees................................... KAMERON MARTIN
..........................................JEFF DASILVA, QUEENA CHAN
Still Photographer....................................MICHAEL GIBSON
Third Assistant Director ............................ADAM BOCKNEK
Trainee Assistant Directors.........................MIKE PELESHOK
..........................................................................BEAU FERRIS
Set Production Assistant.............................JEFF MUHSOLDT
Sound Mixer ............................... JOHN J. THOMSON, C.A.S.
Boom Person .............................................ALAN ZIELONKO
Cable Person..........................................SEAN ARMSTRONG
Video Assist...................................BRENDAN BRESNAHAN
24 Frame Playback ........................................ MARK HINDLE
Property Master ............................................ GARY F. TUERS
Property Master (Toronto) .................. TORY BELLINGHAM
Assistant Property Master..................... JEFFREY W. POULIS
Property Buyer..................ANNE-MARIE FERNEY-TELLEZ
Associate Producer ..........................JEFFREY HARLACKER
Additional Editors............TIM ALVERSON, STUART LEVY
First Assistant Editor (New York) .. GERSHON F. HINKSON
First Assistant Editor (Los Angeles)..........................................
................................................... H. DWIGHT RAYMOND IV
VFX Editors.............. JODY ROGERS, JOSEPH C. BOND IV
Visual Effects Design and Compositing ...................................
.............................................................. JOSEPH DIVALERIO
Post Production Coordinator..........................JASON MILLER
Post Production P.A. ..................................JAMI PHILBRICK
Assistant Editors (New York) .................... SORIN IAROVICI
........................................................................ PETER FRELIK
Post Supervisors (Toronto) ............GREGOR HUTCHINSON
................................................................LYNDA MCKENZIE
Post Coordinator (Toronto) ..................LORRAINE SAMUEL
Assistant Editor (Toronto) ........................... SUE LEN QUON
Editorial Production Assistant ........ DARRYL STAWYCHNY
Post Production Assistants.........................DUSTIN MURPHY
.............................................................AMANDA MARQUEZ
Sound Supervisor/Sound Designer..........CRAIG HENIGHAN
Sound Mixing .......PAUL MASSEY, DAVID GIAMMARCO


II



Gaffer................................................................... BRENT POE
Gaffer (Toronto) ............................................ JOHN BIGGAR
Best Boy Electric .............................................. DANNY PIVA
Dimmer Board Operator ................................ BOB RODGERS
Company Electrics...................................ROBERT HANNAH
............ KEVIN ALANTHWAITEl, JAMES MACCAMMON
............................................................NORM O’HALLORAN
Genny Operator...............................JOHNNY SZTEJNMILER
Rigging Gaffer................................................PAUL SPAVEN
Rigging Best Boy Electric ..............................LARRY SMITH
Key Grip ................................................. ROBERT JOHNSON
Best Boy Grip ..................................................MARC PURDY
Key Rigging Grip............................................ JON BILLINGS
Picture Car Grip................................................CARY LEGER
Dolly Grips .............. RON RENZETTI, ROBERT DAPRATO
Company Grips...............................SAMUEL P. TURTURICI
............................................ STEVE KLYS, ROBERT VIGUS
........................................ ROBERT RICE, RON YOLEVSKY
Assistant Costume Designers.....................PAULINE CHUNG
......................................................................... LISA MARTIN
Costume Supervisors ..................................SHEILA PRUDEN
..................................................................... MARCIA SCOTT
Costumer to Mr. Jackson ................................. ASKIA JACOB
Costume Coordinator........................NATALIE BRONFMAN
Costume Buyer ........................................NATHALIE GYSEL
Set Supervisor......................................... ISABEL DE BIASIO
Assistant Set Supervisor ........................ MAUREEN CURTIN
Key Make-up ..................MARIE NARDELLA, JUDY CHIN
Make-up to Mr. Jackson ........................... ALLAN A. APONE
Assistant Make-up .......................................DOROTA ZAJAC
Make-up Special Effects................................SEAN SANSOM
Key Hair Stylist ..............................KAROLA DIRNBERGER
Hair to Mr. Jackson........................ROBERT L. STEVENSON
Assistant Hair.........................................CAROL HARTWICK
Stand in Mr. Christensen.......................... JAY MELNYCHUK
Stand in Ms. Bilson..............................ALLISA OURAKOVA
Stand in Mr. Bell..............................CHRISTOPHER HURON
Stand in Mr. Jackson.................................... CECIL PHILLIPS
Location Manager............................................KEITH LARGE
Production Coordinator............................ ELSPETH CASSAR
Special Effects Supervisor.............................YVES DEBONO
Special Effects Coordinator......................ROB SANDERSON
Special Effects Design Foreman...........JONN HERZBERGER
Special Effects Workshop Foreman...........KEN VAN ORDER
Special Effects Senior Technician .........RUSSELL TYRRELL
Buyer..................................................................JIM REISCHL
On Set SPFX..................................................DANNY WHITE
SPFX Assistants...................................ARTHUR LANGEVIN
........................... TIM LIDSTONE, GARY KLEINSTEUBER
...JIM MCGILLIVARY, JAMES GAWLEY, EMILE GODIN
....................DANIEL GODIN, TOMAS HARTL, TED ROSS
Financial Controller...................................JULIEANN SNOW
Production Accountant................................... KYLE O’BRIEN
Canadian Production Accountant.............. DANIEL HORVAT
First Assistant Accountant ..............................TONY CYPRES
Second Assistant Accountants ......................ERIK SUDMALS


............................................................LORRAINE PROCTOR
Third Assistant Accountant ...........................RONAN KEANE
Payroll Accountant ................................. MICHELLE RAMEZ
Payroll Assistants ........ MARK BILAS, DARLEEN ABBOTT
Construction Coordinator ................................... JOE CURTIN
Head Carpenter......................................... PAUL JEFFERSON
First Assistant Head Carpenter ...............RICHARD MCSTAY
Second Assistant Head Carpenter...........MARCEL LAPORTE
Third Assistant Head Carpenter....................JOACIM ORTON
Construction Office Coordinator ............PAUL ZONNEVELD
On Set Carpenter ........................PETER CONSTANTINIDES
Key Scenic................................................JOHN BANNISTER
Head Painter ............................................ TIM S. CAMPBELL
Assistant Head Painter.....................................LUKE GIBSON
Scenic Artists....................................... JANET L. CORMACK


......................................................MATTHEW LAMMERICH
On Set Painter............................................... BRAD FRANCIS
Travel Coordinator .........................CHRISTIAN HAMILTON
Assistant Production Coordinator..........JENNIFER GANTON
Art Department Coordinator...................... DAWN H. FISHER
Art Apprentice..........................................KATY THATCHER
Set Decoration Coordinator .........................HAYLEY TYSON
Clearances and Product Placement
Coordinator.....................................................CLARE PILLER
Script Coordinator ........................ WEATIE ROSENLEHNER
Production Secretary.............................BENJAMIN BARTON
Office Production Assistants .........................J.C. CUTHBERT
...............................................FARRAH YIP, JAMES BURKE
Assistant Location Managers...................GREG MCMASTER


...........................................................ALEX MCNAUGHTON
Casting Associate ................................DEANNA M. BRIGIDI
Casting Assistant ................................. MICHELE BERUMEN
Canadian Casting by.......................... JOHN BUCHAN C.S.A.
Canadian Casting Associate ..........................JASON KNIGHT
Extras Casting...................................... ZAMERET KLEIMAN
Dialogue Coach (Canada) ............................... JOHN NELLES
Dialogue Coach .................................................TIM MONICH
Acting Coach................................................ LARRY SINGER
Unit Publicist.........................................KAREN PIDGURSKI
Videographer ........................................ TREVA WURMFELD
Assistants to Mr. Liman................................. LAURA MOSES
..................................SHARON DIXON, HUNTER POPALIS
Assistants to Mr. Foster .................................KENNETH IVES
................................................................GREGORY VEESER
Assistant to Mr. Kinberg ...........................EMILY FARACHE
Assistants to Mr. Milchan ..............................JANE BULMER
..................................................................... BRYAN SMILEY
Assistant to Mr. Jackson..................................KYLE MCCOY
Assistant to Mr. Crane...........................AMIE STEPHENSON
Transportation Coordinator .......................... DAVE STAPLES
Transportation Captain ................................. ROBERT DAVIS
Transportation Co-Captain ...................... ROBERT G. BAIRD
Transportation Administrator .............. LENITA KARHUNEN
Picture Car Captains.................................RON ANNABELLE
................................................................ RANDY HASTINGS
Camera Boat Captain (Martha's Vineyard)................................


III



............................................................... ANTHONY AMARU
Caterer.................................................................. BY DAVIDS
Catering Personnel...............BRAD MCILROY, BRAD LING
Craft Service .................................................STAR GRAZING
Craft Service Personnel................................... J.P. O’DONELL
...................................................................... TAMSIN SMITH
On Set Medic ........................................................KELLY LEE
Studio Teachers Provided By .ON LOCATION EDUCATION
Sound Designer.............................. DEREK VANDERHORST
Sound Effects Editor............................WARREN HENDRIKS
Supervising Dialogue Editor....................HELEN LUTTRELL
Supervising ADR Editor..............................ALISON FISHER
ADR Editor................................................. SUSAN DUDECK
Supervising Foley Editor .............................. JOHN MURRAY
Foley Editor ....................................... CHRISTOPHER FLICK
First Assistant Sound Editor ..................... WAYNE LEMMER
Assistant Sound Editors ................................ JASON TUTTLE
......................................................................... ERIC LARSEN
Post Production Facilities Provided by ......................................
........................................... 20TH CENTURY FOX STUDIOS
Recordists ..................TIM GOMILLION, DENNIS ROGERS
Re-recording Engineers .....BILL STEIN, THOMAS LALLEY
ADR Mixer .........................................CHARLEEN STEEVES
ADR Recordist.........................................DAVE LUCARELLI
Foley Design............................................ONE STEP UP, INC.
Foley Artists......................DAN O'CONNELL, JOHN CUCCI
Foley Mixer ............................................... JAMES ASHWILL
Voice Casting ......................................... BARBARA HARRIS
LOOP GROUP ..................DAVID ARNOTT, VICKI DAVIS
......... JOHN DeMITA, JUDITH DURANDk, JEFF FISCHER
............................................AARON FORS, WILLOW GEER
.......................ANNELIESE GOLDMAN, LILLIAN GROAG
......................... MARSHA KRAMER, JEREMY MAXWELL
...........TRACY METRO, DAVID MICHIE, ARLIN MILLER
............................ MICHAEL RALPH, NOREEN REARDON
....................................... VERNON SCOTT, JOEL SWETOW
Negative Cutter.............................................GARY BURRITT
Digital Intermediate by..................................................EFILM
Supervising Digital Colorist ..................... STEVEN J. SCOTT
DI Producer..........................................MICHAEL KENNEDY
DI Assistant Producer..............................MICHAEL DILLON
Digital Color Assist ...................................MITCH PAULSON
DI Editor ................................................. AMY PAWLOWSKI
Digital Opticals...............................................PAT CLANCEY
Imaging Science Supervisor ..................... CHRIS EDWARDS
Engineering Supervisor ...........................GARY THOMPSON
Engineering Technician ......................... CHRIS MARZULLO
Lab Color Timer ................................................. JIM PASSON
Music Coordinator .............................. ANDREW RICHARDS
Additional Music and Programming by ....................................
........... JAMES MCKEE SMITH, JOHN ASHTON THOMAS
Orchestra Conducted by.......................... BRETT WEYMARK
Score Performed by THE SYDNEY SCORING ORCHESTRA
Concert Master............................................. FIONA ZIEGLER
Orchestra Contractor ..................................... ALEX HENERY
Orchestrations by .............JAMES K. LEE, JESSICA WELLS


.......................................DANIEL BAKER, BRYCE JACOBS
Music Preparation by ....................................JIGSAW MUSIC
Score Recorded at...........TRACKDOWN SCORINGSTAGE,
...........................................................SYDNEY, AUSTRALIA
Orchestra Recorded by ...........................................TIM RYAN
Additional Recording by .................................. DAN LERNER
Score Mixed by..........................................SHAWN MURPHY
Score Mixed at ................... REMOTE CONTROL STUDIOS,
............................................................. SANTA MONICA, CA
Scoring Editors ...... DAVID CHANNING , ERIK SWANSON
Score Production Coordinator ............. GERMAINE FRANCO
Remote Control 2nd Engineer ...........................MATT WARD
Digital Recordist..........................................DANIEL BROWN
Assistant Scoring Engineers.......................CRAIG BECKETT
...........................................ALEX STEWART, JAMES EZRA
Music Editor ..................................................TOM CARLSON
Temp Music Editor.........................................LIQUID MUSIC
Source Music Editor ........................................DAN DIPRIMA
Main Title Design and Production ............................................
...................................................... RIVER ROAD CREATIVE
Title Designers ..........................RICHIE ADAMS, BEN HILL
Title Producer ..................................................SCOTT POCHÉ
End Titles............................................... SCARLET LETTERS
Additional Visual Effects Supervisor ........MARK O FORKER
Digital Producer..................................................SERGE RIOU
VFX D.P. (New York)..........................MICHAEL CARMINE
Associate Visual Effects Producer...........DAVID ROBINSON
Visual Effects Coordinators ........................CATHERINE LIU
............. LEANN HARVEY, LISA KLEIN, CHRIS MCLEOD
Visual EffectsAssistant Coordinators.......MICHELLE TODD
.......................................................................... JODY BRAUN
On Set Surveyor .................................SANDOR AJZENSTAT
Visual Effects Image Manager ...............SCOTT CLEMENTS
Visual Effects Production Assistants.............. JIMMY COSTA
...................................................................... JERRY LIGGINS
Visual EffectsCompositors.......................PETER SIDORIAK
................................................................. THEO DIAMANTIS
Pre-visualization Supervisor.................LAURENT LAVIGNE
Pre-visualization Animators .........................DORIAN KNAPP
...................................RICHARD SMITH, MIKE BEAULIEU
......................................LAWRENCE CHOI, SIMON SHERR
.................................................. PEDRAM GOSHTASBPOUR
Pre-visualization Editor .................................. WILLIAM YEH
Visual Effects Plate Supervisor (Prague) ....GARY E. BEACH
Red Camera Consultant............................TED SCHILOWITZ
Red Digital Cinema Production Services ..................................
......................................OFFHOLLYWOOD STUDIOS, NYC
...........................MARK L. PEDERSON, ALDEY SANCHEZ
.........................................................................JOHN EREMIC
Red Camera Workflow Consultant...............LUCAS WILSON


Digital Visual Effects Designed and Created by
WETA DIGITAL LTD., WELLINGTON, NEW
ZEALAND


VFX Supervisors ............DAN LEMMON, ERIK WINQUIST


IV



Visual Effects By [HY*DRAU"LX]

Visual EffectsSupervisors............................ROB HODGSON
.................................................................EDSON WILLIAMS


Additional Visual Effects by
DIGISCOPE DIGITAL DOMAIN LOLA VISUAL
EFFECTS, LLC ILLUSION ARTS DIGITAL RIOT
PIXEL MAGIC PIXEL PLAYGROUND, INC.
SANDBOX F/X SOHO VFX SPACE MONKEY


Cyber Scanning........................................................ XYZ-RGB


SECOND UNIT

Director of Photography ................................PAUL HUGHEN
First Assistant Director .............................. TERRY MADDEN
Second Assistant Director................................ARIC DUPERE
Production Supervisor............................... ROBIN M. REELIS
Script Supervisor...................................JOANNE HARWOOD
Camera Operator..........................................KEITH MURPHY
Camera First Assistant .................................BRAD CROSBIE
Camera Second Assistant .................................. BEN LICHTY
B Camera Operator ....................................DAVE SHERIDAN
B Camera First Assistant ...................... AKIRA NASHIHATA
B Camera Second Assistant .............................. BETH NOBES
Sound Mixer ..............................................GLEN GAUTHIER
Boom Operator ............................................MARKUS WADE
Property Master....................................MICHAEL HUSCHKA
Key Grip ...........................................................BOB HARPER
Gaffer..........................................................DAVID M. OWEN
Key Make-up .............................. LORRAINE GREENWOOD
Key Hair Stylist .................................. DAVID R. BEECROFT
Costume Supervisor..................................DAMION SALIANI


ROME UNIT

Unit Production Manager ...............GIOVANNI LOVATELLI
Production Supervisor .....................GABRIELLA DI SANTO
Production Supervisor (Paris) ........ CHRISTOPHE VESSIER
Production Supervisor (Egypt).......................TAMER ABBAS
Unit Managers.......................................... ENRICO LATELLA
............................................................SIMONA BATISTELLI
First Assistant Director ..................................BOJANA SUTIC
Second Assistant Director............ SIMONETTA VALENTINI
Art Director............................................... TAMARA MARINI
Assistant Art Director...........................SAVERIO SAMMALI
Set Decorator .......................................... CYNTHIA SLEITER
Assistant Set Decorator.........................VALERIA ZAMAGNI
Lead Set Dresser.............................ROBERTO MAGAGNINI
B Camera and Steadicam Operator ROBERTO DE ANGELIS
B Camera First Assistant ...............ALBERTO TORRECILLA
Plate Photography (London) .................... BEN GLADSTONE
Sound Mixer ................................. MAURIZIO ARGENTIERI
Property Master.....................................FEDERICO CIOMMO
Gaffer......................................... FERNANDO MASSACCESI
Key Grip .............................................DORIANO TORRIERO


Costume Supervisor........................... STEFANO DE NARDIS
Make-up Artist..................................... MARIO MICHISANTI
Hairstylist ..................................MASSIMILIANO DURANTI
Location Managers....................................GIUSEPPE NARDI
............................................................. FILIPPO LOVATELLI
Production Coordinator ....................CECILIA ALVARENGA
SPFX Supervisor ................................... RENATO AGOSTINI
Production Accountant ................... ALESSANDRO FIORITO
Casting by ..................................................... SHAILA RUBIN
Casting Assistant ............................ MICHELA FORBICIONI
Extras Casting..............................................PIERO PROIETTI
Transportation Manager ....................MAURIZIO GALLOZZI
Transportation Captain .................MATTEO VALLECOCCIA
Camera Helicopter Pilot ...................... MAURIZIO SMEDILE
Camera Helicopter Operator......................JEREMY BRABEN


TOKYO UNIT

Production Service Companies....THE INSTITUTE FOR THE
.........................................DEVELOPMENT OF ENHANCED
.......................................PERCEPTUAL AWARENESS, INC.
................................................... TWENTY FIRST CITY INC.
Executive Producer (Japan) ............SCOTT GARDENHOUR
Co-Producer (Japan)..................................GEORGINA POPE
Production Supervisors ........................BRADY VANT HULL
........................................................... MISAKO FURUKAWA
First Assistant Director.............................CHOKON MINAMI
Production Liaison (Japan) ............CHARLES STENHOUSE
Consultant ........................................................ TAKA ICHISE
Art Director ......................................................... KIKUO OTA
First Camera Assistants...........................YASUSHI MIYATA
........................................................MANABU MATSUMIYA
Second Camera Assistants.............................JITSU TOYODA
......................................................................SHUJI MOMOSE
Gaffer................................................................................ YUJI
Costume Supervisor...................................... TONY CROSBIE
Location Manager/Transportation Captain................................
...............................................................MASAHIRO HONDO
Assistant Transportation Captain....... YUSUKE MORIKAWA
Picture Car Coordinator..................................HIDEKI CHIDA
Assistant Picture Car Coordinator .............................................
.............................................. "GENKI" MOTOKI ICHIKURA
Production Coordinator ................................MASA KOKUBO
SPFX Supervisor ........................................... YASUJI IWATA
Visual Effects Production Assistant ..........................................
...................................................... "TEX" KAGARI YASUDA
Casting by ............................................. YOKO NARAHASHI
Translator.....................................................MARI KARATSU
Camera Helicopter Pilot ................................... FRED NORTH


BAJA UNIT

Underwater Director of Photography ..... PETER ZUCCARINI
Camera Operator...............................PETER KEVIN MANNO
Sound Mixer .......................................................LEE ORLOFF
Key Grip ................................................ JOHN M. BRUNOLD
Location Manager..................................DANIEL MARTINEZ
Production Supervisor .............................IRAM COLLANTES


V



Production Coordinator..................... JONATHAN SANCHEZ
Construction Coordinator....................... HECTOR VAZQUEZ
Extras Casting............................................. EFRAIN LOMELI
Transportation Coordinator........................................................
..........................................SIMON VICTORIO ESCALANTE


PRAGUE UNIT

Unit Production Manager............................... PHILIP WALEY
Assistant Unit Production Manager ............ VLASTA HYNEK
Production Coordinator.......................... KAREN DAVIDSON


NEW YORK UNIT

Second Assistant Director......................MURPHY OCCHINO
Second Second Assistant Director..........ADAM WEISINGER
Sound Mixer ..............................................THOMAS VARGA
Gaffer.......................................................BOBBY SCIRETTA
Key Grip .........................................................KEVIN SMYTH
Hair Stylist .................................................... NAOMI DUNNE
Costume Supervisor...............................DONNA MALONEY
Costume Department Intern........................ MEGAN FOSTER
Location Manager.....................................AUDRA GORMAN
Production Coordinator...................................BETSY ALTON
SPFX Supervisor....................................... STEVE KIRSHOFF
Teamster Captain...........................................TIM PAUSTIAN
Camera Helicopter Pilot.................................... AL CERULLO


ANN ARBOR UNIT

Second Assistant Director................................. ERIC YELLIN
Second Second Assistant Director ..........GREG BRAUTIGAN
Location Manager....................................... DAVID RUMBLE
Production Supervisor...........................BRIAN COLASINSKI
Production Coordinator........................HEATHER LAFORGE
Gaffer........................................................A. “SPIKE” SIMMS
Key Grip ..................................... MICHAEL W. ANDERSON
Teamster Captain ...................................FRANK MORREALE


SONGS

WHAT NOW
Written by Ali Theodore, Zach Danziger, Vincent Alfieri,
Alana da Fonseca and Joseph Katsaros
Performed by No Standing
Courtesy of DeeTown Entertainment


TICK TICK BOOM
Written by Randy Fitzsimmons
Performed by The Hives
Courtesy of Polydor Records Ltd. (U.K.)
Under license from Universal Music Enterprises


LIL’ KING KONG
Performed by Simple Kid
Written by Kieran MacFeeley
Courtesy of Country Gentleman Recordings
By arrangement with Zync Music


LAY DOWN THE LAW
Written by Matthew Bishop
Performed by Switches
Courtesy of Interscope Records
Under license from Universal Music Enterprises


LUCKY GIRL
Written by Scott Holiday, Thomas Flowers, Robin Everhart,
Michael Miley and Dave Cobb
Performed by The Black Summer Crush
Courtesy of Caroline Music
Under license from EMI Film & Television Music


RABBIT HOLE
Written by Joshua Keith Ostrander and Greg Lyons
Performed by Eastern Conference Champions
Courtesy of Suretone/Interscope Records
Under license from Universal Music Enterprises


AHEAD BY A CENTURY
Written by Robert Baker, Gord Downie, Johnny Fay, Paul
Langlois and Robert Sinclair
Performed by The Tragically Hip
Courtesy of The Incorporated


LOOK AFTER YOU
Written by Joseph King and Isaac Slade
Performed by The Fray
Courtesy of Epic Records
By arrangement with SONY BMG MUSIC
ENTERTAINMENT


MERCURY
Written by Peter Oldroyd and Gary Scargill
Courtesy of APM Music


PIÙ FORTE DELLE BOMBE
Written by P. Preston, S. Eleuteri and M. Piluzzi
Performed by and Courtesy of Colle Der Fomento


HAPPY SUMMER WEDDING and SEXY BOY -
SOYOKAZENI YORISOTTE
Written by Tsunku
Performed by Morning Musume
Courtesy of Up-Front Works Co., Ltd. (Japan)
By arrangement with RipTide Music, Inc. & Fujipacific Music
Korea Inc.


STOMPBOX
Written by Daniel Arnold, Liam Black and Leon Harris
Performed by Qemists
Courtesy of Ninja Tune


VI



MOVE IT AROUND
Written by Ali Theodore, Zach Danziger, Vincent Alfieri and
Julian Davis
Performed by X5
Courtesy of DeeTown Entertainment


WE DOES THAT
Written by Ali Theodore, Mike Klein and Julian Davis
Performed by C.M.D.
Courtesy of DeeTown Entertainment


I KNOW YOU WANT IT
Written by Ali Theodore, Vincent Alfieri, Zach Danziger and
Sheila Owens
Performed by No Standing
Courtesy of DeeTown Entertainment


LADIES AND GENTLEMEN
Written by Paul Crosby, Bob Marlette, David Novotny, Joseph
Sappington and Wayne Swinny
Performed by Saliva
Courtesy of The Island Def Jam Music Group
Under license from Universal Music Enterprises


BLACKENED BLUE EYES
Written by Martin Blunt, Jon Brookes, Timothy Burgess,
Mark Collins and Anthony Rogers
Performed by The Charlatans UK
Courtesy of Sanctuary Records Group
Under license from Universal Music Enterprises


Soundtrack Available on LAKESHORE RECORDS
(Logo)


THE PRODUCERS WISH TO THANK THE FOLLOWING
FOR THEIR ASSISTANCE:


City of Toronto
City of Rome
City of Tokyo
City of New York
City of Ann Arbor
City of Peterborough
City of Rosarito Beach, Mexico
Ontario Media Development Corporation
Toronto Film and Television Office
Daimler AG
Yanase & Co. Ltd.
Mercedes-Benz Japan Co., Ltd.
Chrysler LLC
Deluxe Laboratories Toronto
Soprintendenza Archeologica di Roma,
Alitalia, Linee Aeree Italiane S.p.a.
ADR, Aeroporti di Roma S.p.a.
Cinecitta' S.p.a.


Film Production Consultants
Urban Corporation
Akihabara Shopping District Promotion Cooperative
Tokyo Yumenoshima Marina
Riken Nishina Center for Accelerator-Based Science
Tokyo Location Box
Tokyo Keisokuki Co.,Ltd.
Louisiana Media Productions


Filmed at Toronto Film Studios and Cinespace Film Studios


The Empire State Building design is a trademark of
Empire State Building Company L.L.C. and is used with
permission.


Read the Tor Book


"FAMILY GUY" Courtesy of Twentieth Century Fox
Television. All Rights Reserved. (Contractual)


"THE BEST DAMN SPORTS SHOW PERIOD" courtesy of
Fox Sports Net/ National Sports Partners


"NY1 NEWS" Footage used with permission. All rights
reserved.


"STEP INTO LIQUID" Footage courtesy of Lionsgate and
Top Secret Productions.


Football footage courtesy of Collegiate Images.


Color and Prints by Deluxe


Camera Cranes By
CHAPMAN / LEONARD STUDIO EQUIPMENT,
INC.
Chapman Camera Dollies Provided By
WILLIAM F. WHITE INTERNATIONAL, INC. - CANADA


Filmed with remote cranes and heads from
PANAVISION Remote Systems / Panavision Canada
(logo)


Filmed with PANAVISION ®
Cameras & Lenses
(logo)


KODAK
FILM STOCK
.

VII



CREDITS NOT FINAL AT PRESSTIME


DOLBY (logo)
In Selected Theatres
DTS
[insert DGC logo] [insert ACTRA logo]


Approved No 44084



(c) 2008 Twentieth Century Fox Film Corporation, Regency
Entertainment (USA), Inc.
and Dune Entertainment LLC in the U.S. only.
(c) 2008 Twentieth Century Fox Film Corporation, Monarchy
Enterprises S.a.r.l.
and Dune Entertainment LLC in all other territories except
Brazil, Italy, Japan, Korea and Spain.
(c) 2008 TCF Hungary Film Rights Exploitation Limited
Liability Company, Twentieth Century Fox Film Corporation,
Monarchy Enterprises. S.a.r.l. and Dune Entertainment LLC in
Brazil, Italy, Japan, Korea and Spain
Twentieth Century Fox Film Corporation, Regency
Entertainment (USA), Inc. and Monarchy Enterprises S.a.r.l.
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.

VIII



 

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